Elektron ANALOG KEYS Full Reference Manual
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Elektron ANALOG KEYS Full Reference Manual

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  • Page 2: Fcc Compliance Statement

    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.

  • Page 3: Important Safety Instructions

    IMPORTANT SAFETY INSTRUCTIONS Carefully read these instructions and save them for future reference. When using electric products, basic instructions must be followed, including the following: Do not use this unit near water. This product, by itself or in combination with amplifiers, headphones or speakers, is capable of producing sound lev- Never use any aggressive cleaners on the casing or the LCD els that may cause permanent hearing loss.
  • Page 5 ANALOG KEYS SIGNAL PATH ..................7 ABOUT THE COMPONENTS......................... 7 COMMENTS ON THE SIGNAL PATH ....................7 ABOUT THE OSCILLATORS AND FILTERS ..................7 OVERVIEW OF THE ANALOG KEYS STRUCTURE ............. 8 +DRIVE..............................8 DATA STRUCTURE..........................8 PROJECT ............................8 KIT ..............................
  • Page 6 PROJECT MENU..........................16 KITS AND SOUNDS...................... 18 THE +DRIVE SOUND LIBRARY AND THE SOUND POOL..............18 KIT MENU............................. 19 PERFORMANCE MODE ........................20 PERFORMANCE SETUP ........................ 20 PERFORMANCE MUTE........................21 PERFORMANCE MIXER......................... 21 POLYPHONY ............................22 POLYPHONY CONFIGURATION ....................22 VOICE ROUTING ..........................
  • Page 7 2-POLE MULTI MODE FILTER......................67 ENVELOPES ............................68 SETUP EXAMPLES....................... 69 ANALOG KEYS CONTROL OF AN EXTERNAL ANALOG SYNTHESIZER........69 ANALOG KEYS WITH OTHER ELEKTRON GEAR ................71 ANALOG KEYS AS A FILTER BANK ....................72 USING AN EXTERNAL OSCILLATOR WITH ANALOG KEYS ............74 ANALOG KEYS WITH AN ELECTRIC GUITAR ...................
  • Page 8 CV A-D..............................1 CV ENVELOPES ............................ 5 CV LFO ..............................6 APPENDIX D: MIDI PERFORMANCE PARAMETERS......................1 MODULATION PARAMETERS....................... 1 SYNTH TRACK PARAMETERS ......................2 FX TRACK PARAMETERS........................9 CV TRACK PARAMETERS ........................11 APPENDIX E: ANALOG KEYS ARCHITECTURE INDEX...

  • Page 9: Introduction

    To make the most of the machine, we recommend you to carefully read this manual. Tutorial videos, found on the Elektron website, are also available. They cover the basics of Analog Keys and are a great complement to this document. CONVENTIONS IN THIS MANUAL In this manual we have used certain conventions.

  • Page 10: Analog Keys Background

    The Elektron Team Analog Keys REFERENCE MANUAL for operating system version 1.23. This manual is copyright © 2014 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.

  • Page 11: Filters

    ANALOG KEYS BACKGROUND...

  • Page 12: Panel Layout And Connectors

    PANEL LAYOUT AND CONNECTORS FRONT PANEL Master Volume The Analog Keys Front Panel. MASTER VOLUME sets the volume for the main outputs and the headphones output. [SONG MODE] activates/deactivates SONG mode. [CHAIN MODE] activates/deactivates CHAIN mode. [RECORD] key. activates/deactivates GRID RECORDING mode. Starts LIVE RECORDING if held while pressing [PLAY].
  • Page 13 MULTI MAP EDIT menu. 40. [FUNCTION] key. Press and hold to access secondary functions. Secondary functions are generally written in red text on the panel of the Analog Keys. 41. [TRANSPOSE] key transposes the sequencer track. Secondary function is transpose lock.

  • Page 14: Rear Connectors

    If MIDI control is desired, connect the MIDI OUT port of the device you wish send data from to the MIDI IN port of the Analog Keys. The MIDI THRU port duplicates the data arriving at the MIDI IN port. It is used for chaining several MIDI units together.

  • Page 15: Analog Keys Signal Path

    The ladder filter utilizes discrete low-noise transistors, the multimode filter uses high quality VCAs. The combination of tradition and innovation ensures a unique sound with a wide range of possibilities. For a more complete image of Analog Keys architecture, see “Appendix E: ANALOG KEYS ARCHITECTURE“.

