With our basic sample and modulation layers in place, all that is missing now are the actual samples. Quickly done, although at this stage the repetition might begin to feel a bit tedious? Don't worry, we are nearly done! Step 4: Creating and tuning samples This is done by stepping through the various sets in macro-assignment mode. For copying the modulation set, we can either use the keyboard shortcuts CTRL+C/CTRL+V, or access the clipboard via the context menu (right-click)Īlso, we want to add macro assignments for each volume operand. and use copy-paste to copy the contents of the Volume slot to the remaining sets. Having selected the Volume slot, we then add an Operand device. Of course, these names are just there for reference, you could leave the names to their default values too. Opening the modulation editor, you can quickly add 8 sets by pressing the + button, and assigning the corresponding names: 16, 5 ⅓, 8, 4, 2 ⅔, 2, 1 ⅗ and 1 ⅓. Still, a sine-wave would be a useful reference - a good “tuning fork”, so to speak. Note: if you had loaded another type of sample - containing more complex harmonics - it would probably be a good idea to listen closely to the sound, and then adjust the transpose/finetune by ear. If triggering the note at A-4 plays the sample at the 440 Hz frequency, we are ready to continue. Being a sine-wave, the sample should produce a clear peak, as you can see here To ensure that our sinewave is in fact tuned to the right frequency, try playing an A-4 note while looking at the spectrum analyzer (hint: to view the spectrum analyzer, switch to the mixer or pattern editor, and click this icon in the upper toolbar: ). In this picture, we are using both the numeric input, and clicking along the edge of the keyzone to adjust the basenote In our case, we want to adjust the basenote via the keyzone editor - all the way down to the lowest possible pitch: In Renoise, you can transpose samples in two ways - either by tweaking the transpose amount directly in the sample properties panel, or by opening the keyzone editor and adjusting the basenote. However, the sine-wave sample itself is playing at an extremely low frequency - 16.351 Hz is well below the limit of human hearing - so we would first need to transpose the sample upwards. Now, if we want to be able to load the instrument into any song, it would be a good practice to settle on the standard tuning, in which the A-4 note represents 440Hz. Luckily, we have a instrument folder called “Elements” that contain basic sounds that you can build upon - using the ability to expand an instrument and load samples from within it, we can load the sample “ Sine 16.351 Hz” from the instrument called Chip - Sine.xrni You can’t cook without ingredients, and in this case our main ingredient would be a sine-wave. This will make the base frequency sit nice and comfortable as the middle 4th layer, with the possibility to add extra harmonics both above and below this tone Step 2: Gathering ingredients The 1/1 ratio refers to the fundamental frequency - in this case we aim for 1720Hz - exactly two octaves above the standard base frequency of 440Hz. And since this is a traditional organ-style sound, we want to add subharmonics (fractions of the topmost frequency) in the following manner: Layer 1 : 16 In practical terms, this means stacking 8 differently tuned sinewaves on top of each other. So, we have set out to recreate a drawbar organ. The file is called Drawbar Organ.xrni, located within the folder named “Electric” Step 1: The fundamentals Tip: to listen to the final instrument, you can open Renoise right away and and use the Disk Browser to navigate to the factory content (within the instrument tab). You could easily take the resulting instrument into new territory by adding your own effects, using an alternative tuning scheme or by replacing the individual samples. Note that this is not an introduction to advanced instrument-design as such, but rather a quick guide to pick up on some of the aspects of the new Renoise 3.0 sampler - the sample list/properties, modulation and macros. At the end of the exercise, we should be able to control our creation via macros, too. This instrument is useful as a general purpose tone-generator, able to create sounds with a wide range of harmonics. In this exercise, we will recreate one of the instruments that come with Renoise 3, a drawbar organ emulation.
0 kommentar(er)
