Elektron Analog Four MKII Black User manual
Analog Four MKI I
Analog Four MKI I
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. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses and can
radiate radio frequency energy and, if not installed and used in accordance with the instructions, may
cause harmful interference to radio communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment o and on, the user is encouraged to try to correct the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit dierent from that to which the receiver is
connected.
• Consult the dealer or an experienced radio/TV technician for help.
WARNING: Cancer and Reproductive Harm – www.P65Warnings.ca.gov
Canada
This Class B digital apparatus complies with Canadian ICES-003.
Cet appareil numérique de la classe B est conforme à la norme NMB-003.
European Union regulation compliance statement
This product has been tested to comply with the Low Voltage Directive 2006/95/EC and the
Electromagnetic Compatibility Directive 2004/108/EC. The product meets the requirements of RoHS 2
Directive 2011/65/EU.
This symbol indicates that your product must be disposed of properly according to local
laws and regulations.
Legal disclaimer
The information in this document is subject to change without notice and should not be construed as a
commitment by Elektron. Elektron assumes no responsibility for any errors that may appear in this document. Elektron may also make improvements and/or changes in the products and programs described
in this document at any time without notice. In no event shall Elektron be liable for any special, indirect,
or consequential damages or any damages whatsoever resulting from loss of use, data, or profits,
whether in an action of contract, negligence, or other action, arising out of or in connection with the use
or performance of this information.
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. To avoid scratches or damage, never use sharp objects near the casing or the screen. Avoid
applying any pressure to the screen itself.
4. Install in accordance with the manufacturer’s instructions. Make sure you place the unit on a stable surface before use. If you mount the unit in a rack, be sure to tighten all four screws in the rack mount holes.
5. Connect the unit to an easily accessible electrical outlet close to the unit.
6. When transporting the unit, use accessories recommended by the manufacturer or the original box and
padding.
7. Do not install near any heat sources such as radiators, heat registers, stoves, or any other equipment
(including amplifiers) producing heat.
8. Do not put a protective cover on the unit while the unit is powered on.
9. This product, by itself or in combination with amplifiers, headphones or speakers, is capable of producing sound levels that may cause permanent hearing loss. Do not operate at a high volume level or at a
level that is uncomfortable.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles,
and the point where they exit from the unit.
11. Use attachments/accessories specified by the manufacturer.
12. Unplug this unit during lightning storms or when it is not used for long periods of time.
13. Refer all servicing to qualified service technicians. Servicing is required when the unit has been
damaged in any way, liquid has been spilled or objects have fallen into the unit, the unit has been
exposed to rain or moisture, does not operate normally, or has been dropped.
WARNING
To reduce the risk of fire, electrical shock or product damage:
• Do not expose the unit to rain, moisture, dripping or splashing and also avoid placing objects filled with
liquid, such as vases, on the unit.
• Do not expose the unit to direct sunlight, nor use it in ambient temperatures exceeding 35°C as this can
lead to malfunction.
• Do not open the casing. There are no user repairable or adjustable parts inside. Leave service and re-
pairs to trained service technicians only.
• Do not exceed the limitations specified in the Electrical specifications.
SAFETY INSTRUCTIONS FOR THE POWER ADAPTER ELEKTRON PSU-3b
• The adapter is not safety grounded and may only be used indoors.
• To ensure good ventilation for the adapter, do not place it in tight spaces. To prevent risk of electric
shock and fire because of overheating, ensure that curtains and other objects do not prevent adapter
ventilation.
• Do not expose the power adapter to direct sunlight, nor use it in ambient temperatures exceeding 40°C.
• Connect the adapter to an easily accessible electrical outlet close to the unit.
• The adapter is in standby mode when the power cord is connected. The primary circuit is always active
when the cord is connected to the power outlet. Pull out the cord to completely disconnect the adapter.
• In the EU, only use CE approved power cords.
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 ...........................................12
3.1 FRONT PANEL ............................................................................. 12
3.2 REAR CONNECTORS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
3.3 CONNECTING THE UNIT ................................................................... 14
4. ANALOG FOUR MKII SIGNAL PATH ............................................15
4.1 ABOUT THE COMPONENTS ................................................................ 15
4.1.1 COMMENTS ON THE SIGNAL PATH ........................................................15
4.1.2 ABOUT THE OSCILLATORS AND FILTERS .................................................15
5. OVERVIEW OF THE ANALOG FOUR MKII STRUCTURE ..........................16
5.1 +DRIVE .................................................................................... 16
5.2 DATA STRUCTURE ......................................................................... 16
5.2.1 PROJECT .................................................................................16
5.2.2 KIT .......................................................................................16
5.2.3 SOUND ..................................................................................16
5.2.4 BANK ....................................................................................16
5.2.5 PATTERN .................................................................................16
5.2.6 SONG ....................................................................................16
5.2.7 CHAINS .................................................................................. 17
5.2.8 GLOBAL ................................................................................. 17
5.3 ABOUT THE TRACK TYPES ................................................................ 17
5.3.1 THE SYNTH TRACKS ...................................................................... 17
5.3.2 THE FX TRACK ........................................................................... 17
5.3.3 THE CV TRACK ........................................................................... 17
5.3.4 EDITING THE TRACKS .................................................................... 17
6. THE USER INTERFACE ........................................................18
6.1 PARAMETER EDITING ...................................................................... 18
6.1.1 QUICK PARAMETER EDITING ..............................................................18
6.1.2 PARAMETER VALUE JUMP ................................................................18
6.2 KEY PRESS COMBINATIONS ............................................................... 18
6.3 QUICK SCROLLING ........................................................................ 18
6.4 COPY, CLEAR AND PASTE ................................................................. 19
6.5 THE NAMING MENU ........................................................................ 19
6.5.1 POP-UP MENU NAMING ...................................................................19
6.6 OVERBRIDGE .............................................................................. 19
6.7 CLASS COMPLIANT DEVICE ...............................................................20
7. QUICK START .................................................................21
7.1 PLAYING THE FACTORY PRESETS .......................................................... 21
7.2 PERFORMANCE MODE ..................................................................... 21
7.3 ADJUSTING PARAMETERS ................................................................. 21
7.4 CHANGING SYNTH TRACK SOUND ......................................................... 21
8. PROJECTS ................................................................... 22
8.1 PROJECT MENU ............................................................................22
8.1.1 LOAD PROJECT ..........................................................................22
4
TABLE OF CONTENTS
8.1.2 SAVE PROJECT ...........................................................................22
8.1.3 PROJECT MANAGER ......................................................................23
9. KITS AND SOUNDS ........................................................... 24
9.1 THE +DRIVE SOUND LIBRARY AND THE SOUND POOL ......................................24
9.2 KIT MENU .................................................................................24
9.2.1 RELOAD KIT ..............................................................................24
9.2.2 LOAD KIT ................................................................................25
9.2.3 SAVE KIT .................................................................................25
9.2.4 CLEAR KIT ...............................................................................25
