#analog keys

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Monopolx releases debut EP "Debris" digitally.

(via https://open.spotify.com/album/7bW8Hu67H2LSs77RxS7XpF?si=0_EJAoefR6mJb03nm91rzg)

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On the Kitchen Table

That modular thing, that escalated quickly.

It's like building a character in a role-playing video game. You distribute endurance, strength, dexterity and such to make the avatar/modular reflect your play style. And like some characters are quick and stealthy and others heavy hitters, some builds will render an East Coast synth voice, while others are suited for a more experimental kind of noise.

My first iteration of modules was based on dedicated, no frills core functionalities, such as Doepfer's essential modules. It was good to start with the basics. By doing this I was able to test different routings, patch them in how I wanted and learn the signal path.

I didn't want to build a complete system, made entirely from one manufacturer's modules. Because part of the beauty with modular is putting together one's own rack made of different modules from different places and with different sounds and approaches.

Right from the start I decided for a quite small system, a limited case of 6U, 84 HP. But one or a few function per module demands more space, so after a while I began to replace them with functionally dense modules, in other words, I levelled up. Still I didn't want to go to far; I don't want a computer-like module that solves everything – I reckon that would be contra-modular.

I run sequencer/clock outside of the system, for the time being. Maybe it's a little bit cheating, but this way I save space in the case. Anyway, I'm using an Analog Keys, and with it I can drive two separate sequences, process the modular signals through the synth's filters, envelopes, effects and so on, and trigger an old DIN-synced TR-606. And using all four voices of the synth itself at the same time. The Rosie output module has send and return for external effects, so I got a BigSky plugged in there. All in all, it's quite a powerful and portable little setup.

As for the case, I just cut up a cardboard box and gaffered it together to fit two Happy Ending Kit rails. It's very slim, very light, maybe not too stylish though.

The housing is really a project. It's like a doll house that is defragmented, partly from an interior design thinking. Well, I want it to look nice and neat. Then again, most time is spent researching which modules that go in and out, based on functionality and compability with the ecosystem.

Nevermind the patch in the picture, I just needed something so sound and didn’t want to clutter the image too much. The photo is from the kitchen table.

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Minimal Bedroom Studio

As a consequence of scaling down my home studio, I sold two audio interfaces, Apogee Duet for iPad & Mac and Propellerhead Balance, to acquire an Apogee Quartet instead. (Yes I was checking out the newer Element 46 and even if the Element series audio quality and mic pre technology are a step above, the Quartet’s specifications are good enough for me, and more importantly I wanted/needed 8 outputs and a convenient front panel control.)

I decided for a 4-channel audio interface because I didn’t need 20+ hardware synths and drum machines up and running all the time. All that stuff took up too much space and I didn’t really use them. They were connected to a mixer – functioning more or less as a patchbay – and now that mixer is redundant. Remember, limitations drive creativity and all.

With the current setup, I’m able to insert outboard gear, not only to use Minitaur and Mopho as analog instruments, but also as signal processors/external filters. That is, with a little bit of routing in Ableton Live, I can send hardware and softsynths to the Moog ladder and Curtis low-pass filters.

Right now I got three analog monosynths (Minitaur, Mopho and SH-101) connected, and Analog Keys operating as an analog polysynth, master keyboard, sequencer and MIDI to CV converter. I can record all synths mentioned on separate tracks at once.

The plan is to switch gear depending on the project. It’s a clean, minimal setup which seems to suit me.

Recently, most time has been spent tweaking the setup, experiment with the gear, and programming and sound designing on the synths. I haven’t made any real compositions for a while though.

Next up could be a cassette tape recorder (to be able to make some lo-fi tape compression/saturation). And I think I’ll get the Strymon Deco pedal and put it in an effect signal chain.

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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!

[rhymewithme]

[vocez]

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Tips for the monotribe

The Korg monotribe is a desktop analog monophonic synthesizer with an additional three preset drums sounds. Its sound is warm and rich but quite clicky and noisy – although I think I prefer this timbre over the newer volca series. The monotribe was released in 2011 and is now discontinued.

