Elektron Analog Rytm User Manual
FCC compliance statement
This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and (2) this device must accept any interference
received, including interference that may cause undesired operation.
NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses and can
radiate radio frequency energy and, if not installed and used in accordance with the instructions, may
cause harmful interference to radio communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment o and on, the user is encouraged to try to correct the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit dierent from that to which the receiver is
connected.
• Consult the dealer or an experienced radio/TV technician for help.
Canada
This This Class B digital apparatus complies with Canadian ICES-003.
Cet appareil numérique de la classe B est conforme à la norme NMB-003
European Union regulation compliance statement
This product has been tested to comply with the Low Voltage Directive 2006/95/EC and the
Electromagnetic Compatibility Directive 2004/108/EC. The product meets the requirements of RoHS 2
Directive 2011/65/EU.
This symbol indicates that your product must be disposed of properly according to local laws
and regulations.
Legal disclaimer
The information in this document is subject to change without notice and should not be construed as a
commitment by Elektron. Elektron assumes no responsibility for any errors that may appear in this document. Elektron may also make improvements and/or changes in the products and programs described
in this document at any time without notice. In no event shall Elektron be liable for any special, indirect,
or consequential damages or any damages whatsoever resulting from loss of use, data, or profits,
whether in an action of contract, negligence, or other action, arising out of or in connection with the use
or performance of this information.
IMPORTANT SAFETY AND MAINTENANCE INSTRUCTIONS
Please read these instructions carefully and adhere to the operating advice.
1. Do not use this unit near water.
2. Never use aggressive cleaners on the casing or on the LCD screen. Remove dust, dirt and fingerprints
with a soft, dry and non-abrasive cloth. More persistent dirt can be removed with a slightly damp cloth
using only water. Disconnect all cables while doing this. Only reconnect them when the product is safely
dry.
3. To avoid scratches or damage, never use sharp objects near the casing or the LCD screen. Avoid
applying any pressure to the screen itself.
4. Install in accordance with the manufacturer’s instructions. Make sure you place the unit on a stable surface before use. If you mount the unit in a rack, be sure to tighten all four screws in the rack mount holes.
5. Connect the unit to an easily accessible electrical outlet close to the unit.
6. When transporting the unit, use accessories recommended by the manufacturer or the original box and
padding.
7. Do not install near any heat sources such as radiators, heat registers, stoves, or any other equipment
(including amplifiers) producing heat.
8. Do not put the PL-2 Protective Cover (Elektron accessory)on the unit while the unit is powered on.
9. Do not block the ventilation holes located on the side and the bottom of the enclosure of the unit.
Make sure there is sucient air circulation in the room where the unit is kept.
10. This product, by itself or in combination with amplifiers, headphones or speakers, is capable of producing sound levels that may cause permanent hearing loss. Do not operate at a high volume level or at a
level that is uncomfortable.
11. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles,
and the point where they exit from the unit.
12. Use attachments/accessories specified by the manufacturer.
13. Unplug this unit during lightning storms or when it is not used for long periods of time.
14. Refer all servicing to qualified service technicians. Servicing is required when the unit has been
damaged in any way, liquid has been spilled or objects have fallen into the unit, the unit has been
exposed to rain or moisture, does not operate normally, or has been dropped.
WARNING
To reduce the risk of fire, electrical shock or product damage:
• Do not expose the unit to rain, moisture, dripping or splashing and also avoid placing objects filled with
liquid, such as vases, on the unit.
• Do not expose the unit to direct sunlight, nor use it in ambient temperatures exceeding 30°C as this can
lead to malfunction.
• Do not open the casing. There are no user repairable or adjustable parts inside. Leave service and re-
pairs to trained service technicians only.
SOUND PEAKS
• A brief 3 kHz signal will be sent to all outs of the Analog Rytm when the Test mode on the Early Startup
menu is activated. Remember to turn down the volume on all speakers and headphones before activating
Test mode.
• During calibration there will be loud and unpleasant sounds on the individual outs. Disconnect these
during calibration.
SAFETY INSTRUCTIONS FOR THE POWER ADAPTER ELEKTRON PSU-3
• The adapter is not safety grounded and may only be used indoors.
• To ensure good ventilation for the adapter, do not place it in tight spaces. To prevent risk of electric
shock and fire because of overheating, ensure that curtains and other objects do not prevent adapter
ventilation.
• Do not expose the power adapter to direct sunlight, nor use it in ambient temperatures exceeding 40°C.
• Connect the adapter to an easily accessible electrical outlet close to the unit.
• The adapter is in standby mode when the power cord is connected. The primary circuit is always active
when the cord is connected to the power outlet. Pull out the cord to completely disconnect the adapter.
• In the EU, only use CE approved power cords.
TABLE OF CONTENTS
TABLE OF CONTENTS
1. INTRODUCTION ................................................................8
1.1 CONVENTIONS IN THIS MANUAL .............................................................8
2. THE ANALOG RYTM ............................................................9
3. PANEL LAYOUT AND CONNECTORS ...........................................10
3.1 FRONT PANEL .............................................................................10
3.2 REAR CONNECTORS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
3.3 SETTING UP AND STARTING THE ANALOG RYTM .......................................... 12
4. ANALOG RYTM SOUND ARCHITECTURE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
4.1 VOICE CIRCUITS ........................................................................... 13
4.2 MACHINES ................................................................................ 13
5. OVERVIEW OF THE ANALOG RYTM DATA STRUCTURE. . . . . . . . . . . . . . . . . . . . . . . . .14
5.1 +DRIVE .................................................................................... 14
5.2 DATA STRUCTURE ......................................................................... 14
5.2.1 PROJECT .................................................................................14
5.2.2 KITS .....................................................................................14
5.2.3 SOUNDS .................................................................................14
5.2.4 SAMPLES ................................................................................14
5.2.5 PATTERNS ...............................................................................14
5.2.6 SONGS ..................................................................................15
5.2.7 GLOBALS ................................................................................15
5.3 ABOUT THE TRACKS ...................................................................... 15
5.3.1 THE DRUM TRACKS .......................................................................15
5.3.2 THE FX TRACK ...........................................................................15
5.3.3 EDITING THE TRACKS ....................................................................15
6. THE USER INTERFACE ........................................................16
6.1 SCREEN NAVIGATION ...................................................................... 16
6.2 PARAMETER EDITING ..................................................................... 16
6.2.1 QUICK PARAMETER EDITING .............................................................16
6.2.2 PARAMETER VALUE JUMP ................................................................16
6.2.3 [FUNCTION] KEY PRESS COMBINATIONS ................................................16
6.3 QUICK SCROLLING ........................................................................ 17
6.4 COPY, CLEAR AND PASTE ................................................................. 17
6.5 THE NAMING SCREEN ..................................................................... 17
6.5.1 POP-UP NAMING .......................................................................... 17
6.6 OVERBRIDGE .............................................................................. 18
7. QUICK START .................................................................19
7.1 PLAYING THE FACTORY PRESETS .......................................................... 19
7.1.1 PERFORMANCE MODE ....................................................................19
7.1.2 SCENE MODE .............................................................................19
7.1.3 CHROMATIC MODE .......................................................................19
7.1.4 MUTE MODE ..............................................................................20
7.1.5 TEMPO ...................................................................................20
7.1.6 SETTING PARAMETERS ...................................................................20
8. ANALOG RYTM CONTROLS ...................................................21
8.1 PADS ...................................................................................... 21
8.2 MACHINES ................................................................................22
4
TABLE OF CONTENTS
8.3 ROTARY ENCODERS .......................................................................22
8.4 PRAGMATIC OPERATION ..................................................................22
8.5 KEY BEHAVIOR ............................................................................22
8.6 MIDI NOTES ...............................................................................22
8.7 MODE KEYS ...............................................................................23
8.7.1 MUTE MODE ..............................................................................23
8.7.2 CHROMATIC MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
8.7.3 SCENE MODE ............................................................................23
8.7.4 PERFORMANCE MODE ...................................................................23
9. PROJECTS ................................................................... 25
9.1 PROJECT MENU ............................................................................25
10. KITS AND SOUNDS ...........................................................27
10.1 THE +DRIVE SOUND LIBRARY AND THE SOUND POOL .....................................27
10.2 KIT MENU ................................................................................27
10.3 SCENE MODE .............................................................................28
10.3.1 SCENE EDIT .............................................................................28
10.4 PERFORMANCE MODE ...................................................................29
10.4.1 PERFORMANCE EDIT ....................................................................30
10.5 SOUND MENU ............................................................................ 31
10.5.1 SOUND BROWSER .......................................................................31
10.5.2 SOUND MANAGER ......................................................................32
10.6 PLAYING A SOUND .......................................................................34
10.7 EDITING A SOUND ........................................................................34
10.8 SELECTING A SAMPLE ....................................................................35
10.9 EDITING THE FX ..........................................................................35
11. THE SEQUENCER ............................................................ 37
11.1 BASIC PATTERN OPERATIONS .............................................................37
11.1.1 SELECTING A PATTERN ...................................................................37
11.1.2 PATTERN CONTROL ......................................................................37
11.1.3 TEMPO ...................................................................................38
11.2 PATTERN MODES .........................................................................38
