 I'm representing my plug-in stepper. It's a Renoise plug-in. I will not go into detail what Renoise is. Renoise is a tracker. It has tons of DSPs. It can use VST plug-ins and can use Jack. It runs on Linux, Windows, and Mac. And yeah, I was using Renoise for a long time. And trackers, in general, lack of composing in a loop-oriented way. So like Ableton, for example, where you press play and then start patching your system until you like what you hear and you save it and go to the next stage. Yeah, this is why I wrote this plug-in. I had a launchpad. I saw it's very obvious to use the launchpad to get a loop-based-oriented workflow like in Labelton. And yeah, this is how I created Stepper. And I will walk you through the features. OK. First of all, you have to start it. Yeah, that couldn't take. It's not really interesting what's going on in Renoise that much. It's more or less what's going on in the camera, though. And Renoise is just there to see what's going on in Renoise to see all this. Yeah, when you start the plug-in, you see this. You have a lot of different parameters you can press and configure. I will go into this deeper in the end if we have time. So when you start it, you get this nice view. This is, oh, I have to meet some space here. OK. So yeah, when you start the plug-in, you come directly into this view where you have different areas. First of all, the error down here, where you can see it, these areas, there's also a line here you can't see completely because of the camera, is the keyboard. If these buttons, where you can change the octave, and you have the off-note, it's important for later, these buttons are the black ones, and these are the white ones. And here you can see in which octave you are. In this section, you have the instruments which are configured. You can see them up there. The first one, this one, is a kick. The next one is a bass. And then you have nothing. And then you have two percussions and a method, a melody. Yeah, a melody. And right now the melody is selected. If you press one of the other instruments, you see you select a different instrument up there. And also, you select a different track. This is one of the downsides of this stepper plugin that every instrument belongs to one track. Normally, you can use all instruments and all tracks as you like. You can't do this with stepper because otherwise, I did not know how to match these things. Yeah, so there's multiple techniques you can use to group these things. What I didn't know right now is to just leave an empty instrument in between, which is nice. So you can see this is a group of instruments, this is a group of instruments, and so on. But you can also use the re-noise grouping. If you go in here and create a group and move the other one in here, down, down, down, down. Then you can't see this right now. But these colors have changed. Yeah, sorry, my camera is not that good. So this is another way to group your instruments. Actually, it doesn't make so much sense in this mode. There's another mode where these grouping colors come in more way handy. Yeah, so the next one would be step sequence. And I will not explain this line. It's not important for now. It's just effects, standard effects. So up here, you can't see it. But there's also a labeling is a play button. If you press it, it starts playing. And instantly, you see this glider going on. And as you can see, there's more lines in the re-noise than there's fields in here. This while, we have zooming. We can zoom out. And now we have everything. So every dot in here is two lines in re-noise. And you can zoom more out and more in if you have more lines configured per pattern. If you zoom in again, then you are able to use this button to page through the views of the pattern. So this play button, when you started playing, you can use it when it's green. Then you're just playing it. When it's red, it's, wait a second. When it's red, like now, you're also recording. If you want to stop playing, you have to press it for a while. This is because I most of the time have the whole project playing and not stopping. I never want to stop. Yeah, let's put in some kicks. Yeah, zoom out for that. And OK, sounds not that great, but better than nothing. Yeah, and as you see, it instantly puts in the notes which are already entered. I can also insert notes by myself and remove them. Yeah, like that. Exactly. So it's the next point. Oh yeah, we already had that. But when it gets too noisy, like it will be soon, then you can also mute it and unmute it again. Very nice feature, because sometimes you do a lot of crazy stuff. And after a while, you recognize that you are creating noise instead of music. We also have on the other side, on this side, we have the ability to use different lanes. As you can see, because I pressed the second one, you can see that they opened a new lane where you can insert notes, which is quite handy when you have percussion instrument, where you have different rims or claps or whatever, and want to sort them so they can overlap. And what you see automatically if you select a different lane, that all the lane which is not