CV on Analog Four

If you got an Elektron Analog Four (or Analog Keys) and devices that can be operated via CV (control voltage) and Gate trigger connections, here’s how to do it, e.g. connect Moog Minitaur and Arturia MiniBrute to sequence, automate and processes them on Analog Four.

1. Connect a stereo ¼” (female) to CV Output A and B on Analog Four, and dual mono ¼” to Pitch CV (tip) and Gate (ring) of the Minitaur.
2. Connect Audio Out on Minitaur to Audio Input Left on Analog Four.
3. On Analog Four, select track Trk 1.
4. Select Osc 1 > IN L.
5. Pass all frequencies on 2-pole ladder filter: Filters > FRQ 127 and RES 0, and 2-pole multi mode filter: Filters > HP2 > FRQ 0 and RES 0.
6. Set the envelope on Amp > REL INF (if you don’t plan to use the Osc 2, sub oscillators or filter self-oscillation of the Analog Four).
7. Select track CV.
8. Set CV > CV A > TRK > TR1 and CV > CV B > TRK > TR1.
9. Select CV A configuration page, and set:

TYPE > PITCH V/oct
NOTE 1 > C 3
VOLTAGE 1 > 1.448 V
NOTE 2 > C 6
Voltage 1 > 4.634 V

10. Select CV B configuration page, and set:

TYPE > GATE
POLARITY > V-TRIG
LEVEL > 5.0 V

11. Connect a stereo ¼” (female) to CV Output C and D on Analog Four, and dual mono ¼” to Pitch (to VCO) (tip) and Gate In (ring) of the MiniBrute.
12. Connect Master Out on MiniBrute to Audio Input Right on Analog Four.
13. On Analog Four, select track Trk 2.
14. Select Osc 1 > IN R.
15. Pass all frequencies on 2-pole ladder filter: Filters > FRQ 127 and RES 0, and 2-pole multi mode filter: Filters > HP2 > FRQ 0 and RES 0.
16. Set the envelope on Amp > REL INF (if you don’t plan to use the Osc 2, sub oscillators or filter self-oscillation of the Analog Four).
17. Select track CV.
18. Set CV > CV C > TRK > TR2 and CV > CV D > TRK > TR2.
19. Select CV A configuration page, and set:

TYPE > PITCH V/oct
NOTE 1 > C 5
VOLTAGE 1 > 1.004 V
NOTE 2 > C 8
Voltage 1 > 4.004 V

20. Select CV D configuration page, and set:

TYPE > GATE
POLARITY > V-TRIG
LEVEL > 5.0 V

Set up the old king SH-101

If you got a Roland SH-101, the set it up like this:

1. Connect a stereo ¼” (female) to CV Output A and B on Analog Four, and dual mono ¼” to CV In (tip) and Gate In (ring) of the SH-101.
2. Connect Output on SH-101 to Audio Input Left on Analog Four.
3. On Analog Four, select track Trk 1.
4. Select Osc 1 > IN L.
5. Pass all frequencies on 2-pole ladder filter: Filters > FRQ 127 and RES 0, and 2-pole multi mode filter: Filters > HP2 > FRQ 0 and RES 0.
6. Set the envelope on Amp > REL INF (if you don’t plan to use the Osc 2, sub oscillators or filter self-oscillation of the Analog Four).
7. Select track CV.
8. Set CV > CV A > TRK > TR1 and CV > CV B > TRK > TR1.
9. Select CV A configuration page, and set:

TYPE > PITCH V/oct
NOTE 1 > C 3
VOLTAGE 1 > 0.986 V
NOTE 2 > C 6
Voltage 1 > 3.956 V

10. Select CV B configuration page, and set:

TYPE > GATE
POLARITY > V-TRIG
LEVEL > 5.0 V

Note that the voltage levels are roughly set. Also bear in mind that it seems that some split cables use left for tip and right for ring, while others directly contrary.

Tune Other Gear

If you got other gear, then connect a tuner to the audio output, select CV A configuration page and start with:

TYPE > PITCH V/oct
NOTE 1 > C 3
VOLTAGE 1 > 1.000 V
NOTE 2 > C 6
Voltage 1 > 4.000 V

Then just tweak the voltage settings – 1 V per octave in the mid range – according to the tuner, this usually works.

