I agree the Rytm tends to be a slow start but with a big payoff as the track comes together. It’s always handy to have those synth engines available when you need them, even though I’m more into sampling. And the filter is just right for me personally. It opens so many possibilities for sound design. Honestly my only gripe is the limited memory and lack of slicing. Otherwise it’s perfect.
The s2400 looks very fun. I have space constraints in my Brooklyn apartment so sadly I would really have to choose one over the other. Ah well, can’t have them all right? I do admire the spirit of this drum machine and I think it’s a great thing that such projects have come to fruition.
The Soundboard:
Place a trig on every trig of a track. Put a different sound on every trig. You can use different samples, airhorns and zaps and whatnot, and then trigger them like a sound board by pushing the trig and hitting YES. Make sure to save the track, it’s easy to accidentally erase a trig.
Also, if you just want these random zaps/etc firing off every once in awhile, set track probability to 5% or so, it will randomly fire a trig every other loop or so.
I made 16 zaps for you! Try it! The zaps on Rytm are so wobbly and good.
^ pretty sure sample chaining through trigs was advertised during a rytm tutorial when it first came out, none-the-less always sweet to hear how people randomize the sample chains
I’ve been getting things together for a gig over in Manchester…
Digitone, Tetra and RYTM II.
Though I play a lot of disco, the music I make and release is mainly inspired by years of listening to Detroit and Chicago House and Techno…
it’s time to mention the great ability to route USB audio thru different tracks and even better, to split the L/R digital audio over two tracks simultaneously.
it’s a great Analog route for the OP-1 for instance, using the filter, VCAs, fx, compressor and such, I do love the fact that the pad (track) picks up the Audio and visualizes it with light, great implementation of levels up to +18db and the „new“ tuning makes some layering with analog machines a breeze.
I think a TX6 can therefore be a good match and AH+FX is now in a far far distance, because it’s more integrated on rytm and a similar Analog channel strip
based on the title, is it multiple dvco tracks going at the same time? but how are you getting one track to trigger another… some kind of NEI use? or are you triggering it from an external keyboard set up to trigger many channels simultaneously?
the way 12216xdvco is played it sound like there’s an external keyboard…
are there samples involved?
TELL US WHAT IS HAPPENING.
(in case i’m not being clear, i think this is really dynamite stuff.)
Just dropping a couple beats in here. It’s a mix of samples and rytm synths. I forget which ones, but I mainly use the kicks and DVCO and some hats. I was feeling lazy and didn’t want to incorporate any other boxes, so all Rytm here except for the Pusha-T vocals, which I recorded into the Octatrack last minute. Hope y’all are doing well out there.
First Analog Rytm test-drive using the SID-Chip machine - being sent through the Roland RE-201 Space Echo plus reverb added on 1010 BlueBox.
(The more I use the BlueBox reverb, the more I appreciate it - pretty decent in my eyes).
I really wish the SID machines would also be added on the A4…
Other AR-channels were routed through the BOSS KM-60 to add saturation and grit.
Dual VCO used for basslines.
Recorded live in a single take directly to 1010 BlueBox.
Audio reactive nodes used on Erogenous Tones Structure for visuals.
On the compressor page, set: THR 82, ATK 10, REL A1, MUP 40, RAT 1:2, SEQ=HIT, MIX 95, and finally, most importantly, VOL to a low value like 50.
On your FX track, set the LFO MOD to ONE and the WAV to Exponential. Set SPH to just about 14 or so, because we don’t want full exponential. It will be too painful. Yes. Because we’re setting DST to COMPRESOR VOL. at a DEP of like +80. Yep. BAM BAM BAM.
Put trigs on your FX track on the places where you want accented transients, like on the 1 5 9 13 or whereever.
I did this cause I was jealous, maybe even envious, of that punchy 606 sound. So punchy with the transients all lined up. Well, I figured I could just get all my transients to line up alright, the hard way.
I think it worked, you tell me.
Samples: 606 from Mars, Rockers vocal, my Minilogue.
