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 INSTRUCTIONS Carefully read these instructions and save them for future reference. 1. Do not use this apparatus near water. 2. Never use any aggressive cleaners on the casing or the LCD 3. 4. 5. 6. 7. 8. overlay. 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 once the apparatus is safely dry.
INTRODUCTION............................................................................................................. 1 CONVENTIONS IN THIS MANUAL........................................................................................................ 1 THE BACKGROUND OF THE ANALOG FOUR............................................................. 2 PANEL LAYOUT AND CONNECTORS........................................................................... 3 FRONT PANEL ........................................
PERFORMANCE MIXER................................................................................................................. 17 POLYPHONY ........................................................................................................................................ 18 POLYPHONY CONFIGURATION .................................................................................................... 18 SOUND MENU .........................................................................................
PROJECT ............................................................................................................................................. 45 GLOBAL SLOT ..................................................................................................................................... 45 SYNTH CONFIG................................................................................................................................... 45 SEQUENCER CONFIG ..............................................
AMPLITUDE ........................................................................................................................................... 4 ENVELOPES .......................................................................................................................................... 5 LFO ......................................................................................................................................................... 6 APPENDIX B: FX TRACK PARAMETERS EXTERNAL IN ....
INTRODUCTION INTRODUCTION Thank you for choosing the Analog Four. It is a digitally controlled analog synthesizer featuring, among many things, the renowned Elektron step sequencer. The innovative combination of modern technology and tried and trusted ways of sound generation will let you experience the analog realm to its fullest. To make the most of the machine, we recommend you to carefully read this manual. Tutorial videos, found on the Elektron website, are also available.
THE BACKGROUND OF THE ANALOG FOUR THE BACKGROUND OF THE ANALOG FOUR 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 can be found in all areas of human activity, throughout history. From science to art, literature to architecture, photography to theatre - works of art embodying the essence of these expressions are found everywhere. Including, of course, within the domain of sound.
PANEL LAYOUT AND CONNECTORS PANEL LAYOUT AND CONNECTORS FRONT PANEL 3 2 4 5 6 7 8 9 10 11 12 13 14 15 16 1 34 33 17 32 18 19 20 31 30 29 28 27 26 25 24 23 22 21 The Analog Four front panel. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. MASTER VOLUME sets the volume for the main outputs and the headphones output. [SONG MODE] activates/deactivates SONG mode. [CHAIN MODE] activates/deactivates CHAIN mode. LEVEL sets the overall volume level of the active track.
PANEL LAYOUT AND CONNECTORS 19. LEDs indicate how many pattern pages the active pattern consists of and which pattern page is currently active. The LED flashes on the pattern page currently playing. 20. [PAGE] selects the active pattern page in GRID RECORDING mode. The active pattern page is indicated by the four LEDs above the key. The secondary function accesses the SCALE menu. 21. [KEYBOARD] buttons are used for playing sounds and assigning note values to note trigs.
PANEL LAYOUT AND CONNECTORS • Use the included PSU-3 with your Analog Four. It can, using an appropriate power cord, be used all over the globe without the need of voltage converters. Using the wrong type of adapter may damage your unit. Damage caused by the use of incorrect power supply is not covered by warranty. Please see “TECHNICAL INFORMATION” on page 72 for details about the Analog Four power supply.
ANALOG FOUR SIGNAL PATH ANALOG FOUR SIGNAL PATH Below is an image outlining the signal path of the Analog Four. OSCILLATOR 1 SUB OSC AM AND SYNC MODES OSCILLATOR 2 SUB OSC LADDER FILTER OVERDRIVE MULTIMODE FILTER VCA/PAN LEFT RIGHT NOISE GENERATOR 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.
OVERVIEW OF THE ANALOG FOUR STRUCTURE OVERVIEW OF THE ANALOG FOUR STRUCTURE The image below outlines the data structure of the Analog Four. 128 PROJECTS 4 GLOBALS 16 SONGS 4 SOUNDS +DRIVE SOUND LIBRARY 4096 SOUNDS 128 PATTERNS CV 128 KITS SOUND POOL 128 SOUNDS FX +DRIVE The +Drive is a non-volatile memory capable of storing up to 128 projects (thousands of patterns, kits and songs) internally. The +Drive also gives access to the +Drive Sound library, with the capacity of storing 4096 Sounds.
OVERVIEW OF THE ANALOG FOUR STRUCTURE SOUND A Sound consists of stored synth track parameter settings. Each synth track can host one Sound. Sounds can be stored either in the Sound pool of the active project or in the +Drive Sound library. The Sound pool contains 128 Sounds and the +Drive library can consist of 4096 Sounds. Read more in section “KITS AND SOUNDS” on page 14. BANK Eight banks exist for each project and each bank contains 16 patterns. Read more in section “THE SEQUENCER” on page 28.
THE USER INTERFACE THE USER INTERFACE The center of Analog Four editing is the LCD display. The main interface screen is shown below: 1 2 3 4 5 7 6 1. 2. 3. 4. 5. 6. 7. Bar indicating the main volume setting of the active track. The current tempo displayed with one decimal. The playback/recording status of the sequencer shown by the standard “record”, “play”, “pause” and “stop” symbols; , , and . To the right is a counter displaying how many bars, beats and steps the sequencer has played.
THE USER INTERFACE QUICK SCROLLING In most menus quick scrolling is available. Press [FUNCTION] + the [UP] or [DOWN] arrow keys to move the cursor one menu page at a time. COPY, CLEAR AND PASTE Copy, clear and paste commands are available in a lot of contexts. A copy operation is performed by pressing [FUNCTION] + [REC]. A paste operation is performed by pressing [FUNCTION] + [STOP]. A clear operation is performed by pressing [FUNCTION] + [PLAY].
