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Yesterday I was made aware of the overstayer modular channel. So with such expensive devices, I really question whether it’s even worth it these days. I couldn’t afford it either way. But when I heard videos about it, I have to say that such analog distortion and compression, especially from this device, was clearly audible and produced more good signals on the master than bad ones. Sounds really warm, the way you imagine distortion, at least I do. The sound from this device was really nice, especially for electronic music.

That’s what made me try it with the rytm master today, because the rytm also has analog distortion and a compressor.

So I fed the entire track into the Rytm Master via Ableton and then distorted and compressed the track to taste. And I really have to say here that you can use many settings with different results. In the end I had a really warm sound. The interesting thing here was that you could ride from very light to very strong, it was really just as nice as with the overstayer.

What do you think about it and what could speak against it?

In any case, I am very surprised by it and the rytm has once again replaced the purchase of additional devices. It now replaces mono synthesizers and drum machines for me. The analog sound of the RYTM is also different than that of the A4 and sounds really interesting and warm and diverse, especially with bass. Apparently he has now replaced the master compressor and distortion.

It’s no problem to delete everything from the Rytm at the end of the track and then actually drive the entire track into the Rytm Master to make it shine again, just like with an Oversytayer. it’s even fun.

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Yes that is another way to use the Rytm, also you can send stems to the tracks via Overbridge and you can mix into it using analog filters & distortion on each track, also using his internal analog summing, master distortion and compressor.

The best thing is that with OB you can record automations and recall full mixing sessions!

So yes the AR not only is arguably the best drum machine ever made, but also a great synth/groovebox/sampler and analog multitrack processing unit with digital recall!

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So really, it’s worth it! super nice. I’m just very unsure about the compression because I’m always afraid that I’ll compress the overall signal incorrectly or too much, so the RYTM compressor is special.

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The compressor has to be used with caution for mix bus duties, but thankfully they have put a parallel mix parameter on it as well as the detector filters.

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Just use your ears. If it sounds good, it is good.

(Trying multiple with speakers/headphones for comparison, if you can)

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Adjusting the compressor by ear is such a thing. I think this can quickly go south. Especially when the compressor swings in and out with the release time, I prefer to set this precisely (that’s the good thing about plugins). Although this isn’t exactly displayed on other outboard devices, that’s true, so you have to adjust it by ear.

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I usually do this:

  • turn mix knob to max, release to minimum and highpass filter on the detector
  • lower the threshold to get a very noticeable compression
  • increase make-up gain
  • adjust attack to taste
  • raise the threshold a bit
  • decrease make-up gain
  • adjust release to taste

Finally:

  • *raise threshold until compression is not overwhelming anymore
    *or
  • *turn mix knob to taste
  • re-check attack and release to taste

Always remember that usually when dealing with compression on a mix bus less is more.

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I run my rytm into motu ULmk5, it has a pretty simple screen but I learned to read gain reduction from it, if you have input meter on your audio interface and you know how to read it just quick a/b dry/wet compressor and you’ll see how much you’re reducing.
a real quick way to a/b without touching the wet/dry is to use scenes, make a scene with full dry, then adjust comp, then quickly jump to dry and watch the meter on your interface change, keep adjusting until you are happy. works for parallel as well, just watch that meter go down down down… down down down…
btw even without audio interface or knowing how much you’re reducing, if you match gains of wet/dry using scenes it’s real easy to a/b.

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