New elektron user here, just got my hands on a RYTM and an OT. Here’s an easy way to optimize your tracks for reverse/swelling drum edits and a proper layered snare/clap. It involves using the analog drum synths onboard to get the most out of the layers. You can apply this technique to any sound, or experiment with the choke groups as well with this technique.
Start with a 1 BAR LOOP so that the trigs copy to subsequent pages after you get it to sit well.
-Build a snare from the synth on track 2, build a clap from the synth on track 3 or 4.
-Load a nice snare sample with reverb tail into project RAM pool and load into the SAMPLE page on track 2.
-Insert a snare trig on, let’s say, step 9. P-Lock SYNTH VOL and SAMPLE VOL to taste.
-Insert a clap trig on step 10 and adjust micro-timing so it is cohesive with the snare but doesn’t run into the transient. You can layer in another clap sample if you’d like. Make sure to P-LOCK SAMPLE VOL to taste.
You can EITHER:
-Insert snare trig anywhere between 5-8, P-LOCK SYNTH VOL to zero, SAMPLE VOL to taste, SAMPLE END to zero and SAMPLE START anywhere above that value to reverse the sample. This allows the fwd snare to cut off the reversed sample.
OR:
-Insert clap trig in the same manner (steps 5-8 depending on reverb tail size), SAMPLE LOCK to the SNARE sample, P-LOCK SYNTH VOL to zero, SAMPLE END to zero, SAMPLE START and VOL to taste. Insert a clap trig on step 9 with SAMPLE and SYNTH VOL to 0 to create a “ghost” hit so your snare transient has a pocket to come through.
I would personally do the latter to free up ability to sequence other percussion through your snare track via SAMPLE LOCK. This dedicates track 3(or 4) to your “ghost” snare/clap schematics, keeping track 2 uncluttered.
Parameters to consider locking:
-Reverb/delay sends to either snare or clap (P-LOCK to zero on reversed so it doesn’t bleed in)
-HPF P-LOCK on reversed sound (to remove mud)
Expand pattern length, adjust microtiming of clap and reverse snare for variation.
And there you have it! Surely this is nothing new, but to me it seems the most efficient way of adding layers and reverse FX without dedicating a whole track to them. Of course, any sample can be reversed, but recycling pre-existing elements in a track however you can gives a definitively subconscious feeling of cohesiveness to a composition, and conserves precious RAM/sample slots in your audio pool. I’m sure this same technique can be reproduced on the OT, but it wouldn’t give the depth of layering drum synths with samples. If anyone has more input or suggestions, I’d love to hear them.
-pah jé