The amplitude envelopes also do not have an exponential curve like for most other VST's it's linear. For instance, merely applying modulation to a filter is not exactly straight-forward because you use mathematical operations to combine everything, and even then, there is no parenthesis command I can find, which can make certain aspects of traditional sound modulation even more difficult to accomplish. The sound designing process is more technical and less conventional than one would expect for a VST. Such a sound I have yet to see implemented even in the recent TAL-Sampler.Īlas, every product has at least one drawback, and Redux is no different. While the latter process is a relatively modern innovation in sound design, the result is not that different from the Fairlight, Synclavier, and Waveterm, which had higher playback sample rates than recording sample rates in order to attempt to control the high note aliasing for those systems. It's the only solution I'm aware of beyond the quirky Waldorf PPG Wave 3.V that offers no interpolation when pitched down but also resorts to bandlimiting when pitched up. What probably attracted me the most to Redux in the first place is its and Renoise's multiple sample interpolation modes. With Redux, however, it appears not only have they allowed their work to be used with other DAW's, it focuses less on the sequencing and more on the sound and sample design, which is probably why it's a bit more affordable than the full Renoise.
#RENOISE REDUX MOD#
Those of you unfamiliar with Renoise, it's first and foremost a modern music tracker product it focuses on sequencing much like the mod tracker files of several 90s computer games, such as most games based on the original Unreal engine.
Another sampler VST I bought somewhat recently is Renoise's Redux.
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