glad the original exists 
Ok, now it gets interesting. Can you show me Elektrons statement where they mentioned this? You are right, the BT can do the trick, as i mentioned ten million times already 
But i am absolutely sure that the Classic BD model was meant and described as beeing the thing to do it.
And yeah, i used the Filter as mentioned earlier (High Peak, works). Overdrive sometimes works. Messed around with the LFO as well but have not got some decent results there, it started to sound ⌠kind of 909ish very fast that way but i must admit i also did not tweaked it to death as i was short on time Usually i would use the Filter for shaping the sound of the BD though. Its lost for those kind of things when i have to use it as a replacement for an EQ you know. That kinda sucks.
A little bit off topic at the end: Its funny how a lot of people start âhatingâ the track i linked 
It shows me once more that tastes are so insanly different depending on where you live or what you generally define as beeing good electronic music. But to bring it to the point: Yeah, i like this music, not only this particular remix from 1993s dance classic, but a lot more of this stuff. Also i like deephouse quite a lot, listen to this here for example:
My point just was: Half of the world defines the track you all hate as good electronic music - when they like EDM. A lot of people define deephouse as what i linked just now, they like it. I like all of this shit too. And I wanna produce in similar directions and i really dont need hard Kicking 90s bassdrums because of that. And while the MD was perfectly able to create the Drums i want the Rytm is not - at least not on his BD part which is a shame if you consider that it is an analog drummachine and should be able to be ⌠lowend-stable I know the kicks are processed in final production but i also wanna point out: You cannot process whats not there. If you like the sound of the Kick as it is you cant boost its lowend to the areas where you need them when they are simply not there. You will ruin the rest of your lowend and EQing only makes it worse. Every serious producer knows that. Less is more, always. It just HAS to be there, if its not, take something else. If its a sample its easy, if its a drummachine its kind of a bit harder to achieve
[quote=ââPlayRecordsââ]
So now The low end being too low is a problem? It certainly sounds like thereâs something wrong with your setup if you canât hear it at all but saying thatâs a bad thing is nonesense. You make music to sound great on all systems with production not by loosing low end. (Edit- this is there for the clubs and systems that can handle it)
If you need to hear lower (edit-for referencing in your studio) you need a sub⌠Buying more expensive monitors wonât necessarily get you down there but a bit of treatment in your room will go a lot further per ÂŁ than on monitors IMO⌠Unless your listening through your built in ones obviously. (Edit-Use hi fi speakers etc for referencing how the outside world will hear it)
The 90s is over but the sound has stood the test of time for a reason, itâs classic and will always be a point of reference in electronic music as is stuff from the 80s⌠So called âmodernâ changes every few years and fadeâs as quick as it comes. [/quote]
Treatment of your room is super important probably more so then monitors. sure enough most people will buy more gear instead of treatment and honestly its more fun to buy speakers then treatment. however a non treated room makes it hard to mix and hear whats really going on. usually in a non treated room the music doesnât translate to other systems well.two people of same experience that one that has a treated room will sound better then one who doesnât.
their are also many ways to treat a room cheap just takes more time.
Just cant agree more with that
There is - however - one thing that you forgot to mention. And this ⌠is the listening habit. If you listen to literally millions of different sound sources on a system you also produce on, your ears are basically calibrated towards the sound of that system in the room you are. I therefore tend to NOT use my monitors at all, only as a reference point at most. I can tell if its right from the experience in my room. And i can counter check the bass parts in my car hifi system if the need arises. Apart from basic rules (like: There should not be too much base reverb, there should not be too much reflections that could lead to âechosâ and so on) this is the most important thing to produce right. You can measure and build your room to acoustic perfection, but if you dont feel comfortable in it afterwards (every ear reacts to every frequency differently) you wont tell anything and its useless to you
I wanna say: Yeah, i have the right acoustics in my small living room in the attic for sure. I still notice this BD Lowend phenomena and in the studio from a friend of mine we measured it today. The Rytms BD is most prominent at around 35-50 Hz if you tweak it to sound 808ish like and lacks in the higher, more noticeable frequencies around 60-80 Hz. The MBase and the Vermona both have their frequencies higher - and wider, ranging from 40 to 70 Hz. Sounds therefore a lot more solid there and can be heard better on cheaper systems.
