Analog Four MKII Digital mind, analog soul User Manual
FCC compliance statement This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules.
IMPORTANT SAFETY AND MAINTENANCE INSTRUCTIONS Please read these instructions carefully and adhere to the operating advice. 1. Do not use this unit near water. 2. Never use aggressive cleaners on the casing or on the screen. Remove dust, dirt and fingerprints with a soft, dry and non-abrasive cloth. More persistent dirt can be removed with a slightly damp cloth using only water. Disconnect all cables while doing this. Only reconnect them when the product is safely dry. 3.
TABLE OF CONTENTS TABLE OF CONTENTS 1. INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 1.1 CONVENTIONS IN THIS MANUAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 2. ANALOG FOUR MKII BACKGROUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 3. PANEL LAYOUT AND CONNECTORS. . . . . . . . . . .
TABLE OF CONTENTS 8.1.3 PROJECT MANAGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 9. KITS AND SOUNDS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 9.1 THE +DRIVE SOUND LIBRARY AND THE SOUND POOL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 9.2 KIT MENU . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS 9.11.8 MODULATION WHEEL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 9.11.9 BREATH CONTROLLER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 9.11.10 AFTERTOUCH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS 10.10 CLICK TRACK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 10.10.1 ACTIVE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 10.10.2 TIME SIG. NUM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS 12.10.1 SYSEX SEND. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 12.10.2 SYSEX RECEIVE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 12.11 SYSTEM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS 9
1. INTRODUCTION 1. INTRODUCTION Thank you for choosing the Analog Four MKII. It is a digitally controlled analog synthesizer featuring, among many things, the renowned Elektron step sequencer. This is truly an analog synthesizer for the creative artist. To make the most of the machine, we recommend you to carefully read this manual. 1.1 CONVENTIONS IN THIS MANUAL We have used the following conventions throughout the manual: Key names are written in upper case, bold style and bracketed letters.
2. ANALOG FOUR MKII BACKGROUND 2. ANALOG FOUR MKII BACKGROUND Some things never go out of style. They seem to possess an inner, timeless quality, an objective trait that sets them apart from the rest. Makes them stand out. They are found in all areas of human activity, throughout history. Including, of course, within the domain of sound. Making and shaping sound using analog circuits goes far back in time.
3. PANEL LAYOUT AND CONNECTORS 3. PANEL LAYOUT AND CONNECTORS 3.1 FRONT PANEL 1 37 30 2 3 4 5 6 31 32 33 34 35 36 7 8 9 10 11 12 13 14 15 16 17 29 18 28 19 20 21 27 26 25 24 23 22 1. MAIN VOLUME sets the volume for the main outputs and the headphones output. 2. [GLOBAL SETTINGS] current project. opens the GLOBAL SETTINGS menu. The secondary function saves the 3. QUICK PERF AMOUNT sets the amount of the chosen performance macro. 4. [QPER] key.
3. PANEL LAYOUT AND CONNECTORS keys indicates the track status. Red=active track. Green=audible track. No light=muted track. Yellow=active and muted track. Dim red=track that will be affected by FX settings (When FX track is active). 17. [TRNS] is used to transpose the note trigs on the tracks. The secondary function locks the transpose function. 18. [KEYBOARD] keys are used for playing sounds and assigning note values to note trigs. The first key is called [KEYBOARD C1]. 19.
3. PANEL LAYOUT AND CONNECTORS 7. MIDI IN, MIDI data input. Use a standard MIDI cable to connect to MIDI Out of an external MIDI device. 8. CV OUTPUTS A–D, Connect to external synth with CV inputs. Use standard 1/4” mono phone plug. 9. AUDIO INPUT L/R, Use standard 1/4” mono phone plug to input sound from other synthesizers or mixers. 10. TRACK 1–4 STEREO OUTPUTS, Use standard 1/4” stereo (Tip/Ring/Sleeve) phone plug or 1/4” mono phone plug. 11.
4. ANALOG FOUR MKII SIGNAL PATH 4. ANALOG FOUR MKII SIGNAL PATH OSCILLATOR 1 SUB OSC AM AND SYNC MODES LEFT OSCILLATOR 2 SUB OSC LADDER FILTER OVERDRIVE MULTIMODE FILTER VCA/PAN RIGHT NOISE GENERATOR 4.1 ABOUT THE COMPONENTS Both oscillators of each voice are analog. All their elaborate waveshaping abilities are completely analog, with digitally controlled pitches. The noise generator is digital. The two filters and the overdrive circuit between them are fully analog. The amplifiers are analog.
5. OVERVIEW OF THE ANALOG FOUR MKII STRUCTURE 5. OVERVIEW OF THE ANALOG FOUR MKII STRUCTURE The image below outlines the data structure of the Analog Four MKII. 128 PROJECTS 4 GLOBALS 16 SONGS 4 SOUNDS +DRIVE SOUND LIBRARY 4096 SOUNDS 128 PATTERNS CV 128 KITS SOUND POOL 128 SOUNDS FX 5.1 +DRIVE The +Drive is a non-volatile memory capable of storing up to 128 projects (thousands of patterns, kits, and songs) internally.
5. OVERVIEW OF THE ANALOG FOUR MKII STRUCTURE 5.2.7 CHAINS A chain is a sequence of patterns. Up to 256 pattern slots are possible to allocate between 64 chains. For more information, please see “11.1 CHAINS” on page 51. 5.2.8 GLOBAL The Global settings are general settings for the synth and sequencer as well as MIDI and CV configurations. There are four global slots available for every project, each with its own settings. For more information, please see “12 GLOBAL SETTINGS MENU” on page 54. 5.
6. THE USER INTERFACE 6. THE USER INTERFACE The screen is the center of Analog Four MKII editing. 1 7 6 2 5 3 4 1. The currently active kit. When turning a DATA ENTRY knob, the full name of the adjusted parameter is shown here. 2. The current tempo displayed with one decimal. 3. The playback/recording status of the sequencer shown by the standard “record”, “play”, “pause” and “stop” symbols; , , , and . 4. Up to ten track parameters.
