This is perfect y’all!
And no @dtr ofcourse I had an idea but I wasn’t completely kidding haha! Maybe it had a downside or something:) I only know what I know lol, haven’t had any background or friends in electronic music so I’m finding out as I go:)
Yeah I’m back and forth with that one, but I kinda like the Rytm compressor more then the OT comp, so running the kick separate would remove that from the comp in the Rytm. Currently I run the kick separate into an OT track just for full wet reverb on the kick, to have at least some dedicated control on that part of low end!
Say what??? No wonder you’re having trouble managing the low end. Is this for a special effect or something?
Hahaha
No I mean I run the normal kick via Rytm main.
But if I use the normal Rytm reverb on the kick I can’t fine tune it, cause I have that reverb more set up for higher frequencies reverbs (hats and clap).
So I then I ran the kick into the OT, on its own thru chanel, with a dedicated reverb for the kick to fine tune it to its needs. But then I lost the kick in the Rytm comp (I assume).
So now I run the kick-out into the OT, set it to full wet reverb; and lower the amp volume:) So I have the reverb for the kick on its own channel, with specific reverb filtering for the kick etc. But just as softly in level as otherwise.
You get what I mean?
The ol’ saying is : if it sounds right it is right 
Aha, gotcha. Personally, I never add verb to kicks but I’m not sure what’s done in different genres.
Oh i m happy to do it, usually cutting the low on it, but there are exceptions, especially with the weirder reverb/delay types on my H9 and Space pedals.
Ah you do cut the low? I’ve been cutting the high but not the low. Will have a look/try
Yeah definitely people use it in the techno I listen to - albeit a bit more successful
It’s been a while since I had the mki so can’t recall what settings but all I remember was using the hpf to boost the lows to give the kicks that boomy sub bass because it was essentially disappearing as the tun went down. Wasn’t trying anything out of the ordinary, just say 50-60hz kick for example. I found it too fiddly and a bit vibe killing so I replaced it with Tanzbar Lite and Tanzmaus.
I meant i usually cut the low on my reverb and delay return channels, to not muddy the mix.
But if any of my instrument channels is too boomy (or too light) in the lows a quick fix i use is the channel EQ on my mixer. Sure.
Use NS-10’s
I tend to eq out alot of low-mid energy (200-800hz) to remove mud when using the rytm, when using the stereo out configuration.
I usually shorten the Amp Envelope to control the bass on my Rytm 
Seriously.
I’m not trying to be a smart ass this time I swear.
Shorten the Release and then use the Hold stage to control the length.
It trails for a very long time easily and can muddy things up.
Gain staging can make a difference as well.
Driving the amp into the overdrive is one way to make things sound bassy-er (yes it’s totally a real word 
)
Also make sure to turn the master distortion all the way down.
You can turn the click or transient of the kick up and turn the VCA and/or track volume down.
I don’t really feel like there is some heavy tilt towards the low end.
There are lots of things that can cause it to happen though.
Its upside down Miss Jane ? maybe the problem is not the bottom end but what is going on in the mids…
Its tricky, yes the Rythm can produce ALOT of low end, but i think that is a good thing and not the problem, the problem is how do you give an entire drum mix that much weight so the rest of the kit does not seem week, or there is something missing, or that there is hype in the low end that is un realistic and not gelling with the rest of the spectrum?
I had a similar problem when i first got a VIRUS TI, it was sonically so massive that i had to learn how to mix other instrument (especially drums) so that there was some equilibrium and sense that the two instruments were in the same universe “let alone room”…I think the AR needs that bottom end, but there is a need to beef up the production of sound of the stuff going on in the mids to give the perceived sense that the entire kit carries the same weight. to make it larger and seem relative to the low end weight…
I think the Rytm gives many options for creating a “perceived loudness” of the mids without mud… tools that emulate how we humans and our human conscious brains perceive that something is loud or big, when the tiny hairs in our ears all get pushed over by a loud transient they are saturated by sound pressure levels to the point where we can decipher no more information coming through the air waves, this phenomenon is why tape saturation and mediums with narrow dynamic ranges such as vinyl sound more natural to us. Compression is one way to emulate the limitation of just how much sound pressure levels the ears can take. and can help increase the dynamics, so that the beater of the kick cuts through but reduce the boom…
I have commented on this elsewhere…
…2nd last post
My Personal settings change from kit to kit change, but a common start point for me is
THR: 85
ATK: 10
REL: A2
MUP: 23
RAT: 1:4
SEQ: HIT or LPF
MIX: 98
VOL: 121
Also on the reverb side of things, i too have reverb on my kicks, settings that adds space and volume to the mids, but they are not constant and not lush like the settings of my other synths, the reverb is shortish and ducks to loud transients, then blooms out in the gaps, then is drowned out again “ducked” with LFO Trigs every time the kick hits or where ever i place the trig on the FX track sequencer…
like the above compression technique it tries to emulate the way the hairs in your ears respond to loud transients…the truth is that in reality the initial sound and the reverberation are always present however given the limitation of the human ear if the transient is loud enough the information of the lower volume signal is incomprehensible to the already “smashed sideways” tiny hairs, so you loose information as the reverb appears to disappear… again this is different for every kit but my start point for a mid enhancing drum reverb is here.
PRE: 0
DEC: 23
FRQ: 80
GAI: 52
HPF: 36
LPF 61
VOL: 88
Then mix in the desired amount of reverb for each sound, This will beef up the sense of the stuff going on in the mids making them seem “too big” maybe, I start with the kick and snare then imagine where every other instrument wants to sit in the virtual room and add reverb accordingly. Dont get to attached here as you are about to destroy that room with the LFO…
The cool thing about being able to Trig the LFO for the reverb volume on the FX track means that you can place a Trig on every step that there is a kick (or loud transient) to have the reverb volume vanish when the kick beater hits…
settings:
SPD: -64
MUL: x8
FAD: X
DST: REV MIX VOL
WAV: SAW TOOTH
SPH: 0
MOD: ONE
DEP: +106.12
On the trig page switch the LFO toggle to ON and then place a trig in the sequencer, it adds a smear to the mids making them seem larger, and helps gel the massive low end into something more believable…
This is my thing too.
Yesterday, when A/B testing new mixers, I also found out that I really did perceive a difference when removing the filter from the FX slots in the OT Thru track of Rytm and the T8 master. I remembered people discussing it, but had never tried it. I think the two filters were also affecting the low end mud a bit.
+1
Long kicks can sound great on their own but cause problems in the mix. Amp envelope is very useful there.
I saw someone play at some party once where the first half of their set was just long, tuned kicks. It sounded unbelievably good. Some of the best kicks I’ve ever heard and he had a packed dance floor the whole time. As soon as he mixed other elements in it sounded like garbage sludge and he cleared the floor. One quick turn of a decay knob at the right point and it would have been a perfect set.
There is a good reason why genres like trap and (uk) drill dramatically high-pass everything in a mix but the sub. Honestly bass hits so much harder in contrast as opposed to just space. You can always P-lock a filter to allow for big tom bridges or meaty snare rolls, but in my experience dance floors go nuts when the rest of the track begs for some low register to kick in and then an earth shattering 808-ish bass drum hits.