  • Page 16: Overview Of The Analog Keys Structure

    128 Sounds. Generic settings and states (tempo, mutes et cetera) are also stored in each project. When a pro- ject is loaded it becomes the active working state of Analog Keys. From here it is possible to edit the patterns, kits, songs and globals of the project.

  • Page 17: Bank

    Sounds can be played polyphonically. THE FX TRACK The FX track controls Analog Keys internal send effects. To edit the FX track, press the [TRACK] key 5. 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 [TRACK] key 6.

  • Page 18: The User Interface

    THE USER INTERFACE THE USER INTERFACE The center of Analog Keys editing is the LCD display. The main interface screen is shown below: Bar indicating the main volume setting of the active track. The current tempo displayed with one decimal.

  • Page 19: Quick Scrolling

    ONE-HANDED OPERATION The functional layout of the Analog Keys ensures many complex operations can be done using only one hand, leaving the other hand free to play the KEYBOARD or tweak sounds. With the [FUNCTION] key in the vicinity of the [TRACK] keys, one-handed track muting is possible.

  • Page 20: Overbridge

    First - Make sure the OS of your Analog Keys, and the OS of Overbridge, match. Simply put, always have the most recent OS installed on both computer and device. You will find the most recent versions of both operating systems included with the Overbridge download package.

  • Page 21: Quick Start

    QUICK START QUICK START This quick start will guide you through some of the basic operations to allow you to start using Analog Keys right away. First connect it as described in section “CONNECTING THE UNIT”, on page 6. PLAYING THE FACTORY PRESETS Analog Keys is shipped with several preset patterns, kits and Sounds.

  • Page 22: Keyboard Control

    A red LED above each individual key will show key activity. It will flash briefly when a key is tapped, whether manually or if played by the Analog Keys sequencer. The LED will light up full-bright if a key is held down manu- ally, or half-bright if held down hands-free using the [HOLD] key (see page 15).

  • Page 23: External Keyboard Mode

    LEAD EXTERNAL KEYBOARD MODE Pressing [MIDI EXT] will turn the keyboard controls of the Analog Keys into an external MIDI keyboard con- trolling other gear. The KEYBOARD keys, JOYSTICK, DATA ENTRY knobs and the LEVEL knob will be dedi- cated to sending MIDI Out messages. Until deactivated, the Analog Keys synth and parameter settings will not be affected by these controls, only the external MIDI gear.

  • Page 24: Projects

    PROJECTS A project is the top level structure of Analog Keys. 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, you want to save a specific setup for a live performance or when managing a select number of compositions.
  • Page 25 PROJECTS • The currently active project is linked to the slot indicated by a small arrow in front of the project name. • Projects can be copied/cleared/pasted in the LOAD PROJECT and SAVE PROJECT menus. • A lock symbol indicates the project is write protected. PROJECT MANAGER launches the PROJECT MANAGER menu.

  • Page 26: Kits And Sounds

    KITS AND SOUNDS Kits and Sounds are the basic building blocks of Analog Keys soundcrafting. A kit is a collection of Sound, FX and CV track parameter settings. A Sound is essentially a synth track patch, made up by subtractive synthesis from the oscillators through the filters via its various parameter settings.

  • Page 27: Kit Menu

    KITS AND SOUNDS KIT MENU In the KIT menu commands relating to kits are found, most importantly kit save and load. Open the menu by pressing [KIT]. Use the [UP] and [DOWN] arrow keys to move between the commands. Press [YES/SAVE] to confirm your selection.

  • Page 28: Performance Mode

    KITS AND SOUNDS PERFORMANCE MODE The PERFORMANCE mode makes it possible to control five track parameters, that can be chosen from any track, at the same time by turning a single DATA ENTRY knob. This is called a performance macro. Track mut- ing and an overview of all synth and FX track levels are available in this mode as well.

  • Page 29: Performance Mute

    KITS AND SOUNDS Up to five track parameters can be assigned to a performance macro. Parameters can be selected from all six tracks. Select from which tracks parameters will be assigned by clicking DATA ENTRY knobs A-E. Select the track parameters that will be assigned by turning DATA ENTRY knobs A-E.

  • Page 30: Polyphony

    KITS AND SOUNDS POLYPHONY Four voice polyphony can be configured by selecting POLY CONFIG in the KIT menu. Analog Keys is capable of four voice multitimbral polyphony (as well as 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).