6. THE USER INTERFACE 6.4 COPY, CLEAR AND PASTE Copy, clear and paste commands are available in a lot of contexts. Press [FUNC] + [RECORD] to copy. Press [FUNC] + [STOP] to paste. Press [FUNC] + [PLAY] to clear. Paste and clear operations can be undone by repeating the key press combination. For more information, please see “10.12.12 COPY, PASTE, AND CLEAR OPERATIONS” on page 49. 6.5 THE NAMING MENU The naming procedure is identical for all the various naming menus.
7. QUICK START 7. QUICK START This quick start will guide you through some of the basic operations to allow you to start using the Analog Four MKII right away. First, you need to connect it. For more information, please see “3.3 CONNECTING THE UNIT” on page 14. 7.1 PLAYING THE FACTORY PRESETS The Analog Four MKII is shipped with several preset patterns, kits, and Sounds. To immediately start experimenting with the Analog Four MKII, just follow the instructions below. 1. Switch on the Analog Four MKII. 2.
8. PROJECTS 8. PROJECTS A project is the top level structure of the Analog Four MKII. A project contains 128 patterns, 128 kits, 16 songs, 4 global slots, and a project Sound pool consisting of up to 128 Sounds. Projects are handy when for example wanting to save a specific setup for a live performance or for managing a select number of compositions. The +Drive can store 128 projects. When a project is loaded it becomes the active working state of the Analog Four MKII, independent of the +Drive.
8. PROJECTS A small arrow in front of the project name indicates the slot that the currently active project is linked to. Projects can be copied/cleared/pasted in the LOAD PROJECT and SAVE PROJECT menus. A lock symbol indicates the project is write protected. 8.1.3 PROJECT MANAGER Opens the PROJECT MANAGER menu. Selecting a project in this menu and pressing the [RIGHT] arrow key will bring up a list of commands. CLEAR resets the project slot to a clean state.
9. KITS AND SOUNDS 9. KITS AND SOUNDS Kits and Sounds are the basic building blocks of Analog Four MKIIs sound crafting. A kit is a collection of Sound, FX, and CV track parameter settings. A Sound is essentially a synth track patch, made up by subtractive synthesis from the oscillators through the filters via its various parameter settings. Each of the 4 synth tracks contains one Sound. Kits and Sounds are separated, meaning kits do not necessarily have to use any saved Sounds.
9. KITS AND SOUNDS 9.2.2 LOAD KIT Opens a menu where you can load one of the up to 128 saved kits. The kit list will appear when you open this menu. Inverted graphics indicates the active kit. Use the [ARROW] keys or the TRACK LEVEL knob to select the kit you wish to load. [LEFT]/[RIGHT] will quickly scroll between the menu pages. Select a kit, and then press [YES] to load it. The loaded kit is linked to the active pattern. If you load the active kit it will be reload from last saved state. 9.2.
9. KITS AND SOUNDS By default, the parameter macro knob spans a parameter value range of 0–127. A parameter macro value of 0 will not introduce any changes to the sound. The bar on the left in the screen shows a graphical representation of the incoming signal. 9.2.9 CONTROL 2 IN MOD Same as CONTROL 1 IN MOD but for Control In 2. Copy, clear and paste operations are available in the LOAD KIT, SAVE KIT and PERFORMANCE SETUP menus.
9. KITS AND SOUNDS Use the [UP] and [DOWN] arrow keys to select the DATA ENTRY knob corresponding to the performance macro that is edited. Press [YES] to confirm the selection. The menu where track parameters are assigned to the selected performance macro will be displayed. Up to five track parameters can be assigned to a performance macro. Parameters can be selected from all six tracks. Press DATA ENTRY knobs A–E to select the track from which parameters you want to assign to the macro.
9. KITS AND SOUNDS 9.3.5 PERFORMANCE MIXER Press [MIX] to open the PERFORMANCE MIXER menu. In this menu, the level of the tracks can be controlled with DATA ENTRY knobs A-E. 9.4 QUICK PERFORMANCE Quick performance gives you the possibility to control one of your performance macros without being in PERFORMANCE mode. Press [QPER] + [TRIG 1–10] key to select which performance macro you want to control with Quick performance.
9. KITS AND SOUNDS press the [TRIG 1–4] keys. When in the POLY CONFIG menu, the [TRIG 1–4] keys on the front panel will be half-bright. When a voice is activated, the corresponding [TRIG] key will be full-bright. Voices that are not set to be poly enabled will be dedicated monophonic voices for their corresponding tracks. These will never be used for polyphonic playback. Voices that are poly enabled can be allocated dynamically by any of the poly enabled tracks.
9.
9.
9. KITS AND SOUNDS 9.6 SOUND MENU In this menu Sounds in the +Drive Sound library or the Sound pool of the active project can be browsed and managed. Other menu options let you clear the track Sound, rename the track Sound or change the settings for the track Sound. Press [SND] to open this menu. Use the [UP] and [DOWN] arrow keys to move between the options. Press [YES] to confirm your selection. Exit the menu by pressing [NO]. 9.
9. KITS AND SOUNDS 9.7.6 SEARCH Performs a text search and list all Sounds with names matching or including the text. See “THE NAMING MENU” on page 10 on how to enter text. Open the SOUND BROWSER instantly by double-pressing [T1–4] keys. The SOUND BROWSER may also be accessed by pressing [FUNC] + TRACK LEVEL. 9.8 SOUND MANAGER The SOUND MANAGER can be regarded as a more powerful variant of the SOUND BROWSER. Here Sounds can be saved, loaded, tagged et cetera.
9. KITS AND SOUNDS • +DRIVE • BANK A–P 9.8.3 STORE TRACK SOUND Saves the active track Sound to the selected slot. [YES] + [SND] offers a short cut to this operation. 9.8.4 RENAME Renames the selected Sound. 9.8.5 EDIT TAGS Opens a menu where Sounds can be tagged. Sounds can have any number of tags, but only the two first will be shown in the Sound list. Apply or remove tags by pressing [YES]. 9.8.6 DELETE Deletes the Sound. 9.8.7 TOGGLE Enables or disable write protection for the selected Sounds.