9.2.5 PERFORMANCE ..........................................................................25
9.2.6 POLY CONFIG ............................................................................25
9.2.7 VOICE ROUTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
9.2.8 CONTROL 1 IN MOD ......................................................................25
9.2.9 CONTROL 2 IN MOD .....................................................................26
9.3 PERFORMANCE MODE ....................................................................26
9.3.1 PERFORMANCE SETUP MENU ............................................................26
9.3.2 PERFORMANCE CONFIGURE .............................................................26
9.3.3 PERFORMANCE RENAME ................................................................27
9.3.4 PERFORMANCE TRACK MUTE ...........................................................27
9.3.5 PERFORMANCE MIXER ...................................................................28
9.4 QUICK PERFORMANCE ....................................................................28
9.5 POLYPHONY ..............................................................................28
9.5.1 POLYPHONY CONFIGURATION ............................................................28
9.5.2 VOICE ROUTING .........................................................................29
9.6 SOUND MENU .............................................................................32
9.7 SOUND BROWSER .........................................................................32
9.7.1 VIEW POOL ...............................................................................32
9.7.2 VIEW +DRIVE .............................................................................32
9.7.3 SORT ABC ...............................................................................32
9.7.4 SORT 123 .................................................................................32
9.7.5 FILTER ...................................................................................33
9.7.6 SEARCH ..................................................................................33
9.8 SOUND MANAGER .........................................................................33
9.8.1 LOAD TO TRACK ..........................................................................33
9.8.2 COPY TO ... ...............................................................................34
9.8.3 STORE TRACK SOUND ...................................................................34
9.8.4 RENAME .................................................................................34
9.8.5 EDIT TAGS ...............................................................................34
9.8.6 DELETE ..................................................................................34
9.8.7 TOGGLE .................................................................................34
9.8.8 SEND SYSEX .............................................................................34
9.8.9 SELECT ALL .............................................................................34
9.8.10 SELECT UNUSED ........................................................................34
9.8.11 DESELECT ALL ..........................................................................34
9.9 CLEAR TRACK SOUND ....................................................................34
9.10 RENAME TRACK SOUND ..................................................................34
9.11 SOUND SETTINGS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
9.11.1 OSCILLATOR DRIFT ......................................................................35
9.11.2 F1 RESONANCE BOOST ..................................................................35
9.11.3 VELOCITY TO VOL .......................................................................35
9.11.4 LEGATO MODE ..........................................................................35
9.11.5 PORTAMENTO ...........................................................................35
5
TABLE OF CONTENTS
9.11.6 VELOCITY MOD ..........................................................................35
9.11.7 PITCH BEND .............................................................................35
9.11.8 MODULATION WHEEL ....................................................................36
9.11.9 BREATH CONTROLLER ..................................................................36
9.11.10 AFTERTOUCH ...........................................................................36
9.12 PLAYING A SOUND ........................................................................36
9.12.1 PLAYING A SOUND WITH A MIDI KEYBOARD ..............................................36
9.13 EDITING A SOUND ........................................................................36
9.14 EDITING THE FX AND CV TRACKS .........................................................37
9.14.1 THE FX TRACK ...........................................................................37
9.14.2 THE CV TRACK ..........................................................................37
9.15 TRACK MUTING ...........................................................................37
10. THE SEQUENCER ........................................................... 38
10.1 BASIC PATTERN OPERATIONS ............................................................38
10.1.1 SELECTING A PATTERN ..................................................................38
10.1.2 PATTERN CONTROL .....................................................................38
10.1.3 TEMPO ..................................................................................39
10.2 PATTERN MODES .........................................................................39
10.3 EDITING A PATTERN ......................................................................40
10.3.1 TRIG TYPES .............................................................................40
10.3.2 GRID RECORDING MODE ................................................................40
10.3.3 LIVE RECORDING MODE ................................................................40
10.3.4 STEP RECORDING MODE ...............................................................40
10.4 TRACK MENU ............................................................................. 41
10.4.1 NOTES SETUP ...........................................................................42
10.4.2 ARP SETUP .............................................................................42
10.4.3 RELOAD TRACK .........................................................................42
10.4.4 SAVE TRACK ............................................................................42
10.5 PATTERN MENU ..........................................................................42
10.5.1 RELOAD PATTERN .......................................................................42
10.5.2 SAVE PATTERN ..........................................................................42
10.6 ARPEGGIATOR ...........................................................................43
10.6.1 MOD .....................................................................................43
10.6.2 SPD .....................................................................................43
10.6.3 RNG .....................................................................................43
10.6.4 LEG .....................................................................................43
10.6.5 LEN .....................................................................................43
10.6.6 NO2-NO4 ...............................................................................43
10.7 ARPEGGIATOR SETUP ....................................................................44
10.8 NOTE MENU ..............................................................................44
10.8.1 NOT .....................................................................................44
10.8.2 VEL .....................................................................................44
10.8.3 LEN .....................................................................................44
10.8.4 µTM .....................................................................................44
10.8.5 PRB .....................................................................................44
10.8.6 ENV (F) ..................................................................................45
10.8.7 ENV (2) ..................................................................................45
10.8.8 LFO (1) ..................................................................................45
10.8.9 LFO (2) ..................................................................................45
10.9 NOTES SETUP ............................................................................45
10.9.1 GLOBAL QUANTIZE ......................................................................45
10.9.2 QUANTIZE ..............................................................................45
6
TABLE OF CONTENTS
10.9.3 KEY SCALE .............................................................................45
10.9.4 KEY NOTE ...............................................................................46
10.9.5 TRANSPOSABLE ........................................................................46
10.9.6 SEND MIDI ..............................................................................46
10.10 CLICK TRACK ............................................................................46
10.10.1 ACTIVE ..................................................................................46
10.10.2 TIME SIG. NUM .........................................................................46