  • Page 31: Voice Routing

    KITS AND SOUNDS ROTATE For every new coinciding note played, the voices are allocated in a cyclic manner. REASSIGN Uses the same voice as last time for every note played as long as its unused. Otherwise, the least recently used voice is used for the new note. UNISON Uses all voices to play the same note.
  • Page 32 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 VOICE C VOICE B VOICE B VOICE A VOICE A POLYPHONIC VOICE ALLOCATION METHOD: ROTATE PLAYED NOTE C/D/D#/F BEGINNING OF NOTE...
  • Page 33 KITS AND SOUNDS POLYPHONIC VOICE ALLOCATION METHOD: REASSIGN PLAYED NOTE C/D/D#/F BEGINNING OF NOTE END OF NOTE VOICE A/B/C/D ASSIGNED VOICE VOICE D VOICE C VOICE B VOICE B VOICE A VOICE STEALING PLAYED NOTE C/D/D#/F/G BEGINNING OF NOTE END OF NOTE VOICE A/B/C/D ASSIGNED VOICE VOICE STOLEN BY G NOTE...

  • Page 34: Sound Menu

    KITS AND SOUNDS SOUND MENU In this menu Sounds in the +Drive Sound library or in the Sound pool of the active project can be browsed and managed. Other menu options let you clear the track Sound, rename the track Sound or change the settings for the track Sound.
  • Page 35 KITS AND SOUNDS SOUND MANAGER can be regarded as a more powerful version of the SOUND BROWSER. Here Sounds can be saved, loaded, tagged et cetera. Opening the menu will show a list of all Sounds residing in either the +Drive Sound library or the Sound pool.
  • Page 36 KITS AND SOUNDS • Sounds residing in the +Drive Sound library are organized into 16 banks, ranging from A to P. Each bank can contain 256 Sounds. Use the [TRIG] keys to view only Sounds located in a specific bank. •...
  • Page 37 Both the VEL parameter of the NOTE menu and the velocity of incoming MIDI notes sent to Analog Keys from external devices will affect the assigned parameters. Open the menu by pressing [YES/SAVE]. Setting up the parameters works in the same way as setting up performance macros, covered on page 20.

  • Page 38: Playing A Sound

    Besides using the KEYBOARD, the synth voices are also possible to play with an external MIDI keyboard con- nected to Analog Keys. Which MIDI tracks the voices respond to are set up in the MIDI CHANNELS menu, cov- ered on page 53.

  • Page 39: Editing The Fx And Cv Tracks

    FX and CV track parameter settings are only saved as part of a kit. THE FX TRACK The FX track controls Analog Keys internal send effects. To edit the FX track, press the [TRACK] key 5. Five PARAMETER pages exist for the FX track: EXT IN contains parameters relating to the external inputs.

  • Page 40: The Sequencer

    THE SEQUENCER The sequencer of Analog Keys stores information in patterns. A pattern controls the playback of the synth, FX and CV tracks and various aspects of these tracks. Each of the 8 banks, ranging from A to H, can host 16 pat- terns, meaning 128 patterns are available.

  • Page 41: Pattern Control

    [FUNCTION] key is released. • Tempo shift is very handy when manually syncing Analog Keys to a turntable or an external sound source. Note that you do not need to be in the TEMPO menu to perform tempo shifting.

  • Page 42: Editing A Pattern

    LIVE RECORDING mode is the second method of adding trigs to the tracks. In this recording mode, the KEY- BOARD, or an external MIDI keyboard connected to Analog Keys, can be played in real time to input trigs to the tracks.

  • Page 43: Track Menu

    THE SEQUENCER TRACK MENU In this menu settings and options related to the active track are found. Open the menu by pressing the [TRACK] key. Navigate in the list using the [UP]/[DOWN] arrow keys or the SOUND SELECTION wheel. Select options by pressing [YES].

  • Page 44: Arpeggiator

    THE SEQUENCER • The RELOAD PATTERN command is great when improvising live. Any changes made to the active pattern, like adding bass line notes or similar, can immediately be undone. ARPEGGIATOR The ARPEGGIATOR menu controls the six arpeggiators, one for each track. Arpeggiator settings are a part of the pattern, they are not stored together with kits.

  • Page 45: Arpeggiator Setup

    THE SEQUENCER LEN controls the length of the arpeggiated notes. NO2-NO4 selects the offset in semi-tones for three additional arpeggio notes. The offset is made from the original note trig. The TRK KEY SCALE and TRK KEY NOTE settings found in the NOTES SETUP menu will affect the note values of the arpeggiated notes.