9. KITS AND SOUNDS 9.11.1 OSCILLATOR DRIFT Will when activated introduce a very subtle pitch drift to the oscillators, which can increase their perceived “warmth.” 9.11.2 F1 RESONANCE BOOST Increases the amount of resonance from the first filter. it affects the resonance and gain of both upper and lower frequencies. 9.11.3 VELOCITY TO VOL Selects how MIDI velocity affects volume when playing the Sound from a MIDI keyboard. OFF means velocity will not affect the volume of the Sound.
9. KITS AND SOUNDS 9.11.9 BREATH CONTROLLER Gives access to a menu where up to 5 PARAMETER page parameters can be assigned to the MIDI breath controller command (CC #2). Open the menu by pressing [YES]. Setting up the parameters works in the same way as setting up performance macros. For more information, please see “9.3.1 PERFORMANCE SETUP MENU” on page 25. 9.11.10 AFTERTOUCH Gives access to a menu where up to 5 PARAMETER page parameters can be assigned to the MIDI after touch command.
9. KITS AND SOUNDS DIX B: FX TRACK PARAMETERS” on page 88. For more information, please see “APPENDIX C: CV TRACK PARAMETERS” on page 93. FX and CV track parameter settings are only saved as part of a kit. 9.14.1 THE FX TRACK The FX track controls the Analog Four MKII internal send effects. To edit the FX track, press the [FX] track key. Five PARAMETER pages exist for the FX track: EXT IN contains parameters relating to the external inputs. CHORUS controls the Wideshift Chorus effect.
10. THE SEQUENCER 10. THE SEQUENCER The sequencer of the Analog Four MKII stores information in patterns. A pattern controls the playback of the synth, FX and CV tracks and various aspects of these tracks. Each of the 8 banks, ranging from A to H, hosts 16 patterns, meaning that 128 patterns are available. All adjustments made to the patterns are automatically saved. Changes made to the active pattern can, however, be reverted. For more information, please see “10.5 PATTERN MENU” on page 40.
10. THE SEQUENCER If a pattern contains more than 16 sequencer steps, the LEDs will indicate this. When a pattern is playing, the currently active pattern page is indicated by a blinking, full-bright, LED. 10.1.3 TEMPO Pattern tempo is global and will affect all patterns. Pattern tempo is set in the TEMPO menu. Press [TEMPO] to open it. Use the TRACK LEVEL knob to change the tempo setting. The [UP] and [DOWN] key changes the decimal part of the tempo.
10. THE SEQUENCER 10.3.1 TRIG TYPES Two types of trigs exist, note trigs and lock trigs (previously called trigless locks). Note trigs trig notes while lock trigs can be used to apply parameter locks without trigging notes. Note trigs are indicated by red [TRIG] keys and lock trigs are indicated by yellow [TRIG] keys. For more information, please see “10.12.1 PARAMETER LOCKS” on page 45. The two types of trigs are entered differently depending on whether GRID or LIVE recording mode is active. 10.3.
10. THE SEQUENCER 10.4.1 NOTES SETUP Contains settings mainly relating to track quantization and scale. It is the same menu as accessed by pressing [FUNC] + [NOTE]. The NOTES SETUP menu is covered in section “NOTES SETUP” on page 35. 10.4.2 ARP SETUP Contains settings for the track arpeggiators. It is the same menu as accessed by pressing [FUNC] + [ARP]. For more information, please see “10.7 ARPEGGIATOR SETUP” on page 42. 10.4.3 RELOAD TRACK Reloads the active track.
10. THE SEQUENCER 10.6.1 MOD Activates the arpeggiator and controls how the arpeggiated notes will be sorted. OFF will deactivate the arpeggiator. TRU will play the notes in the same order as they were inserted. UP will play the notes in ascending order, from the lowest note to the highest, on a per octave basis. DWN will play the notes in descending order, from the highest note to the lowest, on a per octave basis. CYC will play the notes first in ascending order, then in descending order.
10. THE SEQUENCER 10.7 ARPEGGIATOR SETUP Pressing [FUNC] + [ARP] opens the ARPEGGIATOR SETUP menu. Here the arpeggiator length and note offsets are set. Select the length of the arpeggio by turning DATA ENTRY knob E. The max length is 16 sequencer steps. The indicate the length of the arpeggio and, when the arpeggio is playing, the number of played arpeggio notes. Arpeggio note offsets can be inserted by pressing a [TRIG] key and turning DATA ENTRY knob J.
10. THE SEQUENCER 10.8.6 ENV (F) Controls whether the ENVF should be retrigged or not when a note trig or lock trig is activated by the sequencer. 10.8.7 ENV (2) Controls whether the ENV2 should be retrigged or not when a note trig or lock trig is activated by the sequencer. 10.8.8 LFO (1) Controls whether the LFO1 should be retrigged or not when a note trig or lock trig is activated by the sequencer. 10.8.
10. THE SEQUENCER 10.10 CLICK TRACK The CLICK TRACK menu controls the internal metronome of the Analog Four MKII. Open the menu by pressing [FUNC] + [TRK]. Use the [UP]/[DOWN] arrow keys or the TRACK LEVEL knob to select in the list of settings. Press [LEFT]/[RIGHT] to change the highlighted setting. 10.10.1 ACTIVE Activates/deactivates the metronome. It is also possible, outside of this menu, to keep [FUNC] + [TRK] pressed for a second to toggle the click on or off. 10.10.2 TIME SIG.
10. THE SEQUENCER Trigs are automatically copied when extending the length of a pattern. If a pattern consists of for example two pages and the pattern length is increased to four pages, and the two added pattern pages will be copies of the first two pattern pages. Press the [PAGE] key for quickly changing the total length of the pattern. Press the [TRIG] keys to quickly change the number of steps of the pattern.
