Can you clarify what you mean by this? So you send the kick to individual out and pass it through some processors - and back into Rytm?
I have my rytm running through my octatrack, so i use the main outs for rytm into octa input AB and the kick from its individual out into octa input c. This way i can keep the kick out of rytms built in fx and do any necessary processing in its own octa thru channel. I like to keep the kick out of the onboard fx as it seems to let the rest of the sounds breath a little better
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Is there a key combo to toggle auto-track switch on and off? (without having to enter menu and change it)
99% of the time I have it OFF, and Iām sure sometimes it toggles ON, I donāt know if itās me stumbling on a key combo by mistake, or if itās a bug.
yesterday Iāve seen the Super Glue noise sound pack Elektron released for DT on the News page and today I was playing with the resample menu on my mk2 and I realized I can sample the rytm noise, and itās beautiful, mix the compressor to max and crank up the MUP and add drive and just resample your machine with all tracks muted, now you have beautiful noise (thatās been automatically normalized, yay!) and you can run it through the filters and loop it and pitch it and whatnot.
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Yeah i have been doing this for ages no need of superglue
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wish Iāve thought of this before, it sounds so good 
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One of the things thatās pretty key to the DFAM sound is the noise which can be mixed with the oscillators pre-filter, and more importantly is set up as a default modulator of the filter cutoff frequency. Iām pretty sure the latter is 90% of the reason people enjoy DFAM for instant āindustrialā vibes.
So if you want that additional pre-filter noise layer on certain tracks whose machines donāt have a noise source (e.g. all the bass drum machines, and all the Synth machines except for SY RAW), you can of course use a white noise sample, and youāll want to randomly modulate the sample start position to get closer to the real deal. You can do that without sacrificing the single LFO by routing some white noise into a CV input and mapping that to the trackās sample start position.
And for white noise modulation of a filter, use the same thing - white noise into CV and map that to the trackās filter cutoff parameter.
Of course this white noise can be sourced from a UT NOISE machineās direct output looped into the CV input, and then youāll have the ability to sequence/p-lock (and modulate with LFO) the volume of that noise and thus the depth of its modulation to the filter cutoff on the other track(s).
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i just found this (MKI), whether itās been there before 1.70 iām not sure; itās a way of latching soloing of the tracks:
in Mute mode
- enter grid recording mode
- press and hold the Retrig button, now press and hold any one step on the sequencer
- count to three (depends on how fast you count
) - first release the Retrig button, then the step
- freehands soloing has now been activated
to return to normal behaviour, press the Retrig button again
it is also possible to exit Mute mode and select a different mode, in which case when back into Mute mode, only the muted tracks can be unmuted, unless one repeats the steps above
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adding resonance lfo to long kick tail will create a nice wobble, can be controlled with lfo envelope to kick in a bit late or from the start and it will add a nice click as well
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Do you have any tips for using the Rytm with longer atmospheric samples? Which settings are great for developing textures and background noises?
thereās plenty you can do, find a loop sweetspot and pitch, detach from audio main and send to delay/reverb wet only, with filter you can control the source and leave the delay/reverb eq available for the rest of things, layer it with noise machine and fill the spectrum, the noise machine has itās own filters so itās great for layering, add tiny bit of resonance and make the lfo to create a movement, or you can use the lfo to move the start/end point to create movement as wellā¦
you can also add bit reduction to make it crunchy or pump up the distortion to full and play with the source (SMP/SYN) levels to get sweet distortion but not too much.
you can also make these tracks scale to lowest setting and use p-locks to slide between settings, free the lfo for other things like start point random wave or filter frequency random movement, but for rhythmic movements utilize the p-locks.
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Tidbits Iāve discovered while trying to create the typical sounds I like on AR.
- The filter and the LFO are key to making unique sounds
- LFO can do audio rate modulation on most params on most machines. Except noise. The random LFO shape unfortunately doesnāt go fast enough to sound like proper noise.
- Some machines such as the low, mid and high toms behave non-linearly, seems like the same envelope is used for pitch and amp? Or some kind of feedback?
- Voltage-controlled envelopes can only be changed on the trig, no effect during decay
- Use filter resonance to add percussive body to things
- Fast filter envelope for hardness / wood effect
- Slower filter envelope for more artificial feel
- Amp envelope is more concave than synthesis page decays, which sound linear. Use to make AR sound more like other Elektrons or ādigitalā
- Think of the pad groups as folders. Even sample-only sounds can be categorized this way.
- Impulse can be shaped into a variety of sounds with the filter
- Using the sample page to add transients can make AR sound like a different synth
- Clap when set at a very high rate can make old school maracas
- Intentionally choke a continuously playing sample, works like a quick mute
- All of the tom machines can make great kicks with deeper bass than the kick machines without the need for filter resonance. (Whether this is good depends on the mix.)
- AR can do cleaner kicks with just single-cycle sinewave sample and the LFO. Lots of digital stuff can be done with samplesā¦
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Cool one
Thank you for pointing those things
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What I do now is set a longer white noise sample (or other weird noise) and set the TRIG pageās SMP to off. Then plock just the first trig in the track to SMP=ON. Set the AMP envelope to be as long as the SRC sound. The sample will start playing when the trig with the SMP lock is on, but wonāt be restarted with the rest of the trigs. Now the LFO is still free, and every trig will have a different bit of the sample in it.
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Thatās a great trick, thanks!
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adding the DVCO as a kick machine, it has all the wave shapes youād need for a deep kick, lfo for thump + filter envelope with some resonance above the fundamental for click makes a really good smooth kick, additional pitch modulation can be achieved by putting a p-lock somewhere after the trig with lower (or higher if you feel funky) tune value and slide from the original trig.
oh and btw the DVCO has a bend param, potentially can help with the thump part but itās fixed envelope so wonāt work for every kick, but still worth tweaking a bit. if it works, you can use the lfo for something else like the overdriveā¦
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Downtuned SD machines are good for bass sounds. I prefer it over the DVCO.
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for bass you can also use BD machines without the sweep, just set the sweep depth or time to 0 and use it as bass, BD HARD has sine/assymetric sine/triangle which all suitable for good bass, BD SHARP has even more waveforms and option to reset oscillator for plucky bass or free oscillator for higher attack bassā¦
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Tip: Put a trig on the FX track at the beginning of every pattern to reset the FX track to āfollow whatās on the fx pagesā.
The FX track plocks work a bit different, rather than temporarily move the params to the plock value, they change and hold the plock values until they hit the next trig. This can result in weird things happeningāyesterday I had a bunch of weird stuff I was doing on the distortion on FX track trig plocks. Changed to a new pattern (with the same kit) and the distortion was still there but the distortion page showed distortion at zero.
Turns out that to āreleaseā the plocked FX track values, you have to have a trig (with no plock values) and it will then release the values back to whatever the FX pages say.
If you have a bunch of delay feedback plocks, you definitely want to have a āreleaseā trig at the beginning of the pattern to get back to donāt-split-my-eardrums level of feedback when you switch to the next pattern.
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Agh, Iām making a MIDI control template for the Rytm, and to make it as universal as possible:
Whatās the default PERF channel of the Rytm, please?
Thanks!