11.3 EDITING A PATTERN ......................................................................38
11.3.1 TRIG TYPES ..............................................................................38
11.3.2 GRID RECORDING MODE ................................................................38
11.3.3 LIVE RECORDING MODE .................................................................39
11.4 RETRIG MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
11.5 TRACK MENU .............................................................................40
11.6 PATTERN MENU ........................................................................... 41
11.7 TRIG MENU ............................................................................... 41
11.7.1 QUANTIZATION ........................................................................... 41
11.8 CLICK TRACK .............................................................................42
11.9 SCALE MENU .............................................................................42
11.9.1 NORMAL MODE ..........................................................................42
11.9.2 ADVANCED MODE .......................................................................43
11.10 SEQUENCER FEATURES ..................................................................43
11.10.1 PARAMETER LOCKS .....................................................................43
11.10.2 SOUND LOCKS ..........................................................................44
11.10.3 CONDITIONAL LOCKS ...................................................................44
11.10.4 TRIG MUTE .............................................................................45
11.10.5 ACCENT ................................................................................45
5
TABLE OF CONTENTS
11.10.6 SWING ..................................................................................45
11.10.7 SLIDE ...................................................................................46
11.10.8 COPY, PASTE AND CLEAR OPERATIONS ................................................46
11.10.9 QUICK SAVE AND RELOAD COMMANDS .................................................47
12. CHAINS AND SONGS ........................................................ 48
12.1 CHAINS ...................................................................................48
12.2 SONGS ...................................................................................48
12.2.1 SONG EDIT MENU ........................................................................48
12.2.2 ADDING SONG ROWS AND ASSIGNING PATTERNS AND CHAINS .........................49
12.2.3 ADDING REPEATS AND MUTES ..........................................................49
12.2.4 SONG MENU ............................................................................50
13. GLOBAL MENU ..............................................................51
13.1 PROJECT ................................................................................. 51
13.2 SAMPLES ................................................................................. 51
13.2.1 LOADING, UNLOADING OR REPLACING A SAMPLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
13.2.2 RECEIVING A SAMPLE FROM A COMPUTER .............................................52
13.2.3 CREATING A NEW DESTINATION DIRECTORY ............................................52
13.3 GLOBAL SLOT ............................................................................53
13.4 SEQUENCER CONFIG .....................................................................53
13.5 MIDI CONFIG .............................................................................53
13.5.1 MIDI SYNC ...............................................................................54
13.5.2 MIDI PORT CONFIG ......................................................................54
13.5.3 MIDI CHANNELS .........................................................................55
13.6 TRACK ROUTING .........................................................................56
13.7 SYSEX DUMP .............................................................................56
13.7.1 SYSEX SEND .............................................................................56
13.7.2 SYSEX RECEIVE .........................................................................57
13.8 SYSTEM ..................................................................................58
13.8.1 USB CONFIG .............................................................................58
13.8.2 OS UPGRADE ...........................................................................58
13.8.3 FORMAT +DRIVE ........................................................................58
13.8.4 CALIBRATION ...........................................................................59
13.8.5 VERIFY FACTORY SAMPLES .............................................................59
14. EARLY STARTUP MENU ...................................................... 60
14.1 TEST MODE ...............................................................................60
14.2 EMPTY RESET ............................................................................60
14.3 FACTORY RESET .........................................................................60
14.4 OS UPGRADE .............................................................................60
15. SETUP EXAMPLES .......................................................... 62
15.1 ANALOG RYTM WITH A MONOPHONIC BASS MACHINE ....................................62
15.2 ANALOG RYTM WITH OTHER ELEKTRON GEAR ...........................................62
15.3 ANALOG RYTM WITH A STEREOPHONIC DRUM MACHINE .................................63
16. USEFUL KEY COMBINATIONS (QUICK KEYS) ................................65
NAMING ......................................................................................65
SEQUENCER SETTINGS .......................................................................65
17. TECHNICAL INFORMATION .................................................. 67
18. CREDITS AND CONTACT INFORMATION ..................................... 69
18.1 CREDITS ..................................................................................69
18.2 CONTACT INFORMATION .................................................................69
6
TABLE OF CONTENTS
APPENDIX A: DRUM TRACK PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
A.1 SYNTH .....................................................................................70
A.2 SAMPLE ...................................................................................70
A.3 FILTER .................................................................................... 71
A.4 AMP ...................................................................................... 71
A.5 LFO .......................................................................................72
APPENDIX B: FX TRACK PARAMETERS ..........................................73
B.1 DELAY ..................................................................................... 73
B.2 REVERB ...................................................................................73
B.3 DISTORTION ..............................................................................74
B.4 COMPRESSOR ............................................................................74
B.5 FX LFO ....................................................................................75
APPENDIX C: MIDI ...............................................................77
C.1 GENERAL TRIG PARAMETERS .............................................................77
C.2 GENERAL KIT PARAMETERS ..............................................................77
C.3 PERFORMANCE PARAMETERS ............................................................77
C.4 GENERAL SYNTH PARAMETERS ........................................................... 77
C.5 LFO PARAMETERS ........................................................................79
C.6 FX PARAMETERS .......................................................................... 79
C.7 MACHINE PARAMETERS ...................................................................80
APPENDIX D: MACHINES ....................................................... 86
D.1 ALL ........................................................................................86
D.2 BASS DRUM ...............................................................................87
D.3 SNARE DRUM .............................................................................89
D.4 RIMSHOT ..................................................................................90
D.5 HAND CLAP ............................................................................... 91
D.6 DUAL VCO ................................................................................. 91
D.7 BASS TOM .................................................................................92
D.8 LOW, MID, HIGH TOM ......................................................................92
D.9 CLOSED HIHAT ............................................................................92
D.10 OPEN HIHAT ..............................................................................93
D.11 CYMBAL ..................................................................................94
D.12 COWBELL ................................................................................94
INDEX .......................................................................... 96
7
1. INTRODUCTION
1. INTRODUCTION
Thank you for purchasing Analog Rytm. It is a hybrid analog/digital drum machine featuring, among many
other things, the intuitive Elektron step sequencer. The innovative combination of modern technology and
tried and trusted ways of sound generation lets you create any kind of drum: purely analog, sample-based
or a combination of the two. To get the most out of your machine, we recommend that you read this manual
in its entirety.
1.1 CONVENTIONS IN THIS MANUAL
We have used the following conventions throughout the manual:
Key names are written in upper case, bold style and bracketed letters. For instance, the key labeled “func-
tion”
on the main panel is called [FUNCTION].
Menu names are written in upper case letters. The OSC 1 menu is an example of that.
Parameter names and certain menu options where settings can be made or actions performed are written
in bold, upper case letters. For example, VOL.
Upper case letters are used for parameter setting alternatives, for example, OFF, and certain menu settings,
like LEGATO.
Messages visible on the screen are written in upper case letters with quotation marks. Like this, “BANK A:
CHOOSE PTN.”
Knobs are written in upper case, bold, italic letters. For instance, the knob “level” is called LEVEL.
LED indicators like the record LED are written like this: <RECORD>.
The following symbols are used throughout the manual:
Important information that you should pay attention to.
A tip that will make it easier for you to interact with the Analog Rytm
This symbol shows a nice ear. For the first time in Elektron history, it is used in the manual.
It is up to you to find out where.
8
2. THE ANALOG RYTM
2. THE ANALOG RYTM
There is geometry in the humming of the string.
There is music in the spacing of the spheres. (Pythagoras, circa 530 BC)
A long time ago, the son of a Samian carpenter discovered that harmonic sounds were produced when
fretting a vibrating string at certain geometric points. During his travels in the Far East he learned and
understood the interconnectedness of all things. Phenomena in the heavens above and in the vegetable
patch below were not intrinsically dierent. The proportion and spacing of natural elements like the moons
of planets, the seeds of a sunflower or the dimensions of a well-crafted bow were all curiously - musical.
Octaves, multiples of octaves, fifths and other musical ratios seemed to be at the core of all things, large
and small alike. And the fundamental building block of all this was Number.
He went on to found the first school of discrete mathematics in Croton on the southern tip of Italy. Many
aspects of the natural world that awed and inspired him may have seemed random and impossible to
grasp. Yet any complexity, he realized, could be made to reveal its hidden grain and understood if probed by
mathematics. Once the structure was found, it was possible to recreate and further investigate the natural
phenomena using digital computation and geometric visualization.
We would boldly like to claim that the Drum Computer we call Analog Rytm embodies and honors the spirit
of Pythagoras: combining the fearless hands-on strumming of nature’s vibrating strings with the cool analytic framework of digital computation. Making sure you are always in control. Analog and digital - the two are
not destined to be forever separated. At last the great divide will be bridged. By you.