  • Page 46: Notes Setup

    THE SEQUENCER ENV controls whether the ENVF should be retrigged or not when a note trig or trigless lock is activated by the sequencer. ENV controls whether the ENV2 should be retrigged or not when a note trig or trigless lock is activated by the sequencer.

  • Page 47: Click Track

    THE SEQUENCER CLICK TRACK The CLICK TRACK menu controls the internal metronome of Analog Keys. Open the menu by pressing [FUNC- TION] + [TRACK]. Use the [UP]/[DOWN] arrow keys or the SOUND SELECTION wheel to scroll through the list of settings. Press [LEFT]/[RIGHT] to change the highlighted setting.

  • Page 48: Advanced Mode

    A 2X time signature setting is useful for increasing the base resolution of the step sequencer to 32nd notes. A 3/4X setting is useful when Analog Keys is playing alongside other instruments set to the same BPM and you want Analog Keys to play triplets.

  • Page 49: Sound Locks

    THE SEQUENCER To apply parameter locks in GRID RECORDING mode, press and hold the [TRIG] key of a trig. Adjust the parameters you want to lock using the DATA ENTRY knobs. The graphics in LCD will become inverted for the locked parameter and the locked parameter value will be displayed.

  • Page 50: Conditional Locks

    THE SEQUENCER CONDITIONAL LOCKS On the NOTE page, there is a parameter called TRC (Trig Condition) with which a set of conditional rules can be applied to any trig, using a parameter lock. Each setting is a logical condition, which will determine whether or not the sequencer note will be triggered.

  • Page 51: Trig Mute

    THE SEQUENCER TRIG MUTE The TRIG MUTE menu makes it possible to add mute masks on a per trig basis. Each track can have its own trig mute trigs. Open the menu by pressing [FUNCTION] + [BANK A/E]. Select the track to which you want to add trig mute trigs by pressing the corresponding [TRACK] key. While in the TRIG MUTE menu, entered trigs will mute any trigs placed of the active track, given the trigs are located on the same sequencer steps.

  • Page 52: Note Slide

    THE SEQUENCER NOTE SLIDE The NOTE SLIDE menu makes it possible for the pitch of two separate note trigs to slide between each other. Open the menu by pressing [FUNCTION] + [BANK C/G]. When this menu is active and [TRIG] keys are pressed, note slide trigs will be placed on the sequencer.

  • Page 53: Swing

    THE SEQUENCER SWING Sets the swing of the pattern, allowing for a different rhythmic groove. Access this menu by pressing [FUNC- TION] + [PATTERN]. TRACK TRANSPOSE Tracks can be transposed up or down and the transpose function can be locked for one handed operation. The tracks that will be affected by the transpose functionality are set in the NOTES SETUP menu.

  • Page 54: Quick Save And Reload Commands

    THE SEQUENCER Individual tracks can be copied, pasted and cleared in the same way as patterns. To do so, GRID RECORDING mode needs to be active. A track page is one of the up to four pages of sequencer steps a pattern can consist of. It is similar to copy/ paste/clear a track, but will only affect the active track page.

  • Page 55: Chains And Songs

    CHAINS AND SONGS CHAINS AND SONGS Chains are sequences of several patterns. Chains and patterns are used to form songs. 256 pattern entries are available for the 64 chains, meaning for example one chain can be made of 256 patterns or two chains can be made of 128 patterns each.

  • Page 56: Song Edit Menu

    CHAINS AND SONGS it will play through its chain of patterns once, then stop. If the scratch pad row has been moved within the song, it will play the following song row. The song row playing is shown in the lower left corner of the LCD screen. SONG EDIT MENU Songs are created in the SONG EDIT menu, which is accessed by pressing [FUNCTION] + [SONG MODE].

  • Page 57: Song Menu

    CHAINS AND SONGS Repeat a song row with a chosen factor by moving to the leftmost position of the song row. Turn DATA ENTRY knob A to select how many times the song row will be repeated. Add song mutes to a pattern by highlighting it and pressing [FUNCTION] + [TRACK]. The mute graphics to the right in the LCD screen shows which tracks have been muted.

  • Page 58: Global Menu

    GLOBAL MENU GLOBAL MENU The GLOBAL menu offers settings that affect Analog Keys on a global level. Global tune, MIDI and CV settings are made here. Up to four Global slots, where each can have individual settings, are available. Access the menu by pressing [FUNCTION] + [SONG]. Scroll the list by using [UP]/[DOWN] or the SOUND SELECTION wheel.

