ive been spending the week trying to finally dig into scenes and perf mode and i have really mixed feelings. Once they’re set up, they’re great. But I really think the UI for building these is confusing and complicated. I have to practice the setup procses because when im in the flow and trying to make a new perf/scene, i often fuck it up and accidentally wildly change the parameters on the kit or on the wrong track. And since i’m inconsistent about quick saving the kit before make the changes, sometimes i ruin a kit or pattern completely. Obviously a lot of this is user error, but the process is complicated and requires the user to be really diligent the whole time. It’s turned me off of using scenes and perfs in general.
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Yes, I agree with you about the process of setting up… but once it is set, it’s fun and rewarding. Let’s consider that’s something designed more than 10 years ago, with different technology and limits + that Elektron ™ flow…
Then again, I understand that’s not immediate.
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Agree they work best on hi hats but using them to live record velocity for kicks/snares is kind of a nightmare… sigh they aren’t terrible but the velocity curve (not sure if it’s a hardware or firmware thing) is just so hard to use reliably/consistently. I find myself usually having to manually tweak velocity at the step level or just replacing the max velocity hits I need by double clicking the step.
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performance macros are incredible, it is by far one of the best feature that I can’t live without when trying making sounds on other devices.
can’t say I use scenes too much but that’s because it’s too much to handle simultaneously for me, I prefer having macros and changing stuff per track but that’s a personal preference.
as for setting them up, it becomes second nature with practice, best thing about them is that they are non-destructive, meaning you can’t mess up your kit with performance macros, you can push the values as hard as you want but it always will return to the default track value.
with practice you will have in mind exactly what you want to bind and you probably will build a mental system for them, for example, I use top row (or at least most of it) dedicated to the fx, so I have a macro for delay, reverb and sometimes overdrive/compressor too, the other rows dedicated to the tracks, I try to keep single macro per track and usually it’s enough, a lot can be done with single macro and a track when multiple tracks are playing.
if one is not enough, I use the choke tracks to have secondary macro for one track, it all depends on the kit/pattern but thing is once you have a mental image of how you want them it really becomes second nature.
also, best thing about the marcos is blending them together, if you hold down the QPER and hit some pads of several marcos, now you control all of the selected ones with the QPERF knob. this leads to crazy unpredictable behavior.
mix your delay feedback with reverb decay and open shelving, change lfo rates/depth, mix up samples by binding sample slot, there’s infinite amount of stuff you can do with single performance macro and then multiply it by 12 with mix and match.
take your time to practice setting them up, it will be worth it.
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HH lab, raw, 626 conga
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Conga are synthtised or sample ?
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That is a sample of a 626 conga with a little Rytm bit reduction and an exponential lfo on the amp. i also used resonant filter pings for both the clave and tom voices
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This dope. Thanks for sharing.
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Prob make a video of this one for IG this weekend if there’s time.
Rytm MK2
I had one midi clip sending a signal for one note to my super 6 that i set to sub and didnt’ realize it, otherwise all MK2. Nothing really beats the snap and crispness of the 808 snare–it’s brisk, baby, so that’s my snare sample along with using the stock rimshot as a background to it. Pads are samples on 5, 6, and 7, otherwise rest is all stock Rytm engines.
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I’m using an external midi-controller on the performance pads, so i can make an easy transition from one state to another if carefully crafted.
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Lately I have really enjoyed making complete tracks with just one pattern and using scenes to create mute groups. By doing this, I avoid taking time to go into song mode and just live perform a recording, progressing from one scene to the next and in some ways emulating a chopping effect by choking one scene with the other. Previously unfamiliar with the scene workflow, it has given me a new approach to making compositions and has helped minimize recent GAS for other newer devices. I’ll post this recent track here as an example.
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incoming mk1…arrived today upgrading to latest os - was still on 1.46 - very good condition with decksaver no yellowing/grunginess pads all firm - two and half hour calibration whhaaattt???
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this old-ish recording I love (although kinda messed it with occasional cowbell that I forgot to turn off) from sy chip and the fx, sy chip is such a great one…
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A lot of people say that Rytm doesn’t have that bite, that beat, that sting, but mind you–it’s razor sharp when you need it in your hour of darkness:
No samples except for the obvious drop from some old movie you might know.
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