Lastly, don’t forget to check all four voices on the KIT > POLY CONFIG > VOICES to use Analog Four as an analog polysynth while using the two external sound sources of your choice.

P.S. I totally missed this, but this blog, Holy Bot, turns four years today, yay!

CV on Analog Four

If you got an Elektron Analog Four (or Analog Keys) and devices that can be operated via CV (control voltage) and Gate trigger connections, here’s how to do it, e.g. connect Moog Minitaur and Arturia MiniBrute to sequence, automate and processes them on Analog Four.

1. Connect a stereo ¼" (female) to CV Output A and B on Analog Four, and dual mono ¼" to Pitch CV (tip) and Gate (ring) of the Minitaur.
2. Connect Audio Out on Minitaur to Audio Input Left on Analog Four.
3. On Analog Four, select track Trk 1.
4. Select Osc 1 > IN L.
5. Pass all frequencies on 2-pole ladder filter: Filters > FRQ 127 and RES 0, and 2-pole multi mode filter: Filters > HP2 > FRQ 0 and RES 0.
6. Set the envelope on Amp > REL INF (if you don’t plan to use the Osc 2, sub oscillators or filter self-oscillation of the Analog Four).
7. Select track CV.
8. Set CV > CV A > TRK > TR1 and CV > CV B > TRK > TR1.
9. Select CV A configuration page, and set:

TYPE > PITCH V/oct
NOTE 1 > C 3
VOLTAGE 1 > 1.448 V
NOTE 2 > C 6
VOLTAGE 2 > 4.634 V

10. Select CV B configuration page, and set:

TYPE > GATE
POLARITY > V-TRIG
LEVEL > 5.0 V

11. Connect a stereo ¼" (female) to CV Output C and D on Analog Four, and dual mono ¼" to Pitch (to VCO) (tip) and Gate In (ring) of the MiniBrute.
12. Connect Master Out on MiniBrute to Audio Input Right on Analog Four.
13. On Analog Four, select track Trk 2.
14. Select Osc 1 > IN R.
15. Pass all frequencies on 2-pole ladder filter: Filters > FRQ 127 and RES 0, and 2-pole multi mode filter: Filters > HP2 > FRQ 0 and RES 0.
16. Set the envelope on Amp > REL INF (if you don’t plan to use the Osc 2, sub oscillators or filter self-oscillation of the Analog Four).
17. Select track CV.
18. Set CV > CV C > TRK > TR2 and CV > CV D > TRK > TR2.
19. Select CV A configuration page, and set:

TYPE > PITCH V/oct
NOTE 1 > C 5
VOLTAGE 1 > 1.004 V
NOTE 2 > C 8
VOLTAGE 2 > 4.004 V

20. Select CV D configuration page, and set:

TYPE > GATE
POLARITY > V-TRIG
LEVEL > 5.0 V

Set up the old king SH-101

If you got a Roland SH-101, the set it up like this:

1. Connect a stereo ¼" (female) to CV Output A and B on Analog Four, and dual mono ¼" to CV In (tip) and Gate In (ring) of the SH-101.
2. Connect Output on SH-101 to Audio Input Left on Analog Four.
3. On Analog Four, select track Trk 1.
4. Select Osc 1 > IN L.
5. Pass all frequencies on 2-pole ladder filter: Filters > FRQ 127 and RES 0, and 2-pole multi mode filter: Filters > HP2 > FRQ 0 and RES 0.
6. Set the envelope on Amp > REL INF (if you don’t plan to use the Osc 2, sub oscillators or filter self-oscillation of the Analog Four).
7. Select track CV.
8. Set CV > CV A > TRK > TR1 and CV > CV B > TRK > TR1.
9. Select CV A configuration page, and set:

TYPE > PITCH V/oct
NOTE 1 > C 3
VOLTAGE 1 > 0.986 V
NOTE 2 > C 6
VOLTAGE 2 > 3.956 V

10. Select CV B configuration page, and set:

TYPE > GATE
POLARITY > V-TRIG
LEVEL > 5.0 V

Note that the voltage levels are roughly set. Also bear in mind that it seems that some split cables use left for tip and right for ring, while others directly contrary.

