Recently, I’ve figured out a very simple and obvious way to do parallel modulations in Renoise. It works great for basses, it works great for synths and it’s very easy to apply effectively. I’m pretty sure others have been using this sort of workflow since forever but having years of “normal” DAW experience hardwired to my brain, it sometimes takes time to realize I can do some things much more simply and effectively inside the Renoise paradigm.
Hello. Transforming a sound into something totally new is pretty cool. Just like taking a bunch of sounds and transforming them into a new track. But when you have so many options at your disposal it’s easy to get lost and come up with something that’s a little too complex or abstract for a listener to relate. And if you have some OCD tendencies like I do, things get only worse.
So I am a sucker for simple and effective ideas. Something you can apply in a few logical steps and perhaps combine it with another simple trick and get something that works easy and nice. CDP’s Blur process is a great example for this. It yields decent results in a relatively short time with a single step process. When you add some extra spin on it, something fundamental like reversing the sound or filtering, you usually get something pretty dope.
I’ve recently discovered that Akaizer can work in a similar manner. It’s a standalone tool for doing old school Akai style timestretching and it can also run inside Renoise as an extension. (Yay!) It’s pretty good for creating usable sounds out of even very basic samples so I’ve picked it for this post’s main subject.
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. 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.
Hi. Recently I’ve been demoing this fantastic multiband distortion plugin, Devastor. It’s the first distortion unit I’ve come across that can sound good on pretty much any source or occasion. It’s almost impossible to not add a raw vintage quality to the sound you put it on to and the filters sound great. (And add some really cool movement when automated.) All in all I’m definitely blown away with it so far.