10. THE SEQUENCER locked trig will begin to flash rapidly, indicating the trig now contains a parameter lock. Remove a single parameter lock by holding [TRIG] + pressing the DATA ENTRY knob of the locked parameter. By removing a note trig and entering it again, all parameter locks will be erased from the trig. In LIVE RECORDING mode, turning a DATA ENTRY knob will input parameter locks to the active track.
10. THE SEQUENCER 10.12.4 FILL MODE FILL mode can be used to create a temporary variation, such as a drum fill, in your pattern. Press [FUNC] + [FILL] to cue FILL mode for one pattern cycle. It will become active when the pattern loops, and remain active until it loops again. You can also activate FILL mode at any time, and for any duration, by pressing and holding the [FILL] key when the pattern is playing (GRID RECORDING mode cannot be active). The FILL mode is active for as long as the key is held.
10. THE SEQUENCER 10.12.7 NOTE SLIDE The NOTE SLIDE menu makes it possible for the pitch of two separate note trigs to slide between each other. Open the menu by pressing [FUNC] + [BANK G]. When this menu is active, and [TRIG] keys are pressed, note slide trigs will be placed on the sequencer. If a note slide trig is placed on the same step as a note trig, the pitch of the previous note trig will slide.
10. THE SEQUENCER 10.12.10 TRACK TRANSPOSE Tracks can be transposed up or down, and the transpose function can be locked for one handed operation. The tracks that will be affected by the transpose functionality are set in the NOTES SETUP menu. Read more in section “NOTES SETUP” on page 35. A quick command for this also exists. Press [TRNS] + [TRACK] to activate or deactivate the transpose functionality for the tracks.
10. THE SEQUENCER Copy the Sound of a synth track by pressing [TRACK] + [RECORD]. Select a new track to which the Sound will be pasted and press [TRACK] + [STOP] to paste. Trigs, complete with all parameter lock settings, can be copied, pasted and cleared as well. GRID RECORDING mode needs to be active to access this functionality. Press and hold a trig and press [RECORD] to perform the copy operation. Paste by holding another [TRIG] key and pressing [STOP]. It is also possible to copy more than one trig.
11. CHAINS AND SONGS 11. CHAINS AND SONGS Chains are sequences consisting of several patterns. Chains and patterns can be used to form songs. 256 pattern entries are available for the 64 chains. One chain, for example, can be made of 256 patterns or two chains can be made of 128 patterns each. In most scenarios, using 2-8 patterns per chain is sufficient. One song is always active and being worked on. Songs contain two main forms of entries, song rows, and a scratch pad row.
11. CHAINS AND SONGS 11.2.1 SONG EDIT MENU Songs are created in the SONG EDIT menu, which is accessed by pressing [FUNC] + [SONG MODE]. Songs are played row by row, starting from the top and moving towards the bottom. If a song row contains a chain, all patterns in the chain will play before the song play position moves to the next row. The song play position is indicated by inverted pattern number graphics. In the top right corner of the screen the BPM and the amount of played bars and beats is shown.
11. CHAINS AND SONGS mute method is covered on page 28. Adding song mutes when not in the SONG EDIT menu can also be achieved by pressing [SONG MODE] + [TRACK] or [CHAIN MODE] + [TRACK]. Transpose a pattern by highlighting it with the song cursor and pressing [TRNS] + the [KEYBOARD] keys. A song transpose works like a track transpose, albeit automated. For more information, please see “10.12.10 TRACK TRANSPOSE” on page 49. 11.2.4 SONG MENU In the SONG menu, songs can be saved, loaded renamed et cetera.
12 GLOBAL SETTINGS MENU 12 GLOBAL SETTINGS MENU The GLOBAL SETTINGS menu offers settings that affect the Analog Four MKII on a global level. Global tune, MIDI and CV settings are made here. Up to four Global slots, where each can have individual settings, are available. Access the menu by pressing [GLOBAL SETTINGS]. Scroll the list by using [UP]/[DOWN] or the TRACK LEVEL knob. Open a highlighted menu by pressing [YES]. 12.1 PROJECT Manage projects here.
12 GLOBAL SETTINGS MENU 12.4.1 QUANTIZE LIVE REC Will when active quantize notes entered in LIVE RECORDING mode to full sequencer steps. When the setting is deactivated, live recorded notes will where applicable be affected by micro timing. For more information, please see “10.8 NOTE MENU” on page 42. 12.4.2 KIT RELOAD ON CHG Will cause kits to reload to their saved state automatically as soon as a new kit becomes active.
12 GLOBAL SETTINGS MENU 12.5.2 PORT CONFIG MIDI port related settings are found in this menu. Change settings by using the [LEFT]/[RIGHT] arrow keys. TURBO SPEED selects the multiplier of the MIDI transfer rate that will be used when the Analog Four MKII MIDI IN/OUT ports are connected to the MIDI OUT/IN ports of a turbo protocol compatible device. The [LEFT]/[RIGHT] arrow keys are used to select the multiplier. If AUTO is chosen, press [YES] to start the turbo speed negotiation.
12 GLOBAL SETTINGS MENU KEYBOARD DEST controls whether the [KEYBOARD] keys will send MIDI note data or not. When set to INT, no MIDI data will be sent. When set to INT + EXT, MIDI will be sent internally as well as externally. When set to EXT, MIDI will only be sent externally. MUTE DEST controls whether track mute/unmute will send MIDI CC/NRPN messages or not. When set to INT, no MIDI data will be sent. When set to INT + EXT, messages will be sent internally as well as externally.
12 GLOBAL SETTINGS MENU ENTRIES are the basic building blocks of the multi map. They define what function will be assigned to each key or key range. Up to 128 entries may be created per multi map. If no entries exist, select ENTRIES, and then CREATE NEW ENTRY. If you wish to erase all entries to start anew, select ENTRIES and choose CLEAR ALL ENTRIES. If you wish to use the default multi map, a keyboard split, choose CREATE SPLIT.