Whether the musical world you choose to inhabit is an ordered, harmonious and intelligible one or one of
disharmony, chaos and earth-shattering noise, the Analog Rytm will be your guide, companion and workhorse. It is our firm belief that you will have as much fun using the machine as we have had developing it.
Enjoy.
The Elektron Team
9
3. PANEL LAYOUT AND CONNECTORS
3. PANEL LAYOUT AND CONNECTORS
3.1 FRONT PANEL
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
33
32
31
192021222324252627282930
16
17
18
The Analog Rytm Front Panel.
1. MASTER VOLUME sets the volume for the main outputs and the headphones output.
2. [FX] selects the FX track. Secondary function accesses the KIT menu.
3. [MUTE] activates MUTE mode. SOUND menu is accessed as a secondary function.
4. [CHROMATIC] activates CHROMATIC mode, in which the pads are used to play the current track
Sound chromatically across four octaves. Secondary function accesses the TRACK menu.
5. [SCENE] activates SCENE mode, in which a one-push instant change of an array of parameter settings
is possible. Secondary function brings forth the PATTERN menu.
6. [PERF] activates PERFORMANCE mode. Secondary function accesses the SONG menu.
7. [PADS] are 12 responsive, assignable, velocity and pressure sensitive synthetic rubber pads with after-
touch. They have many possible functions depending on which mode is active and what each pad is set
to do. First of all, they are designed to play the track Sounds. Each drum track has a dedicated pad (see
the complete map on page 21). <PADS> will exhibit a variety of colors.
8. LEVEL sets the overall volume level of the active track. Also used for setting parameters and scrolling
through lists.
9. [TEMPO] opens the TEMPO menu. [FUNCTION] + [TEMPO] makes it possible to tap the tempo.
10. [YES/SAVE] key. Used for entering sub-menus, selecting and confirming. If pressed in combination with
2, 3, 4, 5 or 6 above it will instantly save the kit, Sound, track, pattern or song.
11. [NO/RELOAD] key. Used for exiting an active menu, backing one step and negating. If pressed in combi-
nation with 2, 3, 4, 5 or 6 above it will instantly reload the kit, Sound, track, pattern or song.
12. The LCD screen.
13. The [ARROW] keys. Used for navigation and for setting some parameter values. In menus, they are
called [UP], [DOWN], [LEFT] and [RIGHT].
14. [TRIG SETUP] key controls the TRIG settings for the active track. Secondary function accesses the
TRIGS menu.
15. DATA ENTRY knobs A-H. Used for setting parameter values. Press knob when turning to change values
in larger increments.
10
3. PANEL LAYOUT AND CONNECTORS
16. [PARAMETER] keys access the PARAMETER pages of the active track. <PARAMETER> LEDs directly
above the keys indicate if the page is active (red) or inactive (o). The five parameter page keys are,
from left to right:
SYNTH key accesses the SYNTH parameters of the track Sound. These control the drum synthesis.
When the FX track is active, the DELAY parameter page is accessed.
SAMPLE key takes you to the SAMPLE page. Various aspects of the sample playback are set on this
page. When the FX track is active, the REVERB parameter page is accessed.
FILTER key accesses the FILTER page. The analog multimode filter parameters are set here. When the
FX track is active, the DISTORTION parameter page is accessed.
AMP key takes you to the AMP page, where the shape of the amplitude envelope is set. When the FX
track is active, the COMPRESSOR parameter page is accessed.
LFO key accesses the LFO parameters for the active track.
17. [SONG MODE] activates/deactivates SONG mode. The secondary function is SONG edit.
18. [CHAIN MODE] activates/deactivates CHAIN mode. The secondary function initiates a new CHAIN.
19. [PAGE] selects the active pattern page, if the pattern is made of more than 16 steps. <PATTERN PAGE>
LEDs indicate how many pattern pages the active pattern consists of and which pattern page is currently active. The LED flashes on the pattern page currently playing. The secondary function accesses the
SCALE menu. Pressing this key also activates Fill Mode (when GRID RECORDING mode is not active).
20. [STOP] stops playback. The secondary function is a paste operation.
21. [PLAY] starts the playback of the sequencer. The secondary function is a clear operation.
22. [RECORD] key. Activates/deactivates GRID RECORDING mode. Keep [RECORD] pressed, then press
[PLAY], to activate LIVE RECORDING mode. Activate/deactivate QUANTIZATION of LIVE RECORDING
by keeping [RECORD] pressed, then tapping [PLAY] twice. The secondary function is a copy operation.
23. <BANK GROUP> LED indicates if bank group A-D or E-H will be accessed by the [BANK] keys.
24. [BANK D/H] accesses pattern selection for either bank D or H. The secondary function is SLIDE.
25. [BANK C/G] accesses pattern selection for either bank C or G. The secondary function is SWING.
26. [BANK B/F] accesses pattern selection for either bank B or F. The secondary function is ACCENT.
27. [BANK A/E] accesses pattern selection for either bank A or E. The secondary function is TRIG MUTE.
28. [BANK GROUP] key. Toggles the active bank group, A-D or E-H. The secondary function toggles be-
tween dierent PATTERN play modes (DIRECT JUMP/SEQUENTIAL/DIRECT START). The <PATTERN
MODE> LED, directly below this key, shows these modes as green, o and red, respectively.
29. [TRIG] keys are used for entering or removing sequencer trigs, in combination with the [PADS], and
parameter locks, in combination with the DATA ENTRY knobs. Also used to select a pattern, when one
of the [BANK] keys has been pressed.
30. <TRIG> LEDs show trigs on the sequencer by a fully lit LED, while parameter locks are shown as flashing LEDs, in GRID RECORDING mode. When a pattern is playing, or when LIVE RECORDING is enabled,
a fully lit LED “runs” along the 16 steps of the sequencer across all (up to four) pages at the set TEMPO.
31. [RETRIG] key will if pressed in combination with one of the [PADS], continuously retrig the Sound. It
also lets you assign custom retrigs for each of the drum tracks on a side menu appearing on the LCD
screen whenever the key is pressed. The secondary function opens the CLICK TRACK menu.
32. [FUNCTION] key. Press, hold and press another key to access the secondary function of that key. Sec-
ondary functions are seen in red writing on the Analog Rytm front panel.
33. [TRACK] key. Press [TRACK] + one of the [PADS] to select a drum track for editing or CHROMATIC
play. Note that the FX track has a separate dedicated key. The secondary function opens the GLOBAL
menu where the global settings (SYNTH, SEQUENCER, MIDI et cetera) for the current PROJECT are
made. PROJECTS and SAMPLES are managed in the GLOBAL menu as well.
11
3. PANEL LAYOUT AND CONNECTORS
3.2 REAR CONNECTORS
The Analog Rytm Rear Connectors.
1. Power On/O switch.
2. Power In (12V DC 2A). Use the included PSU-3 power adapter, or equivalent, connected to a power
outlet.
3. Full-speed USB 2.0. Connect to a computer host using the included A to B USB 2.0 connector cable.
4. MIDI Thru. Use standard MIDI cable to connect another MIDI unit in the chain. Duplicates incoming MIDI
In data stream. Can also be configured to send DIN sync to legacy instruments.
5. MIDI Out. Use standard MIDI cable to connect to MIDI In of an external MIDI unit. Can also be configured
to send DIN sync to legacy instruments.
6. MIDI In. Use standard MIDI cable to connect MIDI Out of an external MIDI unit for it to control the Analog
Rytm.
7. Individual drum voice outputs CY/CB - RS/CP, CH/OH - MT/HT, SD - LT and BD - BT. Use 1/4” insert/Y
cable to access both voices of each output.
8. Audio In. Use 1/4” stereo (Tip/Ring/Sleeve) phone plug to input stereo sound from an external source.
9. Main Out L/R. Use either 1/4” mono phone plug (unbalanced connection) or 1/4” (Tip/Ring/Sleeve) phone
plug (balanced connection).
10. Headphones Out. Connect standard headphones with 1/4” stereo phone plug.
3.3 SETTING UP AND STARTING THE ANALOG RYTM
Make sure you place the Analog Rytm on a stable support, such as a sturdy table with sucient cable
space or mount on a rack capable of a 3 kg load.
Before you connect the Analog Rytm to other equipment, make sure all units are switched o.
Plug the included PSU-3 adapter to a power outlet and insert the small plug into the Analog Rytm Power In.
Connect the Main Out L/R from the Analog Rytm to your mixer or amplifier.
If MIDI control is desired, connect the MIDI OUT port of the device you wish to send data from to the MIDI
IN port of the Analog Rytm. The MIDI THRU port duplicates the data arriving at the MIDI IN port. It is used
for chaining several MIDI units together.
Switch on all units. Switch on the Analog Rytm by pressing the Power rocker switch located at the back of
the unit. Before restarting the unit, wait 2 seconds after the LCD backlight goes out.
12
4. ANALOG RYTM SOUND ARCHITECTURE
4. ANALOG RYTM SOUND ARCHITECTURE
The Analog Rytm sound architecture, with its eight drum voices, two send eects (delay and reverb), and
two master eects (distortion and compressor), is shown below. Analog elements are gray; digital are white.
