8. ANALOG RYTM CONTROLS
23
8.7 MODE KEYS
There are four main keys with which you change the mode of operation on the Analog Rytm:
[MUTE]
,
[CHROMATIC]
,
[SCENE]
and
[PERF]
. The red LEDs above these keys show if the modes are active (full-
bright) or inactive (off).
8.7.1 MUTE MODE
To activate the MUTE mode, press the
[MUTE]
key. To deactivate, press again. Mute any of the twelve
drum tracks in this mode. Unlike the CHROMATIC mode, it makes no difference which track is active
when this mode is on. All tracks are accessed simultaneously. Press any of the
[PADS]
to mute the
corresponding track. Press again to unmute. The color of the <PADS> indicates the mute status. Unlit
<PADS> are muted. Green <PADS> are audible.
Press and hold
[FUNCTION]
and then any of the
[PADS]
in order to preselect a mute, or mute/unmute
several tracks in one go. Once you release
[FUNCTION]
, the selected mutes will come into effect.
Preselected mutes are shown as <PADS> of sky blue color.
Press
[RETRIG]
and one of the
[PADS]
if you wish to activate solo, in other words, mute all tracks except
the one selected. Press again to deactivate solo. Keeping
[RETRIG]
pressed, multiple tracks may be solo
activated/deactivated. Solo activated <PADS> are turquoise.
The tracks you have muted in this mode stay muted even if the pattern is changed or a new kit is load-
ed. After exiting MUTE mode, the LED light atop the
[MUTE]
key will stay lit, half-bright red if any of the
tracks are muted. The MUTE mode is a part of the active state of the machine. It is not stored to the cur-
rent kit or pattern. Mutes activated in MUTE mode are the master mutes, and they will override any TRIG
MUTE patterns on the sequencer or any SONG MUTE program on any pattern of the active song.
8.7.2 CHROMATIC MODE
Pressing the
[CHROMATIC]
key will turn the
[PADS]
of the Analog Rytm into a chromatic keyboard.
Press again to deactivate. When in this mode, you will be able to play the Sound of the active track chro-
matically. To play another track Sound chromatically, change active track by pressing
[TRACK]
and one
of the
[PADS]
.
Any track Sound may be played in this mode using the 12 pads. The chromatic note pitch is linearly
increased for each successive pad pressed: left to right, bottom to top. Twelve pads in succession make
up one octave. The range spans four octaves, middle, 1 up and 2 down. The middle octave has sky blue
color <PADS>, the two below are of violet and dark blue color, in that order, and the one above is yellow.
Reach higher or lower octaves, one row at a time, by pressing
[ARROW]
keys
[UP]
or
[DOWN]
, respec-
tively.
The Synth part, the Sample part or both at once of any Sound may be chromatic enabled. This is done in
the SOUND SETTINGS. See section “10.5 SOUND MENU” on page 31.
Notes trigged chromatically can be recorded on the sequencer. Find out how this is done in sections
“11.3.2 GRID RECORDING MODE” on page 38 and “11.3.3 LIVE RECORDING MODE” on page 39.
Like the MUTE mode, the active state of the CHROMATIC mode (the portion of the chromatic keyboard
currently visible on the pads) is not stored per kit or pattern but stays in the state to which it was set until
it is changed.
8.7.3 SCENE MODE
The SCENE mode turns the twelve pads into instant sound shifters. Several parameters from any track
can be changed by pressing a single pad. A scene is a fixed set of parameter values, ready to be activat-
ed or deactivated. To activate the SCENE mode, press the
[SCENE]
key. Press again to deactivate.
By carefully assigning a set of parameter values, you can prepare a scene that will make the same kit
sound drastically (or subtly) different whenever activated. After exiting SCENE mode, the LED light atop
the
[SCENE]
key will stay lit, half-bright red if any of the scenes are active. Unlike the MUTE or CHRO-
MATIC mode, SCENE mode settings are stored to the active kit. See “10.3 SCENE MODE” on page 28.
8.7.4 PERFORMANCE MODE
Press the
[PERF]
key to enter PERFORMANCE mode. This mode enables the
[PADS]
to control several
PARAMETER page parameters at once. Change many dimensions of one or more drum track Sounds
at the touch of a single pad. A pad in this mode, prepared with one or many additive layers of parameter
modulation, is called a performance macro. While setting up a performance macro is done in a similar
way as setting up a scene, there is a major difference in the way these two modes operate. A scene is a
static, ON/OFF command of an array of parameters set to specific values. A performance macro engag-
es the assigned parameters in a dynamic way. When using a performance macro, the parameters will be
modulated relative to the pressure applied to the pad.
