RENOISE EFFECTS LIST AND VARIOUS TRACKER TIPS
UPDATED ON: 2023-09-20
Version: 0.5
Considered Renoise version is 3.4.x.
Just a small collection of important things to remember.
Will be nice if stash come in handy to someone.
▒ GENERAL SETTINGS
[-] GUI effects and animation
[+] More compatible GFX updates
[48] Limit frame rate
[-] View multiple patterns continuously
[+] Single click to create new points [hold Shift to select]
[-8dB] Track headroom
▒ TOOLS/PLUGINS
Organize VSTs in a proper way:
32bit go C:\VST\32
64bit go C:\VST\64
List of proper Renoise plugins can be found [here] .
▒ EFFECTS LIST
Barebone info regarding effects for quicker memorization.
Official list of effect commands can be found [on Renoise site]
.
COLOR EFX
VOL ► [RED]
PAN ► [GREEN]
DELAY ► [BLUE]
PITCH ► [PINK]
GLOBAL ► [PURPLE]
GLOBAL
ZTxx ► set tempo
ZLxx ► set lines per beat
ZKxx ► set tick per line
ZGxx ► toggle groove
ZBxx ► break pattern
ZDxx ► pause pattern
CONTROL
Xxx ► x00 stops all notes and efx [can be used to mute different pattern sections]
Zxx ► trigger phrase
Jxx ► track routing
DEVICES
Xyzz ► effect/parameter/value
X000 ► turn effect x off
X001 ► turn effect x on
SAMPLE EFX
Volume
Ixx ► fade in
Oxx ► fade on
Txy ► tremelo
Cxy ► volume cut
Mxx ► channel volume
Lxx ► track volume
Panning
Nxy ► autopan
Pxx ► track panning
Wxx ► track width
Pitch
Axy ► arpeggio
Uxx ► pitch up
Dxx ► pitch down
Gxx ► glide towards
Vxy ► vibrato
Playback
Sxx ► trigger sample slice
Bxx ► play backwards
Exx ► envelope position offsets
Qxx ► delay playback
Rxy ► retrigger
Yxx ► mayber trigger
INSTRUMENT EFX
Qxx ► delay playback of line
Mxx ► channel volume
Yxx ► maybe probability
Rxy ► retrigger [restart sample from beginning]
COLUMNS EFX
Volume
00 ► min vol / 80 ► full vol
Ix ► fade in
Ox ► fade out
Panning
00 ► full left / 80 ► full right
Jx ► slide left
Kx ► slide right
Delay
00 ► no delay
80 ► 50% delay
C0 ► 75% delay
Volme or Panning
Ux ► pitch up
Dx ► pitch down
Gx ► glide towards
Cx ► cut note
Qx ► delay note
Bx ► backwards
Rx ► retrigger [doesn’t restart sample from beginning]
Yx ► maybe
SYNCING LFO MODULATION
The LFO runs constantly, even while the song is stopped, so to synchronise the
modulation’s cycle to the song’s playback, which will ensure it runs the same way each
time, you have to automate the “Reset” button.
x7yy ► syncing modulation
x8yy ► syncing LFO
x ► position of efx device
yy ► offset of modulation/LFO
00 ► restart from beginning
80 ► restart halfway
C0 ► restart 75%
FF ► before the end
▒ TRACKER TRICKS
TEMPLATE SONG
Create template song to kickstart composing from scratch.
HEX2DEC
34 HEX = 3*16+4 = 52
4C HEX = 4*16+12 = 76 (A=10,B=11,C=12,D=13,E=14,F=15)
FF HEX = 255
SPEED/TEMPO SWING
Complex jazz, ambient, industrial:
8/6, 7/2/4/2, 6/4/2/4, 5/4/2/4, 6/2/4/6, 7/4
4 beats groove with 140 bpm.
140*4=560
Divide 560 among 4 rows .
60 + 200 + 100 + 200 = 560 [DEC].
Convert to HEX:
T3C + TC8 + T64 + TC8 = 560;
Overall tempo/bpm will be T8C.
GHOST NOTES
You can trigger a new note without retriggering the instrument’s envelope. To keep
the envelope running from the previous note, just remove the instrument number on the new note.
NON-GHOST GHOST
| C-3 01 .. 000 | | C-3 01 .. 000 |
| ... .. .. 000 | | ... .. .. 000 |
| C-3 01 .. 000 | | C-3 .. .. 000 |
| ... .. .. 000 | | ... .. .. 000 |
| C-3 01 .. 000 | | C-3 .. .. 000 |
PORTAMENTO
OFF ON
| C-4 01 .. 000 | | C-4 01 .. 000 | ... .. .. 000 |
| ... .. .. 000 | | ... .. .. 000 | ... .. .. 000 |
| ... .. .. 000 | | ... .. .. 000 | ... .. .. 000 |
| ... .. .. 000 | | ... .. .. 000 | ... .. .. 000 |
| D-4 01 .. 000 | | ... .. .. 000 | D-4 01 .. 000 |
| ... .. .. 000 | | OFF .. .. 000 | ... .. .. 000 |
| ... .. .. 000 | | ... .. .. 000 | ... .. .. 000 |
| ... .. .. 000 | | ... .. .. 000 | ... .. .. 000 |
| A-3 01 .. 000 | | A-3 01 .. 000 | ... .. .. 000 |
| ... .. .. 000 | | ... .. .. 000 | OFF .. .. 000 |
| ... .. .. 000 | | ... .. .. 000 | ... .. .. 000 |
| ... .. .. 000 | | ... .. .. 000 | ... .. .. 000 |
CHIP ARPEGGIO
| C-3 01 32 J47 | <-- this is a major chord, C-E-G (or numerically, 0-4-7).
