thank you! because of personal circumstances, all my WIPs are gonna remain that way for a long time. might as well start dumping them on this forum going forward.
honestly figuring out parameter slides was a little tricky at first, took me some time to grok their logic. but they can sound super expressive and prefer it over drawing automation envelopes in a daw
Would you mind giving a tip or two? I m also struggling sometimes with slides to sound good and as part of the song and not an effect. If it comes out good was al a lucky twist of a knob
sure. often the trick to making good use of parameter slides is using them with lock trigs (also called trigless trigs, i think?), i.e., press [func]+ a trig which turns it from red to yellow.
my favorite use of slides is on the pitch of basslines or leads, but to get them to sound natural you often need lock trigs which do not re-trigger the filter envelope. As an example: we are programming a bassline using a bass patch made with the SY RAW engine and a typical LPF that opens instantly and closes according to a moderately long decay. After triggering a long note activated for “parameter slide” (i.e., red trig whose pitch is set according to [NOT] and something arbitrarily high for [LEN], both parameters on the trig page), put a lock trig on the succeeding sequencer step with the [TUN] parameter locked to a different value than the preceding red trig and the [ENV] parameter set to 0 (so that the filter envelope does not retrigger). This technique sort of emulates sliding between notes on a fretless bass. In fact, for practice maybe try programming a known bassline that is originally played on a fretless bass, e.g., one of these. Note that parameter slides don’t work for any locks on the trig page, so you cant do this with the [NOT] parameter, you have to lock the [TUN] parameter on the synth page or sample page. However, using lock trigs locking the [NOT] parameter does accomplish something similar to “pull-offs” or “hammer-ons” on a fretted instrument, so its still pretty useful.
another subtle use of parameter slides is automating the volume of a triggered sound to get a “side-chain compression” effect. more specifically, you have a long note or sample playing on a triggered track and while the sound of that track is audible you set a lock trig (which is activated for parameter slides) with the [VOL] on the amp page locked to zero, then a succeeding lock trig with [VOL] on the amp page set to the original value of [VOL] that the sample with triggered to. What should happen is that the volume immediately drops down to zero and then ramps back up to the original volume. I often use this on synth pads and drop their volume on steps that correspond to the kick and snare.
generally i use slides to smoothly automate the volume of tracks, delay, and reverb.
Really nice post - thanks a lot!
Acid on the Rytm 
All synthesis except the screechy noises that are heard in the first seconds and the 909 cymbals and clap. I would’ve prefered the Rytm’s clap, but I ran out of clapable clapcapable tracks 
Some bass boost in Reaper added.
How’s that “lack of square wave” on the AR going? 
Sounds good as usual…
Well, 1.70 update solved the lack of square wave for me (bd sharp) - are those tears of joy, dear Adam9?
A song for the end of the year, using mostly the acoustic machines, impulse pings, and pieces of the poem “Lilacs on my Birthday,” by Joyce Peseroff
Rytm always had square waves.
You accessed them in the master drive page by maxing the AMT and turning up the ASYM a decent amount. Boost all individual channels and overdrives as well.
(Heh, the new editions in 1.7 are also highly welcomed.)
The response i made was a joke, based on comments from another thread, where i said something similar but not the same…
Mine was a joke too, albeit not a very good one.
( With enough distortion, everything becomes a square wave )
Actually one of the reasons for liking square waves that much is to have a sound akin to distortion, without having to distort everything (thus increasingly more musical instruments disappear, hihats first …). On the Syntakt, there is always the possibility to just send a kick to the drive. On the Rytm it’s all or nothing, so the square waves (also found in Sy Chip) are a great addition for me. However, square waves are useful for tons of other things as well
though, this time, i distort everything …
Edit: … one more (both without samples) …
I love the new update for the Rytm! I am still wrapping my head around the new features. More reason to not buy new gear and focus on mastering my Rytm, modulars and Virus!
that Silverdrum SoundPack is a nice collection though
Just big fat square waves (bd sharp).
Hoover with Sy Chip (though square pwm, not saw pwm)
You can send single channels to the distortion on the AMP page on the Rytm. How does this differ to the Syntakt?
You are making me excited, but I don’t see it. I’m talking about the Distortion (FX Track), not the Overdrive, btw.
Ah ok, yes. Overdrive is per voice, distortion is a master effect. Anyways I get plenty of use with the overdrive for distorted kicks ect.
Anyways great clips Jeanne!