Renoise versions

v3.1.0 [Jan 23, 2016]
Support for VST and AU MIDI generators: This means that you can use specialized tools such as harmonizers, note matrices or arpeggiators - things that can “drive” other instruments in Renoise.
Improvements to the sound engine: Completely new, rewritten filter section as well as optional oversampling and bandlimiting on sample playback. Various improvements to Renoise's native DSP devices.
More love for Phrases: Phrases have become a lot more powerful and streamlined too - when working within the phrase editor, you could describe it as “feeling more like the pattern editor”. And when working in the pattern editor, you have more options for controlling phrases.
Presets everywhere. And now, libraries too: Renoise 3.1 includes a more powerful preset system. You can now store/recall samples and keyzones as presets too, and the whole preset browsing experience has been improved.

v3.0.1 [Mar 2, 2014]
Supercharged instruments
- With Renoise 3.0, a lot of what makes Renoise special in the first place - the tracker interface, the flexible effects and routing - has now been integrated into its built-in sampler. This feature-set should make it interesting to sampling-library aficionados and synthesizer freaks alike.
Per-sample envelopes and effects
- It is now possible to define unlimited envelopes (modulations) and create internal effect chains within instruments. And each sample can be freely assigned to any (one) modulation set or effect chain.
Modulation Sets
- As mentioned, you now have the potential to add envelopes on a per-sample basis. In fact, there’s a whole section dedicated to working with just modulation envelopes, using an approach similar to how DSP effects are processed: combining basic building blocks together to form more complex envelopes…LFO, ADHSR, Key/Velocity tracker, Fader.
Effect Chains
- The number of built-in effects in Renoise has grown over the years - everything from workhorse effects such as chorus, delays, EQ, etc., to the more specialized “meta devices”, which enable parameter routing between devices, and across tracks. Essentially, these effects are great for sound design and can transform any sound into something completely different. You can create (any number of) internal effect chains, and assign a sample to any chain - including the ability to route between effect chains, exactly as you would do with tracks in Renoise.
Keyzones and overlapping layers
- A common feature in many samplers will allow you to define groups of sounds that should be played randomly, or in a sequential order, each time a key is struck at a certain pitch and/or velocity. For example, an single acoustic snare might actually be made from four different recorded hits, each one sounding slightly different from the rest.
Real-time performance options
- Input Quantize: When recording notes into Renoise, you have always had the ability to quantize the time to a certain amount of lines. With Renoise 3.0, you can now also define the time resolution when playing instruments. This is obviously a huge improvement if you like to play a sound live, with crystalline timing precision. Possible quantizations include line, beat and bar.
- MIDI Note Range: Also, the MIDI input for an instrument can now define a lower and upper note-range. This, along with the ability to link a certain OSC/MIDI port to your instrument, means that you can now achieve keyboard splits within Renoise itself (no more need to fiddle around with MIDI loopback devices).
- Harmonic Scales: Furthermore, the instrument will also allow you to make use of harmonic scales. Common scales such as Harmonic Minor, as well as more exotic scales are available from a list, and applies to both the Sampler, Plugin and MIDI parts of an instrument. When you are recording notes, the currently selected scale is applied to those notes before they are written into the pattern.
- Mute Groups is a well-known feature from MPC-style samplers. One of the most obvious uses for such a feature is when recording a drum kit with open and closed hihats - if you are aiming for a realistic sound, you would never want the open and closed hihat to play at the same time. In Renoise, this is now easily achieved by assigning the open and closed sample to the same mute group. The Mute Group feature will work with live playback of notes, but also as notes are manually entered into a pattern/phrase.
Instrument automation & macros
- You can control most parameters via automation, or map them directly to an external controller. In itself, the flexible solution for automating instrument parameters is done via so-called ‘macros’, of which you can define up to 8 per instrument.

v2.8.2 [Mar 11, 2012]
Renoise 2.8 also comes complete with a native plug-in bridge, allowing seamless usage of 32-bit instrument and effect plug-ins inside the 64-bit Renoise process, and vice versa.
- 64-bit versions for all platforms: Windows, OSX and Linux
- Plug-in bridge allows 32-bit plug-ins to be used within 64-bit Renoise
- Full Rewire 64-bit support
Workflow has been the keyword for most of the 2.8 development cycle. Thanks to the revamped Pattern Matrix and sequencer, it's now easier than ever to arrange your songs. By aliasing individual pattern slots, you can lay out complete tracks in no time. The new sections feature allows you to add structure and overview, while the streamlined sequencer helps to keep your project nice and tidy.
- Alias individual pattern slots in the matrix, i.e. treat them like clips
- Edit one slot and have changes propagate to all other aliases
- Quickly clone or alias slots by dragging their edges
- Use section headers to group parts of the song together
Another big workflow improvement is track grouping, which allows you to group related tracks together, and have each group share common effect chains. It's now also possible to collapse tracks and groups, which can do wonders for the overview of large projects.
- Group tracks into logical units, collapse them for better overview
- Flexible routing of group tracks
- Collapsed tracks use minimal space, while still providing a quick overview
- Pattern effects in groups will affect all member tracks simultaneously
- Automatically collapse all tracks except the one you are focussing on
- Color code tracks with adjustable background colors
And what would a new Renoise release be without a few new DSP effects?
- New DSP Multitap delay for spaced out filtered echo madness
- New DSP Repeater for st-st-st-stuttery goodness
- New DSP Exciter to make your mixes sparkle
- New Meta Mixer allowing blending of modulation signals into one output
- Improved EQs with bigger graphs and all values can be automated
- Improved Send devices, which can now be individually panned
- New and improved crossover filters for the Multi Send device
The Sample Editor has also got its fair share of workflow improvements.
- Left & right channels can be edited separately
- Zoom level & current selection are remembered per sample
- Significantly faster sample loading
- Destructively render slices to individual samples
- Improved keyboard and mouse selection handling
- Improved marker and waveform display visibility
- New and improved processing tools (mute selection, insert silence, invert phase, swap stereo channels and cross-fading loop creator)
Improved Spectrum View
- New Phase Correlation Meter in Phase Scope
- Side-by-side comparison of two tracks in the spectrum view
- New drawing modes: Filled Curve, Bar and Spectrogram
- Configurable frequency scaling, precision, peak fall rate, and slope
Pattern Effects
- Pattern effects in the master or group tracks will affect all member tracks
- Up to 34 DSP devices can be addressed via pattern commands 1xyy-Yxyy
- New pattern effects: Tremolo, Auto Pan, Set Envelope Position
- Logical mnemonics for pattern effects from A to Z instead of cryptic numbers
Performance Improvements
- Hyper-threading support for new Intel i5 and i7 CPUs and others
- Various audio engine speed optimizations for all platforms
Other Workflow Improvements
- Graphical BPM/LPB/TPL automation in the Master track
- New Favorites system for plug-ins and native DSP devices
- Expandable and detachable Envelope Editor
- Memorize last used bank/preset paths per plug-in
- Automatically name rendered songs/patterns
- Right-side modifier keys are no longer hard-coded
- Finer control over note distribution when dragging samples into keyzones
- Improved color picker with saveable swatches
- Context menus overhauled and made more consistent
Under the Hood
- Quicktime is no longer needed to import MP3 files on Windows
- Plug-ins are woken up from auto-suspend when clicking on their windows
- Support for mono capture devices on OSX
- New Jack implementation on Linux
- Trimmed overall memory footprint

v2.7.2 [May 5, 2011]
Back To Beats. Renoise 2.7 transitions from the developer-heavy focus of the previous release to more musical concerns such as Sampling, Instruments, Automation, and Native DSPs.