DRUM VOICES (×8)
NOISE
GENERATOR
PERCUSSION
SOUND
GENERATOR
SAMPLE
PLAYBACK
ENGINE
FROM EFFECT SENDS
DELAY
REVERB
OVERDRIVE
LFO DESTINATION
FADE
ENVELOPE
TO EFFECT RETURNS
REVERB
SEND
TO EFFECT RETURNS
FILTER
ENVELOPE
MULTIMODE
FILTER
AMP ENVELOPE
EFFECT RETURN 1
AMP
PAN
DELAY SEND REVERB SEND
LFO DESTINATION
FADE
ENVELOPE
INDIVIDUAL OUTPUT
TO MIXER
FX TRACK
EFFECT RETURN 2
FROM DRUM VOICES OUTPUTS L/R
MIXER
DISTORTION COMPRESSOR
EXTERNAL
INPUT
4.1 VOICE CIRCUITS
There are eight analog voice circuits. All voices have an identical sample playback engine, overdrive circuit,
and multimode filter. The percussion sound generators are not identical. Each is designed to generate a
specific class of analog drum sounds.
4.2 MACHINES
There are several MACHINES available for each voice circuit. A MACHINE is a set of synthesis parameters
that controls a percussion sound generator in order to act like a certain drum model. Dierent MACHINES
are software tailored to generate dierent kinds of bass drums, hi-hats, et cetera - and to provide the parameters most apt for each particular MACHINE. Per default, the BD voice makes use of one of the available bass drum MACHINES, BDHD. Another MACHINE may be selected which will engage the BD voice
circuit in a dierent way, enabling it to employ, for example, frequency modulation.
13
5. OVERVIEW OF THE ANALOG RYTM DATA STRUCTURE
5. OVERVIEW OF THE ANALOG RYTM DATA STRUCTURE
The image below outlines the data structure of the Analog Rytm.
5.1 +DRIVE
The +Drive is a non-volatile storage. It keeps up to 128 projects (thousands of patterns, kits and songs)
stored internally. The +Drive also contains the +Drive Sound library, capable of storing 4096 drum Sounds,
and the Sample bank. All projects have access to these Sounds and samples.
5.2 DATA STRUCTURE
5.2.1 PROJECT
A project contains 128 patterns, 128 kits, 16 songs, 4 global slots, 127 sample slots and a project Sound
pool consisting of up to 128 Sounds. General settings and states are stored in the project. When a project is loaded it becomes the active working state of the Analog Rytm. From here it is possible to edit the
patterns, kits, songs and globals of the project. Every time the Analog Rytm is switched on, it boots to the
active working state, the active project. Projects are saved, loaded and managed in the GLOBAL menu.
Read more about projects in the section “9. PROJECTS” on page 25.
5.2.2 KITS
A kit is a collection of twelve drum track Sounds and the FX track parameter settings. When editing a
track, changes made to the parameter settings will be stored in the active kit. Each project of the Analog
Rytm contains 128 individual kits. A pattern always links to one of the kits. Read more in the section “10.
KITS AND SOUNDS” on page 27.
5.2.3 SOUNDS
A Sound consists of the parameter settings found in the PARAMETER pages called SYNTH, SAMPLE,
FILTER, AMP and LFO. Sounds are stored in the Sound pool of the active project or in the +Drive Sound
library. The Sound pool has 128 Sound slots and the +Drive Sound library holds up to 4096 sounds. Read
more in the section “10. KITS AND SOUNDS” on page 27.
14
5.2.4 SAMPLES
127 user sample slots are available for each project. There are many preset samples to choose from in
the +Drive Sample bank. Additional samples need to be transferred to the Analog Rytm from a computer
with the complimentary C6 utility software. See section “13. GLOBAL MENU” on page 51.
5.2.5 PATTERNS
For each of the 8 banks 16 patterns are available, which means 128 patterns are always readily available
for each project. A pattern contains sequencer data like drum trigs, trig mutes and parameter locks for
the drum tracks and the FX track, as well as default settings on the TRIG page and length, swing and
time signature settings. Read more in the section “11. THE SEQUENCER” on page 37.
5. OVERVIEW OF THE ANALOG RYTM DATA STRUCTURE
5.2.6 SONGS
16 songs are available for each project. They are used to sequence the playback of patterns. Songs are
built of patterns and chains. Read more about songs in the section “12.2 SONGS” on page 48.
5.2.7 GLOBALS
The GLOBAL settings contain overarching settings for the sequencer, MIDI, and global track routing.
Four global slots are available for each project, each with its own specific settings. Read more about the
global settings in the section “13. GLOBAL MENU” on page 51.
5.3 ABOUT THE TRACKS
5.3.1 THE DRUM TRACKS
There are 12 drum tracks. To select a track for editing, press and hold [TRACK] key and then press one
of the [PADS]. Each drum track uses a specific drum voice controlled by one of the MACHINES available
for the voice. All drum tracks can layer analog percussion sounds and sampled sounds, to distort and
filter them, and apply a dedicated LFO each.
5.3.2 THE FX TRACK
The FX track controls the Analog Rytm send eects DELAY and REVERB, as well as the DISTORTION
and COMPRESSOR master eects. One LFO is also available for this track. To select the FX track for
editing, press the [FX] key.
5.3.3 EDITING THE TRACKS
The five [PARAMETER] keys open parameter pages that are used for editing the tracks. The SYNTH
page of a drum track contains dierent parameters depending on the MACHINE chosen for the analog
percussion sound generator. The other pages are identical for all drum tracks; the SAMPLE page for
the sample playback engine, the FILTER page for the multimode filter and its filter envelope, the AMP
page for the amplitude envelope and eect sends, and the LFO page for the low-frequency oscillator.
The corresponding five parameter pages for the FX track controls the four eects and the FX LFO. Edit
parameters using the DATA ENTRY knobs A- H. Press and turn a knob to adjust its parameter in larger
increments.
15
6. THE USER INTERFACE
6. THE USER INTERFACE
The LCD screen shows all the information needed for real-time interaction and editing on the Analog Rytm.
The eight DATA ENTRY knob parameters shown will vary depending on the given situation. The main inter-
face screen is shown below:
1. Bar showing the main volume setting of the active track. Turn LEVEL knob to change.
2. The current tempo shown with one decimal.
3. The playback/recording status of the sequencer shown with the standard “record”, “play”, “pause” and
“stop” symbols; , , , and . To the right is a counter displaying how many bars, beats, and steps the
sequencer has played.
4. Shows the current PARAMETER page name.
5. Eight track parameters. They show what the DATA ENTRY knobs control and their current parameter
values. Press and turn a knob to adjust its parameter in larger increments.
6. The active pattern.
7. The active kit. When turning a DATA ENTRY knob, the full name of the parameter is shown here. When
the active track is changed, the name of the track Sound is briefly shown.
6.1 SCREEN NAVIGATION
When entering a menu or sub-menu, navigation is done using the [ARROW] keys [UP], [DOWN], [LEFT] or
[RIGHT]. The LEVEL knob can be used to quickly scroll through menus and lists.
[YES/SAVE] is used to arm, select, enter sub-menus and tick/untick boxes.
[NO/RELOAD] is used to negate, deselect or go back one or more steps.
When on a menu or sub-menu the [NO/RELOAD] key can be used to go back, one step at a
time, all the way to the main screen.
6.2 PARAMETER EDITING
The DATA ENTRY knobs are used to change the value of the track parameters. The position of the parame-
ters on the LCD screen correspond to the physical location of the knobs on the front panel.
6.2.1 QUICK PARAMETER EDITING
If the DATA ENTRY knob is pressed when it is turned parameters will be adjusted in larger increments.
Quickly sweep through a whole parameter range in this manner.
6.2.2 PARAMETER VALUE JUMP
Pressing [FUNCTION] while editing certain parameters will make the parameter values jump to appropriate positions. The time of the Delay, for example, will jump between 16, 32, 64 and 128 and the oscillator
tuning will jump whole octaves.
6.2.3 [FUNCTION] KEY PRESS COMBINATIONS
The standard way to use the [FUNCTION] key in combination with other keys, is to press and hold
[FUNCTION] and then make a short press on the second key in the combination. For some key combina-
tions it is also possible to access a sub-menu by pressing and holding [FUNCTION] + second key for a
second.
16
6. THE USER INTERFACE
6.3 QUICK SCROLLING
Scroll through menus using the LEVEL knob. Quick scrolling is possible on many menus. Press [FUNCTION] + the [UP] or [DOWN] arrow keys to move the cursor one menu page at a time.
6.4 COPY, CLEAR AND PASTE
Copy, clear and paste commands are available in a lot of contexts. A copy operation is performed by
pressing [FUNCTION] + [REC]. A paste operation is performed by pressing [FUNCTION] + [STOP]. A clear
operation is performed by pressing [FUNCTION] + [PLAY]. Paste and clear operations can be undone by
repeating the key press combination. See the dierent sections in the manual for more information on when
these commands are applicable.
