Omg, a second lfo and filter would be a dream! They would provide so many more possibilities with the DVCO
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I personally would not want to see a digital filter in the analogue path.
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Agreed, I think this would be impossible to implement as well, because the signal is analog up until the outputs.
My suggestion would be a base width filter for the samples only, so before theyre mixed with the analog voices and go into the analog filter. This would give us the option to filter the samples independently so they complement the analog engine well, by removing high or low frequencies.
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For me it would be just fine when it would be possible to route unused Lfo’s from another Track to anywhere else…but I guess the routing is just fixed within the hardware.
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Yeah, this is definitely frustrating. Like, clearly they can be hardly touched and log a signal (as they do in the mute page). I’m surprised there’s not some sort of general sensitivity level adjustment for the pads.
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Been thinking about this.
There must A/D conversion possible before the panning because the voices hit overbridge in mono. And we know that there is D/A before each voice’s filter because of it’s sample playback capability and because overbridge tracks can be routed to the AR voices. There is even conversion happening BEFORE the sample D/A because we have digital noise generators with resonant filters.
There is also a digital lane for audio to bypass the Compressor which is how we get clean audio from the audio ins and overbridge. AND we know that there is D/A before the distortion/compressor because audio from overbridge can be routed to the main FX.
If it were something that the hardware could handle, and they gave us the option to use some of that digital bandwidth on the AR standalone, I’d love to take advantage of it. I get that part of it’s allure is the fully analog signal path but I’m sure there would be benefits to hybridizing it.
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God, I keep wanting to reach for a second stage filter (as many have said, like the A4) but it’s not there and it breaks my sound design heart.
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Probably been mentioned before, but MIDI control in the style of old Yamaha tone boxes would be awesome. By this I mean: each tone is assigned a note on a single MIDI channel, usually it was channel 10.
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That would be my recommendation too. It would be immensely useful for layering tops or attacks on top of the analog engines. In the case you need to resample to use them would be okay too.
Besides code space and processing power (human/financial resources aside) there is no logical reason it couldn’t be done.
2nd LFO of course would be useful.
I’d really like to see some of those logical UI graphics improvements from DT applied to the AR at a minimum.
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That’s exactly my view. Even just a simple HP filter would help.
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yea alternatively you could potentially route the output of 1 voice to the input of another (the way you can with overbridge).
This obv would likely introduce some AD/DA in the path but you would have 2 full analog filters so maybe people wouldn’t mind as much.
As others have said a digital filter on samples could be cool too.
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In lieu of a machine SDK which could unlock some different timbres than the sound machines available on the Rytm, I’ve been using my Rytm with a modular MIDI to CV converter (Expert Sleepers FH-2) to output trigger and accent signals to some Erica Synths drum modules, and then routing the audio back into the Rytm through the Rytm’s external audio inputs.
This is great because it lets me incorporate external realtime modular analog sounds, rather than just recording some fixed sounds as samples. So I’m using the Rytm to sequence both some internal sounds and external sounds from drum modules.
However, after using this setup, I wished the Rytm sent MIDI information for the following:
- RTRIG – The retrigger button doesn’t output MIDI notes, but I think it makes sense that it should.
- Accent – It would be nice if there were an option to have accent trigs output as MIDI velocity values (maybe a global setting to enable MIDI velocity for accent trigs?). This would allow the user to control accent velocities from a single place for both internal and external sounds, rather than using accent trigs for internal sounds and also having to parameter-lock MIDI note velocity on the track’s TRIG screen.
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Stereo sample support as new engine (bypassing the analog mono chain elements).
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AAX overbridge please!
Ability to adjust decay curves from concave through to convex (like A4). Otherwise ties up the LFO
Second LFO (like Digitakt)
Sample zoom for imported samples (not just those sampled on the Rytm)
Base width digital filter (like Digitakt)
Volume mixer (like Digitakt)
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“Of the 128 notes in the standard MIDI range, 0–11 corresponds to notes C0 through to B0, the leftmost octave (which is sometimes called C-2–B-2 in certain applications) will trigger the Sound of track 1 through to track 12, respectively (provided they are set to their default channels 1–12). These note values map to each of the twelve tracks, regardless of which track is active. For more information, please see “APPENDIX C: MIDI” on page 82.”
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Thanks Joe, nice catch.
Just got my machine this wk. Initialy feelings:
2nd LFO - absolutely needed, the sound design would be so much deeper. It’s really limited as is.
Bounce LFO to Pattern (effectively writing the modulation of the LFO as continuous P-Locks with Slides)
Additional Synth Engine
Arpeggiator
Stereo Stamping
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This would be so awesome!
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I agree with all the requests for a second sample specific filter. I would love it if AR had the same lfo set up as A4, two lfo’s with two destinations each.
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