Would you mind walking me through the steps involved in doing this? I don’t quite get it…
Would you mind walking me through the steps involved in doing this? I don’t quite get it…[/quote]
Check out Simon @ 6:27 - look at the parameters he is using on the Filter and LFO pages.
2 Likes
The korg ‘trigs’ with shorts as you’ll know better than I Daren, but also can when there’s a falling voltage
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Using the scaling of the Value Lin on the A4 and doing a bit of research it seems to go to ‘ground’ at about 1.3v - to generate impulses which clock the MS you only need to define a VL range of about 1.5v and create impulses from a fast env, the fall from 1.5 back through 1.3ish is enough to do the trick - must now try the monotribe click to the MS or even the Korg impulse app to the MS 
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all in a great utility machine for pan sonic tribute acts too although I’m sure an impulse from a wave editor through a sample trig would do the trick too
1 Like
Just wanted to pop in and say, this update has made the rytm everything I ever wanted it to be and moar (no longer fiending for a 909 thanks to the new kicks.) Thank you much Elektron! <3
P.S. The metallic cowbell is pretty sick, and I really like the contrast between the HH basic for closed and the original OH classic. The new snare has a lot of weight to it as well!
Almost home from work, but do I need to calibrate the machine before using the new machines?
Great tip! My favourite BD’s so far!
Cheers
For the avoidance of further doubt
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Forget about thinking of the impulse machine as some fancy new electrical path to modular - it’s not, it’s an elegant way to generate impulses - you could effectively hack that before with a very fast envelope on a machine of your choice and you may have got the desired outcome - this machine just sculpts that shape in a controlled fashion +ve or -ve
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but a sample of said machine at maximum output is exactly the same as a sample of itself played through the AR … toggle the syn/smp on/off and listen too, pings as well, even looks identical captured in an editor
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So it’s nothing outside normal pro audio voltage levels, nothing clever, not DC coupled, but it is at least tweakable unlike a sample, very useful too as a way to add a transient to a sample and works well on all tracks if you need it
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Calibration failed 3 times in a row 
I’ve updated, let the AR on for more than 2 hours, tried to calibrate but it fails:
’ calibration failed Drum Cal 3’
Any idea please?
Not quite - you need to upgrade before calibrating
you can play with the upgrade without calibrating or whilst you wait the 2 hours to calibrate but some machines will be fundamentally wrong sounding until you calibrate
doesn’t sound good
this is a long shot that sorta came up in the past, not quite like that, but was fixed …
but do try to calibrate from a clear kit situation, i’m not going into why, but it’s a long shot and worth your extra 5 mins, but tbh, that sounds not too great, maybe one for support
Yes massive update 
Plastic BD put a big smile on my face when I first heard it.Impulse has been great for driving the Mutant drums & along with different track lengths & probability the Rytm has really come into its own. The Noise engine whilst not sounding like much adds hugely to the pallet of sounds. I could listen to filtered noise thru delays for days though! Top job Elektron 
hey,
i am stuck in thailand until the 10th.
could anyone list what exactly was updated?
did anything happen on the tom engines?
really looking fwd to new hihats and cymbals though
doesn’t sound good
this is a long shot that sorta came up in the past, not quite like that, but was fixed …
but do try to calibrate from a clear kit situation, i’m not going into why, but it’s a long shot and worth your extra 5 mins, but tbh, that sounds not too great, maybe one for support[/quote]
Yes, I’ve also tried from a new kit.
Ticket opened.
I must say the new palette of sounds, make the RYTM a MUCH more well rounded machine for making music all in one box. The melodic lead and bass capabilities of the new machines are excellent!
From the README.PDF
List of changes from OS 1.22B to 1.30
New synthesis models
Basic Hi-Hat
Hi-Hat synthesis with a tinny electronic sound. Set the tone and decay of the transient to get as deep, or shrill, an impact as you want. The oscillators can be set to reset at the start, in order to get a more consistent sound between hits. Loads to CH and OH tracks.
[ul]
[li]TUN (Tune) sets the pitch of the oscillators that combine to make the basic hi-hat sound. Range (-64-+63). [/li]
[li]TON (Tone) sets the tone of the sound. Positive values produce an increasingly shrill tone, while negative values result in a deeper tone. Range (-64-+63). [/li]
[li]TRD (Transient Decay) sets the early decay rate of the sound. Shorter settings emphasize the transient. Range (0-127). [/li]
[li]DEC (Decay) sets the length of the hi-hat sound. Range (0-127). [/li]
[li]RST (Osc Reset) activate in order to reset the oscillators for each triggering of the sound, or
deactivate to let the oscillators run free. Range (0, 1). [/li]
[li]LEV (Level) sets the synth volume. Range (0-127).
Metallic Open Hi-Hat
Open Hi-Hat synthesis with a snappy metallic sound. A smattering of oscillators produces this particular brass-like alloy. Tune it to your musical needs. Loads to CH and OH tracks.
