Build­ing a per­son­al­ity-packed drum loop with Elek­tron’s Ana­log RYTM and pro­cess­ing

To round up our drum ma­chine ad­ven­tures, let’s sam­ple bits and bobs from Elek­tron’s drum com­puter to craft a be­spoke groove

Future Music - - FEATURE -

To be­gin, we’ve com­pletely re­set the Ana­log RYTM to fac­tory set­tings. Hit­ting play starts the de­fault pre­set’s drum pat­tern. As ex­pected, it’s a stan­dard ana­logue drum ma­chine groove – let’s run it out through some pro­cess­ing.

Now back to the RYTM. The kick and toms sound nice and ‘pushed’ with this drive ap­plied, so we hit RYTM’s mute but­ton and de­ac­ti­vate all the rest of the drums to iso­late th­ese low-fre­quency parts. We then tweak our drive set­tings to find the per­fect sweet spot of dis­tor­tion.

Next, for our high tom, we mix in a touch of the RYTM’s on­board de­lay. We also fade up the noise os­cil­la­tor’s level, which im­parts loads more ag­gres­sion into this bleep­ing, over­driven perc hit. In our ex­am­ple au­dio, we’ve muted the kick from the pre­vi­ous step so we can cap­ture th­ese parts on their own.

As in our other tu­to­ri­als, we’ve got the RYTM piped through our chain of three Mooger­foogers. Our first move is to ramp up each ’Fooger’s Drive knob, to cram the drum ma­chine loop through three stages of ana­logue dis­tor­tion.

We’ll now ad­just th­ese in­di­vid­ual sounds to suit our dis­torted drums. First up, the kick: we ex­tend its re­lease for more length, and raise up its at­tack (see pic) to re­move the ini­tial punch and turn it into a gritty, wob­bling bass note.

We mute the kick and toms, and un­mute the other sounds. Ad­just­ing this hi-hat and perc combo’s de­cay level ex­tends the hats to cre­ate a groovy loop. To wrap up, we take all of th­ese sounds we recorded and se­quence them in our DAW, to cre­ate a vibe-laden groove that sounds like a crazy, ana­logue-driven drum loop from a sam­ple pack.

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