10.10.3 TIME SIG. DEN ..........................................................................46
10.10.4 PREROLL ...............................................................................46
10.10.5 VOLUME ................................................................................46
10.11 SCALE MENU .............................................................................46
10.11.1 NORMAL MODE .........................................................................46
10.11.2 ADVANCED MODE ......................................................................47
10.12 SEQUENCER FEATURES .................................................................48
10.12.1 PARAMETER LOCKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
10.12.2 SOUND LOCKS .........................................................................48
10.12.3 CONDITIONAL LOCKS ..................................................................48
10.12.4 FILL MODE .............................................................................49
10.12.5 TRIG MUTE .............................................................................49
10.12.6 ACCENT ................................................................................50
10.12.7 NOTE SLIDE ............................................................................50
10.12.8 PARAMETER SLIDE .....................................................................51
10.12.9 SWING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
10.12.10 TRACK TRANSPOSE ................................................................... 51
10.12.11 DESTRUCTIVE TRANSPOSE ............................................................52
10.12.12 COPY, PASTE, AND CLEAR OPERATIONS ...............................................52
10.12.13 QUICK SAVE AND RELOAD COMMANDS ................................................52
11. CHAINS AND SONGS ........................................................ 54
11.1 CHAINS ...................................................................................54
11.1.1 DETAILED MODE ..........................................................................54
11.1.2 QUICK MODE .............................................................................54
11.2 SONGS ...................................................................................54
11.2.1 SONG EDIT MENU ........................................................................54
11.2.2 ADDING SONG ROWS AND ASSIGNING PATTERNS AND CHAINS .........................55
11.2.3 ADDING REPEATS, MUTES AND TRANSPOSE INFORMATION .............................55
11.2.4 SONG MENU .............................................................................56
12 GLOBAL SETTINGS MENU ...................................................57
12.1 PROJECT .................................................................................57
12.2 GLOBAL SLOT ............................................................................ 57
12.3 MIDI CONFIG .............................................................................57
12.3.1 SYNC ....................................................................................57
12.3.2 PORT CONFIG ...........................................................................58
12.3.3 CHANNELS ..............................................................................59
12.4 CV CONFIG ...............................................................................62
12.4.1 CV A-D CONFIG ..........................................................................62
12.4.2 VOLTAGE TRIM ..........................................................................63
12.5 SYSEX DUMP .............................................................................64
12.5.1 SYSEX SEND .............................................................................64
12.5.2 SYSEX RECEIVE .........................................................................65
12.6 AUDIO ROUTING ..........................................................................65
12.7 CONTROL ................................................................................67
7
TABLE OF CONTENTS
12.7.1 CONTROL INPUT 1 .......................................................................67
12.7.2 CONTROL INPUT 2 ......................................................................67
12.7.3 SEQUENCER CONFIG ...................................................................67
12.8 SYSTEM ..................................................................................68
12.8.1 USB CONFIG .............................................................................68
12.8.2 OS UPGRADE ...........................................................................68
12.8.3 FORMAT +DRIVE ........................................................................68
12.8.4 CALIBRATION ...........................................................................68
12.8.5 MASTER TUNE ..........................................................................69
13. STARTUP MENU ............................................................. 70
13.1 TEST MODE ...............................................................................70
13.2 EMPTY RESET ............................................................................70
13.3 FACTORY RESET .........................................................................70
13.4 OS UPGRADE .............................................................................70
14. MORE ON OSCILLATORS, FILTERS, AND ENVELOPES .........................71
14.1 OSCILLATORS ............................................................................ 71
14.1.1 SUB OSCILLATORS ....................................................................... 71
14.1.2 OTHER OSCILLATOR WAVEFORM SELECTIONS ..........................................72
14.2 FILTERS ..................................................................................72
14.2.1 4-POLE LADDER FILTER .................................................................72
14.2.2 2-POLE MULTI MODE FILTER ............................................................72
14.3 ENVELOPES ..............................................................................73
15. SETUP EXAMPLES ...........................................................75
15.1 ANALOG FOUR MKII CONTROL OF AN EXTERNAL ANALOG SYNTHESIZER .................75
15.2 ANALOG FOUR MKII WITH OTHER ELEKTRON GEAR .......................................76
15.3 ANALOG FOUR MKII AS A FILTER BANK ...................................................77
15.4 USING AN EXTERNAL OSCILLATOR WITH THE ANALOG FOUR MKII ........................79
15.5 ANALOG FOUR MKII WITH AN ELECTRIC GUITAR ..........................................80
15.6 ANALOG FOUR MKII WITH A CLASS COMPLIANT DEVICE .................................. 81
16. USEFUL KEY COMBINATIONS (QUICK KEYS) ................................ 82
16.1 GENERAL .................................................................................82
16.2 NAMING ..................................................................................82
16.3 SOUND BROWSER ........................................................................82
16.4 SAVING AND RELOADING .................................................................82
16.5 SEQUENCER SETTINGS ..................................................................82
16.6 MUTES ...................................................................................82
16.7 RECORDING ..............................................................................82
16.8 CLEAR TRACK / CLEAR PATTERN .........................................................82
16.9 SHIFTING TRIGS AROUND ................................................................82
16.10 CHAIN EDITING ..........................................................................83
16.11 RANDOMIZE PARAMETERS ...............................................................83
16.12 SOUND/TRIG PREVIEW ..................................................................83
17. TECHNICAL INFORMATION .................................................. 84
18. CREDITS AND CONTACT INFORMATION ..................................... 85
APPENDIX A: SYNTH TRACK PARAMETERS ..................................... 86
APPENDIX B: FX TRACK PARAMETERS ......................................... 92
APPENDIX C: CV TRACK PARAMETERS ......................................... 97
8
TABLE OF CONTENTS
APPENDIX D: MIDI ............................................................. 100
APPENDIX E: ANALOG FOUR MKII ARCHITECTURE ............................ 109
INDEX ..........................................................................110
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. For instance, the key labeled “FUNC”
is called [FUNC].
Menu names are written in upper case letters. The OSC1 menu is an example of that.
Parameter names and certain menu options where settings can be made or actions performed are written
in bold, upper case letters. For example, VOL.
Upper case letters are used for parameter setting alternatives, for example, OFF, and certain menu settings,
like LEGATO.
Messages visible on the screen are written in upper case letters with quotation marks. Like this, “BANK A :
CHOOSE PTN.”
Knobs are written in upper case, bold, italic letters. For instance, the knob “Track Level” is called TRACK
LEVEL.
LED indicators like the octave transposition LEDs are written like this: <OCTAVE>.
The following symbols are used throughout the manual:
Important information that you should pay attention to.
A tip that will make it easier for you to interact with the Analog Four MKII.