QUICK START QUICK START This quick start will guide you through some of the basic operations to allow you to start using the Analog Four right away. First connect it as described in section “CONNECTING THE UNIT”, on page 5. PLAYING THE FACTORY PRESETS The Analog Four is shipped with several preset patterns, kits and Sounds. To immediately start experimenting with the Analog Four, just follow the instructions below. 1. 2. 3. 4. 5. 6. Switch on the Analog Four. Press [PLAY] to listen to pattern A01.
PROJECTS PROJECTS A project is the top level structure of the Analog Four. 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, independent of the +Drive.
PROJECTS • The slot the currently active project is linked to is indicated by a small arrow in front of the project name. • Projects can be copied/cleared/pasted in the LOAD PROJECT and SAVE PROJECT menus. • A lock symbol indicates the project is write protected. PROJECT MANAGER launches 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.
KITS AND SOUNDS KITS AND SOUNDS Kits and Sounds are the basic building blocks of Analog Keys soundcrafting. 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.
KITS AND SOUNDS KIT MENU In the KIT menu commands relating to kits are found, most importantly kit save and load. Open the menu by pressing [FUNCTION] + [KEYBOARD C1]. Use the [UP] and [DOWN] arrow keys to move between the commands. Press [YES/SAVE] to confirm your selection. Exit the menu by pressing [NO/RELOAD]. RELOAD KIT will reload the either the active kit, reverting it to its saved status, or all kits.
KITS AND SOUNDS Access the PERFORMANCE mode by pressing the [PERFORMANCE] key. The ten available performance macros are seen in the PERFORMANCE menu. Turn the DATA ENTRY knobs to adjust the parameter macro settings. The graphics indicating the active kit will briefly change to reflect the mute status of the tracks. PERFORMANCE SETUP The ten performance macros available in the PERFORMANCE mode are set up in the PERFORMANCE SETUP menu. Access this menu by pressing [FUNCTION] + [PERFORMANCE].
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. Press the LEVEL knob to make the performance macro knob work in a bipolar fashion, meaning the parameter macro value range will go from -64 to +63. While a pattern or Sound is playing, turn the LEVEL knob to preview how the performance macro affects the sound. • PERFORMANCE mode parameters are not possible to parameter lock.
KITS AND SOUNDS POLYPHONY Four voice polyphony can be configured by selecting POLY CONFIG in the KIT menu. The Analog Four is capable of four voice multitimbral polyphony (or unison). This is possible due to the powerful sound engine which is able to change sound instantly and allow completely dynamic voice allocation (see figure below). The sequencer is fully polyphonic, allowing overlapping notes and chords to be programmed on the tracks. Any track can play up to four notes using its own track sound.
KITS AND SOUNDS ROTATE For every new coinciding note played the voices are allocated in a cyclic manner. REASSIGN Uses the same voice as last time for every note played as long as its unused. Otherwise the least recently used voice is used for the new note. UNISON Uses all voices to play the same note. Employs the adjustable parameters DETUNE and PAN SPREAD shown below.
KITS AND SOUNDS POLYPHONIC VOICE ALLOCATION METHOD: RESET (SHOWN AS PLAYED FROM TRACK 1) PLAYED NOTE C/D/D#/F BEGINNING OF NOTE END OF NOTE VOICE A/B/C/D ASSIGNED VOICE C D D# D# F VOICE C VOICE B VOICE B VOICE A VOICE A POLYPHONIC VOICE ALLOCATION METHOD: ROTATE PLAYED NOTE C/D/D#/F BEGINNING OF NOTE END OF NOTE VOICE A/B/C/D ASSIGNED VOICE C D D D# F VOICE D VOICE C VOICE B VOICE A 20 VOICE A
KITS AND SOUNDS POLYPHONIC VOICE ALLOCATION METHOD: REASSIGN PLAYED NOTE C/D/D#/F BEGINNING OF NOTE END OF NOTE VOICE A/B/C/D ASSIGNED VOICE C D D D# F VOICE D VOICE C VOICE B VOICE B VOICE A VOICE STEALING PLAYED NOTE C/D/D#/F/G BEGINNING OF NOTE END OF NOTE VOICE A/B/C/D ASSIGNED VOICE C VOICE STOLEN BY G NOTE D D# F G VOICE D VOICE C VOICE B VOICE A VOICE A 21
KITS AND SOUNDS SOUND MENU In this menu Sounds in the +Drive Sound library or in 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. Open the menu by pressing [SOUND]. Use the [UP] and [DOWN] arrow keys to move between the options. Press [YES/SAVE] to confirm your selection. Exit the menu by pressing [NO/RELOAD].
KITS AND SOUNDS SOUND MANAGER can be regarded as a more powerful variant of the SOUND BROWSER. Here Sounds can be saved, loaded, tagged et cetera. Opening the menu will show a list of all Sounds residing in either the +Drive Sound library or the Sound pool. Scroll the list by turning the LEVEL knob or by pressing [UP]/[DOWN]. Pressing [LEFT] will access the SORTING menu. The available commands are the same as those found in the SORTING menu of the SOUND BROWSER.
