I never use those, are they choke group specific?
I don´t know, I put 3 kicks in tracks 1, 2 and 3 with some polymetry and tracks 2 and 3 with /NEI trigs. The kicks in track 2 are triggered when the ones in track 1 don´t, but it doesn´t happen the same way with track 3.
‘The neighbor track is the track
before the active track. For example, track 3 is the neighbor track of track 4. NEI and NEI conditional trigs on track 4 evaluate the conditional trigs placed on track 3.’
The more i read this the less I understand it lol, does it mean a track’s affective ‘NEI’ is the one to its right hand side?
Left side, I think.
At a basic level, it’s a way of making a non-choked track behave like a choked track. e.g. Set a trig on tk3 with 50% probability. Set a /NEI trig at the same step on tk4. Now you’ll get tk3 paying 50% of the time and tk4 playing exactly the opposite 50%.
Now that I think about it, this is really helpful. You could use it to have variations of a “track” within the same pattern, without having to use those micro-timing tricks. e.g. the baseline could modulate to a new key at the end of a “verse”, whilst keeping the same rhythm, as a FILL.
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Subbing… just got mine. Need to dive into the manual but the scenes are SUPER cool.
Hi, this is my first post on the elektronauts. First of all, a huge thanks to everyone that share their knowledge, techniques, and skill on this forum. I was able to find some very valuable information on this website, thank you so much!
I would like to share a method of working with breakbeats and drumloops based on @under-wires Velocity mod controlled sample chains post, this method allow sample loops to play in a sort of semi-randomized generated sequence, using retrig menu and trig probability.
(not a real randomizer, as there will be some component of reiteration, but it works pretty well, in my opinion)
For this method we need a sample of a breakbeat or drumloop. The sample preparation process is already well covered in an existing thread on the forum, so just follow every step as described here How I “chop” breaks on the AR/DT
The process Is basically the same, but instead of extending the sample loop for 7 and 1/2 measure, make it 8 measure long (equivalent of 128 notes)
After the sample is imported in the analog rytm, set up everything as suggested by under-wires
The only difference is that our chain is a breakbeat/drumloop sample with 128 notes (without any silence in between hits)
The breakbeat/drumloop 8 measure notes get mapped across the velocity values, and each velocity value correspond more or less to 1/16 of a note of the sample
On the sound menu, set velocity to volume off.
Place a trig on the sequencer. Open the retrig menu and set retrig on, then set the retrig’s lenght for the desired duration that you want the sample to play, set it to an integer number; and then set the retrig’s velocity to the same value of the lenght.
So a trig that has a retrig lenght of 20 will have a retrig velocity on 20
Now if we hit play, the trig will play the the sample loop and the duration of the loop will match to the retrig lenght that we have set.
Next step is to parameter lock the trig/setup page velocity of each trigs.
The velocity of the sample should correspond to 1/16 notes of the sample,
so if we parameter lock the trig/setup velocity on each trig on different values, the trigs will play the sample from different positions.
Place more trigs exactly as described, and then set probability percentage on every trigs, and we are basically done. If we play the sequence, we will hear the step retrigs playing the sample starting from various points of the sample chain; with probability each trig will have a chance of interrupting the previous trig, costantly rearranging the loop, creating different variations of the breakbeat/drumloop.
Just be careful if you have a single trig with a long lenght that play and surpasses the maximum value of its velocity; because the sequencer will play the sample normally untill it reaches and surpass the last velocity information (127) right after, since it is going beyond 127, there will be no more velocity values to draw from, and it will be stuck playing a single 1/16 retrig of the last velocity of the sample till the end of the retrig lenght
If you want to play a part of the sample that is mapped in the higher register of the velocity value, just set a short retrig lenght that can contain and reproduce the trig/page velocity without exceeding the 127 vel.
If you want single note retrigs, set the retrig velocity to 0 and adjust retrig rate and lenght.
When the retrig velocity is half the retrig lenght, (ex. a trig with retrig lenght on 20 and retrig velocity on 10) it will play the sample at half of the speed, giving a timestretch effect; increasing the retrig rate will also increase the resolution of the effect (but it may result in artifacts, depending on the sample).
With this method the tempo of the breakbeat sample can be flexible, meaning that it is possible, with some samples, to increase or decrease the original tempo of the sample to a certain degree, even as far as + 20 bpm or - 20 bpm.
With Trig Mutes and Accent we can improvise and add more variation while the sequence is playing
Considering that accent operates through velocity, we can use the accent level to change the parameter locked velocity of the trigs while the pattern is playing; remember to not give an excess level value to a velocity that has a high assess, for example adding 32 accent level to a trig with 100 parameter locked velocity, in that case when the pattern play, the trig will not play anything, resulting in a muted trig; that is because we are adding velocity over the maximum value of 127, where there is no more velocity information from the sample.