10
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. Initially used in compositions dating
from the first decades of the 20th century, analog circuits were popularized in the 1960s thanks to artists
such as Wendy Carlos. Today, they are frequently emulated by both hardware and software. Their legacy is
impressive. The analog tone and timbre have become synonymous with appealing sounds. Rightly so. The
depth, fullness and slightly skewed characteristics of analog sounds speak directly to us.
We at Elektron owe a lot to analog technology. It is in our blood. The Sidstation, our first product, featured
an analog filter which was decisive in generating the unique sound of the synth. With the Analog Four MKII
we take the next step on our analog journey.
The innovative combination of modern technology and tried and trusted ways of sound generation lets
you experience the analog realm to its fullest. Analog Four MKII is the new benchmark for analog tabletop
synthesizers. Tweaked circuitry delivering deeper bass than ever, new powerful sound control possibilities,
dedicated outputs for each voice. Not to mention the ultra durable buttons, the big OLED screen, and the
premium design. With Overbridge, our award-winning software suite, Analog Four MKII can seamlessly
integrate with DAWs. The Analog Four MKII represents the best of two worlds. Inimitable analog impact
combined with razor-sharp digital accuracy.
The Analog Four MKII is yet another of our contributions to the proud history of analog instruments.
Enjoy a new chapter in analog synthesis,
The Elektron Team
Analog Four MKII User Manual. This manual is copyright © 2020 Elektron Music Machines MAV AB. All
reproduction without written authorization is strictly prohibited. The information in this manual may change
without notice. Elektron’s product names, logotypes, titles, words or phrases may be registered and protected by Swedish and international law. All other brand or product names are trademarks or registered
trademarks of their respective holders. This User Manual for Analog Four MKII OS version 1.50, was last
updated on September 25, 2020.
11
3. PANEL LAYOUT AND CONNECTORS
3. PANEL LAYOUT AND CONNECTORS
3.1 FRONT PANEL
1 2 3 4 5 6 9 10 13 14 15
37
30
29
28
3134323533
36
7
8
2627
232425
22
11 12
16
17
18
19
20
21
1. MAIN VOLUME sets the volume for the main outputs and the headphones output.
2. [GLOBAL SETTINGS] opens the GLOBAL SETTINGS menu. The secondary function opens the
SAVE PROJECT menu. A long press opens the LOAD PROJECT menu.
3. QUICK PERF AMOUNT sets the amount of the chosen performance macro.
4. [QPER] key. Used together with the [TRIG 1–10] keys to select which performance macro that should be
controlled by the QUICK PERF AMOUNT knob. The secondary function mutes the performance macros.
5. TRACK LEVEL sets the overall volume level of the active track. Also used for scrolling in menus and
setting various parameter values. The secondary function opens the SOUND BROWSER.
6. [TEMPO] opens the TEMPO menu. [FUNC] + [TEMPO] makes it possible to tap the tempo.
7. [YES] key. Used for entering sub-menus and for confirming choices.
8. [NO] key. Used for exiting an active menu and backing one step.
9. Screen.
10. The [ARROW] keys. Used for menu navigation. They are called [UP], [DOWN], [LEFT] and [RIGHT].
11. [ARP] key. Opens the ARPEGGIATOR menu that contains arpeggiator settings for the active track.
12. [NOTE] key. Opens the NOTE menu that contains general note settings for the active track.
13. [PARAMETER] keys switch between the PARAMETER pages of the active track. The text on the keys
indicates the pages for the four synth tracks. The first row of white text under the keys is for the FX
track pages and the second row of white text indicates the CV track pages. A second press on the
[PARAMETER] key will in some cases open secondary PARAMETER pages. The [PARAMETER] keys
indicate in white (red on grey devices) that the first page is active, or with dimmed white (green on grey
devices) that the second page is active.
14. [OCT-/+] keys transpose the [KEYBOARD] keys. <OCTAVE> LEDs shows the current transposition.
15. DATA ENTRY knobs. Used for adjusting parameters.
12
3. PANEL LAYOUT AND CONNECTORS
16. The [TRACK] keys select the active track. Four synth tracks, one FX track, and one CV track are available. They are called [T1–4], [FX], and [CV]. [FUNC] + [TRACK] mutes a track. The color of the [TRACK]
keys indicates the track status. Red=active track. Green=audible track. No light=muted track.
Yellow=active and muted track. Dim red=track that is aected with [KEYBOARD] keys (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. [FILL] Activates FILL mode (when GRID RECORDING mode is not active). The secondary function cues
the FILL mode.
20. <PATTERN PAGE> 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 that is currently playing.
21. [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.
22. [TRIG] keys are used for entering trigs to the sequencer. They are also used for choosing patterns.
23. [STOP] stops playback. The secondary function is a paste operation.
24. [PLAY] starts the playback of the sequencer. The secondary function is a clear operation.
25. [RECORD] key. Activates/deactivates GRID RECORDING mode. Press [RECORD] + [PLAY] to activate
LIVE RECORDING mode. Press [RECORD] + [STOP] to activate STEP RECORDING mode. The sec-
ondary function is a copy operation.
26. [SONG MODE] activates/deactivates SONG mode.
27. [CHAIN MODE] activates/deactivates CHAIN mode.
28. [BANK A–H] selects between banks A–H.
29. <PATTERN MODE> LEDs indicate which PATTERN mode that is chosen.
30. [PERF] enters PERFORMANCE mode.
31. [KIT] opens the KIT menu. The secondary function saves the current kit.
32. [SND] opens the SOUND menu. The secondary function opens the SOUND SETTINGS menu.
33. [MIX] opens the PERFORMANCE MIXER. The secondary function opens the POLY CONFIG menu.
34. [TRK] opens the TRACK menu. The secondary function opens the CLICK TRACK menu.
35. [PTN] opens the PATTERN menu. The secondary function opens the SWING menu.
36. [SONG] opens the SONG menu. The secondary function saves active song.
[FUNC] key. Press and hold for accessing secondary functions for some of the other keys.
Secondary functions are written in underlined text on the panel (green text on grey devices). The key
with the accessed secondary function lights up light blue.
3.2 REAR CONNECTORS
1 2 3 4 5 6 7 8 9 10 11 12
1. POWER, For turning the unit on and o.
2. DC IN, Use the included Elektron PSU-3b power adapter, connected to a power outlet.
3. High Speed USB 2.0, Use an A to B USB 2.0 connector cable to a computer host.
4. EXP/CV IN CONTROL INPUT, Inputs for expression pedal or CV. Use standard 1/4” mono phone plug for
CV signals.
