Renoise 3.0

[kausto]

Btw iirc there is CDP lua-frontend also for Reaper now.

https://xenakios.wordpress.com/2014/07/16/cdp-frontend-reaper-extension-plugin/

Made by Hourglass guy

[kausto]

You can also keep an eye on this
https://xenakios.wordpress.com/2015/02/13/joys-of-graph-processing/#comments

[Lucas]

The Gxx command IS legato, though. It's even better since it gives you precise control over the legato time, each time you use it. How is it impractical to just add the command next to the note?

 

just had a look at how this command actually works and it is really simple indeed. sorry for not checking it sooner (when I searched about my problem on internet, I came upon an unsolved post where this specific issue was addressed and I thought there was no simple workaround. the post was too old probably).

 

thanks modey ! ;)

[modey]

No problem! The glide/portamento command is as old as protracker, possibly even older!

[sweepstakes]

Oh man this CDP stuff is awesome. Reminds me of when my brother used to do drill n bass in Cool Edit 95 w/ a calculator and would get weird ring/FM by entering negative/unreasonable values into the flanger. This is such a smart thing to have inside a tracker. Now I just need to find some vocal/field samples to turn into alien chattering.

[mcbpete]

No problem! The glide/portamento command is as old as protracker, possibly even older!

Aye, been around since the Med days. Some super old documentation here - ftp://amigaremix.com/pub/documents/format_documentation/Music%20Editor%20v3.2%20(.med).txt

[modey]

CDP is arguably the closest native software based thing that does what the Kyma systems are best at doing. Sinusoidal decomposition of real sounds (like recreating a human voice with 64 sine wave oscillators ) or dynamic spectral morphing that uses the fundamental frequency of the sound as the morph guide (instead of just typical convolution). Thats why im curious why since it came out (2014 i think) for Renoise i haven't heard any Venetian Snares or similar tracks using CDP/Kyma sounding techniques. its been the biggest motivation for me for learning a tracker so far, but its still not enough to push me out of frustration territory

ahhh interesting. I'm interested in checking it out, but my sound design experimentation never goes to such an extreme level for it to be useful in my style of music..

[sweepstakes]

You know, though, I was just farting around with it this morning and there's some really cool stuff to play with. Not only for weird sounds but for making nice pads or even hi hats, or just fattening stuff a bit, etc. It's a little buggy but it's a good time.

 

I honestly had only a vague idea what I was doing but it was pretty simple. Most of the algorithms were like, pick an input sample or two, pick an output sample to overwrite, twiddle some params and just keep churning through parameters until you find something cool. I just wish there was a way to save presets... maybe there is?

[kausto]

With CDP you are able to turn cheesy randomly arpeggiated shit into nice spectral kissel a'la Stephan Mathieu using pvoc Stretch and Blur processes on default settings

 

https://clyp.it/c3ynykbs

 

You can use Renoise intrument's envelopes as breakpoint-files also.

[Guest]

heads up for the registered users, 3.1 is in beta now;

 

 

Release Notes For Renoise 3.1

• Download
• Screenshots
• Reviews
• Order license

Release Notes For Renoise

3.1

This version of Renoise represents the integration of features from Redux, the VST/AU plugin we released earlier this summer. This means that any instrument created with Redux can now finally be loaded into Renoise, and vice versa.

While Redux is a large part of the story, it’s not the whole story. We have squeezed in a few long-requested features too, in an attempt to make Renoise 3.1 the best possible release.

Improvements to the sound engine

First of all, Renoise 3.1 contains numerous improvements to the sound engine - a completely new, rewritten filter section as well as optional oversampling and bandlimiting on sample playback.

Sound improvements at a glance:

• All new digital and analog styled zero delay filters with saturation and optional oversampling - everywhere. digital = bread and butter - clean. Analog = warm, with character. The new filters are offered as two new standalone DSP devices - “Digital Filter” and “Analog Filter”, as polyphonic modulation filters, and are used internally in many existing and updated DSP devices (e.g. the Chorus device).
• New filters types include a 3 pole K35 filter, Biquad, classic Moog and Diode 4 or 2 pole filters, a Vowel filter, a Chebyshev 4 and 8n filter with customizable ripple and Butterworth 4 and 8n filters.
• New, optional bandlimited/oversampled sample playback to reduce aliasing, which is especially useful when using small looped samples. If you prefer to draw your waveforms by hand, or are a heavy user of single-cycle sounds, this feature can make quite a difference.
• New Note frequency tuned Comb DSP device, oversampling option for the Distortion device, new bandlimited oscillators in the RingMod and AM modulation filters in instruments.
• New Chorus, Flanger and Phaser with resettable phase and new filters.
• Improved, now zero-latency Convolver device, which will sound more “dense” with small IRs (e.g. cabinet IRs) and should create less CPU peaks, XRUNS with very large IRs (e.g. Reverbs).
• Delay and Multi-tap device will cross fade delay time changes now, which means they no longer create “zipper noises” when automating/changing delay times
• New “Apply Post Track Volume” option for the Send and MultiSend devices - this makes it possible to use the post-gain level to control any send device, anywhere in the DSP chain.
• Support for sample rates up to 192000 Hz (if the sound card/driver supports it - always available when offline rendering).

