Hi. This week, we’ll be doing more bass stuff. I posted my last tutorial on Renoise & DOA forums and it’s gotten some real nice responses which made me a happy monkey! Thanks folks! The routing paradigm of Renoise/Redux also raised some questions and caused a bit of confusion for some of the newcomers. I’ll admit it can indeed get messy sometimes and I’d much rather have a signal routing system like Reaper or Ableton. But at the end of the day every software has it’s ups & down. The creative workflow of Renoise is unparalleled for me so I can live with it’s quirks just fine.
Here’s this week’s scenario: A fellow Redux user experiments with the techniques demonstrated in my last post and comes up with some sounds. He also has a few problems understanding the signal flow so he slightly misses the spot for some of the routings. I try to help him out a bit and once I’m done I realize I’ve got pretty good content for a new blog post. So there we go.
Hello. As you may have heard, Renoise team recently released the Redux sampler. I’m really fond of this great instrument (that I even made a small post about it) so I’ve decided to change my blog post format a little to keep things Redux compatible as much as possible. With Redux being a VST instrument, that will ensure that I reach a greater amount of people and hopefully have more helpful content. This little change resulted in a much longer post than my usual but I hope it translates well to anyone who takes time to read it. To keep up with this tutorial, you need Redux of course (or Renoise, once it’s updated). Camel Crusher, a great freebie distortion/saturation unit, is optional.
Hello. For the last couple of sound design posts I’ve been focusing away from CDP a bit and featuring other great Renoise tools, Morphsynth & Offline Filter. So keeping up with that trend, I figured this week would be a good time to introduce another fantastic Renoise instrument, Padsynth. (Check out the forum thread to update it for R3.) Padsynth is an additive sound generator that’s capable of making pad-like sustained sounds which flow smoothly. The sounds you can generate out of it work great in Renoise instruments where you can apply volume envelopes, filters and so forth.
Hello. Recently, CDP tool’s creator afta8 posted a brand new tool: Offline Filter. It’s a niffty little tool that offers 4 different filter types, built-in cutoff envelope controls and 2 great sounding distortions. It works offline which means a different (and cool) workflow for mangling sounds. As in working with CDP. Definitely give it a try if you’re a Renoise user. And thanks afta8 for another smasher!
Hi. Welcome back to another Exploring Sounds tutorial. This week’s post will feature a plugin bundle that I’ve started using recently, Melda Production’s MFreeEffectsBundle. It’s a great freebie package offering tons of different effects. Some of them are your usual phasers and flangers but there is also some rarer stuff in there such as a frequency shifter or a noise generator. The only downsides for me are the slightly odd interfaces and the huge installer. Which is nothing compared to what you get for free, really. I’ve barely explored the possibilites yet with so many plugins and options but that didn’t stop me from making a sound design post with them.
So enough chatter already, let’s jump in. The sound we’ll be mangling is a wind instrument (Flute? I can never tell.) sampled from an old record.
Hi. This week I will be making 2 different sounds originating from a simple cymbal sample. First one will be somewhat similar to the original and the other totally different. While the tutorials I’ve been doing generally tries to morph the input sounds totally into different outputs, I also appreciate minimally processed sounds that are somewhat reminiscent of the original. So I’ll try to cover it both this week.