#5

I miss my A4 MkII sometimes, but it felt redundant alongside some of my other synths and wasn’t as instantly gratifying. If I had to choose just one instrument to use for a long period of time I would seriously consider it again. I think it’s a great companion for something like the Shared System too.

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#6

I actually believe the Analog Four is the best modern synth out there. The sound design possibilities are huge and you can basically make anything with it. Pads, bass, atmospheric sounds, effects. And that is per track, if you get creative.

But it does need some attention and won’t sound great right away. And it does not have a destinctive character (which I kinda see as a strength). So you really have to get to know the parameters and how they affect the sound. It is not the kind of synth were the filter makes up most of the sound. Even though it is subtractive.

I recorded two albums on which it is the main sound source in a small system. And could make one with just the A4 as well.

Also, I totally dig the delay which has just the right amount of digital crunsh. And it is true stereo, even when fed via the inputs by external sound sources.

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#7

So as others already mentioned I didn’t found A4 sound instantly gratifying as in other synths like Moog Mother-32 but the possibilities are almost endless despite being analog it can also venture in digital sega genesis esque sounds.
I first bought it with intention that I could write whole prearranged songs on it but probably being spoiled by Ableton workflow where I can mix different clips on different tracks I felt like I had to do too much copy/pasting around to for example have another pattern with just one track motif changed. But I guess this could be said about all grooveboxes.
Personally I got best results on A4 when treating it as a some sort of techno drum machine. And then setting performance macros and use this to somewhat improvise during live playing. This is example of such approach - all sounds are from A4 - (WARNING: lot of flashing lights in video) https://www.youtube.com/watch?v=XCYTiqUJMKM
Another thing a little unexpected but A4 is also very nice processor for external sounds. I once did a live coding set where all sounds were coming from TidalCycles but then I sent computer output to A4 to add some warmth through low pass filters and some A4 reverb.

4 Likes
#8

For me, the A4 really came to life when using it together with a small faderbox to get hands on control for the standard subtractive synthesis parameters.

150604 elektron A4 mit faderfox pc4
150604 elektron A4 mit faderfox pc43264×2448 1.88 MB

Don’t mind the BAL, MAIN and CUE stickers, these are for using the Faderfox PC4 with my Octatrack. Control 9 is Noise Level, Control 13 is Filter Overdrive, please ask if the remaining assignments are not self-explanatory.

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#9

This is just about the coolest thing in the world to me but the A4 (mk 1) couldn’t hold my attention.

I nabbed one to interface with eurorack but that never really clicked for some reason. On its own, the A4 can definitely sound fierce, though. It has a ridiculous amount of power.

I traded mine for a LepLoop V.2 which is more my speed, anyway, despite loving Elektron, their sequencers, workflow, etc.

To conclude, I think A4 mk 1 is probably one of the best deals in synths right now. I couldn’t get rid of one at 650$!

#11

Wow, that is a really nice pairing. Thanks for making me aware of this guy’s devices. I often need several overdubs on my initial AK tracks just to get all the midi automation it looks like I could do in one take with the PC4. That form factor is perfect.

In a studio with a Prophet-6, OB-6, DX-7, Waldorf Q, and about 1400 HP of Eurorack as neighbors, I can’t imagine getting rid of it. Easily one of the most powerful synths I’ve got.

1 Like
#12

They aren’t in production at this point, but I find the Grayscale Synapse to be a great companion for my A4 and Eurorack. It gives you green/red lights for each of the CV outs, which makes it super easy to see which channel is doing what while patching.

IMG_3254
IMG_32545184×3456 4.94 MB

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#13

As I use it more, I would agree that the lack of character is a strength. This flexibility creates a blank canvas and I have been pleasantly surprised some of the places I have been able to take it (particularly some chiptune-esque squiggles and chirps).

If you don’t mind me asking, what albums did you use it on? My partner and I enjoy your music!

1 Like
#14

Glad you like my tunes. One A4 Album is ‘When’ on which it also provides all delay and reverb:

The other album is still a secret but will come out later this year :slight_smile:

3 Likes
#15

For what it’s worth to others who may be interested, I also am not a fan of the MK1’s lack of tilt.
But for the past 5 years I’ve been using either these blue lounge cool feet to get a good tilt.
More recently I switched to this Ikea isberget tablet stand.
Either make a world of difference, and the former are very ideal if your device is on an uneven surface, as adjustments are easy.

Since I recently got a Typhon, I’ve been enjoying its instantly accessible big mono sounds. I wasn’t one to complain much about the A4’s sound before, but the comparison makes it easier. If I want to try to get those same tones out of an A4, I have to basically ignore the first filter with cutoff entirely open and key tracking off, and just use the 2nd multimode filter for everything.
Looking back at the projects I finished with A4, I employed a good bit of 2 voice unison for bigger sounds, and used sound locks to pepper in lots of very short sounds with a good bit of FX, and lots of p-locking.

A4 is its own thing in terms of workflow, but it sits in a mix easily and is very versatile. I think it excels most when you try to do a lot with it, rather than try to make it do one thing really really well.

The MK2’s added output connections would be my biggest reason to go that route vs MK1, but my stints with both the OT MK2 and Digitone were not good for my eyes. The bright white blinking LEDs under all the buttons were information overload, and I’ve found myself going back to OT MK1 and A4 MK1 for the simpler (and classic) design language.

3 Likes
#16

Updated version of the A4 MkII out today with a new color scheme: https://www.elektron.se/products/analog-four-mkii/

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#17

It’s worth mentioning that the colour scheme is the only update apart from new factory presets.

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#18

Oh, oh wow, that’s beautiful… thank you for sharing :0 and it sounds like new presets, too, which is something complained about earlier in this thread. Yay for Elektron :slight_smile:
I love the lack of “ELEKTRON” on the front. Best looking machine they’ve ever put out I think. Wow!

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#19

Which all users get in the OS update :stuck_out_tongue:

#20

Which it seems has a whole lot more!

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#21

Pretty massive firmware update, and I just sold my A4 MK1 last week to fund a Pro 2.

Ah well, I’m happy for everyone else, and the new boxes look sharp. I am 50% hopeful the OT MK2 gets “transformed” as well, though the only gripes I really have on my MK1 is lack of cursor text below the encoders, which could be resolved if Cremecaffe or Oversynth provided a handy sticker for the encoders area.

2 Likes
#22

what are your thoughts on the pro 2? like the A4 it seems like a good compliment to modular

#23

Class Compliant USB Audio is now available on the Analog Four MKII and Analog Rytm MKII

Very cool stuff here. Do wish they could do this for the MKI boxes, but this might tempt me to upgrade so I can do overbridgey stuff on Linux (actual software doesn’t work, but you’d get a lot of the audio routing benefits over USB with this upgrade)!

#24

I doubt it will happen for the MKI boxes. They upgraded the USB interface between the two versions.

Still helluva an update.

#25

Yes, that’s what they are implying on the thread:

I’d say it wasn’t likely, I don’t recall any clear discussions on why, but I think it would’ve already been here now if it was likely to happen

As you say, still impressed they are releasing so much for the old MK1 boxes. :slight_smile:

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