selected right now, the column, I mean, is still visible but hidden in a way. So you can enter a note again and see when they clash more or less. And you have four of them. That's the maximum. And it will be automatically generated. So basically, this tool is nothing else than a view on Renoise. It's not the full capability of Renoise, it's just a view. So everything you do here is just a change on Renoise itself. Yeah. So next thing is because the pattern I just entered here is quite noisy and nobody really likes it, there's the ability to remove it by just pressing these buttons, which is not that nice to do because it's a lot of clicking. You can also remove them by creating copy-paste patterns. When you press this button down here, I don't know if you can see it. It's this one, then you get in a different mode. You also can't quite see it. These are four red buttons and four green buttons. And these are more or less copy-paste buffers. So you have eight copy-paste buffers of two different types. These copy-paste buffers are concentrating on one column. So if I select something, which I'm doing right now, and go to another column, I see the selection is gone. And when I want to place this pattern, which I just copied, I go to the space and just override this. And as you can see on these glowing parts, that I only copied the pattern in this column. In the other columns, they still exist and can be overwritten. And the other ones, doing it almost the same, but they copy and paste all the four columns. For example, if I put a pattern like this in here, and like this, and like this, and like this, I have, I put notes into four columns. As you can see there and here. And when I use the another copy-paste area and copy-paste them, first of all, when I'm selecting all the notes, I see them all glowing. And when I'm pasting now, I'm pasting in all four columns. Yeah. Good. So far, so good. So now I can unmute it again. Yeah. And this copy-paste behavior, I mean these copy-paste buffers, they are globally for all instruments. So when I put a pattern in here, oh, yeah. I totally forgot. These buttons down here, first of all, they symbolize the type of copy-paste you can do with it. And also when you click it, you clear this pattern. So it's empty again. And when you put something in here and go to another instrument, and you paste it, then you paste the same pattern for another instrument, which might not be handy most of the time, but sometimes it's cool. Especially when you have the same instrument multiple times in your project, there's some feature which is called reference or something, where you can put in a plug-in multiple times without starting multiple instances. You have the instance only one. So far, any questions? I don't think so. Ah, yeah. Test. Oh, yeah, what's this on? OK, in English, if I want to. So it's a tracker. I only use trackers until 10 years ago, maybe. And when I want to lay down harmonies, can I do it with the stepper plug-in? So can I have multiple notes in a single step? And I can, you know, yeah. You mean something like this? A chord, you know? Yeah, I don't know. Yeah, yeah, yeah, you can insert an instrument if you want, or you can just press record. And then it will be recorded there where you can't see it because of the camera. Thank you. OK, next thing, what comes the thing which should I stop it? OK, OK. Next thing will be the pattern matrix mixed at the area, which is basically also a feature of Renoise already existing because you have what you've seen so far as just one pattern, and you can create different patterns and arrange them here. And to have influence on that, I created a different mode, which is the pattern mixer mode, which orientates on the launchpad idea where you have all the different patterns right here in the track rows. And you have the selector, the selection right now. You can see this here. They are done by linking. This is the zero pattern, as you can see. And you can select one of these patterns, and then you can see it flips up and it will kick in next time. I can click these patterns, and then it will jump out. Yeah, as you can see, the play button stays at the same position, so you can still play and record, which comes in handy when you have another instrument, like a piano. And you want to record something, and then you press one of these patterns, you record something, and then you think, ah, it sounds good. Let's go to the next one. Or yeah, like this, like stuff like this. So in here, there's also something like that you can also use copy-paste. I press Start again, and I press these patterns. I just entered them before. And with the red one, when you hold it, you can delete the pattern. You see also the lights on the side change. The lights on the side are uneasy. I will see it on the copy routine more clearly. The right next to the red one is the orange one, which is just a copy button. If you press it, everything gets turned into orange. And now you can copy patterns by clicking on them. But you can also click on the Scene button, and then you copy the whole thing in this theme. And it will be played next, as you can see. And