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@@tomasafull aciiiiid

@@burger659 cheers. I’ve never tried the Syntakt yet unfortunately. Id like to though. What do you have now?

@@ExpectResistance i had rytm & cycles..sold them for syntakt.. but still asking myself if rytm is better for underground industrial improvisation live setup

@@ExpectResistance i don't really need the pads,individual outs and sampling engine.. so i don't know..

Happy to hear it’s helping. It’s certainly an odd machine in many ways of coming from classic drum machines and synths, this is my experience too. There are lots of little things that helped me along the way, and thinking about it all in a classic hardware sense, routing, why things might sound good, and then applying that thinking to the Rytm, might be a good way for you to go too. Good luck and feel free to ask me anything and I’ll try and help.

Very true indeed. Although thinking about it, it did take me years to be able to buy it as well 😂

Indeed. The whole thing is primarily designed for looping in time. And although Actions can be used to set up loops that aren’t warped, it’s a very different workflow to looping in say in hardware samplers and the Atari.

Thank you, glad it’s enjoyable and something to learn along the way. Have a decent weekend. 🖤

@@ExpectResistance what if it's more than decent...?

Hehe, that’s pretty good then. 👍

Nice. Crazy it’s been out that long really.

@@ExpectResistance It was released in 2014 actually!

10 years!!! I wonder if Elektron will do some anniversary thing this year. I haven’t seen any yet.

Niiice, sounds good. Looking forward to the winter also, warm myself up next to the gear.

It’s been a love hate relationship for a long time, with lots of struggles. I think ultimately through getting more frequent positive results, and using it for RUclips, has helped me enjoy it more, despite it being a pain to use sometimes. Lots to like about it features wise, but it’s using it and getting something out of it I like, that helps me like it more each time. I still struggle with it though.

Thanks. For sure, it definitely has more interesting sounds when pushing the pitch. I’ve not used it in ages, might have to borrow it again and have a revisit.

Nice one, thanks for listening through it, not heard it myself in a while.

@@ExpectResistance the plastic kick/lexicon/mackie is an amazing combo

Yeah for sure. Pretty much everything through that Lexicon sounds amazing. I’m tempted to try their old plugin to see how it compares.

@@brainlego ah amazing to think you were about in the blog era, that was a hugely important moment for things. There is definitely something to take from staying foolish, it’s almost like a quick catch all to counter complacency. I often find myself concerned when things do well in a certain way, as perhaps it’s not experimenting enough at that point. The bus analogy is a good one actually, I haven’t heard that one, but yeah, just doing the work, much like a builder adding bricks, something will get built eventually. Keen to learn what your students reactions are. Where/what do you teach?

@@ExpectResistance Teaching Sound Design at JMC Academy in Australia. Mixing sounds for release is becoming more like a game of "Katamari Damacy". Rolling up a whole bunch of disparate layers of audio into a Frankenstein assemblage. Certainly not best practice but how else to demonstrate "Professional Development" and justify my employment?

Hahaha! I love this. I started at Point Blank Music School Oct last year and enjoying it loads, especially after previous jobs mainly around Service Transformation, which I didn’t want but also felt I needed to constantly justify my employment. That can be tough. Luckily not feel this at all in the new job, and working with sound and getting paid for it, is kinda surreal. Really nice to meet you and good luck with tweaking those students minds. ✊

Ah nice, cheers. Glad it’s useful 👍

Yeah agree, feel like my thumb or finger will snap!!

Nice, yeah, I seem to have a block in reading stuff properly haha, moss stuff all the time right in front of me. Enjoy your session.

@@ExpectResistance cheers, i was one of those that just read the quick start guide then just tried things out. Which got me where i needed but theres a lot of little tricks its easy to overlook. Starting to dig deeper now. Next phase download the latest o.s!

Ah yeah same, I didn’t read the manual, but didn’t even read the screen in the menus 🤦‍♀️

@@ExpectResistance 🤣 yep, tbh it took me a long time to figure out when i tweaked a kit then saved my project it was affecting it for all patterns in the project id used it on! Found myself swearing it sounded better yesterday 🤦

😭 classic

Nice one, glad it’s hitting the spot.

It’s a slow reveal, and so much around workflow opens things up. I’ve had kit since I was a teenage and still discovering things.

Ha! Maybe.

@@ExpectResistance the rytm will become your spirt animal 😂

😂

Yeah I can imagine that was a challenge and suspect partly the point. The stage and audience setup is so often oriented towards rock band style presentation, even down to inadequate fold back speakers when doing electronic music. The ones I caught where through the radio which was super excited as the only visual was the mind and the wall I stared at throughout. Still, would have loved to experience the empty stage.