6.5 THE NAMING SCREEN
The naming method is identical for the various naming situations that appear when kits, Sounds, songs,
projects et cetera are saved or renamed. This screen is also used for text searches.
The [LEFT] and [RIGHT] arrow keys are used to navigate between the characters. Turning the LEVEL knob
or pressing the [UP] or [DOWN] arrow keys cycles between the characters. [FUNCTION] + [NO/RELOAD]
will erase letters.
6.5.1 POP-UP NAMING
A convenient way of naming is to open a pop-up menu that shows all available letters, symbols, and digits. When on the NAMING screen, press the [FUNCTION] key.
Keep [FUNCTION] pressed and use the [ARROW] keys to highlight the character you want to insert.
Once there, release [FUNCTION] to insert the character.
Copy, paste, and clear commands are available on the naming screen.
17
6. THE USER INTERFACE
6.6 OVERBRIDGE
This manual primarily focuses on how to use the Analog Rytm as a standalone eect. But you can also use
Overbridge to interact with the Analog Rytm. The Overbridge software suite enables a tight integration
between the Elektron devices (Analog Rytm, Analog Keys, Analog Four, Analog Heat) and a computer DAW.
When using the Overbridge setup, the user interface for your Elektron device will present itself as a clearly
laid out plug-in window in your DAW. Enjoy multitrack audio, browse through and organize sounds and
samples, edit kits, and set up scene and performance macros via a simple point-and-click workflow. Access,
edit, or automate all parameters for sound shaping and sample manipulation, for each of the distinctive
tracks, on screen. Always find your device settings in the same state as you left them when you return to
your DAW project, with the convenient, Machine State Total Recall functionality.
You need an Analog Rytm, a USB cable, a computer running Overbridge, and a DAW.
If you want to hook up multiple machines to a computer, you must use a USB hub. We suggest the Elektron
Overhub, tailored for Overbridge use. It is Multi-TT hub and thereby also supports older Elektron machines.
Overbridge is available for download on the Elektron website. Please read the Overbridge manual (also
available on the Elektron website, Support section) to learn more about its uses and capabilities.
Once installed, for Overbridge to work together with your Analog Rytm, do the two following two things:
First - Make sure the OS of your Analog Rytm, and the OS of Overbridge, match. You must have the most
recent OS installed for both Overbridge and the device. The most recent OS versions are available for
download on the Elektron website.
Second - set your Analog Rytm device to Overbridge mode on the USB CONFIG page You will find this
setting in the SYSTEM menu, located in the GLOBAL menu. Press [YES/SAVE] to tick the box and activate
OVERBRIDGE MODE.
18
7. QUICK START
7. QUICK START
This quick start will guide you through some of the basic operations to start using the Analog Rytm right
away. First, connect it as described in section “3.3 SETTING UP AND STARTING THE ANALOG RYTM” on
page 12.
7.1 PLAYING THE FACTORY PRESETS
You will find several preset patterns, kits, and Sounds in the Analog Rytm. Follow the instructions below to
get started exploring your new instrument.
1. Switch on the Analog Rytm.
2. Make sure bank group A-D is selected. <BANK GROUP> LED must be lit in its upper position. If it is not,
press the [BANK GROUP] key to toggle.
3. Press [BANK A/E] + [TRIG] key 1 to select the first pattern of bank A.
4. Press [PLAY] to listen to pattern A01.
5. Press [BANK A/E] + [TRIG] key 2 to select pattern A02. It will start once pattern A01 has reached its
end. Select pattern A03 by pressing [BANK A/E] + [TRIG] key 3, and so on.
6. Press [STOP] to stop playback.
7.1.1 PERFORMANCE MODE
The PERFORMANCE mode enables each one of the twelve pads to control several PARAMETER page
parameters at once. Change many dimensions of one or more drum track Sounds at the touch of a single
pad. A set of such parameter locks is called a performance macro, shown with dim green <PADS>. Try
out the preset macros:
1. Make sure a pattern is playing.
2. Press the [PERF] key to enter PERFORMANCE mode.
3. Press the dim green [PADS]. Apply dierent pressures and hear how the sound of the pattern changes.
7.1.2 SCENE MODE
The SCENE mode turns the twelve pads into instant sound shifters. Similar to a performance macro,
several parameters from any track can be changed by pressing a single pad. A scene is a fixed set of
parameter values, ready to be activated or deactivated, shown with dim blue <PADS>. Try out the preset
scenes by following the instructions below. The active scene is shown with a bright blue color pad.
1. Make sure a pattern is playing.
2. Press the [SCENE] key to enter SCENE mode.
3. Tap one of the dim blue color [PADS] to activate a scene. Tap again to deactivate.
7.1.3 CHROMATIC MODE
Any track Sound may be played chromatically using the 12 pads. The chromatic note pitch is linearly
increased for each successive pad pressed: left to right, bottom to top. Twelve successive pads make
one octave. The range spans four octaves, middle, one up and two down. The middle octave has sky blue
color <PADS>, the two below are of violet and dark blue color, in that order, and the one above is yellow.
1. Select the drum track to play chromatically by pressing [TRACK] + one of the [PADS].
2. Press the [CHROMATIC] key to enter CHROMATIC mode.
3. Play the [PADS]. The active track Sound will be pitched dierently for each of the 12 pads comprising
the middle octave. Reach higher or lower octaves, one row at a time, by pressing [ARROW] keys [UP]
or [DOWN], respectively.
The CHROMATIC mode is an eective way to add musical variety to your beats. The
timbre, tonality and impact of playing a Sound chromatically depend on the track type and
how the Sound is designed. The synth part, the sample part or both synth and sample part
of the Sound may be chromatic enabled. This is done in the SOUND SETTINGS, see “10.5
SOUND MENU” on page 31.
19
7. QUICK START
7.1.4 MUTE MODE
Mute the sequencer of any of the twelve drum tracks in this mode. Unlike the CHROMATIC mode, it
makes no dierence which track is active when this mode is activated. All tracks are accessed simultaneously.
1. Make sure a pattern is playing.
2. Press the [MUTE] key to enter MUTE mode.
3. Press any of the [PADS] to mute the corresponding track. Press again to unmute. The color of the
<PADS> indicates the mute status. Unlit <PADS> are muted. Green <PADS> are audible.
4. Press and hold [FUNCTION] and then any of the [PADS] in order to preselect a mute, or mute/unmute
several tracks in one go. Once you release [FUNCTION], the selected mutes will come into eect.
Preselected mutes are shown as <PADS> of sky blue color.
7.1.5 TEMPO
On the main interface screen, press and hold [ARROW] keys [LEFT] or [RIGHT] to temporarily nudge
the tempo 10% up or down. Release to revert the BPM to its original setting. To change the overall BPM
setting, open the TEMPO screen by pressing the [TEMPO] key.
When MUTE mode is active, press [RETRIG] and one of the [PADS] if you wish to activate
solo, in other words, mute all tracks except the one selected. Press again to deactivate
solo. Keeping [RETRIG] pressed, multiple tracks may be solo activated/deactivated. Solo
activated <PADS> are of turquoise color.
Use the LEVEL knob to change tempo in integer steps. Pressing the knob while turning it changes the
tempo eight steps at a time. The [ARROW] keys [UP] or [DOWN] change the tempo in fractional steps.
7.1.6 SETTING PARAMETERS
Each drum track has five PARAMETER pages, accessed by pressing [PARAMETER] keys SYNTH, SAM-
PLE, FILTER, AMP, and LFO. The parameters found here aect the sound in various ways. When the FX
track is active, the corresponding PARAMETER pages are DELAY, REVERB, DISTORTION, COMPRESSOR and LFO, accessed by the same keys.
1. Make sure a pattern is playing.
2. Press [TRACK] + [PADS] 1-12 to select one of the twelve drum tracks.
3. To change, for example, the cuto of the filter, press the FILTER key. The FILTER page will be shown
on the LCD screen. The parameter labeled FRQ changes the cuto of the filter. Turn DATA ENTRY
knob E to change the parameter value, and hear how the Sound is aected.
Try out the rest of the PARAMETER page parameters to explore a variety of sound shaping possibilities.
To reload the Sound to its original state, press [NO/RELOAD] + [MUTE].
To reload the whole kit to its original state, press [NO/RELOAD] + [FX].
To save kit changes, press [YES/SAVE] + [FX].
20
8. ANALOG RYTM CONTROLS
8. ANALOG RYTM CONTROLS
The Analog Rytm is played using the [PADS]. The responsive, velocity and pressure sensitive synthetic rub-
ber pads can be assigned to perform many possible functions. <PADS> will exhibit a variety of colors. There
are a variety of modes: MUTE mode, CHROMATIC mode, SCENE mode and PERFORMANCE mode.