How to Silent the VCO When Processing External Audio

The synth has an audio in port to feed external audio into 12 dB/oct lowpass filter (which uses the same circuit as the classic MS-10/MS-20). The crux is that the synth engine must be triggered to run the filter, meaning it’s not possible to process external audio solo (without being modded). But the LFO can modulate the oscillator so that it becomes nearly inaudible. The workaround below is not exactly neat, but should do the trick. On the monotribe, do as follows:

Press PLAY button and then REC.

Set RANGE select switch to WIDE and press the highest key on the RIBBON keyboard during the whole sequence.

Set EG to GATE.

Switch TARGET to VCO.

Set MODE to 1SHOT.

Set WAVE to SQUARE WAVE.

Set LFO RATE knob to minimum speed and INT. to maximum depth.

Select TRIANGLE WAVE on modulation waveform WAVE.

How to CV Control the monotribe with the Analog Keys’ Keyboard

OS version 2.11 allows the SYNC IN connection to be used as a pitch CV/gate input. This makes it possible to control the monotribe with an external keyboard or sequencer (which is great because the ribbon keyboard is almost impossible to play). There are many ways to do this, but the theory is the same: send CV and gate via a TRRS 4-pole mini jack – where gate is tip and CV the second ring.

Now I got an Elektron Analog Keys which can send both tip and ring from the same CV output, but to do that to the monotribe I’d need a special cable (sort of TRS to TRRS) and I haven’t soldered any yet. So until then, I hacked a workable cable with many different pieces I found laying around (e.g. the composite video cable was provided with a TV I acquired last year). Again, you can build this patch cable more streamlined, but here’s my solution:

Connect a composite video cable to SYNC IN on the monotribe and connect a RCA connector, white male to white female and red male to yellow female. On the other end, connect a pair of adaptors, RCA female to mono 3.5 mm mini jack male and then another pair of adaptors, 3.5 mm mini jack female to 6.3 mm jack male and plug white in CV AB and red/yellow in CV CD on Analog Keys.

While this setup only uses the tips, and demands both CV ports on Analog Keys, set CV A to Gate, V-Trig, 5.0 V and CV C to Pitch V/oct, C 3, 1.000 V, C 6, 4.000 V. (CV B and D are not used.)

Download and install System Updater 2.11.

Prepare the monotribe as described in the documentation that came with the download package. Activate CV/GATE mode, set the Pitch CV curve to V/oct and GATE polarity to high.

P.S. It’s also possible to create a feedback loop by feeding the headphone output back into the monotribe’s audio in. This will render a mild thickening, and if you have some kind of attenuator on the feedback signal path, you can dial in some overdrive too.

[uniquesquared]

Elektron Analog Keys Preview

The Elektron Analog Keys synthesizer was unveiled on November 23rd at a very intimate showcase in Berlin, Germany. A few blogs and other media outlets were on hand to capture the first real glimpses of this new hyped up synthesizer and eager synth nuts were glued to their browsers for the unveiling. A few days have passed since the unveiling and Elektron have released a full set of specifications for us to peruse. A quick look at the Analog Keys leads one to believe that this is simply an Analog 4 with keys. It sure does look that way and Analog 4 owners are asking, "so what are the actual differences between the Analog Keys and the Analog 4?" Those that do not already own an Analog 4 are simply asking, "do I need this synthesizer and why?" These are great questions to ask in a marketplace that has seen a boost in synthesizer production from the low end of the price spectrum all the way up to high end. To familiarize yourself with those on the lower end, we did a rundown of some of the most talked about mini synthesizers on the market. With something like the Elektron Analog Keys, you are looking at a synthesizer that's going to be in the high end price range, but this should come as no surprise considering the price tag on other Elektron products. Just like you, we want to see what separates the Analog Keys from the Analog 4, as well as what features are on the Analog Keys when compared to other synthesizers. While the specifications do provide some answers, we ultimately will have to wait a bit before getting up close and personal with the Analog Keys. Until then, here is a preview of what the Elektron Analog Keys has to offer.

