Does the OT go into the Rytm? For comp and dist goodness, making it all melt together.
Or does the Rytm go into the OT? For all that master fx goodness, thru machines and whatnot.
And you can’t answer like “Well, I’d get an extra SuperComp LaserFX12 for that added compression, then a ultra stage sideburst distortion plasma for additional depth and then route the whole thing through a BlasterMaster FunkSmasher for final processing.”
Nope. You ONLY have the OT and the Rytm.
What goes into what and why? Let’s say the context is for recording a great track, not for live use.
Rytm’s external input is post DIST and pre COMP. So you’re only going to be able to use compression on the external input, no DIST, FYI.
What goes into what and why? Let’s say the context is for recording a great track, not for live use.
Oh, then easy. OT into Rytm.
Compression can (should?) happen in the mastering stage. You wouldn’t want to risk incorrectly compressing a great recording take on a great track.
I rarely record a take with compression. If I need to feel it pump for the sake of how I perform during the recording, then I’ll just compress at the monitoring stage.
But yea, you’ll get far more out of Rytm into OT. It’s basically compression of OT in the analog domain vs. complete manipulation of Rytm by OT. What’s to debate? Rytm compressor is good but not THAT good.
Rytm’s external input is post DIST and pre COMP. So you’re only going to be able to use compression on the external input, no DIST, FYI.
What goes into what and why? Let’s say the context is for recording a great track, not for live use.
Oh, then easy. OT into Rytm.
Compression can (should?) happen in the mastering stage. You wouldn’t want to risk incorrectly compressing a great recording take on a great track.
I rarely record a take with compression. If I need to feel it pump for the sake of how I perform during the recording, then I’ll just compress at the monitoring stage.
But yea, you’ll get far more out of Rytm into OT. It’s basically compression of OT in the analog domain vs. complete manipulation of Rytm by OT. What’s to debate? Rytm compressor is good but not THAT good. ;)[/quote]
Thanks. I’ve been thinking along those lines myself, but have very little knowledge about how compression actually works, so I’m not sure exactly how much I’d miss out if I ran the Rytm through the OT in terms of compression.
And by saying I have no idea how it works, I can still dial in something that works for my tracks by simply having learned along the way what sounds good to me. And from my experience, the Rytm compressor just sounds a lot better, the Octatrack’s being a bit more pale in comparison. Though not bad in itself. Just not as good
Ah, well.
For what it’s worth, and I know you prefaced this thread against this sort of thing, but… I’ve been able to effectively replicate the sound I was getting with the Rytm compressor using a $40 Samson C Com 16 and a $25 bass graphic EQ pedal in its sidechain filter fx loop. In some ways its a little more versatile thanks to the enhance button. In many ways, the Rytm’s compressor is more versatile thanks to p-locking it on the FX track. But the sound is good enough, especially for a live performance setting. I’m not discounting Rytm compressor’s sound, in fact I was very surprised to get solid results with such a low budget solution.
I was initially very excited to run all my gear through Rytm’s compressor. I ran everything into a mixer, and then the mixer into Rytm, and just found it a real struggle to get good live mixes of everything that way. So now I’m running everything to the mixer and compressing there and the results have been much better. Also, I can cue my patterns on the Rytm through the mixer now that it doesn’t have to be live the entire time.
This doesn’t so much apply to the OT+AR combo, but I just wanted to share my experience if you were planning to incorporate some more gear and compress it all in one of your existing instruments. It seems great in theory, but in practice it was not nearly as smooth as I had hoped it would be.
Thanks. It’s all good, it seems everyone is pretty clear on this subject so switching to advise rooted in reality is fine. I appreciate it.
In fact, I took the evening to experiment with this now after reading the replies to this thread, and I can’t help but feeling that I love the way the Rytm sounds a lot more than the Octatrack. I know that the Octa sounds as good as the stuff you record into it, but the Rytm makes that stuff sound even better - and sometimes a lot more so.
So in the end, I’m leaning towards just using the Rytm anyway, and do interesting things with the stuff coming out of it rather than piling up instruments next to each other anyway.
I go for maximum flexibility whenever possible so, if I had an OT, the AR would definitely be going into it. I do a VERY scaled down version of this right now with my old dusty SP-808. Don’t get me wrong, just having a reverb, delay and overdrive on the AR already gives it a huge leg up on anything similar (yeah, I’m lookin at you, Tempest)! But it seems like a case where it’s really a win/win.