8.1 PADS
The left half of the Analog Rytm front panel is dominated by the 12 pads. The finger-sized pads are made of
tough synthetic rubber and respond to pressure. Tapping a pad will trigger its track sound. BD will trigger
the bass drum, SD the snare drum and so on. The illustration outlines and briefly describes the analog percussion sound generators. The twelve tracks and their default MACHINES are shown below.
CH 9 OH 10 CY 11 CB 12
PAD
1. BD (Bass Drum)
2. SD (Snare Drum)
3. RS (Rim Shot)
4. CP (Hand Clap)
5. BT (Bass Tom)
6. LT (Low Tom)
7. MT (Mid Tom)
8. HT (Hi Tom)
9. CH (Closed Hihat)
10. OH (Open Hihat)
11. CY (Cymbal)
12. CB (Cow Bell)
BT 5
LT 6 MT 7 HT 8
BD 1 SD 2 RS 3 CP 4
MACHINES
1. HARD, CLASSIC, FM, PLASTIC, SILKY, SHARP
2. HARD, CLASSIC, FM, NATURAL
3. HARD, CLASSIC
4. CLASSIC
5. CLASSIC
6. CLASSIC
7. CLASSIC
8. CLASSIC
9. BASIC, CLASSIC, METALLIC
10. CLASSIC, METALLIC
11. CLASSIC, METALLIC, RIDE
12. CLASSIC, METALLIC
GENERAL MACHINES: NOISE, IMPULSE.
Play the track Sounds of the active kit using the [PADS]. 8 individual track Sounds can be voiced simulta-
neously with the eight physical voices of the Analog Rytm. The BD, SD, BT and LT are independent tracks
with their individual voices. Tracks RS-CP, MT-HT, CH-OH and CY-CB, each pair is shown with a coupling
on the front panel of the Analog Rytm, share a voice. If both tracks of a coupled pair are played or trigged
simultaneously, the right-hand track has a higher priority. Track CP will mute track RS, HT will mute MT, OH
will mute CH and CB will mute CY. With sequencer recording deactivated, drum tracks may also be played
using [TRIG] keys 1-12.
The color of the <PADS> will show pad activity. A pad will flash white briefly when engaged, whether it is
played manually or by the Analog Rytm sequencer. The active drum track is shown with a red color pad.
21
8. ANALOG RYTM CONTROLS
8.2 MACHINES
Select a drum track MACHINE by quickly pressing the first [PARAMETER] key, SYNTH, twice. A MACHINE
makes use of the physical percussion sound generator of the voice circuit in a certain way, in order to make
a characteristic drum model.
For example, the BD track uses the sound generator of the first voice circuit. Its default BDHD MACHINE
includes one tunable analog oscillator, a choice of three dierent waveforms and a custom envelope to
shape the sound. These MACHINE-specific synthesis parameters are found on the SYNTH parameter page.
Another MACHINE may be selected which will engage the sound generator in a dierent way - employing
more than one oscillator, for example - enabling the BD track to perform frequency modulation and many
other sound generating techniques.
All MACHINES can not be accessed from all tracks since the tracks control dierent physical sound
generators. The illustration above shows the tracks that can make use of a specific type of percussion
sound generator within the boundaries of the same gray-shaded box. For a more comprehensive list of
MACHINES, the tracks that can use them and the specific SYNTH page parameters they give access to,
please see “APPENDIX D: MACHINES” on page 86.
8.3 ROTARY ENCODERS
The eight DATA ENTRY knobs, the LEVEL knob, and the MASTER VOLUME knob are made of sturdy
two-component plastic with a shape designed to fit snugly between thumb and forefinger, and a rubbery
surface to prevent slipping. The MASTER VOLUME is an absolute encoder, spanning roughly 320 degrees
from its left extreme to its right extreme. Its position is shown with a small white dot on its top surface. The
LEVEL and DATA ENTRY knobs (with which you set various parameter values for the active kit), on the other hand, are relative encoders which may be spun any number of turns. Pressing and turning these encoders will change their associated values at a greater speed.
8.4 PRAGMATIC OPERATION
The functional layout of the Analog Rytm front panel ensures many complex operations can be done using
only one hand, leaving the other hand free to tweak sounds. With all mode and track keys near each other,
one-handed track muting, chromatic play, scene change and performance macro deployment is possible.
As is one-handed retrigging, tempo tapping, pattern mode change, and pattern selection.
8.5 KEY BEHAVIOR
As a group, the track selection keys ([TRACK] + any of the [PADS] and the [FX] key) have radio button
functionality, i.e. when a new track is set to be active, the previous one is simultaneously deactivated (one
and only one track must always be selected). Likewise, the group consisting of the five [PARAMETER] keys
and the [TRIG SETUP] key has radio button functionality.
The mode keys [MUTE], [CHROMATIC], [SCENE] and [PERF] keys have both on/o and radio button
functionality (which means they may all be switched o, but only one of them may be on at the same time).
This goes for the [SONG MODE] and [CHAIN MODE] keys as well.
The [TRACK], [FUNCTION] and [RETRIG] keys must be pressed in combination with other keys to exert
functionality.
8.6 MIDI NOTES
Some functions can be triggered by sending MIDI note values from an external MIDI device (a MIDI keyboard or a computer, for example) connected to the Analog Rytm via standard MIDI cable or a USB 2.0 A to
B connector cable.
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.
MIDI note values 12-59 (corresponding to notes C1 - B4, the second through to the fifth octave in the MIDI
range) will trigger the Sound of the active track in any of its 48 chromatic variations (as if played by the
pads in CHROMATIC mode, see section below), from lowest to highest pitch. The track Sound needs to be
chromatic enabled if any variation is to be heard. Activate via the SOUND SETTINGS found in “10.5 SOUND
MENU” on page 31.
MIDI program change messages 0-127 will select pattern 1-128 (A01 - H16) on the Analog Rytm. Additionally,
MIDI CC and NRPN messages can be sent to control various aspects of the Analog Rytm. See “APPENDIX
C: MIDI” on page 77 for a complete specification.
22
8. ANALOG RYTM CONTROLS
8.7 MODE KEYS
There are four main keys with which you change the mode of operation on the Analog Rytm: [MUTE],
[CHROMATIC], [SCENE] and [PERF]. The red LEDs above these keys show if the modes are active (full-
bright) or inactive (o).
8.7.1 MUTE MODE
To activate the MUTE mode, press the [MUTE] key. To deactivate, press again. Mute any of the twelve
drum tracks in this mode. Unlike the CHROMATIC mode, it makes no dierence which track is active
when this mode is on. All tracks are accessed simultaneously. Press any of the [PADS] to mute the
corresponding track. Press again to unmute. The color of the <PADS> indicates the mute status. Unlit
<PADS> are muted. Green <PADS> are audible.
Press and hold [FUNCTION] and then any of the [PADS] in order to preselect a mute, or mute/unmute
several tracks in one go. Once you release [FUNCTION], the selected mutes will come into eect.
Preselected mutes are shown as <PADS> of sky blue color.
Press [RETRIG] and one of the [PADS] if you wish to activate solo, in other words, mute all tracks except
the one selected. Press again to deactivate solo. Keeping [RETRIG] pressed, multiple tracks may be solo
activated/deactivated. Solo activated <PADS> are turquoise.
The tracks you have muted in this mode stay muted even if the pattern is changed or a new kit is loaded. After exiting MUTE mode, the LED light atop the [MUTE] key will stay lit, half-bright red if any of the
tracks are muted. The MUTE mode is a part of the active state of the machine. It is not stored to the current kit or pattern. Mutes activated in MUTE mode are the master mutes, and they will override any TRIG
MUTE patterns on the sequencer or any SONG MUTE program on any pattern of the active song.
8.7.2 CHROMATIC MODE
Pressing the [CHROMATIC] key will turn the [PADS] of the Analog Rytm into a chromatic keyboard.
Press again to deactivate. When in this mode, you will be able to play the Sound of the active track chromatically. To play another track Sound chromatically, change active track by pressing [TRACK] and one
of the [PADS].
Any track Sound may be played in this mode using the 12 pads. The chromatic note pitch is linearly
increased for each successive pad pressed: left to right, bottom to top. Twelve pads in succession make
up one octave. The range spans four octaves, middle, 1 up and 2 down. The middle octave has sky blue
color <PADS>, the two below are of violet and dark blue color, in that order, and the one above is yellow.
Reach higher or lower octaves, one row at a time, by pressing [ARROW] keys [UP] or [DOWN], respectively.
The Synth part, the Sample part or both at once of any Sound may be chromatic enabled. This is done in
the SOUND SETTINGS. See section “10.5 SOUND MENU” on page 31.
Notes trigged chromatically can be recorded on the sequencer. Find out how this is done in sections
“11.3.2 GRID RECORDING MODE” on page 38 and “11.3.3 LIVE RECORDING MODE” on page 39.
Like the MUTE mode, the active state of the CHROMATIC mode (the portion of the chromatic keyboard
currently visible on the pads) is not stored per kit or pattern but stays in the state to which it was set until
it is changed.