13
3. PANEL LAYOUT AND CONNECTORS
5. MIDI THRU/SYNC B, Forwards data from MIDI IN. Can also be configured to send DIN sync to legacy
instruments. Use a standard MIDI cable to connect another MIDI device in the chain.
6. MIDI OUT/SYNC A, MIDI data output. Can also be configured to send DIN sync to legacy instruments.
Use a standard MIDI cable to connect to MIDI In of an external MIDI device.
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. MAIN OUT L/R, Use either 1/4” mono phone plug (unbalanced connection) or 1/4” stereo (Tip/Ring/
Sleeve) phone plug (balanced connection).
12. HEADPHONES. Audio output for stereo headphones. Use 1/4” (Tip/Ring/Sleeve) phone plug.
Use the included PSU-3b with your Analog Four MKII. 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. For more information, please see “17. TECHNICAL INFORMATION”
on page 84.
3.3 CONNECTING THE UNIT
Make sure you place the Analog Four MKII on a stable support, such as a sturdy table with sucient cable
space, or mount in a rack according to the instructions above. Before you start connecting the Analog Four
MKII to other units, make sure all units are switched o.
1. Plug the supplied DC adapter to a power outlet and connect the small plug to the DC IN connector of the
Analog Four MKII unit.
2. Connect the main out L/R from the Analog Four MKII to your mixer or amplifier.
3. If you want to use MIDI, connect MIDI OUT from the Analog Four MKII to the MIDI IN of the device you
wish to send data to. Connect the MIDI IN of the Analog Four MKII to the MIDI OUT of the device you
wish to receive data from. The MIDI THRU port “echoes” the data arriving at the MIDI IN port, and is used
for chaining MIDI units together.
4. Switch on all units. Switch on the Analog Four MKII by pressing the Power switch located at the back of
the unit. Before restarting the unit, wait 2 seconds after the screen goes out.
14
4. ANALOG FOUR MKII SIGNAL PATH
4. ANALOG FOUR MKII SIGNAL PATH
OSCILLATOR 1
AM AND
SYNC MODES
OSCILLATOR 2 LADDER FILTER
NOISE
GENERATOR
SUB OSC
SUB OSC
OVERDRIVE
MULTIMODE FILTER
LEFT
VCA/PAN
RIGHT
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. The envelopes and LFOs are digital. They are
designed for maximum eciency and versatility.
4.1.1 COMMENTS ON THE SIGNAL PATH
The signal path from the oscillators to the audio outputs is completely analog. The signal path from the
external inputs to the audio outputs is also fully analog. The digital send eects are parallel to the main
audio path, and the wet signals from the digital send eects are mixed with the dry analog signal before
the main output stage.
4.1.2 ABOUT THE OSCILLATORS AND FILTERS
The oscillators are designed and built from scratch, to obtain a lush sound and provide an array of
control features. The ladder filter utilizes discrete low-noise transistors, and the multimode filter uses
high-quality VCAs. The combination of tradition and innovation ensures a unique sound with a broad
range of possibilities. For more information, please see “APPENDIX E: ANALOG FOUR MKII ARCHITECTURE” on page 109.
15
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 +DRIVE SOUND LIBRARY
4096 SOUNDS
4 GLOBALS 16 SONGS 128 PATTERNS 128 KITS
4 SOUNDS
CV
FX
SOUND POOL
128 SOUNDS
5.1 +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. Every project has access to these Sounds.
5.2 DATA STRUCTURE
5.2.1 PROJECT
A project contains 128 patterns, 128 kits, 16 songs, 4 global slots, and a project Sound pool consisting of
up to 128 Sounds. Generic settings and states (tempo, mutes et cetera) are also stored in each project.
A project becomes the active working state of the Analog Four MKII once it’s loaded. From here it is possible to edit the patterns, kits, songs, and globals of the project. The Analog Four MKII always retains the
active working state, the active project, even when switched o. However, it must be manually saved in a
project slot before another project is loaded or it will be lost. Projects are saved, loaded et cetera in the
GLOBAL menu. For more information, please see “8. PROJECTS” on page 22.
5.2.2 KIT
Kits contain four Sounds, one for each synth track, and settings for the FX and CV tracks. Up to 128 kits
are available for each Analog Four MKII project. Each pattern is linked to a kit. For more information,
please see “9. KITS AND SOUNDS” on page 24.
16
5.2.3 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 the +Drive Sound library. The
Sound pool contains 128 Sounds and the +Drive library can consist of 4096 Sounds. For more information, please see “9. KITS AND SOUNDS” on page 24.
5.2.4 BANK
Eight banks exist for each project and each bank contains 16 patterns. For more information, please see
“10. THE SEQUENCER” on page 38.
5.2.5 PATTERN
For each of the 8 banks, 16 patterns are available, which means 128 patterns are always available. A pattern consists of sequencer data like trigs, parameter locks, time signature and individual track length for
the synth tracks and the FX and CV tracks, as well as ARP and NOTE page settings. For more information, please see “10. THE SEQUENCER” on page 38.
5.2.6 SONG
16 songs are available for each project. They are used to structure the playback of patterns. For more
information, please see “11.2 SONGS” on page 54.
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 54.
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 57.
5.3 ABOUT THE TRACK TYPES
5.3.1 THE SYNTH TRACKS
The synth tracks consist of tracks 1–4. To edit a synth track, press the [TRACK 1–4] key. Sounds are
loaded to the synth tracks. Sounds can be played polyphonically.
5.3.2 THE FX TRACK
The FX track controls the Analog Four MKII internal send eects. To edit the FX track, press the [FX] track
key.
5.3.3 THE CV TRACK
The CV track is used for controlling external equipment capable of receiving analog CV and Gate signals.
To edit the CV track, press the [CV] track key.
5.3.4 EDITING THE TRACKS
The six [PARAMETER] keys open pages for editing the tracks. They contain dierent parameters
depending on the track type. Edit parameters using the DATA ENTRY knobs. Press and turn a knob to
adjust parameters in larger increments.
• You can also randomize the parameter settings on a specific PARAMETER page of a
track. Press [PARAMETER] key + [YES] to randomize all parameters on that page.
Every time you press this key combination, the parameters randomize in a new way.
• Press [PARAMETER] key + [NO] to reset the PARAMETER page to its last saved state.
17
6. THE USER INTERFACE
6. THE USER INTERFACE
The screen is the center of Analog Four MKII editing.
1 2 3
4
567
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. They show what the DATA ENTRY knobs control and also indicate the cur-
rent parameter values. Press and turn a knob to adjust its parameters in larger increments.