When using accent this way, be mindful to not turn the level knob while the trig is playing, otherwise the sound will get glitchy, just wait for the next trig on the sequencer to play and then change the accent level on the previous trig.
If you have created multiple sample loops this way and have them imported to the rytm, it is possible to parameter lock the different sample loop chains to single trigs, or assign a sample range value from the sample page to scenes/performance mode to change on the fly the breakbeat sample that is playing.
I mainly used breakbeats and drumloops so far, but this method is applicable with other kinds of sample.
It works well with single shot sample chains such as kick drums, snares, hi hats, percussion, ecc.
Forgive me for the lenghty post, but i’ve tried to give as much details as possible. Also i’m not an expert, so i may be wrong on some of the terminology. Althought some of the procedures that i’ve used in this method were already well known and described in other posts, I didnt see anything exactly like this posted on the forum, so i thought it would be nice to share.
I hope it can be useful
cheers
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I recently got into using “spill over” from pads that share a voice for sound design.
When a voice that will be “choked” by its neighbour (RS3, MT7, CH9 or CY11) has a long decay dialed in on their synth machine or uses a long or looped sample, the tail will “spill over” into the other pad and will be heard their when that track chokes the other.
This “spill over” can be used for all sorts of effects, for instance it can provide an additional “transient” that then fades out, but also just some playing around can provide interesting results as the two filter circuits and amp envelopes interact.
For example noise with a highpass filter with some resonance choked by a pad with a bandpass filter can do some nice textural stuff, add modulation and it can get really crazy beyond the abilities of a single track.
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Last night I decided to explore the lfos a bit more. In trying to find interesting destinations I hadn’t tried before I found that assigning it to sample loop can be kind of interesting. Balancing waveshape and amount could yield predictable but useful results but could also cause subtle and less predictable tiny loops. It’s akin to ratcheting but only on the sample layer.
I also had a lot of fun applying the velocity mod slots to lfo parameters. Obviously the results of this vary wildly depending on what you’re doing. One interesting patch was a noise sample and an impulse machine into a hpf with full res. Lfo modulating hpf cutoff at audio rate and velocity mod controlling the lfos time multiplier, speed, amount, and waveshape. Then I just got the mod offsets dialed in (all fairly low values, some positive some negative) and worked out a melody by plocking velocity values.
This may be old hat to everyone but it’s new to me and I look forward to exploring it further.
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Been exploring the temp jump function lately for transitioning between tracks when playing live. TBH I’d never really seen a use for it, but with some quick finger work, it’s possible to get some nice DJ-style cuts n chops 
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Bro check this out for something similar.
If you weren’t using the CV inputs, you can achieve something very similar with them.
The way he makes use of that slight bit of noise for a truly randomized tweak to the delay might be cool for your style too.
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whoa! Thank you for pointing to that video, totally dig that tip!
und danke Herr Shield!
Dope trick!!
Interestingly enough, and without reading your post, today I was experimenting with setting LFO destination to SMP (sample slot). I used the CH track, and got served with a variety of wild metallic clanks and clicks, which I then sampled into OT.
Good for industrial and techno 
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That’s something I’ve wanted to get further into but I haven’t been organized enough. I can see how with just a little bit of per project sample management you could get a lot of great results.
In my previous post I was talking about assigning lfo to sample loop rather than sample slot. Since it’s an on/ off parameter it takes some modulation of the lfo parameters to make it interesting.
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This is probably something a lot of people already do, but last week I thought of a trick to get rid of the annoying clicks you get from samples cuting eachother off on the same channel.
The problem (compared to the DT for instance) is that the amp envelope doesn’t retrigger. If the amp is still open when a new sound is triggered, it will remain open, and not go through the envelopes attack phase again which can normally be used to get rid of clicks.
But I only now remembered we do have an amp envelope that retriggers: the LFO! Setting it to trigger once with every new trig played, set to a negative ramp (set to max) routed to amp volume, you get a way to cut off the very start of each new sound/slice so that it doesn’t cause clicks. It can also be set slow to get a fake sidechaining effect. Does take away this channels lfo, but very worth it if youre using the AR to slice samples.
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Good one
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Jumping in on the click tips, if you’re using the Rytm in the studio you should definitely get a de-click, I hadn’t thought of this before but it’s the perfect set and forget thing for jamming with samples. An example with RX 8 De-click, removing clicks post reverb and delay with grace
I turn it off in the middle so you can hear the difference.
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Or use the regular ramp set to a negative value!
This ramp loo is bipolar and I found it easier to dial in the de-click type settings this way. Totally a personal thing though.
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I just love this video.
Been wrapping my mind around using the RYTM for bass and melodies, and the AK for drums.
This gave me a lot of inspiration.
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oh man this is sick
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