Hi!
I often do quite long recordings for my songs, typically when adding guitar tracks. Then I add those to the beginning of some pattern, and they usually continue through several patterns before they finish.
My problem is this: This works as long as you play the song from the starting position of the recording. However, if I am editing somewhere in the middle of the patterns, I have to go back to the beginning and listen from there to hear the guitar sample.
Is there any way I can hear the sample even if I don’t start at the beginning? I know there is some sample offset effect, but I couldn’t quite figure out how to use it.
Not other than chopping up the long sample into tinier bits. That’s why we have this thread.
Ok, thanks! I was hoping to avoid cutting my sample in pieces, but I guess I have no choice.
By the way, is there a sample offset command that is based on ticks rather than dividing the samples in 256 pieces?
ReWire to another host which handles long samples works for me. (Example, Garageband)
Right, that’s probably a better solution.
Still sucks to have both programs open though. 
Would be nice to work in only one.
It would take a little bit of preplanning, but it’s certainly possible:
A: you can record in sync with the pattern that you’re launching from, and you can set it up so that you record a new instrument with each new pattern. So, start out in some late instrument slot (say, A0) and then record in sync with the pattern, outputting to a new instrument for each pattern.
Then instead of writing C4(?)A0 at the very beginning and letting it play forever, play C4A0 in the first pattern, and then C4A1 at the beginning of the next pattern, and so on.
The downside of this is that it burns up a ton of instruments.
B: Sync the start in the same way, and then use the 09xx effect to offset the start of later patterns. This would only be useful if you sync the start and stop to coincide with 4/8/16/32/etc. bar recordings. Then if you want to “refresh” the playback just play the root note and use 09xx to start it at a later point.
If it’s a 16-bar recording, then it’s easy mode: each hex number coincides with a bar number. So 0900 is bar 1, 0910 is bar 2, 09f0 is bar 16, etc. If it’s a longer recording then you’d have to multiply it, so if it was a 64-bar recording then 0910 would be bar 5; this would be pretty convenient if your pattern length was equivalent to 4 bars.
I haven’t done any big sessions with Renoise yet but I’m thinking that when I do I will probably go the Rewire route, just because an Arrangement View is a visual aid that really helps in this situation.
