I was looking for an analog drum synth with some variability on the voices and there seems to be little competition to the rytm. I use an MPC as my production centerpiece, so I don’t really need to sequence external gear or sampling capabilities. What I like about the Rytm is the ability to layer samples with analog voices and that its already preconfigured drum engines. I got the to the analog four because (a) its cheaper used, especially the mk 1 version (and i would probably go mk 2 on the rytm bc of the pads) (b) i like that I can use it as an external FX processor. Is anyone using Analog Four here for drum duties? How does it fare? If you happen to have any alternate suggestions between the price of a drumbrute and an analog rytm, I’m all ears (happy to buy used as well).
There’s a couple of discussions on this topic already, the first being the most recent:
Having said that, I use an A4 Mk1 as a drum synth all the time, and it’s generally excellent for that purpose, especially when using sound locks to add more than one drum or synth sound to a sequencer track.
Thanks! I’m going through these now, I found some threads but nothing exactly like my question, so I didn’t revive them but apparently I missed those. I’m going through them now. If another thread is unwanted it can be closed and I can revive one of the older threads.
I think the A4 is a banging drum synth and have read several comments suggesting that some users even live it more than the Rytm on percussion duties. That being said, remember that the mki only has stereo outs. Never used a Drumbrute but my impression is that the A4 is vastly more flexible.
This is a good point; it’s never particularly bothered me, but of course individual outs for drum machines are always a bonus (or essential for some users).
I’m using an A4 not just for drum synthesis, but also to control and sequence CV drum modules (DFAM and Modbase Mk2)… works amazingly in that application.
Due to the interface – I don’t believe that the A4 is ideal for drum machine duties. Yes there are sound locks, but those are a bit restrictive in their own right. I can see multimap being useful - especially for live recording various sounds to the sequencer.
With that said, you could potentially go a lot deeper with the A4 synthesis to have a more broad pallet of sounds when compared with the RYTM. A4 is not restricted to the various “machines” which have sweet spots as with the RYTM. If I were simply creating synth-drum patches to sample, I would prefer to use A4 to dial in the exact sound that I want.
If I wanted immediate live drum synthesis - I would use RYTM, as it may not have all the synth drum sounds that I want, but it’s interface makes it incredibly fast and very performative.
There are of course going to be some exceptions to the above. For instance; I wouldn’t really know how to go about getting the RYTM’s type of cymbal sounds on A4. Also, RYTM’s DVCO engine is out of this world.
I hope that makes sense and is helpful to you and others.
Interesting! I don’t need performance features but yes, I wanted to buy a drum synth for immediacy. I’m interested in creating secondary rhythm tracks for layering (stacked on or secondary to drums from the mpc) or just using synthesized drum tracks sometimes. I should probably just do some drum design on synths I have to get a feel for how fast I would get and how the results are. I also bought a DFAM, which I will try out and see how I get along with samples sequences from there.
Not at all to get into feature requests… and I know you didn’t even ask about the RYTM, but from an Elektron covered desk individual’s perspective: I do occasionally miss pitch-tracking on the RYTM’s filter, which A4 of course features, (separate tracking control and envelope depth control per pair of filters, per voice). I sometimes think it would also be great having a 2nd filter and a 2nd LFO per voice for RYTM - but then… is all of that really going to help it be a better drum machine?
There is something to be said for both sound “sculpting” options and immediacy/playability. With RYTM I believe they’ve found a nice balance when you account for the sample layer, performance macros, scenes, slides, accents, fills, track length features, chain muting, velocity modulation, aftertouch, control input etc.
In other words… as nice as the drum sounds are, A4 has not spoiled RYTM for me. If I ever find RYTM limiting from an analog synth-drum sound design perspective, I will usually resort to using a sample on the RYTM instead, or maybe layer synth sounds on RYTM, resample and tweak to taste some more.
There are of course other times where I’ll just start making something very percussive on the A4. It’s fine and interesting to change up the supposed roles anyway - and those are the times that the DVCO machine really shines on the RYTM for me!
I would be remiss if I didn’t once again mention the Druma sound pack by @darenager (who posted upthread), which in my opinion is the single best advertisement for the A4 as a drum synth.
Analog Four can be used to create all sorts of drum sounds, except for cymbal and hi-hat sounds like the 808.
There are more parameters to control in Analog Four than in Rytm, so if you’re looking to create quirky drum sounds, Analog Four is the way to go.
