Rytm tips and tricks

Peter118 · 2024-04-16T10:02:59.463Z

Guys/ladies…I need your advice.

I’m eying a Analog Rytm MK2 for some time, and I’m liking it very much. Now I have the chance to buy a new, sealed for €1499,- from a official shop. What do you think of this price?

alechko · 2024-04-16T10:15:43.036Z

pretty good price for a new unit imo, maybe people who visit shops more often then me can say if there’s a better deal elsewhere but I think it’s a good price…

Peter118 · 2024-04-16T14:37:07.704Z

Thanks! I’m a bit hesitating because Superbooth is coming next month and maybe Elektron will introduce new hardware. Also the Rytm MK2 Black is sold out for more than a month now at Eletron, makes me a bit suspicious.

But the price of €1499, - for a brandnew Rytm MK2 Black edition is very tempting.

Speldosa · 2024-04-16T20:52:36.247Z

Is it possible to change kits back and fourth in a speedy manner? It seems like it’s not possible to copy and paste kits somehow, right? And when loading a new kit from the menu, you are automatically thrown out of the load menu, meaning you have to navigate back in order to load another.

Octagonist · 2024-04-17T07:05:19.070Z

Do you want to do it live?

You could copy & paste the Pattern a bunch of times, assign a different Kit to each one, and use Direct Jump to change Pattern.

If this is for exploratory studio production fun, you’re right… it’s fiddly and slow.

0e0 · 2024-04-25T01:50:28.111Z

I did something similar with a SSL bus compressor.

the sweet spot on the rytms compressor is not great but you can definitely Dial in a sound quite precisely

bgEN · 2024-07-04T03:30:30.038Z

Was messing around tonight, doing things I couldn’t understand, things I wouldn’t understand, things I shouldn’t understand… until now! I present to you,

Ping Pong Looping on the Rytm!!mtyR eht no gnipooL gnoP gniP

Now, before you get all technical and lawyered up, no it’s not a full on ping pong looping mode, but you can definitely scan through a long sample as if it were tape.

The Set Up
Get a nice four bar loop where you can definitely tell if it’s playing backwards or forwards, like a synth arp. Infinite amp decay. Turn SRC all the way down and SMPL all the way up, we just want the sample playing. The START should be at 0, the END at 120. Turn LOOP to ON.

On the TRIG page, turn SMP to ON (default). Expand the measures to 64/64.

The Trick
On the track of your sample, place a trig on step 1.

Then, put a trig on step 9. Now, go to the SMP page, and for that step 9 trig, plock the START to 120 and the END to 0. For even neater ideas, plock the TUNE to +5, you’ll see.

Now play it… And as soon as the first trig hits, on the TRIG page turn SMP to OFF. The loop will go to the 9th step and then FROM THAT POINT play backwards, then forwards again when it hits the first trig. If you messed with the tuning, it will even rewind PAST the beginning point and then go forward again at regular speed.

You could do some weird fake record scratching if you mess with the tuning for each plock.

If you want, you can put a plocked SMP=ON trig somewhere and only have it trigger FIRST time through, etc etc.

Are y’all even actually trying these tips? They’re pretty fun.

If you look at my “16 Track Rytm” tip, you could take that idea and have 8 independent loops doing weird ping ponging back and forth kinda stuff, like tape machines being run forwards and backwards.

You could put the same loop on two tracks, pan one left, the other right, and then instead of plocking the TUNE to +5 you could plock the FINE TUNE to a value and have the two slowly drift in and out of sync. This would work good on like someone talking, I think, trippy and phasey.

EDIT: Here, have an example:

alechko · 2024-09-30T16:57:36.441Z

TIL that long press on the will open the Load Project menu

sid6581 · 2024-11-20T19:53:06.097Z

Not sure if anyone has posted this on Elektronauts elsewhere, but I enjoyed this video.