5. The currently active pattern. To the left you can see the active song row. A “_ _:” indicates that the
scratch pad row is active
6. Bar indicating the track level of the active track.
7. Track name.
You can use the [NO] key to close all windows.
Keys or knobs not used by an active menu retain their original function. For example, the
TEMPO menu makes use of the TRACK LEVEL knob, but you can still use the DATA ENTRY
knobs to control the parameters of the active track.
6.1 PARAMETER EDITING
The DATA ENTRY knobs are used to change the value of the track parameters. The physical location of
the knobs on the front panel correspond to the layout of the parameters on the screen. Press and hold a
[PARAMETER] key to see the values for all parameters on that PARAMETER page.
6.1.1 QUICK PARAMETER EDITING
If the DATA ENTRY knob is pressed down while being turned parameters will be adjusted in larger incre-
ments. This makes it much quicker to sweep through a whole parameter range.
6.1.2 PARAMETER VALUE JUMP
Keeping [FUNC] pressed while editing certain parameters will make the parameter values jump to relevant positions. For example the oscillator tuning, which will jump in octaves.
6.2 KEY PRESS COMBINATIONS
The standard way to use the [FUNC] key in combination with other keys, is to press and hold [FUNC] and
then make a short press on the second key in the combination. For some key combinations it is also possible to access a sub-menu by pressing and holding [FUNC] + second key for a second.
6.3 QUICK SCROLLING
In most menus quick scrolling is available. Press [FUNC] + the [UP] or [DOWN] arrow keys to move the
cursor one menu page at a time.
18
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 52.
6.5 THE NAMING MENU
The naming procedure is identical for all the various naming menus.
The [LEFT] and [RIGHT] arrow keys are used to navigate between the letters. Turning the TRACK LEVEL
knob or pressing the [UP] or [DOWN] arrow keys select the letter. [FUNC] + [NO] will erase letters.
6.5.1 POP-UP MENU NAMING
While in a NAMING menu it is possible to open a pop-up menu displaying all available letters, symbols
and digits. Entering characters in the pop-up menu is often a considerably faster naming method. When a
NAMING menu is open, press the [FUNC] key to access the pop-up menu.
While keeping [FUNC] pressed use the [ARROW] keys to navigate to the character you want to insert,
then release [FUNC] to insert the character.
6.6 OVERBRIDGE
USB
The Overbridge software suite enables a tight integration between the Analog Four MKII and a computer
DAW software.
When using Overbridge, the user interface for the Analog Four MKII will present itself as a clearly laid out
plug-in window in your DAW. Access, edit, and automate parameters for sound shaping on screen. Always
find your device preset parameters in the same state as you left them when you return to your DAW project,
with the convenient total recall functionality.
Read more about Overbridge use and availability on the Elektron website.
19
6. THE USER INTERFACE
6.7 CLASS COMPLIANT DEVICE
The Analog Four MKII is a class compliant device (also known as plug-and-play). It means it does not require any extra drivers to connect to your computer or other USB class compliant hosts.
The Analog Four MKII can, therefore, stream audio and MIDI directly over USB to and from supported
computers/phones/tablets. It opens up several exciting possibilities of what you can do with your device,
for example, record audio from your device directly over USB in your DAW. For more information, please see
“12.6 AUDIO ROUTING” on page 65.
20
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. Press [PLAY] to listen to pattern A01.
3. Press [BANK A] + [TRIG 2] to select pattern A02, which is the second demo pattern. Pattern A02 will
start to play when the currently playing pattern finishes. Pattern A03 is selected by pressing [BANK
A] + [TRIG 3] and so on.
4. Mute tracks by pressing [FUNC] + the [TRACK] key of the track you want to mute. Unmute by repeating the procedure.
5. Press [STOP] to stop playback.
7.2 PERFORMANCE MODE
The PERFORMANCE mode makes it possible for the DATA ENTRY knobs to control several PARAMETER
page parameters at once. These parameter mappings are called a parameter macro.
1. Make sure a pattern is playing.
2. Press the [PERF] key to access PERFORMANCE mode.
3. Turn the DATA ENTRY knobs and listen to how the sound of the pattern changes.
7.3 ADJUSTING PARAMETERS
Each track contains six PARAMETER pages. There you can find the parameters that aect the sound.
1. Make sure a pattern is playing.
2. Press one of the [T1–4] keys to select one of the four synth tracks.
3. To change the cuto of the ladder filter, press the [FLTR] key. The FILTERS page will open. The pa-
rameter labeled FRQ changes the cuto of the ladder filter. Turn DATA ENTRY knob A to change the
parameter value.
4. Try out the rest of the PARAMETER page parameters to experiment with the sound shaping
possibilities.
5. To reload the parameters on a specific PARAMETER page to their original state, press [PARAMETER]
key + [NO].
6. To reload the Sound to its original state, press [NO] + [SND].
7. To reload the whole kit to its original state, press [NO] + [KIT].
7.4 CHANGING SYNTH TRACK SOUND
Each of the four synth tracks contain one Sound. You can use the SOUND BROWSER to preview and load
Sounds to the synth tracks.
1. Double-press [TRACK 1–4] key to open the SOUND BROWSER. The SOUND BROWSER can also be
accessed by pressing [FUNC] + TRACK LEVEL.
2. The SOUND BROWSER will show a list of all Sounds residing in either the +Drive Sound library or the
Sound pool. (You can press [TRIG 1–16] if you want to load a Sound from another Sound bank in the
+Drive Sound library). Turn the TRACK LEVEL knob or press [UP]/[DOWN] to scroll the list. You can
preview a Sound by highlighting it in the list and play the [KEYBOARD].
3. Press [YES] to load the highlighted Sound.
21
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. Analog Four MKII will keep track of what project slot the active project was loaded from. When
a project is loaded, it is possible to edit its patterns, kits, songs, and globals. The active project and any
changes made to it are automatically remembered by the Analog Four MKII, allowing you to edit patterns,
kits et cetera, switch o the unit, switch it on again and have everything sound as it did before the power
cycling. Please note that changes are not automatically written to the +Drive. You need to save the project
manually to store the active working state of the project to a +Drive slot.
8.1 PROJECT MENU
You manage your Projects in the PROJECT menu, located in the GLOBAL SETTINGS menu. Open the
GLOBAL SETTINGS menu by pressing [GLOBAL SETTINGS].
Scroll the list by using [UP]/[DOWN] or the TRACK LEVEL knob and select PROJECT. Open the menu by
pressing [YES].