KITS AND SOUNDS • Sounds residing in the +Drive Sound library are organized into 16 banks, ranging from A to P. Each bank can contain 256 Sounds. Use the [TRIG] keys to view only Sounds located in a specific bank. • You can preview the currently selected Sound using the mini keyboard or via the MIDI auto-channel. The Sound will be played through the active track. Please note that if the previewed Sound is routed through the effects, the current effects settings will affect it.
KITS AND SOUNDS • LEGATO activates portamento for overlapping notes only. LEGATO MODE needs to be activated for this setting to function. VELOCITY TO VOL selects how MIDI velocity will affect volume when playing the Sound from a MIDI keyboard. • OFF means velocity will not affect the volume of the Sound. • LOG will apply a logarithmic velocity curve. The volume difference will be greater between softer keyboard presses than between harder. • LIN will apply a linear velocity curve.
KITS AND SOUNDS PLAYING A SOUND Playing a Sound is done by using the [KEYBOARD] keys. Select the Sound that will be played by pressing [TRACK] keys 1-4. The information in the LCD showing which kit is loaded will briefly change to reflect the name of the loaded Sound. The [KEYBOARD] key range spans one octave and one note. The first and last [KEYBOARD] keys play by default a C note. To change octaves, press the [UP] and [DOWN] arrow keys. The LEDs indicate which octave is selected.
KITS AND SOUNDS EDITING THE FX AND CV TRACKS Editing the FX and CV tracks is very similar to editing the Sounds of the synth tracks. The PARAMETER pages contain parameters relevant for the two types of tracks. For full explanations of the parameters for the FX and CV tracks, please see “Appendix B: FX TRACK PARAMETERS“ and “Appendix C: CV TRACK PARAMETERS“ respectively. • FX and CV track parameter settings are only saved as part of a kit.
THE SEQUENCER THE SEQUENCER The sequencer of the Analog Four 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, can host 16 patterns, meaning 128 patterns are available. All adjustments made to the patterns are automatically saved. Changes made to the active pattern can however be reverted. Read more in “PATTERN MENU” on page 31.
THE SEQUENCER faded out. When the sequencer is stopped, quickly pressing [STOP] + [STOP] will stop playback of all tracks and fade out the send effects. When a pattern is playing and [PLAY] is pressed the playback will be paused. Press [PLAY] again to resume the playback. 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.
THE SEQUENCER TRIG TYPES Two types of trigs exist, note trigs and trigless locks. Note trigs trig notes while trigless locks can be used to apply parameter locks without trigging notes. Note trigs are indicated by full-bright LEDs and trigless locks are indicated by half-bright LEDs. Read more about parameter locks in section “PARAMETER LOCKS” on page 37. The two types of trigs are entered differently depending on whether GRID or LIVE recording mode is active.
THE SEQUENCER TRACK MENU In this menu settings and options related to the active track are found. Open the menu by pressing [FUNCTION] + [KEYBOARD E1]. Navigate in the list using the [UP]/[DOWN] arrow keys or the LEVEL knob. Select options by pressing [YES]. Change the track that the menu will affect by pressing the [TRACK] keys. NOTES SETUP contains settings mainly relating to track quantization and scale. It is the same menu as accessed by pressing [FUNCTION] + [NOTE].
THE SEQUENCER state. Press [YES/SAVE] + [KEYBOARD F1] for a short cut to the SAVE PATTERN command. • The RELOAD PATTERN command is great when improvising live. Any changes made to the active pattern, like adding bass line notes or similar, can immediately be undone. ARPEGGIATOR The ARPEGGIATOR menu controls the six arpeggiators, one for each track. Arpeggiator settings are a part of the pattern, they are not stored together with kits.
THE SEQUENCER • ON will play overlapping notes legato, releasing the old note after the new one. The NLEN setting adjusts the length of the notes when the arpeggiator is activated. If not activated the LEN setting will adjust the length of the notes. • OFF will send out a MIDI note off message before the start of each arpeggiated note. LEN controls the length of the arpeggiated notes. NO2-NO4 selects the offset in semi-tones for three additional arpeggio notes.
THE SEQUENCER µTM controls the micro timing offset. A negative value will nudge the trig to a position before the quantized sequencer step, a positive after. Each micro timing value step is equal to one 1/ 384th of a note. When entering note trigs in the LIVE RECORDING mode, they will automatically be micro timed. Read more about this recording mode on page 30. ENV controls whether the ENVF should be retrigged or not when a note trig or trigless lock is activated by the sequencer.
THE SEQUENCER sounds. A quick command for this setting exists. Press [TRANSPOSE] + [TRACK] to activate/deactivate the transpose functionality for a track. Read more about track transpose on page 39. CLICK TRACK The CLICK TRACK menu controls the internal metronome of the Analog Four. Open the menu by pressing [FUNCTION] + [KEYBOARD A1]. Use the [UP]/[DOWN] arrow keys or the LEVEL knob to select in the list of settings. Press [LEFT]/[RIGHT] to change the highlighted setting.
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, 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.
THE SEQUENCER SEQUENCER FEATURES PARAMETER LOCKS Parameter locks is a powerful feature that allows trigs to have their own unique parameter values. The note trigs of a synth track could for example have different pitch or filter settings. All parameters found in the PARAMETER pages and the ARP and NOTE menus are possible to parameter lock and parameter locks can be applied to all types of tracks.
THE SEQUENCER Select the track to which you want to add trig mute trigs by pressing the corresponding [TRACK] key. While in the TRIG MUTE menu, entered trigs will mute any trigs placed of the active track, given the trigs are located on the same sequencer steps. • Trig mutes can be quickly added to note trigs or trigless locks. Keep the note trig or trigless lock pressed and press [BANK A/E]. A trig mute trig will automatically be placed on the same sequencer step as the note trig/trigless lock.