Sternenlicht · 2024-11-20T22:25:26.286Z

So, what is your recommended amount of samples for a sample chain (I go with 30, but that is an interval of 4 (120/4)? I mean percussive samples, do you make different chains for synth stuff, or do you mesh these, and hope for intresting results while scanning them? Do you just do sound locks, with sample offset, or random LFO to sample start? Would that work at all? I.e. mod depth to a fixed value, would not scan all the samples in the chain?

(I used the method with base sample, and then plocking offsets - but that is kind a work intensive - so maybe there are better ways to do it?)

matteblacksmoke · 2024-11-20T22:30:41.375Z

stimming is so cool. i just want to hang with that guy.

Skorheim · 2024-11-21T03:11:34.788Z

Don’t know this was obvious or not, but I just figured out that a 2 bar ‘amen’ sample breaks up evenly in multiples of 15, if anybody was wondering

Sleepyhead · 2024-12-07T10:58:49.374Z

Cool trick!

B_LD · 2025-04-18T18:45:19.155Z

Can anyone confirm the above chopping trick by @shortcircuit was working? I just tried it with OS1.72 and can’t seem to make retrigs work as required….

uNAQ · 2025-04-18T20:09:08.116Z

Anyone have any interesting suggestions on what to use the trigs on the FX track sequencer.
How do you usually go about it?

Schnork · 2025-04-18T20:22:29.609Z

I usually use them to duck the reverb to achieve an effect similar to sidechaining the reverb to a kick. Trigs on the same steps as the kick, lfo with exponential wave in one shot mode modulating reverb mix volume.
Use negative depth (-40 to -80 depending on how strong you want your ducking effect and how much reverb you have in the mix). Speed is around 20 (fine tune by ear to get it to pump with the groove) with multipler set to x8.

uNAQ · 2025-04-19T06:11:38.086Z

Cool one.
I will sometimes put trigs on where the kick is and route it to the symmetry parameter.
The effect is to get a type of distortion modulation that can go as far as breaking the sound.
If using a mixer is nice to route some channels to the main outs and use that trick in a techno or ambient context.

Also puting trigs and modulating the delay time, then adding some slides can also get freaky.

Anyone got any other interesting suggestions to try out?

Schnork · 2025-04-20T19:15:56.250Z

uNAQ:

I will sometimes put trigs on where the kick is and route it to the symmetry parameter.
The effect is to get a type of distortion modulation that can go as far as breaking the sound.
If using a mixer is nice to route some channels to the main outs and use that trick in a techno or ambient context.

Nice! That’s actually a really cool idea. I’ve never used the master distortion much, because things get hissy and noisy pretty quickly, but this is fun! So far I tried to target hats and other high freq sounds by putting trigs offbeat or somewhere else inbetween kicks and let the symmetry chop off just a bit of the high freq content.
Could also use p-locks on some of the trigs.

Btw, this reminds me of two things; The video about modulating the compressor on the Octatrack to change the groove/feel of a track, mainly modulating attack and release. Only one lfo on the Rytm, but p-locking is an option, or maybe midi lfos could be used as well (OTs midi lfos work fairly well, even for timing sensitive stuff.

Second one is from an Elektron video (a demo of one of the OS updates) where Dataline used the noise generator on certain steps to trigger the compressor and thus change the groove of the whole mix. I tried it a few times, but couldn’t really get it right.
Not sure how Dataline had set the compressor, but sounds like a potentially useful trick.

uNAQ · 2025-04-21T08:41:11.417Z

Cool ones.
Gonna try them out and experiment

johngredin · 2025-04-21T16:12:49.826Z

Some stuff I love to do on top what’s been suggested:

Gated reverb vibe or ghost rythms with volume automations on reverb.
Playing with the len, tail or the freq or reverb can do a lot for tonal sculpting
Modulating delay time for glitch FX (can do wonder with conditional trigs)
Lock the LFO on different parameters, so you can rythmically automate more than one FX (and do crazy audio rate modulations on the comp, distortion and reverb)