I’m currently working on a couple of psy-trance tracks and have tried getting a suitable kick from the Rytm.
I can get some nice big, rounded kicks, but I think I’m having problems cutting through the middle-section of the pitch-sweep quickly.
On my Tempest, using the mod matrix to get decay to self-modulate, for an exponential curve tends to get me closer to where I want to be, but I just can’t seem to get Rytm to produce a sharp enough, cut-through-the-mix sound.
I’ve tried modulating using the filter, sweeping at a different rate as low pass and band-pass.
Yeah - sampling the kick is the current plan, but I reckon if I can sculpt things a bit more precisely somehow, I should be able to get what I’m after…
I’ve got several examples, so I’ll try and get a bit of studio time to sample them.
Btw - this is partially an attempt to cut down on live kit. I don’t want to have to take the Tempest to gigs if I don’t have to. Rytm has plenty enough voices for my drum needs - and it has in-built effects, which Tempest doesn’t have.
Obviously, I could just sample but if I can get similar results from Rytm using its own engine, that would make things easier in various ways.
try using the LFO on trigger to shape the pitch. it can be more flexible then the synth setting and u can use both the lfo pitch and synth pitch together.
Have you tried using the Bass Tom as a 2nd layer for the kick? With a very short decay it works well.
… and using “sound per step” you have a freely tuneable / overdrive layer for the mid-range punch, without sacrificing a voice (unless it cuts of a tom from the previous step).
I think the closest I’ve come, is to sweep a peak filter down at a slightly different rate to the pitch.
Still not getting the initial to mid section right though.
LFO on trigger for pitch shaping might be kind-of analogous to the Tempest’s self-modifying pitch decay via mod matrix though.
Bass tom is an interesting idea.
…but it does feel over-all like the Rytm isn’t really designed to naturally produce this kind of kick. That’s not to say that the kicks it does naturally produce are bad though.
Weird as the T is at its best when played live… [/quote]
For this project, with a partner, we tend to have drums etc. more as backing, sequenced by a sequencer. We play synths, guitars and percussion over-the-top.
Traditionally, it’s been based on a Korg ESX1 for percussion samples, a Virus Ti and one of various sequencers.
Weird as the T is at its best when played live… [/quote]
For this project, with a partner, we tend to have drums etc. more as backing, sequenced by a sequencer. We play synths, guitars and percussion over-the-top.
Traditionally, it’s been based on a Korg ESX1 for percussion samples, a Virus Ti and one of various sequencers.
We only dive in when the mix needs tweaking.[/quote]
Thanks for the clarification, of course so many variations of live sets
Can I come play live tempest in your band? ha ha .
I agree with the BT idea. Actually, for my kind of music I think it produces better kicks then the BD. Very smooth, very round and very very very low. Maybe you could make the BT with the sub part and the BD with the transient as you like.
By the way, this is a trick I’m using a lot lately. I can then change the kick by muting one of the tracks, simulating a sort of high cut (muting BD) or low cut (muting BT).
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