Does A4 play loud enough into the Rytm's input?

Elektron Gear Analog Rytm
1

Friends at the forum,

I’m looking for options to complete my Analog Rytm, a real poly synth that can sequence itself. I’ve got a Tempest, works nice, but only when you’re building tracks that are dry from effects and when you’re okay with synths like “Oh, I’ll just do whatever I want with your track, maybe I’ll play along, maybe I’ll just mess with you.” So yeah, the Tempest is like the kid in class that always got thrown out by the teacher.

I’m thinking the A4. But I’m wondering - is it loud enough to offer decent input into the Analog Rytm’s input? My Electribe isn’t loud enough, but the Tempest is, and since the Rytm’s input is what it is, this is a factor. I want to use it as the end station for my audio, and I don’t want to amplify the sound going into it, so I just need something that’s loud enough on its own.

Can the A4 cut it?

2

Sure… But the amp input on the rytm is low compare to putting the rytm into the a4 like I do.

3

The A4 is plenty loud enough into the Rytm with the headphone jack and a really low impedance TRS cable like the Mogami 2534. The headphone jack is a much lower impedance than the main outs and they have the same dB rating so the headphone jack could be louder if it’s sending across a low impedance cable (impedance is resistance).

I don’t think it’ll work with just any TRS cable though. The Mogami is particularly low impedance. I’ve said this around the forum a few times and it didn’t work for one guy, but I don’t think he was using a Mogami cable, just something he said was a expensive TRS cable or something like that, and another guy who used Mogami and it worked.

Definitely works though, I do it all the time. Just stick with Mogami. Top notch cables anyways. I usually get them for cheap off ebay from people who make their own with bulk cable.

4

I do it the other way around: Rytm into my Analog Keys. Louder, and you have control over the levels.

5

Both ways (A4->AR and AR->A4) works just fine for me. Without proper compressor settings the A4 is louder and with the AR compressor and overdrive the AR is crazy loud (and of course somewhat distorted.)

When hooking up my AR and A4 to each other I personally prefer having the A4 into the AR myself since the A4 signal then goes through the compressor in the AR. Gives me the “glue” effect instantly.

Individual routing, like having only the CH and OH outputs routed to the A4, will give you options to use the A4 effects “more” creatively. (Since you can route the A4 inputs directly into the OSC page if you like.) On the AR the input routing is more creatively limited in comparison.

6

As I like using Rytm’s compressor as a mains compressor, I’ll run multiple devices into a Mackie Mix5 and run that into Rytm input.

It has the added benefit of giving more gain and input level control, which Rytm lacks.

7

Totally random question - can the Tempest sequence chords?

That’s a question in relation to it’s internal and also it’s external sequencing abilities…

I’m really keen on one - I think it compliments my sound a LOT. I love the clean and thick vibes it has, but not being able to sequence chords would be a turn off for me, considering it’s other limitations.

8

dear LarsErik, would u be so kind to enlighten me how you perceive the GLUE effekt… just 1 or 2 sentences…thanks! …
and… can you get a clean input on a track on the a4 without having an “instrument patch” playing at the sime time … or is the clean signal only possible via the input L R in the FX channel … thanks!

9

No mono midi track out

What limitations do you think it has?

I know it does, just interested.

I have one and love it warts an all.

(but just like my statement to Elektron about the OT, I will not buy new from DSI again unless I see proper OS developments)

I feel both companies have left both those machines in their dust in a rush to release new products.

We rather off topic tho

10

Okay - mono MIDI out. I’d assumed that anyway.

What about its internal sequencer?

11

[quote=“” KOTARE""]
Okay - mono MIDI out. I’d assumed that anyway.

What about its internal sequencer?
[/quote]

Nope. Can’t sequence chords. You can fake it, one track per note and so on.
As for limitations, depends on your preferences. It’s a stand alone instrument for some, while others claim it’s almost useless. Very polarizing.
I’ve had mine for over a year and will never part with it.

12

Thanks for the input, guys! Since I want it all to go through the Rytm’s compressor, any options that can help me get there are of interest. Preferable, I’d avoid any external gear to boost the signal, despite the Rytm’s weak (puny!) input. But I’m figuring, if the Tempest can make it work, then it can’t be alone.

I’m wondering if I’m only making excuses to buy more gear, though. The Tempest can do a lot of what I’m after. But to answer Kotare’s question on limitations in regards to Tempest, they’re individual depending on your preference, but here’s what I really miss:

It has no delay or reverb or anything else that helps you build a room around your sound. It’s dry, but with great compressors and distortion. You don’t always need it, but if you want to move away from the dry and tight room sound, you need external fx.

The voice stealing doesn’t always behave. The envelopes snap and crackle when you push the machine, sometimes to interesting effect, sometimes not. This is especially true with long release times.

It doesn’t has the Kit philosophy, like the Elektron machines. If you’re used to that workflow, and use it to full advantage, you’ll feel a bit crippled by the Tempest way of looking at it.

But - it does have -

Outstanding sound. It has a voice like nothing else.

It’s a six poly analogue synth. It says Drum Computah on the box, but that only means it’s well equipped for creating and sequencing drums. But it is a synth and as such, it’s great.

It does chords. Not from the sequencer, but all six voices can be one chord, if you like.

Each of the six voices have the same structure. So it’s not like the Rytm, where sections are reserver for certain purposes. In the Tempest, it’s six voices and go! Like the A4, I guess.

Eight bars per pattern.

32 patches per pattern. 32! Seriously, if you know what you’re doing, your entire track can be contained in one pattern.

The pads are amazing. Expressive and groovy.

When playing it live, the real time features just blow most of what’s out there out of the water.

It looks great.

And it swings better than anything else out there, including the Elektron machines.

13

So I went ahead and managed to talk the local music store dealer into lending me an Analog Keys. I’ll do some experimenting with this now and see if I can make it work with the Rytm as the end station for the audio.

Also, completely unrelated but perhaps familiar to one or two of you in this thread from another post I’ve made, this means my Sub37 is in danger. Can’t afford both. If it goes, the Minitaur is in, CV-controlled from the AKeys. Which will be my debut into the world of CV.

14

i have A4 and AR.
The A4 goes into AR
The volume of the A4 is 100%

Then everything is fine, I start to use the compressor of the AR now
The AR distortion is still a little weird to me.

If the volume is a problem to you, you cal also route the AR into the A4. It is nice, but I decided the other way around.