12 GLOBAL SETTINGS MENU In MULTI MAP EDIT, Setting a specific SOUND SLOT and setting SOUND INC to 1 is convenient if you wish to define, for example, a succession of drum sounds that you have stored in a given sound slot range to be mapped to a certain section of the keyboard. Instant access to those snares, kicks, and hi-hats! FIXED VEL will, if set to OFF, make the velocity sensitivity of the MIDI keyboard work as usual.
12 GLOBAL SETTINGS MENU 12.6 CV CONFIG CV/Gate output signals are calibrated and set up in this menu. 12.6.1 CV A-D CONFIG Each of the subpages is identical and one for each CV/Gate output exists. The list of available parameters in this menu will depend on the menu settings. When the CV track is active, pressing [FUNC] + [CV A-D] is an alternate way of opening this menu for each corresponding CV/Gate output. Please read the following paragraphs on how to set up CV pitch control.
12 GLOBAL SETTINGS MENU POLARITY selects the polarity of trig signals sent. V-TRIG and S-TRIG options exist. V-trig (voltage trigger) is a trig pulse going from 0 V to a user-defined voltage level. S-TRIG (short circuit trigger) goes the other way, from a user-defined voltage level to 0 V. V-TRIG is the most common trig polarity. S-TRIG is primarily used by older Moog, Korg and Yamaha synths. LEVEL selects the level of trigs sent, measured in volts.
12 GLOBAL SETTINGS MENU Activate/deactivate routing of any the four voices to the main output and the FX track. Navigate using the [ARROW] keys. Tick or untick box with the [YES] key. Alternatively, instantly activate or deactivate voice to main or voice to FX using the [TRIG] keys 1-4 and 9-12, respectively. Red LEDs above these sets of keys will show if the voice is active (full-bright) or inactive (halfbright).
12 GLOBAL SETTINGS MENU When receiving or sending SysEx data, the MIDI ports or the USB port of the Analog Four MKII should be connected to the external sending/receiving device. If the Analog Four MKII is sending or receiving SysEx data through the MIDI ports, use the Elektron TM-1 USB MIDI interface for up to 10x transfer speeds. If the external device is a computer, we recommend using our free SysEx utility C6, which can be downloaded from the Elektron website. 12.10.
12 GLOBAL SETTINGS MENU The column to the left selects what will be received. Select the column using the [LEFT] arrow key. Use the [UP]/[DOWN] keys or the TRACK LEVEL knob to navigate in the column. The SysEx data receive alternatives located in the column to the right will change depending on the selection made in the left column. Press the [RIGHT] arrow key to access this column. Use the [UP]/[DOWN] keys or the TRACK LEVEL knob to select what will be received.
12 GLOBAL SETTINGS MENU 12.11.2 OS UPGRADE Select this option when you want to upgrade the Analog Four MKII OS. Press [YES] to make the Analog Four MKII start listening for incoming OS SysEx data. For the transfer to be possible, the device sending the OS syx-file should be connected to either the MIDI IN or USB port of the Analog Four MKII. Cancel the waiting state by pressing [NO]. When receiving the OS a progress bar will be visible.
13. EARLY STARTUP MENU 13. EARLY STARTUP MENU To access this menu, hold down the [FUNC] key while powering up the Analog Four MKII. From here you can perform a variety of tasks. To choose the different alternatives, press the corresponding [TRIG] key. 13.1 TEST MODE To enter this mode, press the first [TRIG] key. If you have any trouble with your Analog Four MKII and suspect it may be due to a hardware problem, you should perform this self-test. No errors should be reported.
14. MORE ON OSCILLATORS, FILTERS, AND ENVELOPES 14. MORE ON OSCILLATORS, FILTERS, AND ENVELOPES In this chapter, the functionality of the oscillators, filters, and envelopes will be explained in further detail. 14.1 OSCILLATORS Several waveforms are available to the two oscillators of each synth track. By adjusting the PW parameter, the waveshape can be changed on all types of waveforms, changing their timbre.
14. MORE ON OSCILLATORS, FILTERS, AND ENVELOPES To get a C minor chord (C, Eb, G), set the oscillator TUN parameter to +7 semitones (for the G), set the sub oscillator to 5TH (for the C), and set the other oscillator to +3 semitones (for the minor third, Eb). To get a C major chord, set the other oscillator to +4 instead (for the major third, E).
14. MORE ON OSCILLATORS, FILTERS, AND ENVELOPES LP2 This 12 dB/octave lowpass mode attenuates frequencies above the cutoff frequency with twelve decibels per octave, similarly to most other classic 2-pole VCFs. The amount of resonance determines how much the frequencies around the cutoff frequency will be boosted. The sound of this filter is cleaner than the ladder filter, and their different sonic characters are both worth trying out. If combined, they can add up to an extraordinarily steep 6-pole filter.
14. MORE ON OSCILLATORS, FILTERS, AND ENVELOPES 6–7 Exponential attack, exponential decay/release. Since our hearing perceives loudness exponentially, this shape is primarily useful as an amplitude envelope for very long sounds that are supposed to fade in and fade out at a very constant rate. When used as a filter envelope, very clicky, whip lash-like sounds can also be obtained by using this shape. 8–9 Full attack, linear decay/release.
15. SETUP EXAMPLES 15. SETUP EXAMPLES The versatile Analog Four MKII yearns to play with other machines. Whether it uses its ability to sequencer control and play other analog synths using CV, plays its part in a MIDI chain of machines or processes amplified incoming audio: the Analog Four MKII gets along with other gear. Vintage or modern. Five examples are shown here. 15.
15. SETUP EXAMPLES 7. Press [FUNC] + [FLTR]. In this menu, set TYPE to VALUE LIN. Exit the menu. 8. The Analog Four MKII is now ready to control the external synthesizer. On the CV A, CV B and CV C pages, you can see the controllable parameters. These parameters can, of course, be parameter locked. For controlling the pitch of for example old analog Korg or Yamaha gear, use the PITCH Hz/V.
