The Elektron setup
These instruments share a quirky, sometimes impenetrable workflow, but once you crack the code they can create a seriously powerful production setup
Elektron’s instruments are notorious for their steep learning curve, but that comes with a deep and powerful workflow, with sequencing, sync and routing options that go beyond most other instruments on the market. That’s why they’re fantastic for those wishing to break their creative reliance on a DAW.
Here we’re using three of Elektron’s flagship instruments – the Analog Rytm MkII drum machine 1 , Analog Four MkII synth 2 and Octatrack MkII sampler 3 . Each offers comprehensive MIDI I/O, along with an assortment of audio inputs and outputs, so there’s no one definitive way to use these three machines together. We’re using the Octatrack as our central hub, using it to mix and process sounds from the other two instruments, but you could alternatively feed the Octatrack into the Rytm to process the sampler via Rytm’s excellent compressor.
Both the Rytm and Four have multiple audio outs of their own too, meaning you could send individual sounds from each into external effects and a mixer for extra creative control. The Octatrack is acting as the clock source for the Rytm and Analog Four, as well as processing audio from both via its inputs. The Octatrack doesn’t really play nicely with computers – lacking USB MIDI and Overbridge support – so it’s at its best used as part of an all-hardware performance or production setup.
For sync purposes, we route the Octatrack’s MIDI out into the Analog Rytm’s MIDI In. We then route the Rytm’s MIDI Thru to the Analog Four’s MIDI In. We could use the Octatrack’s MIDI channels to sequence the other machines, but here we’re going to stick to clock sync and use the individual sequencers on each instrument. In the settings menu for each instrument we can control what MIDI info is sent and received – here we switch clock send on for Octatrack and Clock receive for the Rytm and Four. The Octatrack uses a system of ‘Machines’ to set what each of its eight tracks are used for. We load Thru Machines onto two of its tracks. For the first we route audio from inputs A/B (connected to Rytm) and the second from inputs C/D (connected to the Analog Four). In the Settings, we turn down the direct signal, so the two instruments are only running through the Machines and not directly to the outputs.
Because we’re using these Thru Machines, we need to add at least one Trig to the sequencer for these channels to hear the audio. We can use the track LFO, amp envelope and effects to shape and manipulate these tracks. We’re using Rytm for beats. It’s a drum synth but it also has decent sampling capabilities. Samples can be blended with synth drums for interesting layered sounds.
We’ve loaded the Rytm with an assortment of found sounds to add weird textures, but could also use its inputs to sample on the fly. Sampling beats and one-shots via the Rytm frees up Octatrack’s sample tracks for sampling longer melodic lines and recording loops from the Rytm and Analog Four. The Analog Four is just four-voice, but these four sounds can
be sequenced and edited separately, meaning it can effectively act as four monosynths if we need it to, or it can be used as a single poly.
There are CV outputs available too, which we could use to hook up to Eurorack gear, to take things further. Another option is adding a vinyl turntable into this setup, routed into the sampling inputs of either the Octatrack or Rytm. This would let us add a bit of old fashioned sample slicing. All three instruments feature Parameter Locking, so we can automate most parameters. Each has deep Chain and Song modes too.
Between these, we can create full arrangements with plenty of movement and variation. Conditional Trigs are a great feature on all three machines and let us set up sequencer patterns that react to certain events or probability – great for variation and randomisations.