Analog RYTM Composition #12 - The Soul's a Centipede 

aphex wien 😂 thank you

thank you again for the kind comments

haha I just saw the kit was called MGMT!

Haha, yeah you nailed it. Exactly how this beat got started, that song is so good! Thanks for listening

@@saintstinkmusic9654 The stereo lead/bass part is nuts as well, I need to try that resampling variable filter technique! Are the two tracks hard-panned or just partially panned?

@@sourt_t I think it was hard-panned, but I have a vague memory of feeling sea sick because the stereo image was so disorienting, so might have brought them closer in the end. If you send me an email I can send you a project file of it. I’ve been doing the same thing with basslines lately - two tracks hard-panned with nearly the same patch, nice wide bass

Thank you, one of my favorite albums! Sometimes the rytm feels like Syro in a box.

Yo jeremy! Thank you for checking in

yo, bust them out lets hear it!

Appreciate it!

yo, thanks for checking in. it's hard to be consistent with uploads, so i appreciate the homies sticking around!

Glad you like it! its all about the groove baaby

Thanks for stopping by as always, Paul!

Thank you for the kind words. Keep at it! Also, hit me up if you need any of my project files to help you learn.

Im still learning very basic stuff on the Rytm (like tranfering things to and from a computer) so I maybe would enjoy looking at these projects in the future. Thanks again.

Thanks homie!

thank you for the nice comments! in fact, there is some gliding on the CB engine like you originally suspected. I did the glides on the CB engine as well as the DVCO engine with parameter locks and "parameter glides" via trigless trigs. Truthfully, it is very uninuitive and a bit of a pain to do, but glides can be accomplished just as you here in this vid. I actually have never done the trick with the BND parameter you mentioned, but I definitely think thats a possiblity I would like to try! Basically, you do a parameter lock of the tune or detune parameters, make a trigless trig with the parameter locked to a different value, then activate the trigs with the "parameter glide" option. Hope this helps, sorry for the late response

Thank you! Unfortunately, I don't have much time or budget to really dive into other gear like cuckoo or loopop, but I hope I can help you out with your rytm journey

@@saintstinkmusic9654 you’ve already taught me a ton just by watching your content!

​@@saintstinkmusic9654 > I don't have much time or budget to really dive into other gear like cuckoo or loopop Yet, on ONE machine.. You make better music than all those "other guys" do with their large studios, plethora of gear, big budgets and socialist government backing. Seriously. You p0wn'd those guys. I'm hooked my man. Keep that shit coming. And again.. where can I buy the album. I'm literally begging to give you my money.

thank you. yes the analog engines where layered with samples from a CR78 drum machine

thank you!

lol, send me that patch, it sounds sick. its all about gain-staging, especially if you have the balance parameter set so both VCOs are coming through at once. I usually have the level parameter on the SRC page set to 64 so it goes into the filter pretty quiet and doesn't get too saturated before going into the compressor. the rytm defaults to 100 for the level on both the SRC and SMPL pages, but at that gain the filter is already coloring the signal quite a bit - color is cool, but the mids get a bit overbearing and muddy in a full track. also I try to keep the envelope mod a bit lower than your gut is telling you and i always love a touch of resonance but no more than like 16 to 20.

Most definitely! Such a great album and song

thank you!

Thank you Erik. I really love the vcos, the Moog-ish sweetspot is narrow but I think that the rytm has it. I don't have the rytm in front of me, but I've noticed I can get that woody + sickly moog flavor when I keep the steeper low-pass filter's cutoff low (like 0 - 15), a touch of resonance (between 0 - 12), and a modest amount of envelope mod (somewhere in the 15-40 range). I learned that its best for me to set the envelope mod and envelope decay a bit lower than my instincts initially let on (obviously I love hearing a filter go wide-open, but oftentimes it doesn't sound as cool in a mix), so keep the envelope tight! Gain-staging is crucial, especially if you are using more than one oscillator (with both VCOs, i keep the level on the source page at 64 or below). If you go into the filter too hot, the patch gets oversaturated and has a totally different character, BUT i think the moog tone might need a tiiiny bit of saturation (keep the source level low, and its easier to dial in small amounts of saturation with the overdrive setting). Parallel to the dual VCO engine, you can loop a single-cycle waveform sample to approximate 3-oscillator minimoog patches (but once again, careful with the gain-staging here, might need to go even lower with the source and sample levels).

@@saintstinkmusic9654 Thanks buddy, will check it out:)

you can activate trigs with a "parameter glide" option, but it requires some trigless trigs too. very tricky but worth it! thank you

Yo, thanks! You're talking about the synth that comes in around 1:20 right? Yes, its the DVCO engine, but with the second oscillator tuned a 5th above the first. Occasionally, I plocked the tuning on the second oscillator to the tuning of a diminished fifth (i.e., one semitone down). The patch basically is: configuration 19 (rounded saw + saw, no phase reset), set the 2nd VCO's detune to +28 (or +24 for a diminished fifth), set the level on the source page to halfway (64), cuz with 2 oscillators I didn't want it going into the filter super hot and getting burnt, filter cutoff to as low as it goes, some filter resonance (17), and the envelope goes super wide (+40), closes medium-fast (decay = 67), a touch of reverb and delay.