One way to do it is to set master pattern length to something that is divisible by both 3 and 4. The easiest would be 12 steps, but could be as long as 60 steps. If you’re just doing a 4 on the floor kick, then you put your 3/4 hits on multiples of three throughout. You could then use the FUNC + Left/Right in Record mode to shift those hits to a spot you prefer all together. Then go back and remove hits, adjust microtiming, and do all the elektrony things with p locks and trig conditions to get more variation. I think an important one is to shift timbre elements of the hits in subtle ways.
The other is that if you are just going to do 4/4 for the kick and you want that on every measure in the same spot, you could set the master time signature to 3/4 so you can get a metronome for that feel. Then, place the kick trigs on the multiples of 4 + 1.
Oh and the other way is don’t set anything until you have a poly metric feel you like in the first page or so of trigs and then adjust the track length in a subtractive way
Hell yeah. All that makes sense to me. Definitely time to dig in hard on time signatures.
I come from 20 years of self taught drumming so I can play all kinds of funky time signatures but I’ve never known the vocabulary and mathematics behind them. Just makes sense to me based on feel. Can’t be that hard though lol.
Thanks for the tips! Really appreciate it. Stoked to dive in.
Yeah man I’m a self taught drummer too and feel is what it’s all about. IMO when people depend too much on the Euclidean sequencing they miss out on any feel. Also, I think it’s fun to just be influenced by those rhythmic feels/grooves and find something you dig, rather than trying to go for authenticity of a certain rhythmic tradition. For example, bell patterns can be whatever you want on any instrument/sound you want - no need to be tied to what they do in Cuba, Brazil, or Guinea.
I worked on some remixes, hopefully it come out somewhen, that basically use the Rytm for automation (using the trigs), mainly using the filter to apply extra bass or kicks etc using the stems form the original track running through a DAW and then syncing the Rytm to apply these extra grooves and patterns. It worked quite well and definitely opened some interesting areas to explore. You get this nice stable repetition from the Rytm adjustments per trig, but the sound sources is moving along behind it, giving it some movement. Definitely want to explore this more.
Thanks! lol yeah I mean, i think it’s a little hard to get weird with just an AR… it’s comfort zone is literally techno. But there are awesome examples of other genres and all around forward thinking in this thread!
I had a reflection yesterday, that the difference between a “song” and a (sometimes maligned) “jam” is distinct sections, typically with harmonic development.
The jam is often just one section, and the lack of movement grates.
I’ve found endless examples of Elektrons being used for amorphous flow but I’m just curious to find some people who are using Elektron’s in traditional song writing formats.