• TUN (Tune) sets the pitch of the interacting oscillators of the metal hi-hat. Range (-64-+63). • DEC (Decay) sets the length of the decay phase. Range (0-127).
• LEV (Level) sets the synth volume. Range (0-127).
Metallic Closed Hi-Hat
Closed Hi-Hat synthesis with a snappy metallic sound. A smattering of oscillators produces this particular brass-like alloy. Tune it to your musical needs. Loads to CH and OH tracks. [/li]
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• TUN (Tune) sets the pitch of the interacting oscillators of the metal hi-hat. Range (-64-+63). • DEC (Decay) sets the length of the decay phase. Range (0-127).
• LEV (Level) sets the synth volume. Range (0-127).
Ride Cymbal
A multi-functional Cymbal with a variety of cymbal oscillator configurations. Type (A-D) selects different sets of fundamental oscillator frequencies, as well as different inter-oscillator logical interaction. The sound is composed of three different components - each with a different color. The contribution of each can be set individually. Perfect for ride-cymbal type sounds as well as a host of other types of cymbal sounds. Loads to CY and CB tracks.
[ul]
[li]TUN (Tune) sets the pitch of the interacting oscillators that make up the ride cymbal model. Range (-64-+63). [/li]
[li]TYP (Cymbal Type) sets the type of oscillator interaction. Each type has a distinctive set of logical operations between the three components C1, C2 and C3. Range (A-D). [/li]
[li]HIT (Hit Decay) sets the top decay. Range (0-127). [/li]
[li]DEC (Tail Decay) sets the tail decay. Range (0-127). [/li]
[li]C1, C2, C3 (Component 1, 2, 3) sets the level of each component. Range (0-127). [/li]
[li]LEV (Level) sets the synth volume. Range (0-127).
Metallic Cymbal
Cymbal synthesis with a snappy metallic sound. A handful of interacting oscillators combine to give this cymbal model a distinctively cool chime. The ability to set the tone of the transient as well as the body of the cymbal sound lets you temper this model to suit your composition with ease. Loads to CY and CB tracks. [/li]
[/ul]
[ul]
[li]TUN (Tune) sets the pitch of the interacting oscillators of the metallic cymbal. Range (-64-+63). [/li]
[li]TON (Tone) sets the tone of the metallic transient. Range (-64-+63). [/li]
[li]TRD (Transient Decay) sets the length of the transient decay phase. Range (0-127). [/li]
[li]DEC (Decay) sets the length of the decay phase of the oscillators. Range (0-127). [/li]
[li]LEV (Level) sets the synth volume. Range (0-127). [/li]
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Metallic Cowbell
Two-oscillator Cowbell synthesis with a snappy metallic sound. Like the classic cowbell model, the resonant cavity of this virtual jangler can be simulated using subtle or drastic detune interaction from a second oscillator. Set the pitch proper, set the detune offset, then go scare those electric sheep away with more cowbell. Loads to CY and CB tracks.
• TUN (Tune) sets the base pitch of the two oscillators. Range (-64-+63).
• DEC (Decay) sets the length of the decay phase of the metallic cowbell sound. Range (0-127). • DET (Detune) sets the detune offset of the second oscillator. Range (0-127).
• LEV (Level) sets the synth volume. Range (0-127).
Sharp Bass Drum
A modern, hard-impact Bass Drum model based on a single-VCO configuration. Sports a sharp transient and a choice of waveforms. There are five waveforms to choose from (Sine, Asymmetric Sine, Triangle, Sinetooth and Sawtooth), and there is a choice between letting the oscillator run freely (in order to get slight differences between hits), or have it reset each time the sound is trigged (wave graphics shown with an anchor point on the LCD). Loads to BD, SD, RS and CP tracks.
[ul]
[li]TUN (Tune) sets the pitch of the oscillator. Range (-64-+63). [/li]
[li]SWT (Sweep Time) sets the pitch sweep time. Range (0-127). [/li]
[li]SWD (Sweep Depth) sets the depth of the pitch sweep. Range (0-127). [/li]
[li]DEC (Decay) sets the length of the decay phase. Range (0-127). [/li]
[li]HLD (Hold Time) sets the length of the hold phase. Range (0-127). [/li]
[li]TIC (Tick Level) sets the level of the transient tick. Range (0-127). [/li]
[li]WAV (Waveform) sets the waveform. There are five waveforms to choose from (Sine, Asymmetric Sine, Triangle, Sinetooth and Sawtooth), and there is a choice between letting the oscillator run freely, or have it reset each time the synth is triggered (wave graphics shown with an anchor point on the LCD). [/li]
[li]LEV (Level) sets the synth volume. Range (0-127). Silky Bass Drum
A silky-smooth Bass Drum with a sizeable sweet spot and a gentle VCO-click for shaping the transient. Check out the dust parameter, which lets the drum be buried in subtle (or pronounced) [/li]
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… tape-like static. Loads to BD, SD, RS and CP tracks.
• TUN (Tune) sets the pitch of the oscillator. Range (-64-+63).