15. SETUP EXAMPLES Because the Machinedrum is connected to the Analog Four MKII inputs, the internal effects of the Analog Four MKII can be used to affect the incoming signal. This can be used to add sudden washes of reverb or delay to the beat. 1. Press the [FX] track key, the FX track, on the Analog Four MKII. Select the EXT IN page. 2. Turn up the volume on both channels to 100. 3.
15. SETUP EXAMPLES 3. Set all other WAV parameters to OFF. Make sure all SUB parameters is set to OFF as well. 4. On the AMP page for all tracks, make sure ATK is 0, DEC 0, SUS 127 and REL INF. 5. On the FILTER page for all tracks, the DEP parameters should be set to 0. 6. Place note trigs on the first step of the sequencer. Trigging the amplitude envelope is necessary. 7. Press play on the Monomachine. 8. Press play on the Analog Four MKII.
15. SETUP EXAMPLES 15.4 USING AN EXTERNAL OSCILLATOR WITH THE ANALOG FOUR MKII AUDIO OUT PITCH The CV/Gate outputs and the external inputs allow an external oscillator to be used with the internal Analog Four MKII oscillators. Use this trick when you want a different (perhaps old, quirky and unpredictable yet charming) oscillator to provide the fundamental tone but still want the control and modulation power of the Analog Four MKII.
15. SETUP EXAMPLES 6. Note trigs placed on track 1 will now control both the internal and the external oscillators. Use parameter locks to alternate the waveform of oscillator 1 between external/internal selections. This example can use more than one external oscillator. If two separate external oscillators are connected to the Analog Four MKII external inputs, both oscillators can be used on for example track 1. Track 2-4 could then use only internal oscillators. 15.
15. SETUP EXAMPLES 4. Second method: Select Track 1 on the Analog Four MKII by pressing [TRACK 1] key. 5. On the OSC1 menu page, set the WAV parameter to IN L using DATA ENTRY knob F. Set SUB, the sub oscillator, to off. Turn LEV all the way up. 6. Make a custom set of filtering, amplifier, envelope and LFO processing of the sound feed from the electric guitar by setting the values of your choice on the corresponding parameter menu page, [PARAMETER] key 3-6.
16. USEFUL KEY COMBINATIONS (QUICK KEYS) 16. USEFUL KEY COMBINATIONS (QUICK KEYS) Use the key combinations below in order to quickly perform certain tasks. 16.1 GENERAL [FUNC] + [RECORD] will perform a copy command. Action depends on the currently active page or mode. [FUNC] + [PLAY] will perform a clear command. Action depends on the currently active page or mode. [FUNC] + [STOP] will perform a paste command. Action depends on the content that was copied. 16.
16. USEFUL KEY COMBINATIONS (QUICK KEYS) 16.10 CHAIN EDITING [FUNC] + [CHAIN] to create new scratch pad row. [CHAIN] + [LEFT/RIGHT] to move chain cursor. [CHAIN] + [NO] to remove Pattern from the chain before cursor (or selected). [BANK X/X] + [TRIG] to enter a new Pattern into the chain (positioned where the cursor is at).
17. TECHNICAL INFORMATION 17. TECHNICAL INFORMATION ELECTRICAL SPECIFICATIONS HARDWARE Impedance balanced audio outputs: Headphones out level: +19 dBu (55 Ω) Main outputs level: +19 dBu Output impedance: 440 Ω unbalanced EXP/CV inputs Input voltage on tip: -5 V–+5 V.
18. CREDITS AND CONTACT INFORMATION 18. CREDITS AND CONTACT INFORMATION CREDITS CONTACT INFORMATION PRODUCT DESIGN AND DEVELOPMENT Oscar Albinsson Ali Alper Çakır Oscar Dragén Magnus Forsell Anders Gärder Andreas Henriksson Fabian Hundertmark Christer Lindström Jimmy Myhrman Jon Mårtensson Viktor Nilsson David Revelj Mattias Rickardsson Martin Sigby Daniel Troberg ELEKTRON WEBSITE http://www.elektron.
APPENDIX A: SYNTH TRACK PARAMETERS APPENDIX A: SYNTH TRACK PARAMETERS In this appendix, the parameters of the synth tracks are explained. OSCILLATOR 1 The OSC1 pages control the first oscillator, its sub oscillator, plus the noise generator. OSC1 (page 1) SPD (OSC1 PWM Speed) sets the speed of the oscillator’s PWM LFO, which can be used to modulate the waveshape back and forth around the set PW parameter.
APPENDIX A: SYNTH TRACK PARAMETERS OSCILLATOR 2 The OSC2 pages control the second oscillator and the accompanying sub oscillator. Settings that will affect both oscillators are found here as well. OSC2 (page 1) OSC 1&2 (page 2) TUN (OSC2 Coarse Tune) sets the pitch of the oscillator in semitones. To jump a whole octave, press the knob while turning it.
APPENDIX A: SYNTH TRACK PARAMETERS FILTERS In the FILTERS page, settings that will affect the two track filters are found. FILTERS FRQ (Filter1 Frequency) sets the cutoff frequency of Filter 1, the 4-pole lowpass transistor ladder filter. RES (Filter1 Resonance) sets the resonance of Filter 1. Increased resonance introduces a peak in the spectrum at the cutoff frequency.
APPENDIX A: SYNTH TRACK PARAMETERS AMPLITUDE The AMP page contains settings for the amplitude envelope and the effects sends, as well as panning and volume of the sound. AMP ATK (EnvA Attack) sets the attack time of the EnvA envelope, which controls the amplitude of the track. DEC (EnvA Decay) sets the decay time of the EnvA envelope. SUS (EnvA Sustain) sets the sustain level of the EnvA envelope. REL (EnvA Release) sets the release time of the EnvA envelope.
APPENDIX A: SYNTH TRACK PARAMETERS ENVELOPES Here parameters controlling the two assignable envelopes are found. The first envelope, ENVF, is hardlinked to the cutoff parameters of the two filters but can also modulate two user-selectable destinations. 86 ENVF (page 1) ENV2 (page 2) ATK (EnvF Attack) sets the attack time of the EnvF envelope. ATK (Env2 Attack) sets the attack time of the Env2 envelope. DEC (EnvF Decay) sets the decay time of the EnvF envelope.