THE SEQUENCER • Note slides can be quickly added to note trigs. Keep the note trig pressed and press [BANK C/G]. A note slide trig will automatically be placed on the same sequencer step as the note trig. • Press a note trig lock to quickly see if a note slide trig is placed on the same sequencer step as the trig. If that is the case, the LED will light up.
THE SEQUENCER trigs retain their original note values after having been transposed. If for example the key note is set to a C and [KEYBOARD F1] is pressed, the transpose activated tracks will be transposed +5 semitones. The transpose offset can be applied permanently as well. After performing a transpose, press [TRANSPOSE] + [YES/SAVE]. The value of the transposed note trigs will be permanently altered. If [FUNCTION] + [TRANSPOSE] are pressed, the transpose lock functionality will be activated.
THE SEQUENCER To quick save a kit, press [YES/SAVE] + [KEYBOARD C1]. This command is the same as the SAVE KIT command found in the KIT menu, covered on page 15. To quick save the track Sound of the active track, press [YES/SAVE] + [KEYBOARD D1]. This command is the same as the STORE TRACK SOUND command found in the SOUND MANAGER menu, covered on page 23. To quick save a track, press [YES/SAVE] + [KEYBOARD E1]. The operation is the same as the SAVE TRACK command, covered on page 41.
CHAINS AND SONGS 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.
CHAINS AND SONGS SONGS Songs are essentially patterns and chains structured to form a long sequence. To enter SONG mode, press the [SONG MODE] key. The LED will light up, indicating SONG mode is active. The active song will start to play, row by row. If the active song row is the scratch pad row, song row 00 will be played afterwards, given that the song has been programmed in SONG EDIT and the scratch pad row has not been moved within the song.
CHAINS AND SONGS ADDING REPEATS, MUTES AND TRANSPOSE INFORMATION Various extra information can be entered for song rows and pattern or patterns assigned to the song rows. Repeat a song row with a chosen factor by moving to the leftmost position of the song row. Turn DATA ENTRY knob A to select how many times the song row will be repeated. Add song mutes to a pattern by highlighting it and pressing [FUNCTION] + [TRACK]. The mute graphics to the right in the LCD screen shows which tracks have been muted.
GLOBAL MENU GLOBAL MENU The GLOBAL menu offers settings that affect the Analog Four 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 [FUNCTION] + [KEYBOARD C2]. Scroll the list by using [UP]/[DOWN] or the LEVEL knob. Open a highlighted menu by pressing [YES/SAVE]. PROJECT Here projects are managed. This menu is covered in the section “PROJECTS” on page 12.
GLOBAL MENU SEQUENCER CONFIG Here settings relating to the sequencer can be found. Change settings by using the [LEFT]/[RIGHT] arrow keys. 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. Read more about micro timing in the section “NOTE MENU” on page 33.
GLOBAL MENU MIDI 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 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/SAVE] to start the turbo speed negotiation.
GLOBAL MENU • If MIDI+USB is selected in the INPUT FROM and/or OUTPUT TO settings, MIDI data transfers might limit the USB speed. OUTPUT CH selects whether the mini-keyboard and the knobs will send data on the auto channel or the MIDI channel of the selected track. PARAM OUTPUT selects what type of MIDI messages the DATA ENTRY knobs will send. For information about which CC/NRPN parameters that will be sent, please see “Appendix D: MIDI“. • NRPN will make the knobs send out NRPN MIDI messages.
GLOBAL MENU MULTI MAP EDIT Opens an editor for mapping the functions of single notes or note ranges on an external MIDI keyboard. The functions that can be mapped include: Internal trigging of Sounds on any track, trigging of MIDI notes on any MIDI channel and the ability to trig patterns with custom transpose and timing settings. Multi map allows custom mapped keyboards splits, pattern trigging per key, Sound trig per key, MIDI trig of external synths, and more.
GLOBAL MENU TRACK sets which track the selected keyboard range or key will play. AUTO will play the active track, while TRK 1, TRK 2, TRK 3, TRK 4, FX TRK and CV TRK sets the range to play the specific synth, FX or CV track of your choice. NOTE sets which note the start of the chosen keyboard range will play. If no offset is desired, it should be set to the same note as RANGE LOW. NOTE INC defines by what increment the subsequent notes played will increase.
GLOBAL MENU DELETE ENTRY deletes the whole entry. Select and reconfirm by pressing [YES/SAVE]. INSERT BEFORE will create a new entry with a range ending on the note preceding the current entry. Select by pressing [YES/SAVE]. INSERT AFTER will create a new entry with a range beginning on the note succeeding the current entry. Select by pressing [YES/SAVE]. • NONE sets a keyboard key or range that will not be used for any function.
GLOBAL MENU INSERT BEFORE will create a new entry with a range ending on the note preceding the current entry. Select by pressing [YES/SAVE]. INSERT AFTER will create a new entry with a range beginning on the note succeeding the current entry. Select by pressing [YES/SAVE]. CV CONFIG CV/Gate output signals are calibrated and set up in this menu. CV A-D CONFIG Each of the subpages are identical and one for each CV/Gate output exists.
GLOBAL MENU • GROUNDED turns the CV output off. No additional parameters available. • PITCH V/OCT should be chosen for controlling the pitch of equipment using the volt per octave standard, which applies to most analog synthesizers. • PITCH HZ/V should be chosen for controlling the pitch of equipment using the Herz per volt standard, which applies to, for example, older Korg and Yamaha synths.