the same holds for the Delete one. And then it stopped playing. Yeah, we also have something. I also put something in like inserting and removing patterns. If you press the plus and the minus one, you see it's starting blinking. And then you can insert rows, which are empty. If you press Delete first, and then plus, you remove them. Well, basically, that's it. This is more or less the feature thing. The features of this plugin, it's intended to compose music and not to play live with it. But you can render all of these patterns into a specific sample and to separated samples, and put them into a plugin where you can live perform better. So this tool is not for live performance itself. Yeah, another question. Thank you. Regarding that. So I turn off the music. The actual entering of the steps, so the stage before, you were talking about different resolutions and we know it's compared to the pad. So it's possible, for example, to say, OK, I just want to have every quarter note represented on the Launchpad. So you just have a four to four thing. You just have four rows. And you don't have to scroll down on your Launchpad. That's possible. Yes. OK, cool. So you have up here is 40 rows. Actually, it's hexadecimal. So it's four times 16 rows. 64, yeah. Yeah, 64. I think it's 64. And you can double it, or you can use something completely different in there. And then it will count the knobs which are here. When you select something, you will always jump into the highest resolution. So every button will be one line. But you can zoom out as long as there is possibility to zoom. But if you see the whole pattern in this array up here, you can't zoom out anymore. So it will just stand stop. So you can hire, for example, you can hire the resolution to four times 120 up there and say, OK, where is it? I want more lines per beat, like four times more, like 12 lines per beat. And then zoom out. And then you have the same view on this Launchpad. And it will be just a bit more different on the Renoise. Yeah. Is this about the Renoise? Yeah, yeah. Sorry, I'm late. No problem. We just use this other, this cable. It's always perfect. You will do the live performance in a second. Oh, thank you. But I'm not needed anymore. I forgot to send you that information. OK, thank you very much. Sorry. OK, I see. So let's say you have set on a resolution for the pattern. You load a new pattern into Renoise, which has a different resolution. And it has a node in a place that's not represented on a pad. And I don't see it as a problem. It's just questioning how you handle the problematic things of different resolutions in Renoise versus Launchpad. So for example, if we show only every second line, then you will see only every second line in here. So if you put a node between these lines, you will not see it in here if you zoomed out too much. Makes sense. Yeah, so I will not glue it together for something like if between this zoom of error, there's one pattern I will not show it up. I might create an option for that later, too. I don't know. Yeah, so back in the days when I was using trackers, I was thinking about having different editors for the nodes inside. And obviously, for different instruments, you want to have different, it's not obvious, but sometimes you want different resolution for different instruments. And automatically, you will get into the problem of, OK, I have data already in the track that is not of the same resolution that I have in my editor. That's where it can happen. And if you know it and you have both, you can see both data. You see the pad and you see your screen. Yeah, you just have to know that it can happen. Then it's OK, I guess. Yeah, exactly. I mean, when I start doing music, I always start with a very low resolution. So I have basically 40 is most of the time when I start. And when I want, when I create something like an instrument where I want to put something between two lines, there's multiple possibilities. You have an effect row in here, for example, where you can change the penning, the volume, or the velocity of an instrument, or you can change the delay. So this one is on when you put, which is the default, when you press it, then the note will be triggered right on the line. If you change it to this position, it will be triggered right between the lines. And if you press this one, it will be triggered in between the lines, but a bit more to the downward air. And you have four other columns where you can put them on top. For example, if you have a pattern like this and you want to high-frequently do a kick here, I have to, then you have to turn on all the effects, then you can put this one in here, and I'm up there. Yeah, you can see it here. There's the delay. And then you can go to the next one, up there, up there. And then this should sound very weird, but then you basically simulate that. If this is not enough, then you can bulk edit the whole project and say, OK, insert one line between everything, and then it will change the default of two 80 lines for a pattern, and you can go on. OK, last question maybe from my side. Did you consider not doing it as a re-noise plug-in, but