APPENDIX A: SYNTH TRACK PARAMETERS LFO The two track LFOs can be used to modulate the other synth track parameters. LFO1 (page 1) LFO2 (page 2) SPD (LFO1 Speed) sets the speed of LFO1. It is synced to the BPM. To sync it to straight beats, try settings of 16, 32 or 64. The value is bi-polar (negative values plays the LFO shape backwards). SPD (LFO2 Speed) sets the speed of LFO2. It is synced to the BPM. To sync it to straight beats, try settings of 16, 32 or 64.
APPENDIX B: FX TRACK PARAMETERS APPENDIX B: FX TRACK PARAMETERS In this appendix, the parameters of the external input page and the three send effects are explained. EXTERNAL IN The EXT IN page controls the signal path from the two audio inputs to the main mixer. These external signals can be routed to the effects and panned just like the four synth tracks. EXT CHO (Ext. L Chorus) sets how much of the signal from the left external input to send through to the Wideshift Chorus effect. DEL (Ext.
APPENDIX B: FX TRACK PARAMETERS WIDESHIFT CHORUS The Wideshift Chorus can be used to widen sounds, enhance the stereo image or add subtle movement to sounds. CHORUS PRE (Predelay) sets the predelay time of the Wideshift Chorus. SPD (Speed) sets the low-frequency modulation speed of the chorus taps. DEP (Depth) sets the depth of the modulation of the chorus taps. WID (Width) sets the stereo width of the Wideshift Chorus. FDB (Feedback) sets the feedback of the chorus taps.
APPENDIX B: FX TRACK PARAMETERS SATURATOR DELAY The Saturator Delay adds an echo-like effect to the audio. Thanks to the special features of this effect, it can also be used to subtly warm or severely distort the delay signal. DELAY TIM (Time) sets the delay time. It is relative to the current BPM and is measured in 128th notes. For instance, a setting of 32 equals a one beat delay (four 1/16th notes). X (Pingpong) sets how the delay signal will act in the stereo field.
APPENDIX B: FX TRACK PARAMETERS SUPERVOID REVERB The Supervoid Reverb is perfect for positioning sounds in the mix. It can simulate everything from vast locations to small spaces. REVERB PRE (Predelay) sets the predelay time of the Supervoid Reverb. DEC (Decay) sets the decay of the reverberated signal, essentially setting the size of the acoustic room. FRQ (Shelving Frequency) sets the frequency of a shelving filter.
APPENDIX B: FX TRACK PARAMETERS FX LFO The FX LFO menu consists of two LFOs dedicated to modulating FX track parameters. 92 LFO1 (page 1) LFO2 (page 2) SPD (LFO1 Speed) sets the speed of LFO1. It is synced to the BPM. To sync it to straight beats, try settings of 16, 32 or 64. The value is bi-polar (negative values plays the LFO shape backwards). MUL (LFO1 Multiplier) multiplies the SPD parameter by the set factor.
APPENDIX C: CV TRACK PARAMETERS APPENDIX C: CV TRACK PARAMETERS CV A-D The CV A-D pages control the signals sent from the four CV/Gate outputs. Depending on the CV type chosen in the CV CONFIG menu, the available parameters will change. For more information, please see “12.6.1 CV A-D CONFIG” on page 60. CV (GROUNDED) No parameters available. The CV output will not send any signal. CV (VALUE LIN) VAL (Value) sets the voltage level of the CV. Applicable when the chosen CV type is VALUE LIN.
APPENDIX C: CV TRACK PARAMETERS CV ENVELOPES Here parameters controlling the two assignable CV envelopes are found. The CV envelopes can modulate parameters found on the CV track. They can also be sent to the CV/Gate outputs, by setting up a CV channel’s type as VALUE LIN. 94 ENV1 (page 1) ENV2 (page 2) ATK (Env1 Attack) sets the attack time of the Env1 envelope. ATK (Env2 Attack) sets the attack time of the Env2 envelope. DEC (Env1 Decay) sets the decay time of the EnvF envelope.
APPENDIX C: CV TRACK PARAMETERS CV LFO The two CV LFOs can be used to modulate other CV track parameters. They can also be sent to the CV/ Gate outputs, by setting up a CV channel’s type as VALUE LIN and then letting the LFO modulate its VAL parameter. LFO1 (page 1) LFO2 (page 2) SPD (LFO1 Speed) sets the speed of LFO1. It is synced to the BPM. To sync it to straight beats, try settings of 16, 32 or 64. The value is bi-polar (negative values plays the LFO shape backwards).
APPENDIX D: MIDI APPENDIX D: MIDI This appendix covers the MIDI CC and NRPN implementation. The data range of each parameters CC and/ or NRPN value is written in parentheses after the value. PERFORMANCE PARAMETERS The following messages affect the performance parameters on all tracks. They are also sent when adjusting the knobs controlling the parameters.