Tune Other Gear

If you got other gear, then connect a tuner to the audio output, select CV A configuration page and start with:

TYPE > PITCH V/oct
NOTE 1 > C 3
VOLTAGE 1 > 1.000 V
NOTE 2 > C 6
VOLTAGE 2 > 4.000 V

Then just calibrate the voltage settings – 1 V per octave in the mid range – according to the tuner, this usually works.

Lastly, don’t forget to check all four voices on the KIT > POLY CONFIG > VOICES to use Analog Four as an analog polysynth while using the two external sound sources of your choice.

P.S. I totally missed this, but this blog, Holy Bot, turns four years today, yay!

Find Old Synths in Tokyo

So I went to Japan for holiday. I stayed in Tokyo the whole time, which was pretty enough of experience for a first time visit.

The trip wasn’t really about electronic musical instruments, but Japan is the promised land of synthesizers (and electronics in general) and home of Roland, Korg, Yamaha, Akai, Casio, Kawai et cetera, so I just had to check up on some old vintage stuff.

I hoped to make a bargain on an authentic TR-808 but the prices where quite the same as in Sweden (around 3100 USD). Although the supply seems to be much greater, e.g. at Five G on Takeshita Street in Harajuku, they had five Prophet-5s in good condition, a couple of TB-303s and serveral MS-20s. I didn’t have room to get a full-size keyboard, otherwise I’d have bought a cheap Prophet-600.

I also went to Echigoya Music in the building on the ninth floor across from Tower Records  at Shibuya, and that’s where they had the TR-808 (and a TR-909 for what it’s worth).

So I did’t buy any old analog gear, but I got a used MS2000R for around 150 USD at Creator’s Land (a part of Sofmap, on the top floor in the building where its MacCollection is, in Akihabara). This shop didn’t offer so many analog synth from the 80s but newer stuff like Alesis Micron, Arturia MiniBrute, and they had Technics SL-1200/1210s really, really cheap.

Hard Off has a used music equipment section in one of its stores on a smaller street in Akihabara (sorry for not being more specific). I wasn’t lucky this time though, but I think that you can get good deals there.

On top of all this, Tokyo was a great city, and I can truly recommend you to visit.

https://api.soundcloud.com/tracks/250531818/stream?client_id=N2eHz8D7GtXSl6fTtcGHdSJiS74xqOUI?plead=please-dont-download-this-or-our-lawyers-wont-let-us-host-audio

I made this with an old friend. Angry German kid, hard synths and tripping drums. Deutsch Schwedische Freundschaft.

Source: SoundCloud / Palstjyven

https://api.soundcloud.com/tracks/250531818/stream?client_id=3cQaPshpEeLqMsNFAUw1Q?plead=please-dont-download-this-or-our-lawyers-wont-let-us-host-audio

I made this with an old friend. Angry German kid, hard synths and tripping drums. Deutsch Schwedische Freundschaft.

I made this with an old friend. Angry German kid, hard synths and tripping drums.

Smod (with Katrin Hesse)

In lack of a real article here’s the corner of the bedroom. Not much have actually changed sinced the last man cave shoot. (I’ve bought and sold some gear, such as another SH-101, another Juno-106 and a Kick Lancet.) The latest addition to the setup is the mighty Analog Four. I’ve also made a couple of tracks in this corner of the world. The item on the far left of the desk is a sewing machine – not mine though.

In lack of a real article here’s the corner of the bedroom. Not much have actually changed sinced the last man cave shoot. (I’ve bought and sold some gear, such as another SH-101, another Juno-106 and a Kick Lancet.) The latest addition to the setup is the mighty Analog Four. I’ve also made a couple of tracks in this corner of the world. The item on the far left of the desk is a sewing machine – not mine though.

Analog Synth Filter Test

I’ve made a low-pass filter test of sorts. Very unscientific though.

I ran an old monosynth through three popular modern synths: Arturia MiniBrute, Moog Music Minitaur and Elektron Analog Four.

The sound source is the Roland SH-101 with both waveforms plus the sub-oscillator simultaneous triggered on C1. The gate signal controls the VCA, envelope and modulation are turned off, and key follow knob is set to 100%.