  • Page 59: Sequencer Config

    In this menu various sub-menus dealing with the MIDI functionality of Analog Keys are found. MIDI SYNC Controls how Analog Keys receives and sends MIDI clock and transport commands. Change settings by using the [LEFT]/[RIGHT] arrow keys. CLOCK RECEIVE will when active make Analog Keys respond to MIDI clock sent from exter- nal devices.

  • Page 60: Midi Port Config

    • DISABLED will make Analog Keys disregard any incoming MIDI data. • MIDI will make Analog Keys listen only to MIDI data sent to the MIDI IN port. • USB will make Analog Keys listen only to MIDI data sent to the USB port.

  • Page 61: Midi Channels

    When set to INT, no MIDI data will be sent. When set to INT + EXT, messages will be sent internally as well as externally. When set to EXT, messages will only be sent externally. RECEIVE NOTES will, when active, make it possible to play Analog Keys using an external MIDI keyboard.

  • Page 62: Multi Map Edit

    Ideal for performances and live improvisations. Additionally, the internal multi map trigs can be recorded with the Analog Keys sequencer. At most, one unique function may be mapped to each of the 128 keys of the entire MIDI keyboard range. One multi map setting is stored for each global slot, which means 4 different keyboard maps per project can be used.
  • Page 63 GLOBAL MENU • NONE sets a KEYBOARD or external MIDI keyboard key or range that will not be used for any function. Convenient for defining a ‘no-play’ zone on the keyboard between two or more sections with different Sounds or functions. RANGE LOW sets the note on the keyboard on which to start the desired key- board range.
  • Page 64 GLOBAL MENU • INT.TRIG sets the chosen KEYBOARD or external MIDI keyboard key or range to control specific Sounds from the Sound pool or from the +Drive Sound library. RANGE LOW sets the note on the keyboard on which to start the desired key- board range.

  • Page 65: Cv Config

    GLOBAL MENU FIXED VEL will, if set to OFF, make the velocity sensitivity of the MIDI keyboard work as usual. It may also be set to a constant specific value between 1 and 127. DELETE ENTRY deletes the whole entry. Select and reconfirm by pressing [YES/SAVE].
  • Page 66 [RIGHT] or DATA ENTRY knob A. If you don’t have a tuning device, we recommend you play the corresponding note on one of the Analog Keys internal tracks and tune by ear. Repeat the process for NOTE 2 and VOLTAGE 2, but choose, for example, C5 or C6. Finally play some random notes to see if they are in tune.

  • Page 67: Voltage Trim

    GLOBAL MENU • GATE gives a longer pulse, with a duration of the whole note length. POLARITY works as the same parameter available when TYPE is set to TRIG. LEVEL works as the same parameter available when TYPE is set to TRIG. •...

  • Page 68: Sysex Dump

    [UP]/[DOWN] or the SOUND SELECTION wheel. Press [YES/SAVE] to open the high- lighted menu selection. When receiving or sending SysEx data, the MIDI ports or the USB port of Analog Keys must be connected to the external sending/receiving device.

  • Page 69: Sysex Receive

    Press the [RIGHT] arrrow key to access this column. Use the [UP]/[DOWN] keys or the SOUND SELECTION wheel to select what will be received. Press [YES/SAVE] to initiate the SysEx receive procedure. Analog Keys will start listening to incoming data. Press [NO/RELOAD] to stop listening.

  • Page 70: System

    USB CONFIG In order to use the Analog Keys as an Overbridge device (see “OVERBRIDGE” on page 12), you must set it to Overbridge mode. Do so by selecting the OVERBRIDGE MODE menu item and ticking the box by pressing [YES/SAVE].

  • Page 71: Format +Drive

    When performing the sending of the OS syx file, we recommend using our free SysEx utility C6. It can be downloaded from the Elektron website. • If the Analog Keys is receiving the OS upgrade through the MIDI ports, use the Elektron TM-1 USB MIDI interface for up to 10x transfer speeds. FORMAT +DRIVE Offers the possibility to erase all content, all projects and sounds, stored on the +Drive.

  • Page 72: Early Startup Menu

    TEST MODE To enter this mode, press the first [TRIG] key. If you have any trouble with your Analog Keys and suspect it may be due to a hardware problem, perform this self test. No errors should be reported as shown below. If that is not the case, contact Elektron support or the retailer you bought Analog Keys from.

