lock trigs p-locked to the appropriate amp env settings?
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The envelope doesnt trigger when the previous note is still playing, even when its locked, so this doesnt work when the notes cut each other offā¦ Or am I doing something wrong?
Is this for real ? I donāt believe you. I should really try it myself.
So how much resolution can you get then?
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Haha it does work, I use it all the time. I canāt say what the exact resolution is, but iād say itās about 100x more precise than using the 120 resolution sample start parameter.
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If you have a Digitone/Digitakt, you can use the midi CC to control performance macros on the Analog Rytm. Iām doing this right now and Iām having access to mute mode while Iām playing with scenes.
Itās like the control-8 machine of the Machinedrum
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Control All for AR (You need a Digitone or Digitakt)
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Connect DT/DN MIDI Out to AR MIDI In.
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On the AR MIDIConfig/Channels setup menu set all the tracksā MIDI channels to the same number (i.e. ā5ā).
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On a DT/DN MIDI trackās MIDI Source page set the CHAN to the same number you set the MIDI channel on the tracks of the AR (i.e. ā5ā).
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ON DT/DNās trackās CC Select page set the MIDI CC controls to the CC numbers corresponding to the parameters you want to ācontrol allā on the AR (i.e. filter cutoff is CC number 28).
The CC numbers for ARās parameters can be found on pages 77-85 of the AR Manual. -
Voila! you can control those parameters (i.e. all filters) on all AR tracks at the same time using DT/DNās knobs on the CC Value page.
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You can use more tracks on the DT/DN set to the same midi channel but more different CCs to control even more parameters!.
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Should work with every midi controller, no?
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Yes it should and would! It is just to support the brand that I suggest using one of the other Elektrons. You can also use an Octatrack or any of the silverboxes!
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I see. 
Iām currently still getting to know my Rytm, but I found something pretty nice today. Iām using the DVCO quite a lot, even thought about using all bottom tracks for DVCO and using the toms row for kick, snare, clap etc. samples. Would also make muting drums easier, because Iād only use the two upper rows for drums. Less finger acro.
Not sure about that, yet. Probaply gonna stick to using RS and CP for DVCO.
Anyways, I had a DVCO bassline on the RS pad and then made a variation on CP.
Iād switch between them by muting/unmuting, one track would choke the other anyway, so perfect place for variations.
Later, I accidentially had both tracks playing and discovered that by clever programming, I could have a third variation when both were playing.
Opening the filter on the track that gets choked accents certain notes, which can further be emphazised by changing the osc config, adding delay or reverb etc.
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Cool! Got an audio sample?
This is exactly where Iāve been spending my time.
Been doing this tooā¦ middle row for BD/CP/Samplesā¦ then I used an analog kick and drooled. Havenāt been able to switch back.
Another nice trick when utilizing more than one voice for the same VCO is to have their filters opposite - one set to high pass and the other set to low pass. I used to do this in the box all the time (used to use 3 tracks - one for the mid bass 
).
Itās a nice way of adding distortion to the highsā¦. Can also add some reverb on there too ā¦ the low stays intact!
Love doing thisā¦ literally started doing it yesterday. Having a lot of fun today with it also. Things can get really spicy with panning and filter differences, delay and reverb!
Like a Sirin as apposed to a Minitaur. The VCO can also play notes in the higher register.
Iāve been fiddling around with VCOās to see what sounds I can coax out of them for melodies. Going to try sending arps from the OT tonight
We really are lucky to have 4 VCOāsā¦ I wonder how triads would sound with the choke feature. A bit Fabrizio Rat-ish perhaps?
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I normally use it like that, I have 2 variations and one third when both are on.
I like the choke, in the DN the most similar thing is the voice stealing, and itĀ“s very interesting if you donĀ“t have clicks. Sometimes I have trigs in its own sequencer and other MIDI tracks in the OT pointing to the same track and a Rozzer from Ableton, so muting and unmuting things I find new variations. Sometimes the Rozzer is pointing to the OT, and that OT MIDI track can have an arpeggiator.
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Recorded a quick DVCO noodlingā¦I start with only one DVCO, then switch to the variation, then both are playing and then I activate a scene which changes the osc config. I also turn the reverb send up at some point.
Rather subtle variations and it would be possible to achieve something similar with trig mutes and p-locks, but doing it this way creates these smooth subtle variation I really like.
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Nice, gotta try that! I do that ITB, but didnāt think about trying it on the Rytm.
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Absolutely loved this!
(I have wanted going to ask you for an audio sample of some of the things you are rustling up)
What number BCO did you use for the acid bass line? Iām finding a lot of configurations work if the filter is set correctly. Been making acid basslines for the past two days also! Iām seeing a lot of parallels between us. Wow.