GLOBAL MENU Make sure you have a good voltmeter before proceeding. Connect a TRS cable to the output you want to trim. Connect the volt meter’s negative terminal to the sleeve of the connector. Connect the positive terminal to either the tip or the ring of the connector, depending on the channel you wish to trim. Each CV output has three trim settings. Begin by selecting 0 V, then press and hold the [YES/SAVE] key. 0 V is output as long as [YES/SAVE] is held down.
GLOBAL MENU row key to access this column. Use the [UP]/[DOWN] keys or the LEVEL knob to select what will be sent. Press [YES/SAVE] to initiate the SysEx send procedure. ALL offers the possibility to do complete backups of various data. • WHOLE PROJECT will send all kits, Sounds, patterns, songs and global slots to the receiving device. I.e. the complete project. • ALL KITS will send all kits to the receiving device. • ALL PATTERNS will send all patterns to the receiving device.
GLOBAL MENU ANYTHING will listen to and receive any viable SysEx data sent. KIT • ACTIVE KIT will when receiving kit SysEx data replace currently active kit with the received kit. • KIT 01-128 will store a received kit to the selected kit slot. An asterisk at the end of the kit name indicates the kit is not linked to any pattern. SOUND POOL will store a received Sound to the selected slot of the Sound Pool of the active project.
GLOBAL MENU • When performing the sending of the OS syx file, we recommend using our free SysEx utility C6. It can be downloaded from the Elektron website. • If the Analog Four is receiving the OS upgrade through the MIDI ports, use the Elektron TM-1 USB MIDI interface for up to 10x transfer speeds. FORMAT +DRIVE Offers the possibility to erase all content of +Drive. When selecting this command, a prompt will appear asking if the formatting procedure should be executed.
EARLY STARTUP MENU EARLY STARTUP MENU To access this menu, hold down the [FUNCTION] key while powering up the Analog Four. From here you can perform a variety of tasks. To choose the different alternatives, press the corresponding [TRIG] key. TEST MODE To enter this mode, press the first [TRIG] key. If you have any trouble with your Analog Four and suspect it may be due to a hardware problem, perform this self test. No errors should be reported as shown below.
MORE ON OSCILLATORS, FILTERS AND ENVELOPES MORE ON OSCILLATORS, FILTERS AND ENVELOPES In this chapter the functionality of the oscillators, filters and envelopes will be explained in further detail. 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.
MORE ON OSCILLATORS, FILTERS AND ENVELOPES 5TH This option adds a 33% pulse waveform one perfect fifth, which is equivalent to seven semitones, below the oscillator. The sub oscillator thus operates at 2/3 of the oscillator frequency. If, for instance, the oscillator plays a G, then the sub oscillator will play the C below it. Together with the other oscillator, this makes it possible to play a simple chord using just one track of the Analog Four.
MORE ON OSCILLATORS, FILTERS AND ENVELOPES FILTERS 4-POLE LADDER FILTER There is no way to turn the ladder filter completely off, but turning up the cutoff frequency will pass all frequencies through. It should be noted that zero resonance does not give the flattest frequency response – instead it drops some decibels both in the treble and in the bass. The flattest response is reached when resonance is somewhere around 25, which is also the default value.
MORE ON OSCILLATORS, FILTERS AND ENVELOPES teristic of a sound, by for example adding more low end or more mid end. It can be used either statically, like the peak of a parametric equalizer, or dynamically, controlled by for example an LFO or envelope. ENVELOPES The amplitude envelopes and the assignable envelopes offer 12 different shapes, consisting of six basic shapes each with two different trigging behaviors.
SETUP EXAMPLES SETUP EXAMPLES The versatile Analog Four 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 gets along with other gear. Vintage or modern. Five examples are shown here.
SETUP EXAMPLES 6. Press [FUNCTION] + [CV B]. In this menu, set TYPE to GATE. Exit the menu. 7. Press [FUNCTION] + [CV C]. In this menu, set TYPE to VALUE LIN. Exit the menu. 8. The Analog Four is now ready to control the external synthesizer. On the CV A, CV B and CV C pages, the controllable parameters are indicated by arrows pointing from the parameters to the cable plug graphics. These parameters can of course be parameter locked.
SETUP EXAMPLES ANALOG FOUR WITH OTHER ELEKTRON GEAR MAIN OUT TO P.A. The Analog Four really thrives with other Elektron gear. In this example it is used with an Octatrack and a Machinedrum. The Machinedrum main output is connected to the Analog Four inputs. The Analog Four main output is connected to one of the input pairs of the Octatrack. The main outputs of the Octatrack goes to the PA. The Machinedrum and Analog Four are MIDI slaved to the Octatrack. The Machinedrum creates the beats.
SETUP EXAMPLES ANALOG FOUR AS A FILTER BANK Thanks to the neighbor routing, all the filters of the Analog Four can be used for providing an immense mono filterbank consisting of 8 filters plus 4 overdrive circuits. The setup can be either serial or parallel. It can of course be set up for stereo filtering as well. In this scenario 4 filters are available for the left and right channels. In this example, the two filters of each track will be used in parallel with the filters of the other tracks.
SETUP EXAMPLES 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. 7. 8. Place note trigs on the first step of the sequencer. It is necessary to trig the amplitude envelope. Press play on the Machinedrum. Press play on the Analog Four. The filters of the synth tracks can now be used to shape the incoming Machinedrum sound.