The audio signal is sent to the filter circuits of the different synths. The test pattern is defined as follows:

1. A “clean” tone feeds into the filter for a few seconds, with frequency cutoff set to 100% and resonance at 0%.
2. Manual filter cutoff sweep with resonance at 0%.
3. Manual filter cutoff sweep with resonance at 50%.
4. Manual filter cutoff sweep with resonance at 100%.

First off is the SH-101 internal 4-pole 24 dB per octave low-pass filter.

Next up is this unmodulated audio signal going into the MiniBrute and processed with the multimode Steiner-Parker filter, set to 12 dB per octave slope in low-pass.

On the higher resonance level, self-oscillation occurs and the volume peaks. (I had to put a limiter at -6 dB threshold to keep the volume at bay). The filter sweeps follow the same order as earlier.

The second external filter in this test is the Moog ladder filter (4-pole 24 dB per octave low-pass) of the Minitaur. Again the filter sweep follows the same order as above. The volume level drops noticeably on the higher resonance settings.

The last filter is the Analog Four’s ladder filter, another 4-pole 24 dB per octave low-pass.

The audio signal pass through the synth’s second filter unaffected (the 2-pole multimode filter is set to 12 dB per octave high-pass with minimum frequency and no resonance).

Maybe I’m doing something wrong here, because the audio signal seems to loose some decibels both in the treble and in the bass. Anyway, the flattest response is obtained when resonance is somewhere around 25, not 0.

On the last filter sweep, the resonance is set to 85 (out of 127), because the self-oscillation is going crazy over 85, and only the filter sounds. And the volume raises dramatically.

That’s the test for what it’s worth, I know the execution leaves a lot to be desired. The input level of the synths differ some, which makes a comparison hard. I should probably mention that the audio signal is running through a Mackie 1202VLZ4 mixer before being recorded using high-grade Cirrus Logic converters. This might have some affection and coloring on the signal.

Analog Synth Filter Test

I’ve made a low-pass filter test of sorts. Very unscientific though.

I ran an old monosynth through three popular modern synths: Arturia MiniBrute, Moog Music Minitaur and Elektron Analog Four.

The sound source is the Roland SH-101 with both waveforms plus the sub-oscillator simultaneous triggered on C1. The gate signal controls the VCA, envelope and modulation are turned off, and key follow knob is set to 100%.

The audio signal is sent to the filter circuits of the different synths. The test pattern is defined as follows:

1. A “clean” tone feeds into the filter for a few seconds, with frequency cutoff set to 100% and resonance at 0%.
2. Manual filter cutoff sweep with resonance at 0%.
3. Manual filter cutoff sweep with resonance at 50%.
4. Manual filter cutoff sweep with resonance at 100%.

First off is the SH-101 internal 4-pole 24 dB per octave low-pass filter.

Next up is this unmodulated audio signal going into the MiniBrute and processed with the multimode Steiner-Parker filter, set to 12 dB per octave slope in low-pass.

On the higher resonance level, self-oscillation occurs and the volume peaks. (I had to put a limiter at -6 dB threshold to keep the volume at bay). The filter sweeps follow the same order as earlier.

The second external filter in this test is the Moog ladder filter (4-pole 24 dB per octave low-pass) of the Minitaur. Again the filter sweep follows the same order as above. The volume level drops noticeably on the higher resonance settings.

The last filter is the Analog Four’s ladder filter, another 4-pole 24 dB per octave low-pass.

The audio signal pass through the synth’s second filter unaffected (the 2-pole multimode filter is set to 12 dB per octave high-pass with minimum frequency and no resonance).

Maybe I’m doing something wrong here, because the audio signal seems to loose some decibels both in the treble and in the bass. Anyway, the flattest response is obtained when resonance is somewhere around 25, not 0.

On the last filter sweep, the resonance is set to 85 (out of 127), because the self-oscillation is going crazy over 85, and only the filter sounds. And the volume raises dramatically.

That’s the test for what it’s worth, I know the execution leaves a lot to be desired. The input level of the synths differ some, which makes a comparison hard. I should probably mention that the audio signal is running through a Mackie 1202VLZ4 mixer before being recorded using high-grade Cirrus Logic converters. This might have some affection and coloring on the signal.