No you don’t. It’s drawn on the front panel.
You might have to learn which of the pads/tracks can host a DVCO. It’s pretty easy tho: all the bottom row.
EDIT: hang on… when you said “hide” you meant the same as what I mean by “host”. Yeah, I see what you’re saying… but really, it’s all the bottom row. Pretty easy 
I agree with this, but also understand the idea/logic in having the extra pads there splitting two mono voices… and, not forgetting you can load it up with samples and not have any track restrictions (which puts it into TR8S territory then).
I think @darenager mentioned this earlier on, but attaching a keyboard to play the Dual VCO opened it up massively to me… also, even though a lot of us are all about standalone/DAWless, got to say Overbridge really expands the Analog Rytm for me. After spending a solid 9 months WITHOUT using Overbridge at all, when I did use it it made a ton of things fall into place.
I don’t tend to use any of my Elektron devices as sequencers these days, they’re 95% sound modules (Rytm, A4 and Digitone)… and they’re all worth having just for this IMO.
It actually baffles me how anyone could fully understand/operate the Rytm and not like it. Horses for courses innit…
yea im very torn with the AR. Love the distortion & compressor. love direct pattern change. tho some of the the ui n modulation decisions irk me, n I do think they missed a trick or 2 underpowering it in certain ways.
having said that, it can sound fantastic in the right hands n I’ve heard some amazing sh1t being pumped out of it, so as has been said, it’s just not for me. totally a personal thing. it’s clearly a quality piece of kit n very deep it’s its own ways.
Can you link or elaborate for this?
Try this:
it’ll suit some workflows but not all. It’s a tool for when trig conditions can’t quite get you where you want. Saves you a pattern, but loses you a track (but since it’s a choke track this isn’t much of a loss). You don’t need to mute track 3 for it to work. It’s easier to perform than queuing up the next pattern (not that that’s hard, but cutting any key combos on stage seems worthwhile). Maybe you like the “four patterns per track” system but you wished you had an extra one for a one bar key change.
Here’s a related idea:
Or… have track 10 be the same as the OH hits on track 9, but use a slightly different OH sound, for really subtle variation. Then you free up the LFOs to do something else on both 9 and 10 to keep the ear tickled.
Some great tricks here guys!
One way of looking at the Rytm which made me appreciate it even more is that it’s the perfect companion to an in the box/daw based workflow. The things the AR excels at (analog, warm sound/distortion/filters, analog drums/synth voices, hands-on sequencing, live-tweaking with the scenes and perf modes etc) are the things lacking in a daw. The things the AR lacks (sample chopping, fx, polyphonic synths/samples, good mixing) are the things DAW’s excel at.
This makes way more sense to me than getting a modern mpc to use with a daw, since they overlap a lot, and you still miss the analog voices, filters, compression and distortion.
the sound engines are limited. but to me, only using those is missing the best part of the machine: running samples through analog VCA/VCF/distortion/compression. then just supplement them with the built in sound engines. instead of going “eh, I can’t get this sample where I want it, I’ll have to search for a better one or another sample to layer it with…” you can just dial in the analog sound engine around it.
polyphony limitation? I don’t know… I generally don’t need to hear more than eight drum sounds at once. a drummer only has four limbs, after all.
I’m finding this so hard and confusing with my AR. I need to sit with it a lot. I’d pay you @Sleepyhead, or @saint_stink, for a masterclass.
if you can live with Jomox’s dog sh*t OS…
The current MPC’s sit somewhere in between… I think if you sat with an MPC and the Rytm for a week or two you’d realise how well they work with each other, and the sheer power of the MPC that makes it the ONLY true viable DAW alternative IMO.
Personally I find it tough to create a complete finished track on the Rytm alone (or the A4 for that matter)… but, what they do give me I really like. They’re inspiring to start a process with, or drop in during a project when you want something else… but it’s either the MPC (Live 2 in my case) or Ableton for me to get the job done.
The other thing people miss about the current MPC’s (usually when labelling them DAW boxes) is how tactile they are… they feel like an instrument… I find the MPC process way more enjoyable/satisfying than using Ableton (w/Push 2) for that reason.
@Sleepyhead having heard your own output on the Rytm, I’d really like to hear what you’d do with a Rytm/MPC combo, I think you’d love it.
Thanks that’s appreciated, I have been found things like that with hihats, but haven’t really considered it in other places, I’ll definitely have a look 
Rytm definitely not worth the price anymore. When it first came out, yes. Really good value. But the price has surpassed it’s fun/inspiring factor.
Nonsense. When it first came out you couldn’t sample with it and it didn’t have a three voice 2-osc chromatic synth with FM+ring mod.
I’m often tempted, the new MPC’s look like real daw alternatives indeed. Especially the live 2 with its internal battery seems awesome.
I’m currently rocking a Moog GM, AR, Zoom Sampletrak trio as my setup which is great. The Rytm is the brain, the Moog is used as a sample source and midi keyboard, and the Sampletrak to chop samples and for its great lofi sound and its fx. I think I’ll see how far this setup gets me in the coming months…
That’s fair - but are basic sampling and the synth engine worth several hundred dollars?
Imagine this was modular:
Personally, I think the answer to your question is “yes, absolutely”. I paid full UK price for mine, last year. It’s my favourite bit of kit I have ever bought (and I have a few other really nice things). I just played my first live set in several years, entirely on an AR. It wasn’t great, but that was me much more than the AR - if I’d been more patient and thoughtful in my prep, the AR would have delivered.
Admittedly, this is the first drum machine I’ve owned. Maybe I’m looking at it with inexperienced eyes. I borrowed a BOSS DR-660 when I was a kid, and have used a couple of others now and then. I’ve not used a current Roland, but the rainbow colours put me off. I’ve been tempted by an AcidLab Miami a few times, but the AR leaves it broken and bloody if you’re willing to drop the purist 808 sound (which I am). I currently prefer the AR to the whole of Ableton Suite and Push in terms of fun and productivity (and despite the 1000x variety Ableton offers).
I honestly don’t know what you’re expecting for your money. I’m fairly confident you can’t recreate the range, fun, power, sound quality, performance tools, simplicity, portability and ruggedness of an AR with any combination of cheaper components.
one way to look at it is that it’s like you have a Digitakt with a Vermona DRM1 in the same box. I say this partially because some of the sounds remind me of the DRM1. but also as a gauge for the value of those two items together, versus the RYTM. nevermind that you also get all kinds of Elektron sequencing and performance goodies on top of what the Digitakt offers…
Here is a little recording of us rehearsing some kits, depending on the kit the pedal controls various parameters, kick or fx I think here. up to four destinations per cv input. Using one pedal atm
Another thing the AR gives you is a hand warmer for if your studio is a bit cold.
I live jam them, I find this works well, looked into song mode a bit at the start but never gone back. Always bought for live though