What does the DT offer over the RYTM?

However, when you apply a LFO, changes are smoother (i.e. finer than just 128 increments). Not sure how it is when you record knob movements.

If your work is focused on SAMPLE i would go to a REAL sampler, like DT and OT mk2… RYTM MK2 is a Sample player and little recorder (i love it so much if i can have only one machine that would be the RYTM MK2 every days)

But still the RYTM mk2 don’t give you much editing options on sample (of course you can resample and resample etc…)

If my work heavily rely on SAMPLE and not much on synthesis because i don’t want or i make it ITB i would go for DT for Mono one shots and mono weird things + OT MK2 for Stereo sounds and Loops.

For those who like to craft with Synthesis + Sample clearly AR MK2, A4 MK2 and Digitone is the way to go…

If money is not a problem and you like to take all the BED for ya… have anything is the best… because everything is complimentary.

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the dt allows an approach on a completely intuitive external sequencer. Why? Because the waveform can be maipulated and provides a game more than groovy

sde

Surely you can manipulate the sample start, end, loop points on the RYTM in the same way, but you just can’t see the waveform?

The Rytm also gives you individual outs, CV, and song mode. Those are all huge differences IMO. FWIW, I love the way “Kits” work.

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Manipulation is not the same, because if you want to keep the same length of playback section of the sample on Rytm, you have to also manipulate the END parameter.
Where as on DT, you set your length and only have to change the start parameter, and the length stays the same.

As stated earlier, this makes granular style work more advantageous for DT, and less so for Rytm.

Some say that for sample editing, Rytm is more “fiddly”. The lack of waveform display also contributes to this quality.

Capabilities are the same, but the path is different, due to the different implementations.

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It would be nice from Elektron to add this Length parameter on the Rytm, BTW

Shoot, yeah- if you switched LOOP with Direction you could replace End with Length and it would roughly have the same functionality(sans the loop parameter on the RYTM(which isn’t currently there anyway))

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Would be nice to have it as an option, to keep some compatibility with older projects / packs.
Just a box to tick in the Kit menu, similar to the “legacy fx send” box.

“Legacy Sample Length”

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What? You can feed the midi LFOs back into the the audio tracks like on the OT?

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Brilliant, there are 2 reasons I’ve always bypassed the DT, mono samples and only 1 LFO per track… well I can live with mono if I can feed the MIDI LFOs back in onto the audio tracks. Why have I never thought of this!

you can also feed more sets of conditional lock trigs, which make great modulators. And use the MIDI tracks to sequence FX parameters.

Thanks Adam, can you give me an example of how you’d use conditional trigs as modulators, and how you’d use the MIDI tracks to sequence FX please?

This is fine if you don’t want to sync the DT up to other gear, but otherwise you can’t do it because it will use up your MIDI in and OUT ports right?

@x0x a midi thru or merge box will allow you to still interface with other gear.

Thanks. I’m only interested in using it standalone.

@enryo ,
Let’s say you have a bass line on your DT. Track 3. You’ve already got some LFO going on it from the audio track 3 LFO.
Now set some conditional trigs as lock trigs aka trigless locks (these are for automation only, they do not trigger samples, only parameter changes, see 10.2.1 in the manual) to make the filter envelope of that bassline modulate a couple steps after it is triggered. This operates as a pseudo slow fade LFO.

Now make it conditional.

Using MIDI tracks, you can add another set of conditional trigless locks, assigned to appropriate CC#s, and use MIDI Track mutes to engage/kill them.

As for using the MIDI tracks to sequence FX, check the manual and its appendix for MIDI assignments, track # assignments, and assign CC#s in the MIDI tracks in accordance with the FX tracks CC# assignments.
After doing so, your MIDI tracks can sequence the FX tracks by using parameter locks of CC#s.
This approximates the capabilities of the A4 and AR FX tracks, which allow you to lay trigs and automate the FX parameters.

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Thanks Adam, so basically the same as the OT works. The only benefit over the OT is the no parts thing and ease of use workflow for sampling.

Thanks for da notification

AR make rythme
DT make Preset