SETUP EXAMPLES USING AN EXTERNAL OSCILLATOR WITH THE ANALOG FOUR AUDIO OUT PITCH The CV/Gate outputs and the external inputs allow an external oscillator to be used with the internal Analog Four 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. In this setup example, the CV track will trig the oscillator of an external analog synth.
SETUP EXAMPLES 6. Select track 1. Set WAV on the OSC1 page to IN L. For oscillator 2, choose one of the internal Analog Four waveforms. 7. 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.
SETUP EXAMPLES ANALOG FOUR WITH AN ELECTRIC GUITAR INPUT OUTPUT REVERB EQ VOLUME GAIN In this setup example the Analog Four is used for proccessing the sound output from an electric guitar. The first, most basic method uses the FX track to turn the Analog Four into an effects box sporting the Wideshift Chorus, Saturator Delay and Supervoid Reverb effects.
SETUP EXAMPLES 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. Remember to set the LEV to a high value on the AMP page. 7. Place a note trig on the first step of the sequencer for Track 1. This is required in order to start the envelope processing of the feed from the electric guitar. Press play on the Analog Four. 8.
TECHNICAL INFORMATION TECHNICAL INFORMATION SPECIFICATIONS THE SEQUENCER ELECTRICAL SPECIFICATIONS 4 synth tracks 1 FX track 1 CV/Gate track 128 projects (+Drive) 4096 sounds (+Drive Sound library) 128 patterns (per project) Up to 64 steps per pattern 128 Sounds (per project) 128 Kits (per project) 16 Songs (per project) 6× arpeggiators Individual track lengths Swing, slide and accent functions Track transpose Micro timing Parameter locks Live friendly Performance mode Sound-per-step change Instant kit,
CREDITS AND CONTACT INFORMATION CREDITS AND CONTACT INFORMATION CREDITS PRODUCT DESIGN AND DEVELOPMENT Oscar Albinsson Magnus Forsell Anders Gärder Jimmy Myhrman Jon Mårtensson David Revelj Mattias Rickardsson Daniel Troberg ADDITIONAL DESIGN Thomas Ekelund FACTORY DEFAULT SOUND DESIGN Richard Devine Jimmy Myhrman Jon Mårtensson Daniel Troberg Cenk Sayinli Charlie Storm Nicholas Lem Alex Schetter Daren Ager REFERENCE MANUAL Ufuk Demir Thomas Ekelund Jon Mårtensson Daniel Sterner CONTACT INFORMATION ELEKTR
CREDITS AND CONTACT INFORMATION 74
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 suboscillator, plus the noise generator. OSC 1 (page 1) NOISE (page 2) TUN (OSC1 Coarse Tune) sets the pitch of the oscillator in semitones. To jump a whole octave, press the knob while turning it. S&H (Sample & Hold) sets the tuning of the noise spectrum. FIN (OSC1 Fine Tune) fine tunes the pitch of the oscillator.
OSCILLATOR 2 The OSC2 pages control the second oscillator and the accompanying suboscillator. Settings that will affect both oscillators are found here as well. OSC 2 (page 1) OSC (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. AM1 (Osc1 AM) engages Amplitude Modulation on Oscillator 1, which means that its signal is switched on/off (multiplied) by the pulse wave of Oscillator 2.
FILTERS In the FILTERS page, settings that will affect the two track filters are found. FILTERS FRQ (Filter1 Frequency) controls the cutoff frequency of Filter 1, the 4-pole lowpass transistor ladder filter. RES (Filter1 Resonance) controls the resonance of Filter 1. Increased resonance introduces a peak in the spectrum at the cutoff frequency.
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) controls the attack time of the EnvA envelope, which controls the amplitude of the track. DEC (EnvA Decay) controls the decay time of the EnvA envelope. SUS (EnvA Sustain) controls the sustain level of the EnvA envelope. REL (EnvA Release) controls the release time of the EnvA envelope. SHP (EnvA Shape) controls the general shape of the EnvA envelope.
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. ENVF (page 1) ENV2 (page 2) ATK (EnvF Attack) controls the attack time of the EnvF envelope. ATK (Env2 Attack) controls the attack time of the Env2 envelope. DEC (EnvF Decay) controls the decay time of the EnvF envelope. SUS (EnvF Sustain) controls the sustain level of the EnvF envelope.
LFO The two track LFOs can be used to modulate the other synth track parameters. LFO1 (page 1) LFO2 (page 2) SPD (LFO1 Speed) controls the speed of LFO1. It is synced to the BPM. For LFO1 to be synced to straight beats, try settings of 16, 32 or 64. The value is bi-polar, meaning the LFO shape can be played backwards by using negative values. SPD (LFO2 Speed) controls the speed of LFO2. It is synced to the BPM. For LFO2 to be synced to straight beats, try settings of 16, 32 or 64.
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) controls how much of the signal coming from the left external input that will be sent to the Wideshift Chorus effect. DEL (Ext.
WIDESHIFT CHORUS The Wideshift Chorus can be used to widen sounds, enhance the stereo image or add subtle movement to sounds. CHORUS PRE (Predelay) controls the predelay time of the Wideshift Chorus. SPD (Speed) sets the low frequency modulation speed of the chorus taps. DEP (Depth) controls the depth of the modulation of the chorus taps. WID (Width) controls the stereo width of the Wideshift Chorus. FDB (Feedback) controls the feedback of the chorus taps.
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) controls how the delay signal will act in the stereo field.
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) controls the predelay time of the Supervoid Reverb. DEC (Decay Time) sets the decay time of the reverberated signal, essentially setting the size of the room. FRQ (Shelving Frequency) controls the frequency of a shelving filter.