8.7.3 SCENE MODE
The SCENE mode turns the twelve pads into instant sound shifters. Several parameters from any track
can be changed by pressing a single pad. A scene is a fixed set of parameter values, ready to be activated or deactivated. To activate the SCENE mode, press the [SCENE] key. Press again to deactivate.
By carefully assigning a set of parameter values, you can prepare a scene that will make the same kit
sound drastically (or subtly) dierent whenever activated. After exiting SCENE mode, the LED light atop
the [SCENE] key will stay lit, half-bright red if any of the scenes are active. Unlike the MUTE or CHROMATIC mode, SCENE mode settings are stored to the active kit. See “10.3 SCENE MODE” on page 28.
8.7.4 PERFORMANCE MODE
Press the [PERF] key to enter PERFORMANCE mode. This mode enables the [PADS] to control several
PARAMETER page parameters at once. Change many dimensions of one or more drum track Sounds
at the touch of a single pad. A pad in this mode, prepared with one or many additive layers of parameter
modulation, is called a performance macro. While setting up a performance macro is done in a similar
way as setting up a scene, there is a major dierence in the way these two modes operate. A scene is a
static, ON/OFF command of an array of parameters set to specific values. A performance macro engages the assigned parameters in a dynamic way. When using a performance macro, the parameters will be
modulated relative to the pressure applied to the pad.
23
8. ANALOG RYTM CONTROLS
To exit PERFORMANCE mode, press [PERF] key again. PERFORMANCE mode settings are stored as
part of a kit. See “7.1.1 PERFORMANCE MODE” on page 19 to find out more about this mode.
24
9. PROJECTS
9. PROJECTS
A project is the top level of the Analog Rytm workflow. A project contains 128 patterns, 128 kits, 16 songs,
4 global slots, and a project Sound pool consisting of up to 128 Sounds. Projects are handy when, for
example, you want to save a specific setup for a live performance or when managing a select number of
compositions. The +Drive can store 128 projects.
When a project is loaded it becomes the active working state of Analog Rytm, independent of the +Drive.
Analog Rytm will keep track of what project slot the active project was loaded from. When a project is loaded it is possible to edit its patterns, kits, songs, and globals.
Within an active project, all changes made are automatically remembered by the Analog Rytm, letting you
switch back and forth between patterns and kits and edit the patterns, kits and parameters in any order you
like without the need to save each adjustment manually. Patterns, the active kit Sounds and settings, songs
and globals are remembered even after the power is turned o. However, regarding kits (the main entity for
editing and collectively storing a complete set of Sounds and eects), when the Analog Rytm is switched
o, only the settings of the active kit are preserved. If for example, the kit linked to pattern 1 is edited (kit A),
another pattern is selected and its kit edited (kit B) and then the power is turned o, only the changes to kit
B (the most recent active kit) will be remembered. We highly recommend that you specifically save the kits
you have been working on manually using the quick command [YES/SAVE] + [FX]. Find out more about kits
in the section “10. KITS AND SOUNDS” on page 27.
Project changes are not automatically written to the +Drive. To store the active working state of the project
to a +Drive slot, the project needs to be saved manually. See below on how to load and save projects.
9.1 PROJECT MENU
Projects are managed in the PROJECT menu, located in the GLOBAL menu. Open the GLOBAL menu by
pressing [FUNCTION] + [TRACK].
Scroll through the list by using [UP]/[DOWN] or the LEVEL knob and select PROJECT. Open the menu by
pressing [YES/SAVE].
LOAD PROJECT opens a project selection screen where you choose a project to be loaded. Note that
the active project will not be saved before loading the new project. This menu can be accessed directly by
pressing and holding [FUNCTION] + [TRACK] for a little while. If you wish to create a new project, select
CREATE NEW at the very bottom of the list. The new project will be a blank slate.
25
9. PROJECTS
SAVE PROJECT opens a project selection screen where you choose a slot to save the active project to.
PROJECT MANAGER launches the PROJECT MANAGER menu. Selecting a project in this menu and
pressing the [RIGHT] arrow key will bring up a list of commands.
CLEAR resets the project slot to a clean state.
DELETE removes the project from the slot.
RENAME opens a screen where you can rename the project file.
LOAD FROM loads the selected project. This will overwrite the active project!
SAVE TO saves the active project to the selected slot.
TOGGLE toggles write protection on or o. Write protected projects can not be overwritten, renamed or
erased. A write protected project is shown with a lock symbol.
INIT NEW initializes an empty file slot with a clean project. This operation is only available for empty
project slots.
• Multiple projects can be selected and deselected by highlighting them and pressing [YES/
SAVE].
• The currently active project is linked to the slot shown with a small arrow in front of the
project name.
• A lock symbol indicates the project is write protected.
• Projects can be copied/cleared/pasted.
LOAD FROM in the PROJECT MANAGER will overwrite the active project. Be sure to save
your project before you load another.
26
10. KITS AND SOUNDS
10. KITS AND SOUNDS
Every project has the capacity of 128 dierent kits. A kit is a collection of 12 drum track Sounds and an
FX track, and their specific parameter settings. A Sound is composed of synth, sample, filter, eect sends,
envelope and LFO settings in any combination. Sounds are assigned to the twelve drum tracks.
Each of the drum tracks contains one Sound. The PARAMETER page settings for each track in a kit can
be saved as an individual Sound, if so desired. A Sound that has been loaded, from the +Drive or the Sound
Pool to a track, becomes a part of the active kit. Any changes made to a track Sound will not aect the
stored Sound. It will aect and become part of the active kit. A pattern, controlling the playback of the kit,
always links to a specific kit (non-exclusively). Any changes to the kit will aect other patterns using the
same kit. When the Analog Rytm is switched o, only the active kit preserves its changes. Other kits must
be saved.
A Kit contains:
• Sound parameter settings for the 12 drum tracks.
• FX track parameter settings.
• LEVEL settings for the drum and FX tracks.
• RETRIG settings.
• General SOUND SETTINGS.
• PERFORMANCE and SCENE mode macros and parameter settings.
A Sound contains:
• Settings for the PARAMETER pages of a drum track.
• The LCD graphics in the left part of the screen shows the name of the active kit. When the
[TRACK] key and one of the [PADS] are pressed, this information will briefly change to
show the name of the track Sound.
• When you create a brand new pattern, using an existing kit that is already linked to anoth-
er pattern, we recommend that you save and rename the kit, the first thing you do (see
below). Unless, of course, you intend kit changes to aect multiple patterns.
10.1 THE +DRIVE SOUND LIBRARY AND THE SOUND POOL
Sounds can be loaded to a kit from either the +Drive Sound library or the Sound pool of the active project.
The +Drive Sound library has the capacity of 4096 Sounds, available to all projects. The Sound pool is a
part of a project and can contain up to 128 Sounds. The major benefit of Sounds loaded to the Sound pool
is the possibility for them to be Sound locked. This feature is not available for the Sounds in the +Drive
Sound library. Read more about Sound locking in the section “11.10.2 SOUND LOCKS” on page 44.
10.2 KIT MENU
In the KIT menu commands relating to kits are found, including kit save and kit load. Open the menu by
pressing [FUNCTION] + [FX]. Use the [UP] and [DOWN] arrow keys to move between the commands.
Press [YES/SAVE] to confirm your selection. Exit the menu by pressing [NO/RELOAD].
RELOAD KIT will reload either the active kit, reverting it to its saved status or all kits. Using the [LEFT] and
[RIGHT] keys selects whether only the active kit or all kits will be reloaded. [NO/RELOAD] + [KIT] oers a
shortcut to reloading the active kit.
LOAD KIT opens a menu where one of the up to 128 saved kits can be loaded. When this menu is accessed,
the kit list will appear. The active kit is shown with inverted graphics. Select the kit to be loaded by using the
[ARROW] keys or the LEVEL knob. [LEFT]/[RIGHT] will quickly scroll between the menu pages. Once a
kit has been selected, press [YES/SAVE] to load it. The loaded kit will be linked to the active pattern. If the
active kit is loaded, it will be reloaded to the state it was saved in.
27
10. KITS AND SOUNDS
SAVE KIT saves all the current kit related settings as a kit. When a kit is saved, it will be linked to the active
pattern. [YES/SAVE] + [FX] oers a shortcut to this command, saving the kit instantly to the same slot and
with the name of the kit unchanged. It is good practice to use the shortcut frequently to ensure kit changes
are saved.
When this menu is opened, the kit list will appear. The active kit is shown with inverted graphics. Select the
slot to which the kit will be saved by using the [ARROW] keys or the LEVEL knob. Press [YES/SAVE] to
save to the selected slot. The NAMING screen, covered on page 17, will appear.
CLEAR KIT will clear the content of the currently loaded kit, basically initializing it. When selecting this option a prompt will appear. Press [YES/SAVE] to clear the kit or [NO/RELOAD] to cancel the operation. Note
that no kit information will be permanently lost until the kit is saved to the same kit slot it was loaded from.
