Making the most of RYTM!

So I just learned another trick. you can get a “fake” side chain by using a combination of parameter locks for volume carefully placed on the kick when you want that channel to “duck” out of the way.

but additionally, you can make velocity curves smoother and more exact by putting “trigless” trigs in between beats with the “slide” parameter on. this way you can be very specific about how the volume fades in and out… kind of like XFER LFO tool in any DAW.

Apparently on octatrack you can do this much easier by setting an LFO to “Sync trig” mode which is not available on any other machine, and adjusting the depth knob to taste.

is there an easier way to do this type of thing on the RYTM?



If I were to wager a guess, it was probably a bug initially that became a feature. Perhaps not though. :man_shrugging:

It’s one of my favorite things about these devices: They offer a lot of easter eggs, if you dig in, which honestly reminds me quite a bit of the days of MissingNo., etc. :slightly_smiling_face:


Wow, this is great…


Thanks, man. :slight_smile:

Head exploding with this!! This is so great.

1 Like

is that meter removed in the mk1 version too? I have an mk1 and Im still on the last stable firmware, the one before the dvco update

excellent info here -

and an excellent thread premise :slight_smile:

1 Like

Note: you can also switch to e.g. the Scene page to freeze one (or more) Perf.

You can freeze a retrig in the same way, by switching e.g. to Mute Page.
Careful: retrig state is then frozen, can’t be mute in such step even by soloing another track, you have to get back to the Play page to unfreeze it.

1 Like

This tip might be obvious and not specific to the rytm, but…

To make your kick really punch: add a peak filter, crank the res up, turn the freq way down and find the sweet spot, then add a bit of envelope with fast decay. Your kicks will register on the richter scale :slight_smile:

Another tip: lay out your 16 hi-hat trigs, quantize the track, go into recording mode, tap the track’s pad with varying pressure. You can easily record varying velocity hi-hat patterns this way. Now assign velocity to something besides volume :wink:



ok one more tip, it’s one of my favorite rytm techniques, but it can be done on any sample capable elektron box.

a fun way to generate randomish basslines:

  • create a sample chain using bassy toms/plucks/percs with different pitches & timbres (15 or 120 slices is recommended)
  • prepare your track: set synth engine to none, load your sample chain and select it, set the amp decay to like 30, etc
  • throw down some trigs. randomish is good.
  • enter recording mode, start twisting the sample start knob (push the encoder down if you used a 15 slot chain). when you hear something you like, quickly exit recording mode
  • head over to the filter and low pass the track.
  • sprinkle some magic rytm dust on it: add overdrive, bitcrush, retrigs, fx, amp/filter envs, change pitch, use plocks where necessary, etc

with a bit of luck and patience you will end up with a nice funky subby bassline. this is definitely not a science and will probably take some time to get the nuances, but I find it to be a huge inspiration when I am starting a track.

you can use this technique for glitchy riffs as well, experiment with what you put in your sample chain and how you filter the track.


Basic tips but it has revolutionized the AR live performance side for me: A midi controller mapped to the perf really opens up the machine to be crazy tweaked live as you can be super precise on multiple perf macros at the same time as you can access the mute page to do crazy mute/soloing action.

Also, the fact that muting stops the sequencer but not the sound makes it awesome coupled with the track chokes. Make quick repetitive rythms with long release, mute em on the fly and enjoy!


I did this video years ago, but I still use this on the MK2 alot. I know you cant see the screen, but you’ll get the idea.


The two level knobs is mostly for parallel compression, I think. Set the mix to 50% and then A high gain and low volume adds a lot to the compressed part, while a lower gain and higher volume increases the overall levels.

I’m still working out the compressor myself, but I thing this is where that design comes from.
It’s the subtlety that I’m learning to hear.


this is pretty dope. thanks for posting!

Use the VU meter on a mixer, or recorder (or overbridge). See the comp reduction then dial makeup gain back to unity.

1 Like

This is a neat thing to do deliberately.

Excellent tips here.

I just started using COLLIDER for Rytm, an alternative to STROM. So far, so good! I use it as a ‘randomizer’ for kit sounds (excluding sample stuff) and patterns. It can generate unlistenable nonsense, but it can also result in some beauty that becomes a great starting point for a new sequence.

In general I use alot of conditional trigs, and I absolutely love the wild card factor in the sample slot LFO. I’ve found it hugely useful to have my performance macros set up to do similar things across all kits. So, my top right macro will always open my hat, top left will always ratchet, for example. I have a expression pedal that always only cuts the kick too. As a drummer, I appreciate the illusion of object-permanence in these kinds of modest macro assignments.


What parameters do you setup your ratchet macro with?

One way is to turn syn off, and choose a sample, assign a perf macro to turn the ‘loop’ switch on, and the ‘end sample’ value to get lower/tighter. So, with the aftertouch on the perf pads, you can lean into it and get some neat variation in the ratcheting.