@@ExpectResistance Actually the footage is worth a watch. Apparently their slot got cut short as Dreadzone over ran and the site had a strict curfew of 11pm i read. It did seem to end quite abruptly from what i remember. Glad to of been there though, those full on partying days of the 90's have long gone 😆

Will definitely have a peek on Dailymotion, nice one. Yeah the 90’s scene is a very different place and intent to what we have now.

Cheers. Yeah Vegan ice cream is great! Not as heavy and it doesn’t feel like you sucked on a cows teet after 🐮

Ah nice one, appreciate it. Yeah beer is totally optional haha. How do you typically do your stuff on the Rytm?

@@ExpectResistance well tbh I had a similar experience with the Rytm to what you explained in your “5 years with Rytm video” or whatever you named it, but out of necessity really started to click with it late last year as I had a lot of gigs coming up. So I base my kit and patterns solely around how much variation and performance aspects I can squeeze out it, which it turns out is a lot, I’m a heavy user of the performance pads and Quick Performance knob and Scenes, and often end up tailoring kits to suit the performance aspects. In an attempt to keep cohesion between track ideas within sets I tend to copy kits over to new ones when writing new patterns and tweak the sounds into something new that suit the vibe of the triggers I set, and it most often becomes a totally different sounding kit with level and similar performance aspects being the only cohesive element. I do like to have the same or similar performance control on the pads in both scene and performance so I generally know what to expect for instance top right performance pad which is usually associated with the Quick Perf Amount is either or Botha reverb wash and high pass filter on all sounds for transitions, and bottom left pad in scenes is a reverse for the kick or all sounds. Hard to describe my flow in a couple of paragraphs but that is for asking.

This is super helpful. I have thought often about how to do longer sets or create variations on sets and your approach of copying kits, even if specific to a track and then tweaking, is a really good idea. I need to try this. Thanks. I was thinking similar in the past, emulating the Roland R8 flow which the Rytm has some comparisons to, in that you can have separate kits and sequences, although in the R8 the nature of its limits in saving often means previous older sequences get paired up with the newly adjusted kit, which is really great as you find new grooves, yet they are familiar in either the kit or the sequence. I think this has been a key part of the various experiments and key sounds across multiple tracks in early Autechre and Aphex Twin.

@@ExpectResistance I’ve had the A4 for over 10 years and it took me a long time to get my head around the kit architecture, as in I’d often re use a kit for a new pattern and my edits would destroy the feel of past patterns that used the kit…so… to combat that, and because you have 128 patterns and 128 kit slots I started to put a kit per pattern even if I was using the same kit over 4 or 8 consecutive patterns, then if I did do a tweak that I really liked for a single pattern I would save the kit which left the other patterns with their original kit and sounds. It’s similar to my workflow these days I tend to only resave a kit to a specific pattern if I have made changes to it, because I do like to be able to tweak live and move to another pattern/part without a massive jump in the sound which happens if it’s a new kit, so these days and at least with my Rytm workflow I tend to use the same kit for 4 or 8 pattern slots e.g 1 intro, 2 main,3 main/breakdown, 4 build up or transition and because I don’t tend to use a kit per pattern I can freely tweak any parameters live while switching between the parts without it sounding wack. I hope that rant made sense.

That rant make perfect sense 👍😁 This is super helpful, gonna try and do something like this over the next few weeks and see how I get on. The audio jump is the killer, but thinking through what you described I can already see it’s manageable if not entirely solved. Sweet, cheers

Cheers. Generally I’d hit record and then maybe tidy it up after in the master or it would just be a file on the computer. I tend to like doing things in a take and then documenting that, doing another take, documenting that. A track that gets released ends up being the better captures, but I would consider them all tracks, no matter how raw or simple.

Yeah I think you might be right. Thx

I agree. I’ve been switching between laptop based and hardware based and definitely agree, it’s very noticeable that older hardware has a very pleasing sound to my ears.

You remember what the letter was?

@@ExpectResistance was about wolverhampton

I will have a peek 👍

I could barely afford a packet of crisps in the 80’s let alone a mag or anything in it haha

Ah nice find. I wonder how different it is to the BBC one. Worth checking out this channel as well. It’s pretty dry but definitely full of useful information. youtube.com/@absentwithconcept?si=YXhVub_m8IROSqFH

@@dmks2146 nice, yeah they take up a huge amount of space, especially if an young person. The smell was a huge part. Do you know what make it was? Ours was a Kentucky twin keyboard and pedal organ.

​@@ExpectResistance could have been a Farisfa Pergamon. It had those faux mother of pearl switches. I was way too young to interact with it in a musically meaningful way but that must have been when I caught the synth bug. Wouldn't have made that connection without your video.

@@dmks2146 Nice. It reminds me of an earlier experience before our organ was put into the garage, where before I could play it “properly” I sat there for ages just holding keys down making huge drones. I think I only learned how to play as to prove i could and to get it back in the living room and not be thrown away.