Analog Keys vs. Analog 4

As a proud owner of an Analog 4, I find myself looking at the Analog Keys and thinking to myself: did I make the right choice here? Has buyers remorse blinded me from what actually separates these two? The reason I am asking is because in addition to the Analog Keys being released, the Analog 4 is getting an OS update which should include polyphony. Yep that's right folks. Your Analog 4 just got a whole lot cooler, if that was even possible. So if the new OS adds polyphony, then what are we really getting on the Analog Keys besides a key bed? Well for starters theres a joystick. This is reminiscent of the joystick on the Elektron SFX-6 Monomachine. It is a completely assignable and customizable toggle for everything from FX parameter tweaking to pitch and modulation control. You can assign and control up to 15 unique parameters on the joystick. No word on whether or not it can double as a Pac Man controller. More to report as it comes down the wire. The preset bank has been expanded tremendously when compared to the Analog 4. You now have 4096 sounds which is a staggering upgrade from the very limiting 128 sounds you have on the Analog 4. This is great when setting up your projects and taking full advantage of the step sequence capabilities. Another cool feature are the LED lights along each of the keys which makes step sequencing even more intuitive. This is where, in my opinion, the Analog Keys has a leg up on the Analog 4 in terms of workflow as well as general project management and sequencing control. Speaking of the step sequencer, something you have on the Analog Keys and is currently absent on the Analog 4 is the ability to set per-step presets and control external gear via control voltage. While there is no MIDI out for step sequence control through MIDI, you can enable the keyboard to communicate via MIDI and become a MIDI controller. The filter and oscillator control is almost identical to what you find on the Analog 4, but they have added a new filter mode which may find it's way onto the new Analog 4 OS. It's called "extreme resonance," but as of writing this, there doesn't seem to be a demonstration of how that sounds or how it's integrated into the control on the Analog Keys. There are other notable differences worth taking a look at but they are found mostly when comparing the specs of each machine. For a full list of the specifications you can visit the Elektron Website. But because I am eager to share, here is the full list: The specs look pretty impressive, but we will make up our minds when we have a chance to play with all the features.

Should I get one?

If you are an Elektron enthusiast or a synthesizer nut, I can't imagine a world where you aren't looking at the Analog Keys and already thinking about where it's going to fit in your studio or how you can incorporate it on stage. Trust me. I get it. For others, especially those that own an Analog 4 already, the Analog Keys might seem a little redundant, but there are some performance and workflow features on the Analog Keys that are lacking on the Analog 4. As an Analog 4 owner, I look at the Analog Keys and I am delighted at the prospect of having 512 presets shipped with the Analog Keys as well as the ability to store your own presets. Hopefully the OS update will make this feature available on the Analog 4, and an even better addition would be the ability to put these presets on the Analog 4. If it doesn't, then the Analog Keys moves even closer to the must have category. A glimpse into your future. If you are new to synthesizers, or have only been dipping your toe into that water, the Analog Keys might seem like overkill. It shouldn't though, and I can tell you that learning the basics of synthesis on the Elektron machines is not only fun, but it really helps you learn how oscillators, filters, and envelopes work and sound. The announced street price as of November 26th is $1845 which if you know Elektron's machines, fits the pricing of their existing catalog. When you consider all that you would be getting at that price point, it's hard to deny that there is a lot of value in the Analog Keys. We will have more to report on the Analog Keys from our annual Winter NAMM coverage so look for that content towards the end of January 2014. Some of you may get to it sooner than that as orders begin shipping December 9th. Be sure to let us know your thoughts on the Analog Keys or any other Elektron machine in the comments below. To purchase Elektron gear, head on over to UniqueSquared.com. SLAM!!