more general, maybe it sounds like a very nice project, could be usable in other software? I know that it's now kind of tight to re-noise. And I wouldn't, well, from the top of my head, I wouldn't know how to just have it like a track MIDI sequencing thing, but did you consider it, or did you immediately say, OK, I just use re-noise? It's helps me, it's fine. Yeah, no, I always use re-noise for the first steps because it comes with tons of features, which I'm using to create instruments and all that. And it's a perfect point to start. So I had to recreate all that over and over again. I had to recreate something to play with VSTs. I have to recreate something that plays with waveforms and do pitching of waveforms and looping of waveforms and doing envelopes on waveforms and modulation and different forms and filters and stuff like that. So I never thought of that in this case. Maybe something like a MIDI controller which sends MIDI out, that would be the maximum. But yeah, this is not on the to-do list right now. Right now we try to, or I do, as some people on the net also want to have this plugin for their hardware. There's Launchpad Pro, and for some reason they changed completely the protocol. And there's the Akai, something I don't know what the name is. It also has 8 times 8 buttons. Actually, there's all you need. You need 8 times 8 buttons. And then the stuff around here is quite optional. And I can use it. And so right now I'm focusing on porting this plugin to all the other hardware too. And yeah. So this is why I never, I never, I never got the idea to create an own jack plugin for that. Because yeah, Renoir is my tool of doing work in music. If there are no further questions, maybe you can do a short live sequencing of things just to show how we work with it. OK, sure. And as a training for this evening, maybe. OK. OK, I have to, there's no off-note on this looping of this instrument. This is just a loop, and there's no off-note to turn it off. So this is why I stopped it. Yeah, most of the time I start with a kick. Because I love techno, I do very simple kick patterns like these. Maybe you turn off the BPMs. OK, just go into there. First of all, I play around in this pattern area. In this area, we're punching some parents. And then I arrange them a bit. Basically, it's kind of this test-driven development process bit. I have these three steps, punching a lot of nodes until it's starting to get noisy, then try to arrange them, then delete them, and again, do this again until, at the end, stuff falls off. That just sounds interesting together. And then, yeah, this is what I understand between music making. And as you can see, I recognize that I was constantly playing music. And normally, the way people work with trackers is to press the space bar a lot, which starts the project and stops the project using a lot of shortcuts going through these pages and punching a node. So we're doing the editor. And this is very awesome if you can do it. But if you can't, it's hard. And I can't do it, or at least not for a long time, because I'm getting annoyed of it very quickly. Because the music I create with this, I don't like it. And the music I create on this loop idea is much more intuitive for me. And this is why I created this plugin. And I hope other people like it too. Some of them in the internet are quite happy with it. And of course, if you have a launchpad, you can download Renoise for free. The only thing you can't do is you can't render. But you can say, if you can do everything with it, no problem, but you can't render it to waveforms. And there comes the interesting part. For example, if you have a lot of VSTs, you can render them to instruments. And instruments are very powerful. You can put in DSPs on top of the instruments and stuff like this. But you can't do this with an unpaid version. It costs 60 euros or something. The only thing you cannot do with a free version is render to a waveform. Yeah, exactly. But it's jack compatible. So you could just send the output of Renoise through Odesty or Adware and record the output? Exactly, yeah. But as I told before, my work process would be render the whole project and render all these files separately. So this is an option you can do. This is what you can't do. And also, I'm part of the team more or less. Actually, not really. But I'm just one of the beta users of Follinux. And the 60 euros is not that much compared to 4-bit But if you don't have enough money, there's always the option to use it for free. I think after 30 or 50 days, it starts bothering you on the start and say, don't you want to pay for it or something? And that's it. But you can still use it. Yeah, and also, oh, what I forgot. You can also, instead of triggering waveforms or VSTs, you can also send media information from it. So what I told you, if you have a project where you can only create an instrument which is doing media, then you can control your, what's it called, modular synthesizer, which is somewhere and have a lot of modules. Then you can control it also as well with a Renoise. I did that already, actually. It's good. Yeah, cool. Thank you.