I tell ya again guys, the Rytms BDs - have a calibration problem Something weird is going on there if you wanna make it sound like a damn simple 808ish Bassdrum that just sounds right 
Half the world likes Big Macs too, or at least they serve billions of them a year, so someone must like them. Even though it is VERY subjective, I think this track blows away the ones youâve posted:
Use a frequency analyzer and you will see itâs not right what you are saying. Compare the results with your references, can also help you to tweaking it.
From memory the 808 peaks at G# in octave 1 - so 45-46 ish Hz - I donât have a Rytm but it seems like Elektron at least aimed for the right spot in the spectrum
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But the Rytm is âcapable of creating 808ishâ bass drum sounds â just not to your liking. That it doesnât hit the same frequencies (assuming thatâs true), doesnât change things, nor does it mean the machine isnât âcalibratedâ. No one ever promised a 1-to-1 dead ringer simulation of an 808. The fact that it is capable of producing sounds of a similar nature are all anyone can expect. You speak as if itâs a bait-and-switch on Elektronâs part and itâs not.
I own a Moog Slim Phatty and itâs been said by Moog and others that it is capable of creating sounds similar to or evocative of the Moog Model D, and it is. But for someone to whip out their spectrum analyzer and find serious fault with the machine for not hitting precisely the same frequencies is a bit much. Heck, some people claim the Roland TB-3 sounds nothing like the TB-303 (which is ludicrous), and that one is intended to be a clone.
The Rytm is its own machine with completely different analog circuitry and a significantly different editing structure. That it gets close to the 808 in some ways is admirable and definitely adds to its appeal. But seriously, if you want an 808 BD on the Rytm, load a handful of samples in and be done with it. Otherwise, itâs probably best to accept that the Rytm is not intended to be an 808 clone and by that same token, is going to fall short in some areas when one is chasing that sound.
Iâll give it another try ⌠again 
⌠tomorrow. We did a quick tweak today and i came up with those frequencies because i obviously used a freq. analyzer 
And when im not too lazy i will also post an example of what i mean. Maybe this will make things clearer then. But i should really move this to a new thread then.
@poonti: Nice track, i like it! 
But the Rytm is âcapable of creating 808ishâ bass drum sounds â just not to your liking. That it doesnât hit the same frequencies (assuming thatâs true), doesnât change things, nor does it mean the machine isnât âcalibratedâ. No one ever promised a 1-to-1 dead ringer simulation of an 808. The fact that it is capable of producing sounds of a similar nature are all anyone can expect. You speak as if itâs a bait-and-switch on Elektronâs part and itâs not.
I own a Moog Slim Phatty and itâs been said by Moog and others that it is capable of creating sounds similar to or evocative of the Moog Model D, and it is. But for someone to whip out their spectrum analyzer and find serious fault with the machine for not hitting precisely the same frequencies is a bit much. Heck, some people claim the Roland TB-3 sounds nothing like the TB-303 (which is ludicrous), and that one is intended to be a clone.
The Rytm is its own machine with completely different analog circuitry and a significantly different editing structure. That it gets close to the 808 in some ways is admirable and definitely adds to its appeal. But seriously, if you want an 808 BD on the Rytm, load a handful of samples in and be done with it. Otherwise, itâs probably best to accept that the Rytm is not intended to be an 808 clone and by that same token, is going to fall short in some areas when one is chasing that sound.[/quote]
It is not about replicating the 808 mate, please read all my posts Its about problems that i have with lowend that fades away too fast on cheaper audio systems when i create 808ish Bassdrums with the BDs themselve. And that this doesnt happen with the BT or with other analog gear capable of doing such drumsounds âŚ
Should i start a new thread? Tomorrow Really tired now 
Gn8 all
I did. You said that Elektron shouldnât have stated that their Rytm machine is capable of â808ishâ sounds since, in your eyes, itâs not, and that it needs to be calibrated. And Iâm disagreeing with you on both counts.
You also said that the Rytmâs bass drums are lacking in frequencies that you expect to be there, regardless of your reasons. And to that, Iâm saying that your personal expectations of those frequencies and their duration do not constitute a mis-calibrated drum machine.