FX LFO The FX LFO menu consists of two LFOs dedicated to modulating FX track parameters. LFO1 (page 1) LFO2 (page 2) SPD (LFO1 Speed) controls the speed of LFO1. It is synced to the BPM. For LFO1 to be synced to straight beats, try settings of 16, 32 or 64. The value is bi-polar, meaning the LFO shape can be played backwards by using negative values. SPD (LFO2 Speed) controls the speed of LFO2. It is synced to the BPM. For LFO2 to be synced to straight beats, try settings of 16, 32 or 64.
B-6 Appendix B: FX TRACK PARAMETERS
Appendix C: CV TRACK PARAMETERS In this appendix, the CV/Gate track parameters are explained. CV A-D The CV A-D pages control the signals sent from the 2 dual CV/Gate outputs. Depending on the CV type chosen in the CV CONFIG menu, the available parameters will change. CV (GROUNDED) CV (PITCH V/OCT) No parameters available. The CV output will not send any signal. TUN (Coarse Tune) sets the coarse tuning of the CV in semitones. FIN (Fine Tune) sets the fine tuning of the CV.
CV (VALUE LIN) CV (PITCH HZ/V) TUN (Coarse Tune) sets the coarse tuning of the CV in semitones. VAL (Value) sets the voltage level of the CV. Applicable when the chosen CV type is VALUE LIN. FIN (Fine Tune) sets the fine tuning of the CV. BND (Bend Depth) controls the bend depth. The higher the setting, the more the pitch of a trigged note will be offset. SLI (Note Slide time) sets the CV control of the slide time of note slides.
CV (TRIG) CV (GATE) SRC (Source Track) selects the track whose notes should be used for sending trig signals. The CV track, FX track and synth tracks 1-4 can be used as source. SRC (Source Track) selects the track whose notes should be used for sending gate signals. The CV track, FX track and synth tracks 1-4 can be used as source.
CV (CLOCK) CLK (Clock Division) sets the clock division. This setting relates to the BPM of the sequencer.
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. ENV1 (page 1) ENV2 (page 2) ATK (Env1 Attack) controls the attack time of the Env1 envelope. ATK (Env2 Attack) controls the attack time of the Env2 envelope. DEC (Env1 Decay) controls the decay time of the EnvF envelope.
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) controls the speed of LFO1. It is synced to the BPM. For LFO1 to be synced to straight beats, try settings of 16, 32 or 64. The value is bi-polar, meaning the LFO shape can be played backwards by using negative values.
Appendix D: MIDI In this appendix, the MIDI CC and NRPN implementation is covered. PERFORMANCE PARAMETERS The following messages affect the performance parameters on all tracks. They are also sent when adjusting the knobs controlling the parameters.
SYNTH TRACK PARAMETERS The following messages affect the synth track parameters. They are also sent when adjusting the knobs controlling the parameters.
NOISE CC Parameter Encoder CC MSB CC LSB Data Range MSB Data Range LSB Noise S&H A 75 - 0-127 - B - - 0-127 - C 76 - 0-127 - D - - 0-127 - E 77 - 0-127 - F - - 0-127 - G - - 0-127 - H - - 0-127 - I - - 0-127 - J - - 0-127 - Noise Fade Noise Level OSC 2 NRPN Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB Pitch A 1 20 0-127 0-127 B 1 0-127 - Detune C 1 22 0-127 - Keytracking D 1 23 0-127 - Level E 1 24
OSC COMMON NRPN Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB OSC1 AM A 1 30 0-127 - Sync Mode B 1 31 0-127 - Sync Amount C 1 32 0-127 - Bend Amount D 1 33 0-127 - Slide Time E 1 34 0-127 - OSC2 AM F 1 35 0-127 - Note Sync G 1 36 0-127 - Vibrato Fade H 1 37 0-127 - Vibrato Speed I 1 38 0-127 - Vibrato Depth J 1 39 0-127 - OSC COMMON CC Parameter Encoder CC MSB CC LSB Data Range MSB Data Range LSB OSC1 AM A - - 0-
FILTERS CC Parameter Encoder CC MSB CC LSB Data Range MSB Data Range LSB Filter1 Frequency A 18 50 0-127 0-127 Filter1 Resonance B 89 - 0-127 - Filter Overdrive C - - 0-127 - Filter1 Keytracking D - - 0-127 - Filter1 Envelope Amount E 102 - 0-127 - Filter2 Frequency F 19 51 0-127 0-127 Filter2 Resonance G 90 - 0-127 - Filter2 Type H - - 0-127 - Filter2 Keytracking I - - 0-127 - Filter2 Envelope Amount J 103 - 0-127 - AMP NRPN Parameter Encod
ENVF NRPN Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB EnvF Attack Time A 1 60 0-127 - EnvF Decay Time B 1 61 0-127 - EnvF Sustain Level C 1 62 0-127 - EnvF Release Time D 1 63 0-127 - EnvF Env Shape E 1 64 0-127 - EnvF Gate Length F 1 65 0-127 - EnvF Destination A G 1 66 0-127 - EnvF Depth A H 1 67 0-127 0-127 EnvF Destination B I 1 68 0-127 - EnvF Depth B J 1 69 0-127 0-127 ENVF CC Parameter Encoder CC MSB CC LSB Da
ENV2 CC Parameter Encoder CC MSB CC LSB Data Range MSB Data Range LSB Env2 Attack Time A 112 - 0-127 - Env2 Decay Time B 113 - 0-127 - Env2 Sustain Level C 114 - 0-127 - Env2 Release Time D 115 - 0-127 - Env2 Env Shape E - - 0-127 - Env2 Gate Length F - - 0-127 - Env2 Destination A G - - 0-127 - Env2 Depth A H 22 54 0-127 0-127 Env2 Destination B I - - 0-127 - Env2 Depth B J 23 55 0-127 0-127 LFO1 NRPN Parameter Encoder NRPN MSB NRPN LSB
LFO2 NRPN Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB LFO2 Speed A 1 90 0-127 - LFO2 Speed Multiplier B 1 91 0-127 - LFO2 Fade C 1 92 0-127 - LFO2 Start Phase D 1 93 0-127 - LFO2 Mode E 1 94 0-127 - LFO2 Waveform F 1 95 0-127 - LFO2 Destination A G 1 96 0-127 - LFO2 Depth A H 1 97 0-127 0-127 LFO2 Destination B I 1 98 0-127 - LFO2 Depth B J 1 99 0-127 0-127 LFO2 CC Parameter Encoder CC MSB CC LSB Data Range MSB Data
FX TRACK PARAMETERS The following messages affect the FX track parameters. They are also sent when adjusting the knobs controlling the parameters.