• SWT (Sweep Time) sets the pitch sweep time. Range (0-127).
• SWD (Sweep Depth) sets the depth of the pitch sweep. Range (0-127).
• DEC (Decay) sets the length of the decay phase. Range (0-127).
• HLD (Hold) sets the length of the hold phase. Range (0-127).
• DUS (Dust Level) sets the level of subtle tape-like static. Range (0-127).
• CLK (VCO Click) sets the soft, oscillator-generated click level. Range (0-127). • LEV (Level) sets the synth volume. Range (0-127).
Plastic Bass Drum
A Bass Drum model that gives you a choice of either linear Frequency Modulation, or a combination of FM and ring modulation interaction between two VCOs to achieve distinct harmonics with a high degree of interesting movement. Both types of modulation produce distinctive harmonics, as well as the plastic buoyancy for which this drum model is so aptly named. Loads to BD, SD, RS and CP tracks.
[ul]
[li]TUN (Tune) sets the pitch of the two interacting oscillators. Range (0-127). [/li]
[li]SWT (Sweep Time) sets the pitch sweep time of the two interacting oscillators. Range (0-127). [/li]
[li]SWD (Sweep Depth) sets the depth of the pitch sweep. Range (0-127). [/li]
[li]DEC (Decay) sets the length of the decay phase. Range (0-127). [/li]
[li]TYP (Modulation Type) The first (A) gives FM between the oscillators. The second (B) is FM combined with ring modulation. [/li]
[li]MOD (Modulation Level) sets the modulation depth. Range (0-127). [/li]
[li]TIC (Tick Level) sets the level of the transient tick. Range (0-127). [/li]
[li]LEV (Level) sets the synth volume. Range (0-127).
Natural Snare Drum
A familiar and natural-sounding snare based on a single-VCO configuration. User-configurable noise color makes this snare highly useful for both acoustic-type snares and subtle, electronic mini-snares. Loads to BD, SD, RS and CP tracks. [/li]
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• TUN (Tune) sets the pitch of the first oscillator. Range (-64-+63).
• DEC (Noise Decay) sets the length of the noise decay phase. Range (0-127).
• BAL (Noise Balance) sets the balance between noise and oscillator. Range (0-127).
• BDY (Body Decay) sets the length of the decay phase of the oscillator. Range (0-127).
• HPF (Noise HPF) sets the highpass filtering cutoff frequency for the noise. Range (0-127). • LPF (Noise LPF) sets the lowpass filtering cutoff frequency for the noise. Range (0-127). • RES (Noise Resonance) adds a resonant peak to the Noise LPF. Range (0-127).
• LEV (Level) sets the synth volume. Range (0-127).
Noise Generator
A white noise generator complete with a resonant low-pass filter and a high pass filter. There is also an amplitude envelope that controls the volume over time, and controls for automatically sweeping the low pass frequency. Loads to any track.
[ul]
[li]LPF (LP Filter) sets the lowpass filtering cutoff frequency. Range (0-127). [/li]
[li]LPQ (LP Resonance) sets the amount of resonance around the cutoff frequency of the LP
Filter. Zero value quenches resonance altogether. Range (0-127). [/li]
[li]ATK (Attack) sets the length of the attack phase. Range (0-127). [/li]
[li]DEC (Decay) sets the length of the decay phase. Range (0-INF). [/li]
[li]HPF (HP Filter) sets the highpass filtering cutoff frequency. Range (0-127). [/li]
[li]SWD (Sweep Depth) sets the depth of the LP Filter sweep. Negative values for below, positive values for above the threshold. Range (-64-+63). [/li]
[li]SWT (Sweep Time) sets the time it takes for the sweep to complete, from the depth set by SWD. Low values result in snappy sweeps, while high values result in longer sweeps. Range (0-127). [/li]
[li]LEV (Level) sets the volume of noise. Range (0-127). Impulse Generator
Generates a short pulse with controllable attack, decay and polarity. This model is useful for triggering external devices or the internal filter. Loads to any track. [/li]
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• ATK (Attack) sets the length of the attack phase. Range (0-127). • DEC (Decay) sets the length of the decay phase. Range (0-127). • POL (Polarity) sets the polarity, positive or negative (POS, NEG). • LEV (Level) sets the volume of the impulse. Range (0-127).
some electro I got working with just the new synthesis machines.
Silky Plastic BD, Natural SD, Sharp BD (mono synth, with filter FM) Noise (on Clap), Metallic CH, Metallic OH, Metallic CY, Metallic CB
awesome,
thanks.
so no need to be sad when coming back from travelling
HH basic is probably my favorite of the bunch
its 606 silky
HH Metallic is almost like a sample its so chunky, which is amazing.
MY ONLY WISH: The “dust” parameter on BD SILKY should be louder. On multiple listening environments it was barely there at full volume, even when playing with multiple compressor settings. Just a smidge more dust, please
I find that using the peaking filter to boost that dust helps.
1 Like
That’s pimp, do you have a link to your sound cloud or somewhere with more sounds like this?