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Hi :) mmm good question, some people think the Octatrack 4 is the best for live performances and despite I actually never tried it, I have seen videos were people do really crazy performance stuff. Nevertheless, it is just a very sophisticated multitrack sampler. It is not a synth. So if your focus is DAW-less, I would definitely pair it with an Analog 4 or to be in the budget with a Syntakt. The A4 does not have drums - even though you could use the Octatrack with samples for that, while the Syntakt has both drums and (mono) synths. Both analog or digital. The Rytm is super cool but it is mainly a drum and mono synth. For me is great for production, but not the most versatile Elektron toy for live performance in my opinion.

@@solarj thank you very very much for the detailed response!

Thanks brother, I really appreciate it! 🫶

Welcome 🤗

Hi :) not these ones in particular but you can find all my studio works for sale here www.beatport.com/artist/koposan/1218956 or iTunes. If you search Koposan on Spotify or any other streaming platform you can also listen to them there.

@ sweet!!

🫶

@@DubElementMusic I’m not sure I understand exactly what you mean with this comment…but the idea behind this technique is to use the high end of an already professionally processed kick. So precisely, you don’t have to do further processing to make it cut through :) The analog low end I of the Rytm is just great and combining the two I get really nice results, fast.

@solarj yea but the whole poikt of the rytm is to do this stuff for myself... whatever, my english sucks sorry. 🫣

@@DubElementMusic no worries :) I think the ways of electronic music are infinite, meaning there are always multiple ways to achieve the same goal/result and I think in the end it’s a matter of taste and workflow preferences. For me adjusting the high end on the turn is really cumbersome and slow but maybe it’s because I make melodic techno atm for other genres might be more suitable. What genre do you produce?

That would be wild indeed ;) but I don’t him you can :/ not sure if you saw this already but you can do this with the LFO th-cam.com/video/OYxOOiTcFhA/w-d-xo.htmlsi=mg8mnugAvsyQS2Z8

Thanks :) and agree! What genre do you make? I was also using a mixer before buying the Apollo + Scarlett but I am thinking of going back to that setup - replacing the Scarlett with a mixer. I also loved that you can put hardware effects in send, sooo handy.

@@solarj Hello :D I make acidcore lool Yeah it's a trade-off. No main compression/distortion And FX management is annoying if you use individual outs. But gain stagging and mixing is much more simple with a mixer. I keep the 3 right tom tracks to the main outputs, because I use them for samples (like distorted noises and one shot long synth stuff)so they always go into compression distortion and reverb/delay. But I use all the other tracks with individual outs on the mixer, then into my audio interface (multitracked) I use a soundcraft EPM12 + a midiverb in AUX for live performances, and an old mackie VLZ CR1604 in the studio (which has individual outs) With this, I use a pyramid sequencer, to drive my modified RE303 (via CV/gate, with a kenton prosolo midi to CV, so I can play long 303 notes with pitchbend). (I don't have this new setup recorded on YT yet, but I have a gigs video on IG if you wanna see aha) I added a td3-mo to the setup recently as well. Your videos helped me so much when I first got the Rytm ! Cheers and love from France <3

@@solarj what's your scarlett and apollo exactly ? how many inputs do you have ?

Glad you find it useful :)

Hey, not sure if I actually said it but it was the Supermassive from Valhalla. It is for free go grab it it's AMAZING. To be used with care though, like really low wet % and feedback IMHO.

@@EnjoyableGabi Feels like you got a breakthrough, super cool 🙌

@@roajah glad you find it interesting :)

🫶

@@86raspustenica thanks 🥰

Happy you liked it :)

🫶

Thanks mate 🫶 Elektron should pay me for making it look easy ahahah

Ahaha 😅 that’s exactly why!I imagine the board meeting at elektron, the new guy says “shall we filter the sound pool sounds according to the active track so users don’t have to go crazy finding the ones that work?” And all the rest in unison “Nej. Make zem suffer.”

@ make zem sufferrr!!!! Lmao!!!🤣

Hey thanks for sharing 🙌 I personally had quite some success with the method 2. you listed, seeing the Syntakt as a mono synth for instance - making sound design on the machine, maybe make a sequence then record it and process it in my Ableton project according to what I need in that production. If I am using Ableton I prefer to use all the plugins from the DAW as it allows so much more flexibility, the verb and delay are very nice but sometimes (for melodic techno / progressive house) I need huge reverbs or room reverbs and can't really make it the syntakt verb, but I agree for live performance is a beast :) here my last daw-less setup I used for my last gig. instagram.com/p/DB7T3dVsjMC/

@@64Sq glad you liked it :)

@@nullobject5668 🤓

@@AFKLB_MUSIC in the video I don’t mention it but when performing DAW-less I monitor through the Apollo with near zero latency.