I think if I did have both boxes and it was for in the studio (instead of live), I would try to find (or even make) a small, switchable patchbay that would allow very easy swapping. That way you could run the AR in and sample it through the OT’s effects, switch back and run the whole thing through the AR’s compressor for recording without having to break up up your flow too much with rewiring.
Now that’s something I’ve considered too, and that makes for a very attractive prospect. It’s few more cables and boxes, but it’s probably worth it.
And while we’re on the Tempest - we’ll never see an MKII, will we? One with fx and just a few more voices. Ten would do. Hell, even eight would suffice. And import of samples. Sweet sweet candy.
Great topic. I have an Octatrack and I´m melting my brain right know thinking/researching/listening to know if I should buy an Analog 4 or an Analog RYTM, and the analog compressor is a strong point for the RYTM. It´s really sad that the AR doesn´t have an extra stereo out, making possible AR > OT > AR (Compressor) > OT > Mixer/Audio Interface
I think you’re overestimating the Rytms compressor. It’s good but not THAT good. Also remember that Rytm has a ridiculously low input level, so most of the time you’ll have to level down each of your drums to mesh them together with input.
All right. So let’s make this interesting. I’m disregarding my own opening rules and ask you this:
The AR goes into the OT. The OT goes out into one hardware compressor.
Which one?
No plug-ins. No software solutions. Something solid and organic, that packs more punch than the Rytm’s compressor. Sky’s the limit, low-fi options to high-end solutions are all on the table.
But it has to be a dedicated compressor. Not a Yamaha LaserMixer FXTwelve Blast with One Knob Compression Mega or similar.
I’ve actually mostly been taking AR, A4, OT and MnM separately into an analogue mixing desk.
At the back-end of that, I’m using a TC Finalizer 96K for EQ, compression and limiting.
I’m not really thinking of the Finalizer as a mastering device, more of a swiss-army knife back-end processor. The kind of processing an analogue desk might otherwise give me by default.
Otherwise, I’d probably use an EQ and something like a RNC on the back-end.
I’m quite happy with the results I’m getting.
Note that if I’m recording the system, I’ll normally bypass the Finalizer.
I’d highly recommend the RMS755 by Roll Music. It’s super simple to use with indented knobs making recall easier. I use it at the end of my mix chain and it makes all the different to boost all the signals appropriately. I scored mine for $850 recently via gearslutz.
What I picture would be some kind of little box where you would plug the ins and outs into it and just have a switch you could flip to reverse the routing. Do they even make anything like that?
The Tempest… imo it’s sooo close to being the perfect box but I think you’re right that won’t see an MKII. What you’ve described is pretty much what I think would make it perfect. If it just had a delay that didn’t eat polyphony and a nice reverb I would get so much more mileage out of it. And if each part had a send for the distortion.
Still though, a Rytm/Tempest combo is so much fun!
The AR goes into the OT. The OT goes out into one hardware compressor.
If you’re looking for a cheap option and feel the Octatrack sounds a little flat, I use this little guy: http://www.fmraudio.com/rnla.html
and it warms everything right up.
For the price, there’s nothing in the range even hundreds of dollars above it that can touch it.
The RNC unit they sell is a little more contemporary and just as awesome, but I like the color the RNLA adds to my sound.
Seriously, no one, in my opinion, is touching FMR for the price range; not even close.
Plus the family that builds the units are in Austin, TX and they couldn’t be nicer people.
They deserve all the success in the world.
I’m very happy to hear this, because I’ve more or less decided to go for an RNLA. This is the one unit that comes up kind of everywhere when I ask around, and they’re all saying the same thing - it’s not just good for the asking price. It’s just damn good, period.
Attack Magazine had a rundown of the twenty top compressors of all time, and while they listed stuff that was just stupid expensive or out of production since the 70’s, this little guy was on the list and got all the praise.
So I think I’m gonna go for this one.
As for the Octatrack, I think it sounds great. It’s just that the Rytm sounds so much better. So it’s like having tasted the awesome and you don’t want to go back now.
If Elektron ever unleashes an Octatrack built around some of the principles of the Rytm, lord oh lord …
Don’t get me wrong, just having a reverb, delay and overdrive on the AR already gives it a huge leg up on anything similar (yeah, I’m lookin at you, Tempest)! But it seems like a case where it’s really a win/win.