Ahhhh are you using the OTās multi mode filter also? I think it was you who said they loved using that for acid basslines. 
I was thinking about writing down a list of how each one sounded but I start jammingā¦ then buildingā¦ then having too much fun!
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Nice! A bit like the variation youād dial in with conditional trigs, but then with immediate control.
Gonna play around with this. I already use the Snare track for DVCO always, so I only have to move Rim/Clap to one of the mid Tom tracks that I never use.
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Glad you guys liked it.
I used osc config set to 18 for the acid line and the scene changed that to 50 (fm).
Yeah, the lp filter sounds even more acidy then the second filter on the A4/AK.
Balance is very important, especially with the fm and ringmod configs. I like to mix a little of osc 2 back in (around 60-48) and set the decay for osc 2 very short.
*Edit Errr noā¦-60 to -48ā¦so vco 1 gets mixed back in.
Good idea making a list of the different osc configs!
Haha, yes! Love the OT filter.
Little tip to increase the usability of the RYTMās sequencer for outboard gear.
As we know the sequencer can only send Note on/off, length and velocity.
If you apply Velocity to as a mod destination on your synth to the pitch of one oscillator, you can use velocity to define chords. On the typhon for example Iāve set Velocity - > VCO 2 / CV2 to 1. Now i set the tune to a minor third (roughly 2pm on the dial).
At velocity 1 (on the rytm) it plays a minor (tenth) chord, and at velocity max it plays a major (tenth).
You can expand this further by setting the velocity - > CV2 to 24. And then use various velocities to creative different intervals. (at 1 it is actually slightly sharp)
Hereās a lil chart cus it might help those with Typhon specifically. Iāll do another one for prophet 12 when i can be arsed. Itās not spot on but who wants spot on tuning anyway. (s = slightly sharp, f = slightly flat) Also I just tried this with the saw shape - maybe the other shapes go out of tune differently.
1 = C (s)
5 = C# (f)
6 = C# (s)
11 = D
16 = D#
21 = E (f)
22 = E (s)
27 = F
32 = F#
37 = G (f)
43 = Ab (s)
48 = A
53 = A# (f)
59 = B (s)
64 = C
69 = C# (f)
70 = C# (s)
75 = D (s)
79 = D#
85 = E (f)
86 = E (s)
90 = F (f)
91 = F (s)
96 = F#
101 = G (f)
102 = G (s)
106 = G# (s)
112 = A
117 = A# (f)
123 = B (s)
17 = C (f)
Other scenarios this might be useful is as a master transpose - if youāve got a sequence on your rytm that isnāt in concert pitch, you can use the velocity of the sequence (if theyāre not already being used for dynamics) to change the master pitch of the Typhon - there doesnāt seem to be a master transpose option on the typhon so quite handy (someone correct me if there is!).
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After messing with the lfo for a while, I think Iāve found the perfect workflow for finetuning samplestart, the main downside to the AR as a sampler I think.
Iāve built on ideas first shared on this forum by @kaustik, so props to him!
-First, go to track settings (func-fltr) and disable velocity to volume.
-In the same menu, set velocity mod to samplestart, and choose a value of 2.
-Now go to the trig menu and set velocity to 64 (the middle).
-Go to the fixed velocity setup (func-fix) and set it to auto (and turn on fixed velocity).
You can now use the samplestart parameter to set the startpoint, and the velocity parameter (under trig) to finetune it one value either way with 64 fine steps in between.
This workflow allows you to chop a sample using parameter locks, by locking both the startpoint and the velocity on each step to get finetuned chops. It works pretty intuitively to me. The only downside is that even at velocity set to 1, youre 1/64th of a value behind the actual startpoint of the sample if you set samplestart to 0, so you can never reach the very precise beginning of the sample. You can fix this by setting the velocity mod value to -2, in which case the velocity parameter works backwards, which feels less intuitive to me, so I prefer the first option and just leaving some room before the first transient.
Hope this helps you guys!
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Velocity mod controlled sample chains!
I finally figured out how to make these after a bunch of searching and experimentation
- Make a sample chain with 128 samples (include some silence after each sample for easier enveloping)
- On the Sample Page, set Start to 0
- On the Sample Page, set End to 1
- On the Velocity mod page set to Sample Start at 120 & Sample End at 120
- Cut off the end using the Amp envelope. The slice is 6.667% too large since we are choosing 1/120th of a 128 sample chain, so you need to control this with the amp envelope. I have been setting Decay to zero and Hold so it cuts off right after the sample slice ends
- Note: The first slice will never trigger because Velocity has a minimum of one so the modded Sample Start will never be zero
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