Triggering samples in the Note-Off layer has some restrictions that you need to deal with, and getting the most out of it requires creatively incorporating some more advanced features. So in this video we’ll work through a few examples to hopefully inspire you to create your own techniques.

Improving on the method created in Part 1, this version has a few advantages. Due to some extra considerations though, accurately setting up the LFO is a little trickier. The song created in the video is available for download.

The holidays are coming up, you’ve already rewatched your favourites and nothing new looks any good. So here’s five lesser known movies all completely different from each other, covering a wide variety of genres, and hopefully you’ll find something that sparks your interest. If time investment is an issue don’t worry cos, unlike a lot of films these days, they’re all only 90 mins long.

The Backrooms taps into a definite, though hard to describe intuition about liminal spaces, creating an unnerving feeling. The Complex: Found Footage is a short free game that puts you into those spaces and also reminds me of something specific in real life.

Normally you’re stuck using the start timing of a sample that’s imposed by the waveform itself. This video looks at another method of making the timing both random and automatic. The song created in the video is available for download.

Being able to play certain sounds as a ‘One Shot’ is an old solution to an old problem: sometimes samples, usually drums, need to ignore Note-Off events and simply play through the entire waveform. While having such an option is useful when playing or recording live using the computer keyboard, it is crucial for hardware controllers that are designed only to be struck briefly.

Normally you’re stuck using the start timing of a sample that’s imposed by the waveform itself. However, this video looks at one method of making the timing both random and automatic. The song created in the video is available for download.

Reverberation is when a sound wave is reflected off of various surfaces, extending its length and gaining a particular character from the acoustic environment. Reverb effects simulate this natural process, and you’ll find three such devices in Renoise & Redux.

There’s a couple of things to be aware of when resetting the modulation of the LFO, Chorus, Flanger & Phaser effects. This also unexpectedly affects another device too.

The true story of Am Fear Liath Mòr, The Big Grey Man of Ben Macdui, has terrified generations of Scotsmen across the centuries.