You still have 4 choke groups they are not completely unrestricted when using samples…
Plus I think it over complicates things splitting the voices when can sound lock anyways,
but it is what it is…
The choked tracks!
I think they are most interesting when finger drumming. They add another element of expression
Depending how you hit the two tracks in a group you can get “in between” sounds
Hitting one slightly before the other, or both at the same time with different velocities produces many unique sounds especially if they use different machines.
I dont think it is something anyone could just sit down and design though. It’s either a discovery or a teasing process you need to finesse like the performance Params or velocity and aftertouch settings.
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Definately an arp could be awesome. Im giving my op-1 alot of love these days and always get instantly awesome and unexpected results with it’s arpeggiator on the drums (and by using it’s other sequencers as well).
erm… restricted? unrestricted? Hmm… sorry could someone rephrase? Can I have 12 sounds playing at the same time if one within a choke group is only sample and the other generated? Or am I completely misunderstanding that statement?
Definitely only 8 voices max polyphony
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They were referring to overcoming the limitation of only having the tasty engines on the bottom 4 pads by using samples elsewhere, rather than the polyphony I think.
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Their statement you quote does not acknowledge the metallic cowbell which is simple but makes amazing sounds
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Hold mode in the LFO can do sort of ARPy things
Try cowbell, tun 0, det 48
LFO: 63, x8, 0, DET, saw wave, 127, hold, +32
Make it sweep in steps, so I think a pentatonic scale, but not tied to a key lime an arp would
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interesting, what pedals do you use on the AR?
I’ve owned a Mk2 for about 2 years now. I’ve not used it since the first day I bought it, other than a midi clock to sync24 converter for a x0xb0x.
Each time I decide to sell it I have a quick mess about and love it, then decide to keep it and not use it again.
It’s a strange relationship. I might get around to using it one day but drag n drop samples into Cubase is just so much easier.
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haha same here … but I’m just waiting for the huge mega update that will hopefully come soon to play with it for a few hours 
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I’ve owned mine for about two years and it’s the best thing I’ve ever owned, now I have two so I can load them up like decks for a simple consistent way to get lots joyful techno noise into dancing people.
This whole thread subject is an internal discussion I’ve had for a while about what other bit of pro kit to use alongside the Rytm. For comparison, the Tempest and Alphsbase would seem to fit as competition but neither seem as good while both being pricier. I started with ‘should I buy another to complete a live setup’ rather than ‘should I sell’ lol
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this accurately describes my relationship with way too much of my gear.
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8 voices sample or analog Max at one time
Yeah… I figured … though I bet this would be possible … theoretically … hmm?
I’m currently using Meris Ottobit and Strymon Deco, and have a ProCo Rat and Walrus R1 in the post.
I’ve posted this elsewhere, but thought I’d share it here to show what the AR is capable of, other than drums.
Here I’m using one DVCO and the delay.
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Ahh nice! Gotta try that, thanks.
That’s a nice sound, using bend param? And changing the mix of oscillators? Amongst other things.
So far I have metal cowbell, rimshot, plastic kickdrum and dual VCO which I use as synths first, and never really for percussion and from which I can derive a very wide range of rave sounds. With that set I have a bassline mono synth with two impactful modulation types and acid capabilities, a lead monosynth with detune, the rims which seem to pop up with something nice, often a bit acidic and probably on lead rather than bass side. Then a workhorse synth with six voices capable of basslines/leads/chords/pads etc. Making techno I have no problem making full tracks without using even internally caught samples for the musical bits.
I haven’t yet cracked the toms, FM kick or snares, but I think all of those will be usable in the same way.
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It took me a long time to buy the Analog Rytm after years of experience with the Machinedrum, because I went to the store several times a year and played the Rytm and I always went out like “Hmmmmm…I dunno…”.
I missed so many things of accessibility (control all, multiple LFO’s, MIDI connection…) but then eventually understood it: It’s a different instrument than the Machinedrum, but with so many possibilities to experiment (the Machinedrum still runs in combo with the Rytm, I would never sell it, because the design alone is so cool that I would rather hang it on my wall).
It’s simply wonderful to perform live with the Rytm, to build different colors of patterns with the Scenes, to add chaos with the performance knob. The colorful pads are so helpful in a live situation and also so sensitive that you only need to gently drag your finger across several to quickly mute multiple tracks, for example.
If you take your time, you can build the best kicks, here minimal differences in parameter settings (decay, filter position, etc.) can already bring drastic changes. It wont happen in the first few days.
I was also able to build good kicks only after a year and now I know pretty much how to get to a goal.
The quality of the claps and the hats is debatable, but hey: In combination with the analog engine and samples you can build results as you like, these in turn can then be sampled and saved as new sounds in a large library.
In general, I find the menu guidance very clear and, for example, much tidier than on the TR8s.
I hope that with a new upgrade more features will come and nicer displays (LFO page and Compressor page as on the Digitakt, better MIDI settings and fixing the function button by double clicking etc.), but I’m pretty convinced of the device and would say that the price justifies what is in it. Rytm Love.
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