REVERB Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB Predelay A 2 60 0-127 - Decay Time B 2 61 0-127 - Shelving Freq C 2 62 0-127 - Shelving Gain D 2 63 0-127 - E 2 64 0-127 - HP Filter F 2 65 0-127 - LP Filter G 2 66 0-127 - H 2 67 0-127 - I 2 68 0-127 - J 2 69 0-127 - Send Level LFO1 Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB LFO1 Speed A 2 80 0-127 - LFO1 Speed Multiplier B 2 81 0-127
CV TRACK PARAMETERS The following messages affect the CV track parameters. They are also sent when adjusting the knobs controlling the parameters.
CV D Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB CV D Coarse Tune A 3 50 0-127 - CV D Fine Tune B 3 51 0-127 - CV D Value C 3 52 0-127 - CV D Clock D 3 53 0-127 - CV D Source E 3 54 0-127 - CV D Bend Depth C 3 55 0-127 - CV D Note Slide time D 3 56 0-127 - H 3 0-127 - I 3 0-127 - J 3 0-127 - ENV1 Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB Env1 Attack Time A 3 60 0-127 - Env1 Decay Time B 3
LFO1 Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB LFO1 Speed A 3 80 0-127 - LFO1 Speed Multiplier B 3 81 0-127 - LFO1 Fade C 3 82 0-127 - LFO1 Start Phase D 3 83 0-127 - LFO1 Mode E 3 84 0-127 - LFO1 Waveform F 3 85 0-127 - LFO1 Destination 1 G 3 86 0-127 - LFO1 Depth 1 H 3 87 0-127 0-127 LFO1 Destination 2 I 3 88 0-127 - LFO1 Depth 2 J 3 89 0-127 0-127 LFO2 Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Ran
D-14 Appendix D: MIDI
Appendix E: ANALOG FOUR ARCHITECTURE This appendix shows the complete architecture and constituent parts of the Analog Four. Gray boxes show analog elements. White boxes show digital elements.
E-2 Appendix E: ANALOG FOUR ARCHITECTURE
INDEX 2-Pole 61 4-Pole 61 FX TRACK 27 Symbols G +DRIVE 7 GLOBAL MENU 45 CV config 52 A Global slot 45 ACCENT 38 ACCESSORIES MIDI config 46 OS upgrade 56 Carrying bag and protective lid 5 Project menu 45 Rack mount kit 5 Synth config 45 ARPEGGIATORS 32 Arpeggiator setup 33 C CALIBRATION 45 CHAINS 42 SysEx dump 54 GRID RECORDING MODE 30 K KITS 15 Clear kit 15 CLICK TRACK 35 Load kit 15 CONNECTING THE UNIT 5 COPY, PASTE AND CLEAR Kit 15, 25 Performance mode 15 Reload kit 15 Save kit 15
Track 27 Voices 18 N NAMING MENU 10 Pop up naming menu 10 PORTAMENTO 24 PROJECTS Load project 12 Manage project 13 NOTE MENU 33 Save project 12 NOTE SLIDE 38 Q O QUICK RELOAD 40 OS UPGRADE 56 Kit 41 OSCILLATORS 59 Pattern 41 Sub oscillators 59 Song 41 Waveforms 59, 60 Sound 41 Track 41 P PARAMETER EDITING 9 QUICK SAVE 40 Kit 41 Parameter value skip 9 Pattern 41 Quick parameter editing 9 Song 41 PARAMETER LOCKS 37 PARAMETER SLIDE 39 PATTERN MODES 29 Direct jump 29 Direct start 29 Tra
Transpose 44 TEMPO 29 SOUND BROWSER 22 SOUND LOCKS 37 SOUND MANAGER 23 SOUND MENU 22 SOUNDS Clear Sound 24 Editing a Sound 26 Legato mode 24 Playing a Sound 26 Tap tempo 29 Tempo Nudge 29 TRANSPOSE Destructive transpose 40 Song 44 Track 39 TRIG MUTE 37 TRIGS Accent 38 Portamento 24 Note 30 Rename Sound 24 Note slide 38 SWING 39 Parameter lock 37 SYSEX DUMP 54 Parameter slide 39 SysEx receive 55 Sound lock 37 SysEx send 54 Trig mute 37 Trigless lock 30 T TAP TEMPO 29 U TECHNICAL INFORMATI
4 INDEX