  • Page 73: More On Oscillators, Filters And Envelopes

    MORE ON OSCILLATORS, FILTERS AND ENVELOPES MORE ON OSCILLATORS, FILTERS AND ENVELOPES In this chapter the functionality of the oscillators, filters and envelopes will be explained in further detail. OSCILLATORS Several waveforms are available to the two oscillators of each synth track. By adjusting the PW parameter, the waveshape can be changed on all types of waveforms, changing their timbre.

  • Page 74: Other Oscillator Waveform Selections

    The sub oscillator thus operates at 2/3 of the oscillator frequency. If, for instance, the oscillator plays a G, then the sub oscillator will play the C below it. Together with the other oscillator, this makes it possible to play a simple chord using just one track of Analog Keys. •...

  • Page 75: Filters

    MORE ON OSCILLATORS, FILTERS AND ENVELOPES FILTERS 4-POLE LADDER FILTER There is no way to turn the ladder filter completely off, but turning up the cutoff frequency will pass all frequen- cies through. It should be noted that zero resonance does not give the flattest frequency response – instead it drops some decibels both in the treble and in the bass.

  • Page 76: Envelopes

    MORE ON OSCILLATORS, FILTERS AND ENVELOPES ENVELOPES The amplitude envelopes and the assignable envelopes offer 12 different shapes, consisting of six basic shapes each with two different trigging behaviors. The envelope shape graphics give an indication of how the envelope will affect the modulation destination.

  • Page 77: Setup Examples

    SETUP EXAMPLES The versatile Analog Keys yearns to play with other machines. Whether it uses its ability to sequencer control and play other analog synths using CV, plays its part in a MIDI chain of machines or processes amplified incom- ing audio: Analog Keys gets along with other gear.
  • Page 78 Press [FUNCTION] + [CV C]. In this menu, set TYPE to VALUE LIN. Exit the menu. Analog Keys is now ready to control the external synthesizer. On the CV A, CV B and CV C pages, the con- trollable parameters are indicated by arrows pointing from the parameters to the cable plug graphics. These parameters can of course be parameter locked.

  • Page 79: Analog Keys With Other Elektron Gear

    Octave Down Analog Keys really thrives with other Elektron gear. In this example it is used with an Octatrack and a Machinedrum. The Machinedrum main output is connected to Analog Keys inputs. Analog Keys main output is connected to one of the input pairs of the Octatrack. The main outputs of the Octatrack goes to the PA. The Machinedrum and Analog Keys are MIDI slaved to the Octatrack.

  • Page 80: Analog Keys As A Filter Bank

    Down Thanks to the neighbor routing, all the filters of Analog Keys can be used for providing an immense mono filter- bank consisting of 8 filters plus 4 overdrive circuits. The setup can be either serial or parallel. It can of course be set up for stereo filtering as well.
  • Page 81 • When using Analog Keys as a stereo filter, let track 1-2 take care of the left signal and track 3-4 take care of the right. Don’t forget to pan the synth tracks responsible for the left and right chan- nels hard left and right.

  • Page 82: Using An External Oscillator With Analog Keys

    In this setup example, the CV track will trig the oscillator of an external analog synth. The output of this oscillator will be routed to left input of Analog Keys. Synth track 1 of Analog Keys will control the pitch of both the internal oscillators and the external oscillator.
  • Page 83 Set the SRC parameter of the CV A page to TR1. This will make the CV track send out pitch voltages according to the note trigs on synth track 1. Select track 1. Set WAV on the OSC1 page to IN L. For oscillator 2, choose one of the internal Analog Keys waveforms.

  • Page 84: Analog Keys With An Electric Guitar

    In this setup example Analog Keys is used for processing the sound output from an electric guitar. The first, most basic method uses the FX track to turn Analog Keys into an effects box sporting the Wideshift Chorus, Sat- urator Delay and Supervoid Reverb effects. The second, more elaborate method routes the sound through Track 1 and allows all the sound-shaping possibilities offered by the FILTERS, AMP, ENV and LFO.
  • Page 85 Place a note trig on the first step of the sequencer for Track 1. This is required in order to start the envelope processing of the feed from the electric guitar. Press play on Analog Keys. • The three main send effects are a perfect choice when performing at large arenas. Let your...