The Rytm is fine, as is. There is nothing fundamentally wrong with it or its resultant sound. I referenced the 808 in my post because you did the same, on several occasions. It sounded to me as if you expected the Rytm to sound a certain way and that its apparent inability to do so means that the Rytm needs to be adjusted, through software or other means, to produce that sound.
Or were you saying something completely different?
Love this track, this is a quality tune, not a mass produced dot to dot one.
Most stuff Henry Saiz touches is pretty damn good IMHO. The original is great of course as well.
Love to know how they got the synth to squeal like that, lots of modulation in a DAW I guess.
@subbz2k, sounds like the Rytm is not for you, but that does not mean thereâs something fundamentally wrong with it. It meets my needs as it is, especially when it comes to experimental elektro/IDM. As a drum machine it sounds âfutureâ to me.
Hmm, letâs try to get clarify this 808 type BD thing - from my POV I feel that the harder 909 swept VCO type BDâs fall out of the Rytm with little effort, great. But ringing filter type bass drums, like the 808 are not currently represented by the BD machines, yes you can probably use the filter section to achieve this, but that is more of a limiting compromise than a workaround.
What Iâd like to see is a dedicated ringing filter type BD machine, because these generally sound much more natural and smoother than swept VCO type BD sounds.
I did not find using the bass tom to be very effective for ringing 808 type BD, both in terms of pad placement and more importantly the actual response of the sound, the FM BD with all the FM and sweep turned off/very low seems to get closest so far for me, along with the notch filter to scoop out a lot of the lower midrange.
Iâll quite happily spend an hour or more making a single drum sound, to get it just right, especially for more complex sounds, but the truth is a ringing filter type drum is probably the most simple analog percussion sound, all that is required is an impulse to ping the filter, a frequency control, and a feedback/resonance control, and perhaps a mix level for the impulse, and a noise source with independent decay. The frequency sets the basic pitch, and the feedback sets the decay, this type of setup can be used for BD, Tom, Clave, Rim, Snare, Bongo and lots of other stuff, so it is a shame that it is not included in the Rytm, so simple but very effective, then add of course all the other filter, amp, LFO and FX that the Rytm offers to further sculpt and well, you get the idea.
Add another machine that is a dual version of the ringing filter without the noise source, so 1 impulse, 2 freq, 2 FB, impulse mix level and you then have a machine type that can do pretty much all of the CR/Rhythm Ace/Percussion type sounds.
In my opinion the Rytm is easily capable of these machine types, so I do hope that Elektron will implement them, as it would open up the basic timbre and capability of the machine considerably.
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Hello,
I donât have a RITTEM but thereâs a very interesting trick iâve read about somewhere that actually works sometimes to give the Kicks or short Bass-sounds a bigger chance to be audible on many different sound-systems.
The idea behind it is that every sound-system has itâs weak spots ( where certain frequencys are almost not represented ).
- Try to have a very fast pitch-env at the beginning of the sound.( Maybe with a One-shot LFO ? )
In consequence a larger Frequency-spectrum is being covered so you get a bigger chance to hear the low-freq on different systems.
Come on though Daren, after what you achieved with the A4, this is no biggie. Even if they created a resonant filter kick machine on the OSâŚit would still use the 1 filter for that voice anyway, so would it really make a difference in comparison to a bespoke machine? Apart from the fact it would be easier to tweak (more immediate) because Elektron already chose the available values/limits.
It was mentioned a little earlier, but you really should take a peek at the AR808 kit. It uses the BT to make an excellent 808 kick. The kit is a great lesson, mostly by showing that a little bit of envelope to the filter/pitch/overdrive of a sound can really help generate the transients that the machines donât have out of the box.
Yep, I had a go of using BD1 filter to make a kick and it sounded exactly the same as creating a kick from the bass Tom. Good stuff! I think the whole architecture is pretty well thought out and covers a lot of ground between all the channels.
Make a kick with BT5 and add some resonance with a high pass filter and you have a ballsy boomy kick right there.
I know youâre waiting for 2Unlimitedâs No Limit, Prodigy Firestarter or Aquaâs Barbie Girl to be re-done as a lo-fi slow acoustic folk classic at 50% bpm ,sung by some hoarse throated waif model as a festival classic for 17 year olds who donât realise itâs a cover version.
Wait til they start covering Craig David. Then we know weâre in trouble.