APPENDIX D: MIDI OSC 1 Parameter Encoder CC MSB CC LSB NRPN MSB NRPN LSB Sub Oscillator G 71 (0–127) - 1 (0–127) 6 Pulsewidth H 72 (0–127) - 1 (0–127) 7 PWM Speed I 73 (0–127) - 1 (0–127) PWM Depth J 74 (0–127) - 1 (0–127) 9 NOISE Parameter Encoder CC MSB CC LSB NRPN MSB NRPN LSB Noise S&H A 75 (0–127) - 1 (0–127) 10 B - - 1 (0–127) C 76 (0–127) - 1 (0–127) D - - 1 (0–127) E 77 (0–127) - 1 (0–127) F - - 1 (0–127) G - - 1 (0–127) H - - 1 (0
APPENDIX D: MIDI FILTERS Parameter Encoder CC MSB CC LSB NRPN MSB NRPN LSB Filter1 Frequency A 18 (0–127) 50 (0–127) 1 (0–127) 40 (0–127) Filter1 Resonance B 89 (0–127) - 1 (0–127) 41 Filter Overdrive C - - 1 (0–127) 42 Filter1 Keytracking D - - 1 (0–127) 43 Filter1 Envelope Amount E 102 (0–127) - 1 (0–127) 44 Filter2 Frequency F 19 (0–127) 51 (0–127) 1 (0–127) 45 (0–127) Filter2 Resonance G 90 (0–127) - 1 (0–127) 46 Filter2 Type H - - 1 (0–127) 47 Filt
APPENDIX D: MIDI ENV2 Parameter Encoder CC MSB CC LSB NRPN MSB NRPN LSB Env2 Destination A G - - 1 (0–127) 76 Env2 Depth A H 22 (0–127) 54 (0–127) 1 (0–127) 77 (0–127) Env2 Destination B I - - 1 (0–127) 78 Env2 Depth B J 23 (0–127) 55 (0–127) 1 (0–127) 79 (0–127) Parameter Encoder CC MSB CC LSB NRPN MSB NRPN LSB LFO1 Speed A 116 (0–127) - 1 (0–127) 80 LFO1 Speed Multiplier B 117 (0–127) - 1 (0–127) 81 LFO1 Fade C - - 1 (0–127) 82 LFO1 Start Phase D -
APPENDIX D: MIDI EXT IN Parameter Encoder CC MSB CC LSB NRPN MSB NRPN LSB Ch2 Pan I - - 2 (0–127) 8 Ch2 Level J - - 2 (0–127) 9 CHORUS Parameter Encoder CC MSB CC LSB NRPN MSB NRPN LSB Predelay A - - 2 (0–127) 40 Speed B - - 2 (0–127) 41 Depth C - - 2 (0–127) 42 Width D - - 2 (0–127) 43 Feedback E - - 2 (0–127) 44 HP Filter F - - 2 (0–127) 45 LP Filter G - - 2 (0–127) 46 Delay Send H - - 2 (0–127) 47 Reverb Send I - - 2 (0–127) 48
APPENDIX D: MIDI LFO1 Parameter Encoder CC MSB CC LSB NRPN MSB NRPN LSB LFO1 Speed A - - 2 (0–127) 80 LFO1 Speed Multiplier B - - 2 (0–127) 81 LFO1 Fade C - - 2 (0–127) 82 LFO1 Start Phase D - - 2 (0–127) 83 LFO1 Mode E - - 2 (0–127) 84 LFO1 Waveform F - - 2 (0–127) 85 LFO1 Destination 1 G - - 2 (0–127) 86 LFO1 Depth 1 H - - 2 (0–127) 87 (0–127) LFO1 Destination 2 I - - 2 (0–127) 88 LFO1 Depth 2 J - - 2 (0–127) 89 (0–127) LFO2 Parameter Enc
APPENDIX D: MIDI CV B Parameter Encoder CC MSB CC LSB NRPN MSB NRPN LSB CV B Value C - - 3 (0–127) 22 CV B Clock D - - 3 (0–127) 23 CV B Source E - - 3 (0–127) 24 CV B Bend Depth F - - 3 (0–127) 25 CV B Note Slide time G - - 3 (0–127) 26 H - - 3 (0–127) - I - - 3 (0–127) - J - - 3 (0–127) - CV C Parameter Encoder CC MSB CC LSB NRPN MSB NRPN LSB CV C Coarse Tune A - - 3 (0–127) 40 CV C Fine Tune B - - 3 (0–127) 41 CV C Value C - - 3 (0
APPENDIX D: MIDI ENV1 Parameter Encoder CC MSB CC LSB NRPN MSB NRPN LSB Env1 Depth 1 H - - 3 (0–127) 67 (0–127) Env1 Destination 2 I - - 3 (0–127) 68 Env1 Depth 2 J - - 3 (0–127) 69 (0–127) ENV2 Parameter Encoder CC MSB CC LSB NRPN MSB NRPN LSB Env2 Attack Time A - - 3 (0–127) 70 Env2 Decay Time B - - 3 (0–127) 71 Env2 Sustain Level C - - 3 (0–127) 72 Env2 Release Time D - - 3 (0–127) 73 Env2 Env Shape E - - 3 (0–127) 74 Env2 Gate Length F - -
APPENDIX E: ANALOG FOUR MKII ARCHITECTURE APPENDIX E: ANALOG FOUR MKII ARCHITECTURE This appendix shows the complete architecture and constituent parts of the Analog Four MKII. Gray boxes show analog elements. White boxes show digital elements.
INDEX INDEX +DRIVE 16 Clear kit 24 Load kit 24 Performance mode 25 A ACCENT 47 ARPEGGIATOR 40 Arpeggiator setup 42 C CHAINS 51 CLICK TRACK 44 CONDITIONAL LOCKS 46, 47 CONNECTING THE UNIT 14 COPY, PASTE AND CLEAR Kit 25 Pattern 49 Track 49 Track page 49 Trig 50 CREDITS 81 Contact information 81 Design and development 81 CV TRACK 35 D DATA STRUCTURE 16 E EARLY STARTUP MENU 66 EDIT CV track 36 FX track 36 Sound 35 ELECTRICAL SPECIFICATIONS 80 EMPTY RESET 66 F FILL MODE 47 FILTERS 68 2-Pole 68 4-Pole 68
INDEX Pattern modes 38 Recording modes 39 Tempo 38 Trig types 39 PERFORMANCE MODE 25 Performance configure 25 Performance mute 26 Performance setup menu 25 Performance track mute 26 POLYPHONY 27 Allocation 28 Configuration 27 Voice routing 28 Voices 27 PORTAMENTO 34 PROJECTS Load project 21 Manage project 22 Save project 21 Q QUICK KEYS 78 QUICK PERFORMANCE 27 QUICK RELOAD 50 Kit 50 Pattern 50 Song 50 Sound 50 Track 50 QUICK SAVE 50 Kit 50 Pattern 50 Song 50 Sound 50 Track 50 QUICK SCROLLING 18 QUICK START
8062ENG-A