Thanks :) happy you liked it!

@@Georgemelhem thanks mate :) I guess I chose it because of price, simplicity and … actual faders! But the push is cool, can make the composition/production process faster and with less mouse clicks. I should get one sooner or later

@@Georgemelhem you’re more than welcome, son 😁🫶

@@R3ND3RR0R in the examples I show I am only analysing the low end - with a low pass filter on metric AB, filter at 80hz -12dB I think. And it’s surprisingly not always mono :) Check the ARTBAT track example, the low end is super stereo, it’s crazy!

At the end of the day, it comes down to sound system(like a club's stereo speakers) you aim for and if you're actually phase cancelling. You can actually get somewhat wide with really low frequencies without any phase cancellation happening. But one thing you do have to be careful is not making your low frequencies feel lopsided by having more emphasis on one speaker than the other.

Hey thanks! For the drum + bass part sure, no problem, afaik (I don’t have a digitakt) it has a lot of samples for that already in the factory packs. For the synths could be more challenging because in this video I am automating some synthesis parameters that change the timbre of the generated sound at the source. Even if you find similar synth one-shot samples I am not sure if you can automate the parameters in the digitakt so that the modulated samples sounds like a modulated synthesizer. But it’s worth trying and experiment :)

@ WoW, and an amazing reply. Thank you 🙏🏼

@@64Sq thanks mate :)

@@YourFutureGFs ahahah 😂😂😂

What you say is correct, but there are two important caveats/details that I mention in the video, that make people go crazy 😅 And that is if you set a hold value (or you hold the sound) for a time smaller than the attack time, the sound will not reach max level and start decaying earlier. In addition, if the env does not reset at every trigger, one can get unexpected behaviours but it all makes sense (or not ahahah) once one has these caveats in mind.

Hey thanks :) Personally I never dug into song mode - I should actually ehehe. I am not sure I get your question, when you say "setup of a Live Project" do you mean Ableton Live project or live-electronic project/performance?

@@solarj hey, thanks for getting back! I was referring to a live performance. say, for example, you have different projects within Rytm (each with their own kits, patterns, etc.), and you now want to prepare a new project for this live performance. Do you copy each thing individually, one by one, or is there any other workflow you follow?

It’s cool if used carefully. The second application I show in the ‘tips and tricks’ pet of the video is my favorite :)

@@bachelorgamer8001 thanks mate 🫶

Oh wow and why is that?they just don’t know how to connect the cables so you have a 50-50 chance of hearing an inverted signal?

yep :) this comment is the tl;dr version of the video ehehe thanks!

No I have never recorded M/S indeed - I was too busy getting my PhD in Physics ehehe. The decoding matrix is confusing and misleading in my opinion because S = R - L is a mono signal. to obtain the infamous side channel in M/S EQ plugins you THEN you need to duplicate AND invert the polarity of R - L and this is something no one talks about on youtube - at least the dance music producers community. I have seen many M/S tuts no one highlighted this fact, which I, personally, found shocking ;) p.s. the first diagram here is clear to me on how to decode/encode M/S from L/R www.soundonsound.com/sound-advice/q-how-does-mid-sides-recording-actually-work

But the difference is a mono signal. How come that when you isolate the sides you have a stereo signal?And how come the sideL and the sideR are identical but flipped in polarity? It's because you duplicate the side recording and invert the polarity if you record with mics and you subtract the average if you are working in the digital world. Not so easy as you put it in my opinion ;)

@solarj because SIDE and MID are only one channel each :) that's how they are encoded (and decoded) from and to the dual stereo. Stereo is two channels, and M/S is also two channels:) Nothing ever becomes more than two channels. And yes, "Mid" is the sum of, and "Side" is the difference between L and R stereo channels. Hope that clears is up. MS can even be referred to as sum and difference, it's also common with recording mics.

Finally...When you're listening to "only the sides" what you're hearing is all the frequency content that is completely out of phase. Which just means practically that If one sound or instrument, for example in a mix, is 100% out of phase: it will be heard in the "side" channel, but missing from the summed "mid" channel. And therefore in mono playback, not heard at all.