Refinements to phrases

Phrases in Renoise 3.1 has become a lot more powerful and streamlined too - when working within the phrase editor, you could describe it as “feeling more like the pattern editor”. And when working in the pattern editor, you have more options for controlling phrases:

• Phrases can now be triggered in two different ways. First mode is called KEYMAP, and will allow you to assign a phrase to a particular range on the keyboard. This is basically how Renoise 3.0 works. The second mode is called PROGRAM and will allow you to select any phrase and play it over the entire range of the keyboard, without the need to create a key-mapping first.
• To make switching between phrases in PROGRAM mode easy, a new pattern command has been introduced: Zxx (xx = program between 0 and 127) which allows triggering a specific phrase for specific notes. The global phrase program can also be changed/automated with an “Instrument Macro” device, or by sending standand MIDI program change events to the instrument
• New sample playback column in phrases, to bypass sample keymaps and trigger samples directly by specifying their index within the instrument. This is useful when working with drum-kits, or to use waveforms in creative ways.
• Custom shuffle groove and loop point settings for phrases
• Ability to create and use an additional effect column for each note column, in addition to the “global” effects column which apply to all note columns. Ability to assign names to phrase columns and rearrange them via drag-and-drop

Refinements to instruments

A number of other additions makes the instrument - as it was introduced in Renoise 3.0 - feel more integrated into the core tracker workflow too:

• Individual instrument DSP chains can now be routed to tracks in Renoise - making sample based instruments behave much like a multi-channel plugin.
• Better handling of sample DSP FX playback when triggering instruments with sample FX on multiple tracks. Unless you are routing individual DSP chains of instrument to specific tracks, playback still is limited to one track at a time - but this will no longer result in “silent” notes and thus now behaves exactly the same as when using plugin instruments.
• MIDI macros - sample-based instruments can now make use of standard mod-wheel, pitch-bend and channel pressure MIDI messages, with the same flexibility as normal macros offer (a single input can control any number of independently weighted parameters).
• New “Stepper” modulation device, which allows you to step through a predefined set of values. Can e.g. be used for automatic stereo panning, program a specific movement into a filter for each triggered note, or to exercise more control over a pool of random values.
• Macro-assignable base value for each modulation domain: Vol, Pan, Pitch, Filter - no more need to insert an “Operand” device just to control these basic properties.
• New Mono/Glide trigger option - allowing real-time glide between notes as they are played. When recording, Gxx commands are inserted into the pattern as you are playing.
• Sustain pedal support. To use it, connect a pedal, or send a MIDI CC#64 message.
• “Hold” mode has been removed in favor of sustain pedal support.
• Choose MSB/LSB order for MIDI program changes - in case your gear is picky about the order in which these message arrive.

Presets everywhere. And now, libraries too.

Renoise 3.1 includes a more powerful preset system. You can now store/recall samples and keyzones as presets now too, and the whole preset browsing experience has been improved.

Instrument
Phrase
Waveform
Effect Preset
Keyzone (SFZ)
Modulation Set
DSP Chain
Content Library Enhancements to Presets

• Create a waveform preset to take a snapshot of the sample you are working on.
• Multi-sample (keyzone) presets make it easy to save/recall complex sample layouts. Imported files will populate the instrument keyzone, while export is using an extended .sfz syntax to support all sample properties - even ones that are unique to Renoise.
• Instrument browser for quick access to, management of of Renoise instruments.
• FX presets can be drag-dropped from file browser onto a DSP chain.
• Bundled and user Doofer presets are now displayed as separate categories.

Another new feature is the Content Library. This is a new type of file format (.xrnl) which acts as a container for other presets - easily installed via drag and drop, and accessed via preset menus - including the new instrument browser (located in the instruments Sampler tab).

The instrument browser: bundled content at top, then content packs (if any…) and user presets

Once installed, a content pack will immediately make its presets available throughout Renoise. As these presets can be many different “things”, the installer tries to be helpful, and will tell you what it installed - whether that content pack was a bunch of new instruments, some multi-sample presets, or perhaps a collection of DSP chains.

If you choose to save one of your own presets, it is stored in a special place - the User Library. This is essentially the same location as where content packs goes, and this location is shared between Renoise and Redux - any file saved to the Renoise user library, or any installed content pack will also be available to Redux, and vice versa.

Note: registered users (those eligible for the beta test of Renoise 3.1) have access to a number of exclusive content packs from our backstage.

