I’m guessing it’s 10, that’s usually the drum channel on most sound modules etc.
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it has a dedicated channel, 15 by default, can be modified in MIDI Setup
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The first 12 channels are reserved for the individual tracks… it’s probably 14 or 15. Surprisingly difficult to google! Not in the manual, either.
OOPS, sorry for that useless advice.
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Thanks, this helps a lot! 
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actually it is, but I’d go for the midi chart at the bottom to look for it rather in the midi setup section…
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Yes, the info concerning the PERF Channel is in the manual, but not the actual default channel assignment!
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Could you elaborate more i don’t understand it. Because if you place a new trigger the samples is gone because the monophonic tracks
if you place a trigger with SMP = OFF after a trigger with SMP = ON then the sample will continue playing without re-triggering or stopping, so for example if you have a very long pad sample and you layer it on a short synth machine like a hihat or a tom you can trigger the toms while the pad continues to play uninterrupted.
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Artificial intelligence, genuine stupidity.
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at least it’s super polite while feeding you misinformation
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Xaxaxaxaxaxaxa
@alechko explained it correctly–the Rytm is sorta duo-phonic per track: one sample voice and one synth voice.
In fact, if you wanted, you could have:
The 16 Track Rytm
This is one of those tips that’s kinda usage specific–for some people this will be amazing, for others not so much. I don’t use it myself, but it’s kinda neat.
Prerequisites: 8 drum synth sounds on the non-shared tracks (so not the OH, CB, HT, CP), that don’t use the AMP envelope at all and that don’t need reverb, delay, or overdrive or any FILT stuff. Also, you need 8 loops of the same length/tempo. (Later you could change the lengths.)
Setup: Set a loop-sample on each of the 8 tracks (not 12, cause the shared tracks will cut the sample off.) Then put set every track’s TRIG page to SMP=OFF. Then for each track, put a trig on pulse 1 and plock it to SMP=ON, SYN=OFF. Now when you hit play, all eight loops should be going. Now you can play in the other synth drums however you want–except if you want a drum on the first pulse, you’ll have to change that trig to SMP=ON SYN=ON.
Boom, 16 track Rytm. Sorta. I say sorta, because the sample and the synth on the same channel will share their AMP and FILT settings. But the SMP and the SRC each have their own volume control, so what will be shared is the AMP envelope, the overdrive, the delay and the reverb. Fortunately, the Rytm is a pretty capable drum synth even when using just the SRC settings, without any AMP or FILT shaping.
Like I said, some people will love this, others will not, but I figured I’d put it out there.
What I use it for is not a full 16 tracks, but rather a few backing tracks attached to any synth voice that doesn’t really need AMP or FILT shaping.
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I call this one
The Dub Siren Soundboard
Prerequisites 1.70. An unused track (I usually use LT). A nice filter zap sound using the LFO. Example-- SRC impulse. FILT max res on peak filter type. FRQ in the middle. LFO mods the FRQ, and just do whatever, fast, slow, anything. FILT ENV can be kinda whatever, experiment. Crank that DELAY up and let it feedback a bit-it-it-it-ittt-tt-tt-t.
The Setup Set TRIG to 0% probability (that way no trig fires when the sequence is playing) Place trig on every step. On each step, plock different various LFO speeds, directions, types, go wild. Then, hold any trig and hit YES. YES YES YES! You now have 16 different dub sirens. Call your Jamaican uncle and get him to say random stuff into the recorder while you spam that YES button. BWA BWA BWAOOOOOT! LEEOOOLEEEOOOO bbbbbbbbrrrrrRRRRTT-T-T-T. KEEEEEEoooooo…
Warning Make sure to hit YES+TRACK every once in awhile to save all your zaps–it’s easy to tap and trig and release it too quickly, thus un-assigning the trig. If that happens, hit NO+TRACK to reload the track.
If you want a dub siren to pop off randomly every once in awhile, turn the trig probability to 1% or 2%–that seems to gurantee a zap every other loop or so.
Extension This could be anything by the way, I just really love dub sirens. You could put a different sample on every step, and have 16 different things to fire off at will. FREEESH! YEAHBWWWOOOOYYYY!
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Wow thanks for that explanation!
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Love this. Each time I think something is limited, someone like you proves how much of an asshat I am. 
This is a great trick, and I set out to try it out with some a noise recording.
Logically obvious, but yet to me unexpected caveat, is that if you do it on the hihat tracks, or any other “chokable” tracks, your other track ends up stopping the playback of the sample, and you now have to restart the sample after each “interruption”, minimizing the round robin-esque effect I was going for in the fast place.
I ended up just p-locking sample start point within the sample which worked fine.
cool tips by this guy, geat video
+music you normally wont associate with rytm vids
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That was a mindblowing video… Thanks for posting
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just a reminder that rytm is a very cool external compressor even without OB
a practice of getting a sample loop from elysia mpressor hardware to match with the plugin led me reevaluate rytm’s compressor as external compressor, and I love it.
so the thing is, dialing in the compressor for the kit can be endless process, you continue tweaking the kit and if the compressor already dialed in it interferes a bit unless it’s inactive or at max threshold/min mup/lowest ratio to be as transparent as possible (although even with max threshold it still active if tracks gain is high enough).
I had this loop from Alpha Base that I was tweaking and I just routed two outputs from my audio interface to the rytm’s EXT IN and started playing with the compressor, it’s so different… you have the ability to pre-proccess the signal and the compressor reacts really different, suddenly I realized that I can just put Live’s External Audio Effect in the chain and have a real analog compressor doing it’s thing.
the MUP is nuts, it adds so much saturation, and it has a parallel option, so cool!
here’s the example of the loop (courtesy of @flos)
dry:
rytm:
the whole process made me realize that I don’t have to sweat for the compressor settings during recordings, I can easily set it to something mild and then later on just run it as external comp during final processing. obviously not for live stuff but for studio recordings imo it’s great.
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