So many levels to this box and I’m not talking depth of programming. Though lots of levels there too.
Just working my way with experimentation. What I’ve found: the compressor is an integral part of the delay and reverb mix. It makes it shine for percussion but not sure if I’ll figure out using the effects of full mix samples. Hopefully with time and some help.
Any tips or findings with regards to levels through out the signal chain?
The level of 1. and 2. definitely affect the character of the sound – I assume this is because of how hard the filter and overdrive (?) are hit.
But what’s the difference between the Amp page volume and the Track level? I guess it would make sense if the volume was pre-overdrive and the track level was post (but not sure if this is the case – haven’t experimented).
I think the Comp page volume defaults to 64 with an initialized kit. So does that mean that’s unity gain? I usually end up turning it up to 80–90 to hit the +4 dB inputs of the audio interface at a level comparable to my other gear (of course though, it very much depends on these other level settings).
As for the master volume knob, I generally leave that fully clockwise in the studio (though not for live use).
Any thoughts (other than if it sounds good, it’s fine)?
Between the sound card, the OT and the AR, having so many levels to consider can sometimes be confusing for me. I’m often not sure which are best to change and which to leave alone.
I usually leave my master volume knobs at 12 o’clock, is there an advantage to keeping them fully clockwise in the studio? I’m also interested to hear if anyone has tips on a smart approach to managing levels.
I think of the volume knob on the front panel purely as an attenuator – in other words, anything less than full clockwise is just reducing the dynamic range of the unit’s output.
If you’re going into +4 inputs on your soundcard or mixer with the front panel’s volume knob at 12 o’clock then chances are you’re then turning the gain up on the mixer/soundcard to compensate, which doesn’t make any sense (adding yet another gain stage). On the other hand, if you’re going into -10 inputs, then turning the master volume knob down to 12 o’clock probably makes sense.
The only reason I usually back off a bit in a live setup is so I have a bit of leeway (up or down) to adjust quickly if I need to. But even so, I usually set it to 3 o’clock.
If you’re going into +4 inputs on your soundcard or mixer with the front panel’s volume knob at 12 o’clock then chances are you’re then turning the gain up on the mixer/soundcard to compensate, which doesn’t make any sense (adding yet another gain stage). On the other hand, if you’re going into -10 inputs, then turning the master volume knob down to 12 o’clock probably makes sense.
Thanks. Sorry if it’s a noob question, but do you mind clarifying what you mean by +4 vs -10 inputs?
Great questions, OP. Was wondering the same yesterday. I am not using the compressor at all (using comp in the DAW instead) so I was trying to figure out how to bypass the Rytm comp but it’s…well…not possible?
For example, I can turn the threshold all the way up and turn the mix all the way to zero, but then why does the VOL register any change at all? Doesn’t make sense. If you turn the VOL all the way down, no sound comes through. So what VOL level results in a totally unprocessed signal?
Right now, I’m keeping it at 50. No clue if that’s “proper” or not.
Good thread as im a total noob too. I was under the impression that with digital recording +4/-10 is irrelevant. I don’t understand WHY it might be irrelevant but that’s what I’ve read. Is that the case?
All Elektron boxes are infamous for their lack of any proper level management and monitoring.
I suppose it’s a design decision, one that I do not support, but there is nothing to be done about it.
It’s too bad that they choose to be so opaque about this stuff. I believe that they would create a much more interesting product range if they decided to educate their customers. Their lack of communication can be interpreted as extreme snobbism. We’re left to figure out what “optimal” levels are.
The way I do it, is by comparing to other, trustworthy and easily monitored sources. I also, first and foremost, trust my ears. If it sounds good, and looks good on the meters, then I assume it’s good.
For example, the main output level is hidden away in the Comp section. I usually start by bringing this up to about 80. Second, I always bring the master distortion to about 10, for a bit more balls.
Then it’s a matter of balancing between the analog voice and the sample, to taste, and adjusting the volume in the Amp page, after applying a bit of overdrive. The main track level is always at max for me, it’s my only point of reference. When i play out, i know that I can bring something down, and up all the way to the top, and it will sit just right (most times).
Hope this helps
Cheers
The main track level is always at max for me, it’s my only point of reference. When i play out, i know that I can bring something down, and up all the way to the top, and it will sit just right (most times).
^ good advice regarding keeping the track level at max to quickly turn up/down knowing where it’ll be in relation to everything else.
My understanding is that Track level is final level pre Distortion and Comp. Comp page level is pre FX return which is similar if you used physical outputs and faders controlled just the dry sound without effecting the send amount. So the Track is like the master of that track including all sound but the final distortion and comp which goes across all tracks. Adjusting track level to get the right balance in your song of an instrument depending how distortion and comp adds gain. So it makes sense to me to have Track at perhaps around 110 so you have headroom to play with against the distortion and compressor.
So there is a different architecture whether mixing inside the AR or if you are routing external to mix. In the latter case I would assume to use the Track level on the AR to adjust amount of the signal to comp and or distortion and then I’d bring the fader down in the external mixer to compensate for the potential added gain.