@@machineagevoodoo2106 Thanks a lot for elaborating 🫶 I love nerdy discussions! But I have another question for you: first you said “because SIDE and MID are only one channel each” and then “When you're listening to "only the sides" what you're hearing is all the frequency content that is completely out of phase.” I think the first statement is perfectly fine in the analog world, but sometimes in DSP, tricks and alternative solutions are needed to achieve the same result as analog. Let me elaborate. Considering both your statements: How can a signal (SIDE) be "one channel" and still be "completely out of phase"? (This is assuming we agree that when you cut all the MID in an M/S EQ, you are listening to the SIDE). The concept of phase cancellation doesn't apply to a single-channel (mono) signal. Based on the experiments I show in the video, I think the way M/S is implemented in Ableton and M/S plugins is that the SIDE is treated as a stereo channel (not dual mono, because they have a 180-degree phase shift). Specifically, it seems like: sideL = L - (L + R) / 2 sideR = R - (L + R) / 2 This approach effectively "mean centers" each signal, and the resulting signals are 180 degrees out of phase, which we see clearly in the video around 1:00. This is a similar concept to statistical mean-centering, which subtracts the average of two signals from each signal separately to obtain opposite polarity or 'zero-average' signals. So, to conclude, I still believe that-whatever the theory says-programmers at Ableton or FabFilter needed to find a practical way of translating the "difference" into a perceptible spatial cue in a stereo playback system. Because (L - R) is conceptually a single channel, while we hear the SIDE in Ableton as a very wide stereo channel. Happy to change my mind through further discussion though :)

🤔 I need to try this

Any time!

Ahah thanks buddy!

If you target club/party/festival you might consider keeping an eye on your mix in mono. Would be quite dissapointing finally having your track played fucking loud and the magic not being there anymore because your mix is collapsing in mono.

@@le-berry Yep. I know clubs/festivals usually play stuff in mono because of the big PA stages I guess? But you're right;)

@@themorphingorb I'm right but I do agree stereo is much more important if you consider 100 plays in club (which is quite exeptional for a producer not being a succesfull DJ) vs 100.000 plays on the streaming platforms mostly in stereo playback.

Hi 👋 First part of your comment: you are wrong my friend, as was I :) mono is NOT L+R. In the digital world mono is (L+R)/2 which is also the average of L and R check here help.ableton.com/hc/en-us/articles/360009201540-Mono-Stereo-Conversions-in-Live (as you probably know, decreasing the amplitude by 6dB means halving the amplitude). And that makes all the difference!I also thought that mono was L+R but here what I found shocking: if M = L + R (sometimes it is also called 'center') and we agree that the left channel of the sides is sidesL = L - M and the right channel of the sides is sidesR = R - M. Then we get, replacing L+R instead of M, sidesL = L - L - R = - R and sidesR = R - L - R = -L. So effectively if mono was L + R we would not have the sides in M/S mode with inverted polarity but we would just swap and invert the L and R channel of the original sound (and it would sound exactly the same as the original stereo sound to our ears). Only if M = (L+R)/2 you get sidesL = -sidesR i.e. 180 phase shift (you can check that at 3:50 in the video). Isn't that SHOCKING?😅 Implementing it like this makes sense from a DSP and from plugin manufacturer’s/Ableton perspective because would not just do a sum and get almost double amplitude when mono-ing but instead divide the sum by 2 to keep the amplitude of stereo and mono in the same range. And this was also shocking for me to realise because, like you, I thought when I mono stuff in Ableton I get L + R (maybe that’s the case in the analog mixing world, but I have no idea about that) Second part of your comment: that’s exactly what I meant?!Probably I didn’t manage to say this clearly during the video :( but we totally agree: boosting sides is really bad for how your track will sound in mono (the affects sound changes its ‘nature’) and for clubs. There are better ways to get width. Third part: it’s so much more clicking with the EQ eight and it’s so small..I prefer Pro Q is more handy ;)

But hey, thanks for chiming in 😃

exactly. its the sum. what he is "disappointed" in this video that people are "usually saying", is incorrect to begin with. #smh

@@Bthelick "left channel of the sides". You never give up do you? There are only two channels altogether! They are encoded and decoded!

You’re so cool

@@stansteez 🫶

@@llasch28 🫶🤗🫶

So. You just heard of MS. Wow. Wonders of TH-cam.

Better sound? Hummmmmm 🤔😅

hmmm mostly with external gear. even with prophets.