8.1.1 LOAD PROJECT
Opens a project selection screen where you choose a project to be loaded. Note that the active project
will not be automatically saved when you load a new project. This menu can be accessed directly by
pressing and holding [GLOBAL SETTINGS] for a little while. If you wish to create a new project, select
CREATE NEW at the very bottom of the list. The new project will be a blank slate.
22
8.1.2 SAVE PROJECT
Opens a project selection screen where you choose a slot to save the active project to.
This menu can be accessed directly by pressing [FUNC] + [GLOBAL SETTINGS].
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.
INIT NEW initializes an empty file slot with a clean project. This operation is only available for empty
project slots.
DELETE removes the project from the slot.
RENAME opens a screen where you can rename the project.
LOAD FROM loads the selected project to the active project.
SAVE TO saves the active project to the selected slot.
TOGGLE toggles write protection on or o. Write protected projects can not be overwritten, renamed or
erased. A lock symbol indicates a write protected project.
Multiple projects can be selected and deselected by highlighting them and pressing [YES].
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 this menu.
LOAD FROM in the PROJECT MANAGER will overwrite the active project. Be sure to save
your project before you load another.
23
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. When saving a kit, the PARAMETER page settings of the synth tracks, i.e. the settings that constitute a Sound, will be
saved together with the kit. The synth track PARAMETER page settings of a kit can be saved as individual
Sounds as well. When loading a Sound, it will become a part of the kit. Changes made to the track Sound
does not aect the saved Sound on the +Drive, only the kit. A kit is always assigned to a pattern which
controls the playback of the kit.
A Kit contains:
• Sound settings for the 4 synth tracks.
• FX track parameter settings.
• CV track parameter settings.
• LEVEL settings for the Synth and FX tracks.
• PERFORMANCE mode parameter settings.
• Polyphony settings.
A Sound contains:
• Settings on the PARAMETER pages of a synth track.
The screen graphics in the top left part of the screen shows the name of the currently active
kit. When you press the [TRACK] keys, this information briefly changes to reflect the name of
the track. The name of the track Sound will be displayed for the synth tracks.
Note that several patterns may use the same kit. Changes you make to the kit while editing
one of the patterns will directly aect how the other patterns sound as well. Remember to
save the kit to a new location if you wish to avoid this.
9.1 THE +DRIVE SOUND LIBRARY AND THE SOUND POOL
Sounds can be loaded to a kit from either the +Drive Sound library or the Sound pool of the active project.
The dierence between the two is that the +Drive Sound library has the capacity of 4096 Sounds, available
to all projects, while a Sound pool is a part of a project and limited to 128 Sounds. The primary benefit of
Sounds loaded to the Sound pool is the possibility for them to be Sound locked. This feature is not available
for the Sounds in the +Drive Sound library. For more information, please see “10.12.2 SOUND LOCKS” on
page 48.
9.2 KIT MENU
In the KIT menu, commands relating to kits are found, most importantly kit save and load. Open the menu
by pressing [KIT]. Use the [UP] and [DOWN] arrow keys to move between the commands. Press [YES] to
confirm your selection. Exit the menu by pressing [NO].
24
9.2.1 RELOAD KIT
Reloads the active kit (or all kits within the project), reverting it to its last saved status. Use the [LEFT]
and [RIGHT] keys to select whether only the active kit or all kits should be reloaded. You can also press
[NO] + [KIT] to reload the active kit.
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. Kits that are not associated with any pattern are distinguished by a
star symbol after the kit name.
9.2.3 SAVE KIT
This is where all the current, kit related settings can be saved as a kit. The saved kit is linked to the active
pattern. [FUNC] + [KIT] or [YES] + [KIT] oers a short cut to this command.
The kit list appears when you open this menu. Inverted graphics indicates the active kit. Use the [AR-
ROW] keys or the TRACK LEVEL knob to select the slot to where the kit will be saved. Press [YES] to
save to the selected slot. The NAMING menu, covered on page 10, appears to give you the option to
name the kit.
9.2.4 CLEAR KIT
Clears the content of the currently loaded kit, basically initializing it. A prompt appears when you select
this option. Press [YES] to clear the kit or [NO] to cancel the operation. Note that no kit information will
be permanently lost until the kit is saved to the same kit slot as it was loaded from.
9.2.5 PERFORMANCE
Opens the PERFORMANCE SETUP menu. For more information, please see “9.3.1 PERFORMANCE
SETUP MENU” on page 26.
9.2.6 POLY CONFIG
Opens the POLYPHONY CONFIGURATION menu. For more information, please see “9.5.1 POLYPHONY
CONFIGURATION” on page 28.
9.2.7 VOICE ROUTING
Accesses VOICE ROUTING. For more information, please see “9.5.2 VOICE ROUTING” on page 29.
9.2.8 CONTROL 1 IN MOD
Opens the CONTROL IN 1 MOD setup for Control In 1. Basically this is like a performance macro that you
can control with CV or an expression pedal connected to the Control In 1 input. The setup for the Control
In 1 input can be found in the GLOBAL SETTINGS menu. For more information, please see “12.7.1 CONTROL INPUT 1” on page 67. This modulation macro is configured the same way as a performance
macro.
Up to five track parameters can be assigned to a modulation macro. Parameters can be selected from
all six tracks. Press DATA ENTRY knobs A–E to select track. Turn DATA ENTRY knobs A-E to select the
parameters that you want to assign. Press the knob or press [YES] to confirm a selection. DATA ENTRY
knobs F-J are then used to set the depth of the five track parameters. The depth is an oset of the original track parameter value.
25
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.
Press and turn the TRACK LEVEL knob to increase scrolling speed in the LOAD KIT and
SAVE KIT menus.
Once you have assembled a kit you like, you are advised to save it.
An asterisk after the kit name indicates kits that are not used by any pattern.
9.3 PERFORMANCE MODE
The PERFORMANCE mode makes it possible to control five track parameters, which can be chosen from
any track, at the same time by turning a single DATA ENTRY knob. This is called a performance macro.
Track muting and an overview of all synth and FX track levels are available in this mode as well. The PERFORMANCE mode settings are saved as a part of a kit.
Access the PERFORMANCE mode by pressing the [PERF] key.
The ten available performance macros are seen in the PERFORMANCE menu. Turn the DATA ENTRY knobs
to adjust the performance macro settings. The graphics indicating the active kit will briefly change to reflect
the mute status of the tracks.
9.3.1 PERFORMANCE SETUP MENU
The PERFORMANCE SETUP menu is used to set up the ten performance macros available in the PERFORMANCE mode. Access this menu by pressing [FUNC] + [PERF].