  • Page 86: Useful Key Combinations (Quick Keys)

    USEFUL KEY COMBINATIONS (QUICK KEYS) USEFUL KEY COMBINATIONS (QUICK KEYS) Use the key combinations below in order to quickly perform certain tasks. GENERAL [FUNCTION] + [REC] will perform a copy command. Action depends on the currently active page or mode. [FUNCTION] + [PLAY] will perform a clear command.

  • Page 87: Sequencer Settings

    USEFUL KEY COMBINATIONS (QUICK KEYS) SEQUENCER SETTINGS [FUNCTION] + [TEMPO] to tap tempo. [FUNCTION] + [TRACK] (CLICK) to access the CLICK settings. [FUNCTION] + [NOTE] to access the QUANTIZE settings for the active track. [FUNCTION] + [PAGE] to access the pattern / track SCALE settings. Increase pattern length by 16 steps a pop by pressing [PAGE] repeatedly.

  • Page 88: Technical Information

    TECHNICAL INFORMATION TECHNICAL INFORMATION SPECIFICATIONS THE SEQUENCER ELECTRICAL SPECIFICATIONS 4 synth tracks Impedance balanced audio outputs: 1 FX track Main outputs level: +19 dBu 1 CV/Gate track  unbalanced Output impedance: 440 128 projects (+Drive) Headphones output: 4096 sounds (+Drive Sound library) Headphones out level: +19 dBu 128 patterns (per project) ...

  • Page 89: Credits And Contact Information

    Alex Schetter Charlie Storm Daniel Troberg REFERENCE MANUAL Ufuk Demir Thomas Ekelund Jon Mårtensson Daniel Sterner CONTACT INFORMATION ELEKTRON WEBSITE http://www.elektron.se DELIVERY ADDRESS Elektron Music Machines MAV AB Sockerbruket 9 SE-414 51 Gothenburg Sweden TELEPHONE +46 (0)31 743 744 0...
  • Page 90 CREDITS AND CONTACT INFORMATION...

  • Page 91: Oscillator 1

    Appendix A: SYNTH TRACK PARAMETERS In this appendix, the parameters of the synth tracks are explained. OSCILLATOR 1 The OSC1 pages control the first oscillator, its suboscillator, plus the noise generator. OSC 1 (page 1) NOISE (page 2) TUN (OSC1 Coarse Tune) sets the pitch of the oscillator in semi- S&H (Sample &...

  • Page 92: Oscillator 2

    OSCILLATOR 2 The OSC2 pages control the second oscillator and the accompanying suboscillator. Settings that will affect both oscillators are found here as well. OSC 2 (page 1) OSC (page 2) TUN (OSC2 Coarse Tune) sets the pitch of the oscillator in semi- AM1 (Osc1 AM) engages Amplitude Modulation on Oscillator 1, tones.
  • Page 93 FILTERS In the FILTERS page, settings that will affect the two track filters are found. FILTERS FRQ (Filter1 Frequency) sets the cutoff frequency of Filter 1, the 4-pole lowpass transistor ladder filter. RES (Filter1 Resonance) sets the resonance of Filter 1. Increased resonance introduces a peak in the spectrum at the cutoff frequency.
  • Page 94 AMPLITUDE The AMP page contains settings for the amplitude envelope and the effects sends, as well as panning and volume of the sound. ATK (EnvA Attack) sets the attack time of the EnvA envelope, which controls the amplitude of the track. DEC (EnvA Decay) sets the decay time of the EnvA envelope.
  • Page 95 ENVELOPES Here parameters controlling the two assignable envelopes are found. The first envelope, ENVF, is hard- linked to the cutoff parameters of the two filters but can also modulate two user-selectable destinations. ENVF (page 1) ENV2 (page 2) ATK (EnvF Attack) sets the attack time of the EnvF envelope. ATK (Env2 Attack) sets the attack time of the Env2 envelope.
  • Page 96 The two track LFOs can be used to modulate the other synth track parameters. LFO1 (page 1) LFO2 (page 2) SPD (LFO1 Speed) sets the speed of LFO1. It is synced to the SPD (LFO2 Speed) sets the speed of LFO2. It is synced to the BPM.
  • Page 97 Appendix B: FX TRACK PARAMETERS In this appendix, the parameters of the external input page and the three send effects are explained. EXTERNAL IN The EXT IN page controls the signal path from the two audio inputs to the main mixer. These external signals can be routed to the effects and panned just like the four synth tracks.
  • Page 98 WIDESHIFT CHORUS The Wideshift Chorus can be used to widen sounds, enhance the stereo image or add subtle movement to sounds. CHORUS PRE (Predelay) sets the predelay time of the Wideshift Chorus. SPD (Speed) sets the low frequency modulation speed of the chorus taps.