| ... .. .. J00 | Thus, J37 would be a minor chord, C-D#-G.
| ... .. .. J00 | <-- J00 just continues the arpeggiation.
SUPER FAST HIHATS
Say you want to quickly create hihats or shakers section for the whole 64 line pattern.
| C-5 01 .. 000 |
| C-5 02 .. 000 |
| C-5 01 .. 000 |
| C-5 02 .. 000 |
| C-5 01 .. 000 |
| C-5 02 .. 000 |
| C-5 01 .. 000 |
| C-5 02 .. 000 |
| C-5 01 .. 000 |
| C-5 02 .. 000 |
| C-5 01 .. 000 |
| C-5 02 .. 000 |
To do this like a boss enter this:
| C-5 01 .. 000 |
| C-5 02 .. 000 |
Select two lines, hit [CTRL]+[C] and then [CTRL]+[P] to get above mentioned section w/o troubles.
▒ AUDIO EQUALIZATION
ALWAYS FILTER UNEEDED FREQS
TO FREE UP SOME HEADROOM FOR THE REST AUDIO MATERIAL
AND TO MAKE MIX MORE TRANSPARENT
POWER LINE NOISE FREQ
50Hz, 100Hz
BASS DRUM
Drum click: 5-7kHz
Cut freq#1: 50…75Hz [to free space for bass]
Cut freq#2: 200…400Hz
SHARE
Cut freq: < 150Hz
Brightness: 10kHz
HIHAT
Cut freq: < 200Hz
Lower region: 1000…4000Hz
TOM DRUM
Cut freq: < 100Hz
Cut freq: 400Hz
Boost: 3kHz
BASS
Working region: 41-392Hz
Tune: 80Hz
Bass and bass drum are working in 40-800Hz
GUITAR
Warmth: 240Hz
Attack: 3.5kHz
Overtone: 5-12kHz
Cut freqs: 200…500Hz
ELECTRO GUITAR
Working lows: 80Hz
Cut freq: 200Hz
Lower: 1kHz
Lower a bit: 1.5…4kHz
VOCAL
Working freq: 2-4Khz
Cut freq: <300Hz
DYNAMICS
Attack: 10…40ms
Vocal: 3:1
Acoustic guitar: 2:1 or 3:1
Bass guitar: 5:1
Electro guitar: 4:1
Synth: 4:1
BINAURAL
Left ear: 200Hz
Right ear: 204Hz
Phantom sound: 204-200=4Hz
LAYERING TECHNICS
Combine multiple sounds for a more solid punch.
Example: add short synth pad to bass or white noise to snare to diversify audio tone of original sound.
▒ CHORD PROGRESSIONS
Cmin ► C - D#- G
Bb ► A#- D - F
Ab ► G# - C - D#
F ► F - A - C
G ► G - B - D
Fm ► F - G# - C
С ► ДО
D ► РЕ
E ► МИ
F ► ФА
G ► СО
A ► ЛЯ
B(H) ► СИ
CHROMATIC
C-C#-D-D#-E-F-F#-G-G#-A-A#-B
WHOLETONE
C-D-E-F#-G#-A#
C#-D#-F-G-A-B
SEPTACCORD
C-D#-F#-A
C#-E-G-A#
D-F-G#-B
TRITON
[6.5 half-tones]
C-F# or D-Ab
OCTACON
C-D-D#-F-F#-G#-A-B
C-C#-D#-E-F#-G-A-A#
C#-D-E-F-G-G#-A#-B
Major ► C- E- G-
Minor ► C- D# G-
Sus2 ► C- D- G-
Sus4 ► C- F- G-
Major ► C E G
Minor ► C D# G
Sus2 ► C D G
Sus4 ► C F G
Seven ► C E G A#
7sus4 ► C F G
Maj7 ► C E G B
M7s11 ► C E G F#
Min7 ► C D# G A#
Maj9 ► C E B D
Min9 ► C D# A# D
Min11 ► C D# A# F
MajA9 ► C E G D
EXCOTIC
Algeria: ► C D Eb F# G Ab B C D Eb F
Arabian: ► C D E F Gb Ab Bb C
Augmented 1: ► C D# E F# G# B
Augmented 2: ► C E G#
Balinese Pentatonic: ► C Db F Gb Ab
Balinesia: ► C Db Eb G Ab C
Barber Shop 1: ► C D E F G B D F G B
Barber Shop 2: ► C G C E G B
Bizantine (Gypsy): ► C Db E F G Ab B
Blues ][: ► C D# E G Ab D# G
C-MajDom7: ► C E G B
C-minDom7: ► C Eb G Bb
C-phuq’d: ► C F Ab Bb
Chinese: ► F G A C D F [C E F# G B C]
Crystaline min9#7: ► C G B Eb G D Eb Bb D Gb Bb F Gb Db F A
Db-Grace Major: ► C F Ab Db F G Db Gb
Diminished 1: ► C D Eb F Gb Ab A B
Diminished 2: ► C Eb Gb
Double harmonic: ► C Db E F G Ab B C
E-Blues: ► C D E G Ab Gb Db F
Eastern: ► C Db E F Gb A Bb C
Egypt: ► C D F G Bb C
Enigmatic: ► C Db E F# G# A# B C
Eoliysk: ► C D Eb F G Ab Bb C
