I need to lighten up! Hassliebe!

I went to my friend Cy’s house to drink whiskey and show him how bad the RYTM sucks. Started with a fresh PROJECT and just jammed on it while he was playing his Abstrakt Avalon. It sounded huge! He looked at me and said “Sold!”. Another friend that was there said something similar “I dunno, you’re kinda selling me on it!”. It helped that he has a fucking dope setup. Great speakers and a killer modular spaceship! I was inadvertently showing off all the great things about it cuz that’s how I tend to use it.

The point is that I am still so angry/frustrated about the shitty synthesis side of this machine that I have a hard time enjoying what it can do. It’s immediate (so long as you’ve planned ahead and created/loaded some good drum samples) and it can sound huge. The FX are OK, but I probably wouldn’t use them when recording. They’d work in a live situation. The stuff you can do with SCENES and PERF’s can be way cool. Can those be controlled with an external controller since we can only use one page at a time and I often find myself need to use MUTE/SCENE/PERF all at once.


We did agree that the hats, cymbals and toms kinda blow… . and the cowbell was probably a waste of a synth voice (I did get a weird chordy thing happening with it) but the mixed kick (HARD BD + 707 Kick) I made was massive!! I made a very “modern” plucky thing with the FM SNARE and a crazy kick with the Bass Tom using the LFO as an AD envelope assigned to pitch. . . (why does it not already have a pitch env?!?)

So hey, Elektron, can we get some decent MACHINES in this thing so I can quit bitching?! Please! Pretty please!! . . and maybe the ability to use those inputs for sampling. I’d really appreciate it.

If you press a PERFORM Pad, keep it pressed and change to MUTE or SENE or what ever, the performance is locked. So you can use PERFORMANCE and something else at the same time. You also can use a faderbox to control PERF or SCENE at the same time. Have fun !


Did i already say, that even before new synthesis modi,
I’d prefer to have 12 sub-patterns for breaks, fills etc
on the the 12 pads in perf and scene mode.

Or at last to be able to switch patterns via pads?

Soundwise, compared to a 808 or 909 you can do 100 times more with the RYTM already.

I miss playability, not more synthesis

(or: that one later:) )

Well, as a synth nerd, I want more synthesis. It doesn’t need to be analog either. I’d love some nerdy metallic/fm/ringmod stuff. Some of the MACHINES just feel like they are missing some parameters. Being able to select between different MACHINES for all the voices would be ace. For instance, the BT gives you the choice of BT or BT. Hard to pick between the one thing I’m allowed to pick from. Just kill the Machinedrum and add it’s MACHINES to the AR!!! Hah!

Fills would be pretty cool. . . but really, just let me sample my modular without having to go into the computer, then edit, then transfer via(fucking) MIDI!!!
There’s entire posts about what people would like to see from Elektron with the main thing being acknowledgement of anyones concerns. Since I can’t seem to bring myself to sell it. . . .for some reason, I just need to figure out how to enjoy it. I can’t think of another piece of gear that has made me this angry that I’ve kept!! I’m just hopeful that they’ll abandon this Over(it)Bridge and get on with what they do best. . . hardware!!

sample with it?

i guess, that was never planned, was it?
maybe i missed it.

but additional software, shure
i do not really see the the argument,
the processor wouldn’t allow much more OS features

does it mean, it was now build for a bigger OS from the beginning?
wouldn’t that be very shorsighted?
(but i’m not a techy, so …)

but i would not sell it.
simply because there’s nothing like it.
neither feature nor soundwise.
especially not soundwise :wink:

I think the RYTM is pretty great as-is, but of course I’d love to see more machines.

I have no problem getting hats I like, but there’s definitely room for growth. I personally like really grainy hats and cymbals and the Rytm does that pretty well. Based on the specs, the hat voice architecture is roughly the same as a 606’s. That doesn’t mean the circuit is the same, but it would make this machine 100% perfect sounding for me if I could dial in those 606 hats (and snare for that matter).

I wouldn’t write off the cowbell - there are some very interesting things you can do with it if you use it more as a synth voice. The rimshot is, to me, the most versatile machine and I wish I could use it across the whole bottom row just like you can the SD and BD machines.

I do find the tom synths a bit on the dull side, so I generally use those three as sample slots. I don’t find myself using straight toms a lot to begin with, so it never really bothered me.

Love the Rytm for what it is, don’t worry about what it might be or you want it to be.