@@ExpectResistance we all start with drones :)

Very true

For sure, although I’ll be 46 this week, but got into stuff young. I think the ignorance previously, meant more experimenting happened. Sometimes music now sounds like someone showing they understood a tutorial. There was a lot of shit music back then and a lot of shit music now, although perhaps the techniques in new music is generally stronger, the ideas in both are still where it’s sounding good or not, for me. It’s all very subjective but for sure there is a shit ton more music, and most of it is crap so it’s just harder to find the good stuff, even with the search technology we have, as typically all this stuff accomodates more the popular, and popular rarely means good.

It’s a good one 👍

Impressive. Do you, or did you make music? My brother was similar, still now actually with some magazines. He’d disappear into his room and read the whole thing. I would steal his music magazines all the time to page through, although I was pretty selective on what I read. Certain artists, or certain gear normally.

Oh noooo!!! Let’s hope someone picked them up and made some great music with them.

@@ExpectResistance a nice thought, yes so do i :)

Thank you 🔉🔉

Cheers. It definitely makes a difference 🍺

@@ExpectResistance :):)

🙃🍻💜 thx

Sounds very familiar. Like when i thought selling my 808 for £200 was a good idea. 🤦‍♀️

Hahahahaha!!!! Amazing!!!

from staring at it for years and years and years and years :) free west papua

Ahhhhhh, that makes total sense. Class.

Oh wow!!! Nice work! I wore the t-shirt you guys put out until it fell off my body. Very cool to meet you here What was the reason for you to make the Deep Bass Nine?

@@ExpectResistance thanks :) the main company was called ‘music control’ you’ll see the advert in some of those magazines :)

Ah yeah, that rings a bell.

Aw nooo, Chris, Emma and James. Lovely characters; part of my musical upbringing. I miss them all. ❤

@@cate8096 Thats them! great times! I joined them in 1999. Sadly the synths weren’t my dept, but anything Computer related after 1999 was me you would have spoken to. we were like family for many years!

Hahah! What a great comment.💜 Hoping this time around you find the enjoyment in it all. Doesn’t matter if you make music or do anything for that matter, if you’re having fun then that’s good I reckon. A friend of mine bought a whole load of gear after an insurance payout, his plan was to release some hardcore records. He never did. Never wrote a track, never wrote a beat, barely worked out how to use the gear he bought. He still has it all actually, barely used. The Akai S3000XL, Bass Station rack, Soundcraft Absolute Monitors. His excuse was and still is these nearly 30 years later “no time”, “tired”, “needed fx” 😂

Atari ST with 4 megs RAM maybe?

@@jimbotron70 Not gonna lie, brother, I depleted my brain cells HARD through the late 80s early 90s, and then moved onto harder pursuits once all the up stuff broke my mind, so my memory ain't what cha might call tickety-boo! Pretty sure the ST had 2.5 meg of ram, yeah boyeeee, I was rollin' deep! I bought a big beige box which the ST monitor sat atop, and I'm sure it was a 4meg hdd. But, if I'm wrong, sue me!

@@ExpectResistance Yep, gotta have fx, defo cannot make music without fx. Or proper monitors. Or maybe decent headphones. Probably struggle if you didn't have any outboard. There's always a reason why you can't, not so easy to find a reason why you CAN! 🤣

@@PilzE. I have to sue you then :D the HDDs were in the range of at least 40megs up in the ST era

I was pretty broke then and still pretty broke now, that’s normally how i work it out 😂

The disturbing thing is that if you were on 13k in 1994 you were probably no worse of than someone on 35k today and house prices and bills and food were far cheaper so quality of life and cost of living has completely plummeted.

Oh for sure, there is definitely people who would want them. Do you have the Orbital issue? I never had that one.

@@ExpectResistance I'll dig them out and look, I seem to remember it, so I think I do (must have about 30 issues, I was buying them monthly when I studied for my music tech A.N.D.).

Crazy!!! It got cheaper too.

Nice. It’s quite a different feeling in getting a monthly mag delivered or in at the local newsagents, compared to today being able to look into things at any point online.

Cheers 🍺 Yeah Bd plastic is very fun.

It’s a good one.

Nice. It’s a fun mag for sure. I didn’t keep any of mine but it is fun getting a few again in my hands.

Ah nice. Yeah none of those clones got close, although i think the Clone 3 was closet i think but wasn’t made available i think. Deep Bass 9 seemed pretty cool tho. Good you still have it. Very cool!

@@ExpectResistance just just came back from repair with my ASR 10 and Machine Drum Mk 1 😻

You gotta do a video if you haven’t already. Very cool

@@ExpectResistance Im toying with the idea

Nice