Support for VST and AU MIDI generators (Arpeggiators):

Another big feature for 3.1 is support for plugins that generate MIDI, or a combination of MIDI and audio. This means that you can use specialized tools such as harmonizers, note matrices or arpeggiators - things that can “drive” other instruments in Renoise.

The implementation allows you to route the MIDI output of the plugin into another instrument down in the list of instruments. This target instrument can be another plugin with its own MIDI output (allowing you to chain MIDI-generating plugins together), a “normal” plugin (one that just generates sound) or even the built-in sampler in Renoise. The only real limitation is that you can’t trigger instrument phrases via a MIDI plugin.

Other workflow refinements
Left: granular selections (using the mouse), right: flexible mark (block range and above/below cursor)

• Granular selections in the Pattern & Phrase Editor: you can now create more precise selections by holding ALT while dragging with the mouse, or SHIFT-selection with the keyboard. In both cases, you can now create a selection with sub-column precision - making it possible to e.g. cut the volume from a series of notes without touching the rest.
• The “Begin/End selection” keyboard shortcuts also benefit from granular selections.
• Flexible Mark: a new type of block-selection shortcut which will expand in range, each time it is triggered. First time, the subcolumn range is selected. Next time the column, etc... It will continue like this until it reaches the maximum size, after which the process starts over.
• Sample Editor: When applying DSP effects to a sample, choose between using track or instrument effects as the source.
• Pattern Editor: re-ordering and naming of note columns in the pattern editor.
• Song Options dialog, merging the formerly separate “Playback Options” and “Highlighting & Defaults” into a single dialog.
• MIDI import: notes are now appended to your song, instead of replacing it.
• A new song option: “Automation follow”, will bypass the automatic lookup of automated parameters while navigating the song. Useful if you are jamming in a single looped pattern and want to avoid “value jumps” each time the loop starts over.

But as the saying goes, everything comes with a price. We had to say goodbye to this old friend:

Under the hood

• General performance tweaks, especially in 64bit builds - improved multi CPU core scheduler
• Lua API: OSC messages are now expected to be SLIP’d when sent over the TCP protocol
• Extended default OSC message set: there are a bunch of new instrument related OSC messages that Renoise now responds to (by default - you can still create your own custom ones in Lua too).

To download the latest build, head into our backstage: Renoise Backstage Server

 

[kausto]

Awesome!

[Mr.Sensi]

Thanks for the heads up, man. The new filters are a lot better.

[Entorwellian]

Whoa. That is a very meaty update. Even moreso than the jump to 3.0. The new filters and selection options are huge improvements.

[cear]

those filters r hot hnnng

[Psychotronic]

nice! Thx for info!

[Guest]

The new filters are a lot better.

those filters r hot hnnng

 

Sure they're nice to have, 'specially compared to the old ones quality wise. I like how phrases are integrated now in 3.1, using the Z pattern command or automation editor to switch between them. Having tools like automasher generate random shapes across patterns, triggering on every note-event for the spastic win :) .

[bendish]

really like telefunkens efforts there....and especially the fact that you are working at a low lpb which goes to show lots can be done without some snares type hyper fast lpb thing

 

also you didn't use very many sounds at all and the track is still full and accomplished

 

good stuff

 

one of few renoise files that i have learnt something from

[ceiling]

Has anyone had any luck getting CDP to work on renoise on a mac. I've had CDP Soundloom installed for a few years now but I wanna use it via renoise and i can't seem to get it to work.

[Guest]

Has anyone had any luck getting CDP to work on renoise on a mac.

 

Have you checked out the installation guide?

http://www.renoise.com/sites/default/files/tools/documentation/CDPTool-InstallationGuide.pdf

 

there is a specific note for certain mac os versions, see pdf.

 

 

NOTE: If you are running OSX Yosemite or above then there is a different process for setting the environment variable than listed in the install notes

 

If you still encounter problems, might be good to ask in the cdp thread on the renoise forum as well.

[bendish]

despite advise and reading the guides and forums I've had no dice on win10

 

one thing id love it later renoise versions is to be able to record vst/au knob movements without the damn instrument automation thing

[bendish]

finally got cdp to work

 

awesome

[Guest]

finally got cdp to work

 

awesome

 

Curious what was the problem? Might help troubleshooting future install problems. 

[oscillik]

Glad I stumbled into looking at this thread. Checking out the CDP for Reaper extension video

, and unless I'm wrong, it sounds like whoever did sound design for The Matrix used this quite a bit.

 

Interested to play around with this!

[bendish]

I think they used metasynth a lot

 

It was a total computer motherboard failure that meant i needed to try again somehow it worked

 

any favourite processes from people?

[psn]

Blur chorus for sweet mp3-ish artifacts.

 

Modify speed add vibrato on drums.