The collection of all ten performance macros can be copied, cleared and pasted while in
this menu.
9.3.2 PERFORMANCE CONFIGURE
Here is where you assign parameters to the performance macros. When you select this option, the list of
performance macros and the knobs they are assigned to, are displayed. In this menu, individual performance macros can be copied, cleared and pasted.
26
9. KITS AND SOUNDS
Use the [UP] and [DOWN] arrow keys to select the DATA ENTRY knob corresponding to the perfor-
mance 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 track. Turn DATA ENTRY knobs A-E to select the
parameters that you want to assign. Press the knob or press [YES] to confirm a selection. DATA ENTRY
knobs F-J are then used to set the depth of the five track parameters. The depth is an oset of the original track parameter value.
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 TRACK 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 TRACK LEVEL knob to preview how the performance macro
aects the sound.
Press [FUNC] + [QPER] to mute the PERFORMANCE mode. This temporarily mutes all the
changes that have been made to the track parameters by the performance macros. Press
[FUNC] + [QPER] again to unmute the PERFORMANCE mode to let the changes aect
the parameters again. The [QPER] key is green when PERFORMANCE mode is active and
turned o then PERFORMANCE mode is muted.
Use performance macros to aect the most relevant parameters when playing live. By
carefully setting up parameter macros you might find that you don’t have to leave this
mode at all during your live set.
It is not possible to parameter lock PERFORMANCE mode parameters.
9.3.3 PERFORMANCE RENAME
Allows performance macro knobs to be named. Use the [UP] and [DOWN] arrow keys to select the
DATA ENTRY knob corresponding to the performance macro that will be named. Press [YES] to confirm
the selection. The NAMING menu will appear.
9.3.4 PERFORMANCE TRACK MUTE
Track muting can also be done while in PERFORMANCE mode. (You can also use standard Track Muting.
For more information, please see “9.15 TRACK MUTING” on page 37.) When in PERFORMANCE
mode, [TRIG] keys 1–6 mute the tracks. An outlined square in the track mute section and a full bright
[TRIG] key means a track is audible. A minus sign and a dimmed red [TRIG] key indicates the track is
muted. While holding [FUNC] and pressing one or more of the six first [TRIG] keys, the mute changes
will be held until [FUNC] is released. A track that is currently muted, but will be unmuted when [FUNC]
is released, is indicated by a “+” sign and a half-bright [TRIG] key. A track that is currently not muted, but
will be muted when [FUNC] is released, is indicated by an asterisk and a half-bright, blinking [TRIG] key.
27
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 or several of your performance macros with the
QUICK PERF AMOUNT knob without being in PERFORMANCE mode.
1. Press and hold [QPER], and then press one or more [TRIG 1–10] keys to select which performance
macros you want to control with the QUICK PERF AMOUNT knob. The [TRIG 1–10] keys correlate to
the 10 performance macros you have at your disposal.
2. Release [QPER].
Every time you perform this procedure you remove any earlier assignments.
For more information, please see “9.3.2 PERFORMANCE CONFIGURE” on page 26.
9.5 POLYPHONY
Four voice polyphony can be configured by selecting POLY CONFIG in the KIT menu. The Analog Four
MKII 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 track sound. Notes are distributed to the synth voices
according to the selected allocation method. Any of the synth voices can also be poly-disabled, allowing
tracks to have their dedicated, monophonic synth voice available at all times. The poly configuration is
stored per kit, for maximum flexibility, allowing up to 128 dierent poly configurations per project.
MONOPHONIC POLYPHONIC
TRACK 1
TRACK 2
TRACK 3
TRACK 4
VOICE 1
VOICE 2
VOICE 3
VOICE 4
TRACK 1
TRACK 2
TRACK 3
TRACK 4
9.5.1 POLYPHONY CONFIGURATION
The settings for up to four voice polyphony are found in the POLY CONFIG menu in the KIT menu.
Press [FUNC] + [MIX] to access the POLY CONFIG menu directly.
VOICE 1
VOICE 2
VOICE 3
VOICE 4
28
9. KITS AND SOUNDS
VOICES Select any combination of the four voices to be poly activated by using the [LEFT] and [RIGHT]
arrow keys. Tick or untick a box by pressing the [YES] key. To activate/deactivate voice 1–4 directly,
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.
ALLOCATION changes the allocation method of the poly voices or sets all poly enabled voices to play
simultaneously (RESET, ROTATE, REASSIGN or UNISON, respectively). Select method with the [LEFT]
and [RIGHT] arrow keys. For a visual explanation of the dierent allocation methods, see VOICE ROUTING below.
The [TRIG 1–4] keys will flash to show voice activity depending on the selected method. Select the method, play a few notes on the keyboard and watch the LEDs to get an immediate,
visual impression of how the dierent allocation methods work.
RESET Picks the first available voice in increasing order, starting from track voice 1, for every new
overlapping note played.
ROTATE For every new coinciding note played the voices are allocated cyclically.
REASSIGN Uses the same voice as last time for every note played as long as it is 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 mentioned below.
USE TRK SOUNDS forces the selected voices to use the Sounds of the four tracks, instead of letting the
voices dynamically use the played Sound. Tick/untick box to activate/deactivate using the [YES] key or
the [LEFT] and [RIGHT] arrow keys.
UNISON DETUNE sets the oset (0–127) by which the selected unison voices will be detuned. Decrease
or increase the oset with the [LEFT] and [RIGHT] arrow keys.
UNISON PAN SPREAD set the width of the pan spread (0–127) around the center point of the unison
sound. Use the [LEFT] and [RIGHT] arrow keys to set the value.
If no free voice is found, the least recently used voice is stolen and used for the played note. See illustration below. This applies to all allocation methods described above.
9.5.2 VOICE ROUTING
Set custom voice routing by accessing VOICE ROUTING, found in the KIT menu.
Activate/deactivate routing of any the four voices to the main output and to 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 indicate if the voice is active (full-bright) or
inactive (half-bright).
Note that voice routing can be set and stored for each KIT. If you want to use the GLOBAL voice routing
setting, tick the box USE GLOBAL SETTINGS using the [YES] key.
29
9. 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#
F
VOICE C
VOICE B
VOICE A
VOICE B
POLYPHONIC VOICE ALLOCATION METHOD: ROTATE
PLAYED NOTE
C/D/D#/F
BEGINNING OF NOTE END OF NOTE
VOICE A/B/C/D
D#
VOICE A
30
ASSIGNED VOICE
C
D
D#
F
VOICE D
VOICE C
VOICE B
C
VOICE AVOICE A
Loading...