It sounds huge, it’s eminently jammable, I find it pretty intuitive - notwithstanding the fact that I bought it for an analogue drum machine, I made my peace long ago with the fact that it works better with samples supported by the analogue machines, rather than the other way around. I find that I get the most satisfaction out of working around its limitations.

Maybe there will be more machines, maybe there won’t. Maybe more controls will be added for the existing machines, maybe it won’t happen. Que sera sera.

Tbh I’d still be happy with it if it was never updated … although an update would be a pleasant bonus.

And it’s clear that Overbridge is here to stay, I’d suggest maybe seeing what it can offer you in terms of additional modulation and processing possibilities rather than treating it as an enemy - I personally will use every single tool that’s at my disposal. Seriously doubt that sampling functionality is ever going to be added to the Rytm, so you’re going to be using a computer with it either way …

1 or 2 more lfos,
usb sample drag and drop,
Pads to pattern jump (or even additional break/fills on the pads )

And i will completely be satisfied

For machines you haven’t found a use for, just set the filter resonance to self oscillate and play it by plocking the filter. Play with the envelopes some more and send it through the reverb and delay.

Pretty sick mono synth right there.

Honestly the best thing I ever did for my elektrons was buy a midas venicr mixing console for them. Sending all the rytms drum parts to individual channels and sending the fx bus to its own stereo channel so I could boost the volume and eq it all, total magic.

I think elektrons marketing is slightly to blame, one of the appeals of their instruments is the idea that you can make whole tracks on them without much else. While this is true in part, it migitates the whole other side of the recording arts where professional mixing and mastering reside.

Therefore you get guys bringing rytms home and plugging in their consumer level headphones and wondering why they don’t sound like their fav artists completely unaware of how much processing and effort goes into making something worth pressing to vinyl.


Thanks Nleif, both statements very true and useful.
Take the delay alone, what difference it makes, where it’s filters are set.
Same like you say for the other pages’ parameters.

For every voice you don’t use, like the cowbell, consider a single cycle waveform or other looping sample and turn the decay down.

Could you please explain more the above :slight_smile:

This is the general breakdown

  1. place a few triggers of select instrument, then take down the volume on the drum part (but not on the amp env page just the instrument page) so you don’t hear whatever drum sound you have, say cowbell.

  2. set the amp env hold to 1 and then go to the filter page and set the resonance to 127.

At this point you should be hearing the filter self oscillating, you can adjust how long the sound sticks around with the amp decay and hold parameters as you would a normal synth.

  1. now sweep the filter up and down to hear different pitches, P-locking the ones you like to create a melody.

Doing the above and creating different motions with the amp and filter env settings can alter the sound nicely, you can actually turn the RYTM into a weird 8 voice synth this way.

Hope that was what you were looking for? If not its pretty easy to set it up and play around with yourself if you have an AR handy.

I’ll try it definitely, i really like any kind of un-holy hacking :slight_smile:
Thanks for the inspiration!

Very good remarks … Every publicity promises us emotions - expériences - instant Nirvana - sex - fame … etc… it’s up to ourselves to be critical.
I manage to make whole tracks with only my A4 + AK + DOM 1 . but that’s after 35 years of experience and I easely spend 2 -3 hours a day for 4 monts to end up with 20 minutes of music I like… :alien:

I used to think the cymbals, hihats, and claps sucked on RYTM …

USED TO hehehe

I was comparing them to the wicked synthesized stuff from the A4 which has a much crunchier more controllable noise. I didn’t like the weak sounding noise from AR synth engines and couldn’t seem to get enough variety from kit to kit. Then I started to really delve deeper. I was able to get a super gritty noise from claps just messing with the rate, rand and decay values and then add some tight filter envelope with a really resonant highpass and ZING - wicked claps. I also found great benefit to using much shorter hold and dec times for claps, hihats and stuff. Too long hats and claps fill up the space which should be occupied by your more important sounds. (I learned this when I started making percussion on monomachine. Random LFO really fast on filter or amp vol stuff like that can make crazy shrill stuff too.

In the end what I do now is take the hihat, cymb, clap etc as far as I can possibly go with the synthesis and then layer a bit of a sample. I really like the samples in that Drum Enthusiast pack that just came out for layering. It kinda combines the best of A4 which I really love. Sometimes just a tiny transient from a sample is all you need to put it over the top.


MIDI mappings for Scene and Performance is all in the PDF manual (Appendix C)
One of the very first things I did after purchase was map those to my Fadermaster.
But after a few months of use, I didn’t need any external MIDI device since developing the muscle memory to navigate between the various pad modes quickly.

I think their old marketing model is more to blame, as the new model is quite Overbridge-centric.