In a previous video we looked at the Chorus, Flanger & Phaser devices, which use a free-running modulation to drive their effects. No matter how you change the settings though, the shape of that modulation is always a sine wave. Let’s see if we can do something about that.
Mapping devices handle parameter modulations across multiple inputs and outputs. The Hydra has a single input which can be altered in different ways for each of its multiple outputs. The Meta Mixer and Formula devices have multiple inputs and combine them in various, potentially complex ways to craft a single output.
A low-frequency oscillator generates a signal that cycles through a relatively slow pattern. Although it’s used in two different ways as Modulation and Effects for Renoise & Redux, the core method of constructing the LFO is identical in both.
Several years ago I created a video about Loop-point Automation in Renoise. Now that idea has been built is available for download. Loop Marker Automation is a tool that changes how a sample is being looped by controlling the movement of two slice markers. Loop playback responds to both start and end marker movement.
Beatsyncing a sample is a quick and easy method of synchronising the length of its playback to a certain number of lines. Although its simplicity has been retained since the early days of Renoise, it’s affected by a couple of factors introduced in recent versions.
Mute Groups are inspired by a feature from hardware samplers and drum machines, where you may know them as ‘choke groups’. The idea has been adapted to fit within the Renoise workflow and, although it can be used with any type of sampled sound, it’s most commonly applied to percussion.
There’s a few useful additions in this update, all focussing on accuracy. The first draws better lines between recorded points. Second, the os.clock is now used to get accurate time values when recording and replaying. The third, Replay Interpolation, makes use of the new os.clock calculations to move the replay to where it would be predicted to appear at that time, anywhere along the drawing.
Wouldn’t it be nice to just draw something and that would drive some musical changes? The Drawtomator allows you to do this by assigning effect parameters to the X and Y axis of your drawing. However, this is more a proof of concept than a reliable automation device.
When you create an FX Chain within the Sampler, by default, that instrument will then be restricted to playing on a single track in Renoise, or a single output bus in Redux. However, an FX Chain’s output can be changed to route the audio to a specific track or output bus, and this can be different for each FX Chain.
The Sidechain device sends its audio signal to an effect that’s in a different track or sampler fx chain. This allows the receiving effect’s behaviour to be controlled by an audio source other than one that it’s actually processing.