TRACK ROUTING highlight this item, found at the very bottom position of the KIT menu, and press [YES/
SAVE] to customize track routing. The default setting is to use the TRACK ROUTING global settings found
in the GLOBAL menu. See section “13. GLOBAL MENU” on page 51.
If you want custom settings for the currently active kit, press [YES/SAVE] to untick the USE GLOBAL SET-
TING box and to open the complete ROUTING menu. Use [ARROW] keys [UP] and [DOWN] to highlight
one of the three options.
USE GLOBAL SETTING press [YES/SAVE] if you decide to use GLOBAL settings after all. The <PADS>
will show what the current GLOBAL settings are for the drum tracks. <PADS> of a green color send to
main. Unlit <PADS> do not.
ROUTE TO MAIN highlight this option to customize which of the 12 tracks will send to the master eects
(Distortion and Compressor) and main output. Use the [PADS] to activate/deactivate send from the
track of each corresponding pad. <PADS> of a green color send to main. Unlit <PADS> do not. Note that
each track will still send to its individual output.
ROUTE TO FX highlight this option to customize the send FX routing of the 12 tracks. Use the [PADS] to
activate/deactivate each corresponding track for sending to the send FX (Delay and Reverb). <PADS> of
a yellow color send to FX. Unlit <PADS> do not.
• Copy, clear and paste operations are available in the LOAD KIT and SAVE KIT menus.
• Use the LEVEL knob to scroll through the LOAD KIT and SAVE KIT menus.
• Once you have assembled a kit you like or changed it in a desirable fashion, don’t forget
to save it using the shortcut [YES/SAVE] + [FX].
• A kit that is not used by any pattern is shown with an asterisk symbol following the kit
name.
10.3 SCENE MODE
Press [SCENE] to enter scene mode. A scene is a collection of fixed parameter locks. It enables an instant
makeover of how the tracks of the active kit will sound, at the touch of a single pad. 12 scenes may be assigned, one for each of the [PADS].
Press one of the [PADS] when in scene mode to activate a scene. Only one scene may be active at a time.
When active, the pad to which the scene is assigned will glow blue. The <PADS> of non-empty, inactive
scenes glow half-bright blue. Empty scenes have unlit pads. If the pad of the active track contains a scene,
the pad will exhibit violet color (a mix of the active track color and the scene color, red and blue).
28
10.3.1 SCENE EDIT
There are 12 assignable scenes available, one for each pad. Make sure SCENE mode is active. Select
10. KITS AND SOUNDS
which scene to edit by pressing one of the [PADS]. Then press and hold the [SCENE] key for a short
while to edit the scene.
When SCENE mode is active, [FUNCTION] + one of the [PADS] oers a convenient shortcut to scene edit mode.
When scene edit is active, the LCD screen left-hand side will reveal a list showing, from the top, the
scene number, the number of locked parameters, an option to clear the scene and an option to clear all
scenes. Use the [ARROW] keys [UP] and [DOWN] to navigate this list.
SCENE shows which scene is being edited. Use [ARROW] keys [LEFT] and [RIGHT] to select another scene.
LOCKS shows the number of parameter locks assigned to the scene. This figure will only change by
adding or removing parameter locks (see below).
<CLEAR> clears all parameter locks assigned to the scene being edited. Press [YES/SAVE] when this
option is highlighted to clear the scene.
<CLEAR ALL> clears all parameter locks on all the 12 scenes. Press [YES/SAVE] when this option is
highlighted to clear all scenes.
While keeping the scene pad pressed, various parameters can be locked to the scene by turning the
DATA ENTRY knobs. Any parameter, from any of the 13 tracks, can be modulated and locked to the
scene. Choose the drum tracks from which the parameter locks will be assigned by pressing [TRACK] +
[PADS]. If parameters from the FX track are to be locked to the scene, press the [FX] key. The parame-
ters available for modulation and scene assignation will be visible on the LCD screen.
When a scene is edited, the pads of drum tracks containing parameter locks will glow half-bright red
and flicker. The active track, from which parameter locks are currently set, will glow full-bright red. If a
scene contains FX track parameter locks, the FX track red LED will flicker while editing the scene. When
the scene pad is pressed during edit, parameter locks are shown with inverted graphics and their fixed
values (provided the particular track, and the particular parameter page where the locked parameter is
located, is active) are also shown.
A total of 48 dierent parameters may be locked to any of the 12 scenes, in any combination, for each
kit. For example, 48 parameter locks may be used for a single scene, two scenes may use 24 parameter
locks each, four scenes may use, say, 2, 4, 10 and 32 parameter locks, and so on.
The scene of each pad can be copied, pasted to another pad or cleared using [FUNCTION] + [RE-
CORD]/[STOP]/[PLAY], respectively. SCENE settings are stored to the active kit. Remember to save the
kit regularly with [YES/SAVE] + [FX].
Once the editing is done, simply press the [SCENE] key again to exit scene edit mode. The parameter
locks you entered will be instantly enabled whenever the scene is activated.
Use a scene if you want to aect the overall impact - overt or subtle - of your kit in a snap.
Create the impression, for example, that your studio drum kit all of a sudden is played in a
near vacuum, shattered by distortion or subject to NY compression (or all three at once) then back to normal again.
10.4 PERFORMANCE MODE
Enter PERFORMANCE mode by pressing the [PERF] key. The PERFORMANCE mode enables you to
tweak one or several parameters, chosen from any track, by applying dierent amounts of pressure to any
of the [PADS] containing a performance macro.
By gently increasing the amount of pressure applied to a pad containing a performance
macro (or quickly pressing, and then gently releasing the applied pressure), all intermediate
values of the parameter lock range can be heard while going from one extreme of the modulation depth to the other.
29
10. KITS AND SOUNDS
10.4.1 PERFORMANCE EDIT
Make sure PERFORMANCE mode is active. Press and hold the [PERF] key for a short while to enter edit
mode.
There are 12 assignable performance macros available, one for each pad. Select which macro to edit by
pressing one of the [PADS]. When performance edit is active, the LCD screen left-hand side will reveal a
list showing, from the top, the performance macro number, the number of locked parameters, an option
to clear the macro and an option to clear all macros. Use the [ARROW] keys [UP] and [DOWN] to navi-
gate through this list.
PERF shows which performance macro is being edited. Use [ARROW] keys [LEFT] and [RIGHT] to
select another performance macro to edit.
LOCKS shows the number of parameter locks assigned to the performance macro. This figure will
only change by adding or removing parameter locks (see below).
<CLEAR> clears all parameter locks assigned to the performance macro being edited. Press [YES/
SAVE] when this option is highlighted to clear the macro.
<CLEAR ALL> clears all parameter locks on all the 12 performance macros. Press [YES/SAVE] when
this option is highlighted to clear all macros.
While keeping the pad pressed, various parameters can be locked to the macro by turning the DATA
ENTRY knobs. Any parameter, from any of the 13 tracks, can be locked to the macro. Choose the drum
tracks from which the parameter locks will be assigned by pressing [TRACK] + [PADS]. If parameters
from the FX track are to be locked to the macro, press the [FX] key. The parameters available for modulation and macro assignation will be visible on the LCD screen.
When a macro is edited, the pads of drum tracks containing parameter locks will glow half-bright red and
flicker. The active track, from which parameter locks are currently set, will glow full-bright red and flicker.
If a macro contains FX track parameter locks, the FX track red LED will flicker while editing. When a pad
containing a performance macro is pressed during edit, parameter locks are shown with inverted graphics and their modulation depth values (provided the particular track, and the particular parameter page
where the locked parameter is located, is active) are also shown.
A total of 48 dierent parameters may be locked to any of the 12 performance macros, in any combination, for each kit. For example, 48 parameter locks may be used for a single macro, two macros may use
24 parameter locks each, four macros may use, say, 2, 4, 10 and 32 parameter locks, and so on.
When PERFORMANCE mode is active, [FUNCTION] + one of the [PADS] oers a convenient shortcut to scene edit mode.
30
• While the process of editing a performance macro is similar to editing a scene, the
parameter locks have a completely dierent functionality. Whereas scene mode locks
are fixed values, performance mode locks are modulation depth settings.
• If, for example, the TUN parameter on the SYNTH parameter page of the BD track
is locked to a value of +24, the performance macro will, when engaged, perform a
relative increase of the TUN setting of the track Sound between 0 and +24, depending on the amount of pressure applied to the pad to which the performance macro is
assigned. 0 if no pressure is applied, 12 if medium pressure is applied and 24 if maximum pressure is applied.
• If the TUN parameter is locked to a value of -24 instead, no pressure will produce a
relative value decrease of 0, medium pressure -12 and maximum pressure -24.
• Note that the oset is relative to the general TUN (or any other) parameter setting: if
the general setting is 30, a parameter lock with a modulation depth of +24 is set and
maximum pressure is applied to the pad which contains the performance macro, the
resulting value will be +54.
The macro of each pad can be copied, pasted to another pad or cleared using [FUNCTION] + [RE-
CORD]/[STOP]/[PLAY], respectively. PERFORMANCE mode settings are stored to the active kit.
Loading...