I disagree entirely. I think now that Renoise has garnered the deserved recogition (recent magazine review) and the recent updates, the developers should go into overdrive. I suggest:
A dedicated hardware controller (priced at about $7,000) is obligatory
Minimum processor speed 1.7 petaflops
Taktik should now name himself the CEO of Renoise Global Industries Inc
A new top-end version of Renoise be developed Nurenoise (for use only on trapped ion quantum computer sytems)
Intead of hexidecimals, binary is used, or
Animated dancing manga dolls replace the pattern editor entirely
I remember when I was flamed on IRC because my impulse tracker songs were too big and I wanted to use samples that were too long, which wasn’t keeping the real tracker roots. =)
I used to dream of being able to control midi gear with a tracker. (Not that I actually had any at the time…) Now I can do it, and that is a GOOD thing.
I realized this thread was a joke, but the fact that it was even open to debate is scary. Renoise needs to be built on and built on until it dominates the music production landscape!
The only time I will complain is when Renoise is so popular that Microsoft considers buying it and releasing it as a standard part of their newest OS. =)
Some thoughts… probably have been mentioned before, just another version.
If I took a few steps into the past as well as the future and look at how music is accomplished in this era of convergence, my questions and concerns would be, for both musicians (this includes all involved, coders, engineers, acousticians, traditional instrument makers, the ever growing list of who knows what) and for listeners, is… how do you avoid getting buried from of the amount of tools and tunes ?
From a musicians perspective, manipulating air pressure waves has never been so much fun and at the same time burdensome because the level of organization reflects what and the amount of tools and techniques used. Which is why simple tools that have enough balance to help the user accomplish the core of music as well as room for experimentations are appealing in a way that likens the tool as one’s main samurai sword.
Though its different from the countless number of listener’s perspectives, one can still participate and enjoy music made with simple tools from the tried and tested past… and in a number of cases more so than some of todays high production values. In my search for instruments or sounds I’d like to listen to, not what tools I’d like to use, I often find myself liking the sincerity and history in a sound that my mind perceives.
Well yes meow… that’s why I was so blown away that people took this thread seriously. Anyone that knows my usual tone around here knows that I’m a fairly progressive guy… I want Renoise to evolve into the best software it can be. That, and my initial tone in this thread was completely over the top… I deliberately tried to throw in as much subtle humor as possible. Apparently it was too subtle
For artists: Stay true to yourself. If you make music from the heart, what tools you use or what other music exists won’t matter. Spend as much time as possible making each song reflect what you want it to sound like. Don’t be afraid to experiment. Don’t be afraid to disregard EVERYTHING other musicians say about making music. That includes anything that starts with “Real musicians don’t…”
For listeners: Have fun! This is an era where there’s more music to choose from than ever before. Do yourself a favor and don’t just stick to one genre. Try a bit of everything… after all, variety is the spice of somethingrather
Does an iMac from that rate supports OSX 10.3.0?
I thought only Renoise 1.5.1 was as high as you could get on an old Mac like that (considering it could only run PPC editions)