Ephiphia: ► G A Bb C D Eb F G
Esoteric 6th: ► Cb D F A
Frigiisk maj: ► C Db E F G Ab Bb C
Fulltone: ► C D E F# G# A# B C
Harmonic MinDom7: ► C Eb G B
Harmonic Minor: ► C D Eb F G Ab B
Hawaii: ► C D Eb G A B C
Hemitonic Pentatonic 3: ► C D Eb G B
Hirajoshi: ► A B C E F A
Hungary Jew: ► C D Eb F# G Ab Bb C
Hungary maj: ► C Ds E F# G A Bb C
Hungary min: ► C D Eb F# G Ab B C
Indian: ► C D E F G Ab Bb C
Iwato: ► B C E F A B
Japanese Pentatonic: ► C Db F G Ab
Jew 1: ► C Db E F G Ab B C
Jew 2: ► E F G# A B C D E
Kumoi: ► E F A B C E
Lidia min: ► C D E F# G Ab Bb C
Locrian (Arabian): ► C D E F Gb Ab Bb
Lokriansk maj: ► C D E F Gb Ab Bb C
Magometan: ► C D Eb F G Ab B C
Major Beebop: ► C D E F G Ab A B
Major Pentatonic: ► C D E G A
Melodic MinDom7: ► C Eb F A
Melodic Minor: ► C D Eb F G A B
Minor 3rds: ► C Eb Gb A
Mongol: ► C D E G A C
Native American: ► C D E F# A B
Neopol maj: ► C Db Eb F G A B C
Neopol min: ► C Db Eb F G Ab B C
New Pentatonic: ► C D E F# A
Overtone: ► C D E F# G A Bb C
Pelog: ► C Db Eb G Bb C
Pentatonic Variation: ► C E G A Bb
Pershian: ► C Db E F Gb Ab B C
Persian: ► C Db E F G A# B
Popular Blues: ► C D# F F# G A#
Rain (7b5+9): ► A# D E F# G# C D F# G#
Spanish 8-tone: ► C C# D# E F F# G# A#
Sus2: ► C D G
Total Disharmony: ► C Db E F G Ab B C D Eb F# G A Bb C# D
Visant: ► C Db E F G Ab B C
Whole Tone: ► C D E F# G# A#
Yavansk: ► C Db Eb F G A Bb C
OH, GOD PLEASE DON’T DO C/DM/F/G
5. Cmin | Bb | Ab | Gmin
4. C | F | Am | G
3. C | F | C | G
2. Cm | Ab | Fm | Bb
1. C | F | G
▒ SOUND DESIGN IDEAS & HACKS
- Always separate sample selection process and music composing
- Use advanced tools like LFO, Hydra, Signal Follower, Key Tracker, Instrument Macro & other meta device
- Long multi-pattern volume/panning/efx automations can be effectively done via LFO device
- Simple wave-forms can be diversified by adding multiple detuned samples instrument to bring variety to output sound
- Looped small area of vocal sample can be pitched up by LFO applying large pitch range to create stunning acceleration sweeps
- Try to replay familiar samples with very low/high pitch
- Use offset commands in conjunction with each other: envelope [Exx], sample position [Sxx], playback control [Bxx] and LPB
- Access different sample slices by means of Zxx command
▒ LEGACY & MODERN OSC
Super compact note about creating OSC.
Looks like very cryptic, but i’m leaving this note just for me.
LEGACY OSCILLATOR
- dc offset > 1 smp > keytracker > lfo > ringmod
MODERN OSCILLATOR
- dc offset > 1 smp > adshr
Sample section:
- efx#1: send efx#2 [mute src], send efx#3 [mute src], uncheck boxes
- efx#2: keytrk > ringmod > send efx#4 [mute src], limit vol
- efx#3: keytrk low oct > ringmod > send efx#4 [mute src], limit vol
- efx#4: bus comp > analog filter > delay > reverb
Tie smp macro to analog cut or any other efx.
Phrases section:
- arp 16th [3 notes]
Pattern section:
- tie lfo in pattern to instrument macro device, which is tied to smp macro, coupled with signal follower > hydra > other stuff
If you find any errors or have some suggestions [drop me a line] .