  • Page 99: Saturator Delay

    SATURATOR DELAY The Saturator Delay adds an echo-like effect to the audio. Thanks to the special features of this effect, it can also be used to subtly warm or severely distort the delay signal. DELAY TIM (Time) sets the delay time. It is relative to the current BPM and is measured in 128th notes.
  • Page 100 SUPERVOID REVERB The Supervoid Reverb is perfect for positioning sounds in the mix.It can simulate everything from vast locations to small spaces. REVERB PRE (Predelay) sets the predelay time of the Supervoid Reverb. DEC (Decay) sets the decay of the reverberated signal, essen- tially setting the size of the acoustic room.
  • Page 101 FX LFO The FX LFO menu consists of two LFOs dedicated to modulating FX track parameters. LFO1 (page 1) LFO2 (page 2) SPD (LFO1 Speed) sets the speed of LFO1. It is synced to the SPD (LFO2 Speed) sets the speed of LFO2. It is synced to the BPM.
  • Page 102 Appendix B: FX TRACK PARAMETERS...
  • Page 103 Appendix C: CV TRACK PARAMETERS In this appendix, the CV/Gate track parameters are explained. CV A-D The CV A-D pages control the signals sent from the 2 dual CV/Gate outputs. Depending on the CV type chosen in the CV CONFIG menu, the available parameters will change. CV (GROUNDED) CV (PITCH V/OCT) No parameters available.
  • Page 104 CV (PITCH HZ/V) CV (VALUE LIN) TUN (Coarse Tune) sets the coarse tuning of the CV in semi- VAL (Value) sets the voltage level of the CV. Applicable when the tones. chosen CV type is VALUE LIN. FIN (Fine Tune) sets the fine tuning of the CV. BND (Bend Depth) setls the bend depth.
  • Page 105 CV (TRIG) CV (GATE) SRC (Source Track) sets the track to use for sending trig signals. SRC (Source Track) sets the track to use for sending gate sig- The CV track, FX track and synth tracks 1-4 can be used as nals.
  • Page 106 CV (CLOCK) CLK (Clock Division) sets the clock division. This setting relates to the BPM of the sequencer. Appendix C: CV TRACK PARAMETERS...
  • Page 107 CV ENVELOPES Here parameters controlling the two assignable CV envelopes are found. The CV envelopes can modulate parameters found on the CV track. They can also be sent to the CV/Gate outputs, by setting up a CV channel's type as VALUE LIN. ENV1 (page 1) ENV2 (page 2) ATK (Env1 Attack) sets the attack time of the Env1 envelope.
  • Page 108 CV LFO The two CV LFOs can be used to modulate other CV track parameters. They can also be sent to the CV/Gate outputs, by setting up a CV channel's type as VALUE LIN and then letting the LFO modulate its VAL parameter. LFO1 (page 1) LFO2 (page 2) SPD (LFO1 Speed) sets the speed of LFO1.

  • Page 109: Performance Parameters

    Appendix D: MIDI In this appendix, the MIDI CC and NRPN implementation is covered. PERFORMANCE PARAMETERS The following messages affect the performance parameters on all tracks. They are also sent when adjusting the knobs controlling the parameters. PERFORMANCE NRPN Parameter Encoder NRPN MSB NRPN LSB...
  • Page 110 SYNTH TRACK PARAMETERS The following messages affect the synth track parameters. They are also sent when adjusting the knobs controlling the parameters. OSC 1 NRPN Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB Pitch 0-127 0-127 0-127 Detune 0-127...
  • Page 111 NOISE CC Parameter Encoder CC MSB CC LSB Data Range MSB Data Range LSB Noise S&H 0-127 0-127 Noise Fade 0-127 0-127 Noise Level 0-127 0-127 0-127 0-127 0-127 0-127 OSC 2 NRPN Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB Pitch 0-127...
  • Page 112 OSC COMMON NRPN Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB OSC1 AM 0-127 Sync Mode 0-127 Sync Amount 0-127 Bend Amount 0-127 Slide Time 0-127 OSC2 AM 0-127 Note Sync 0-127 Vibrato Fade 0-127 Vibrato Speed 0-127 Vibrato Depth 0-127...
  • Page 113 FILTERS CC Parameter Encoder CC MSB CC LSB Data Range MSB Data Range LSB Filter1 Frequency 0-127 0-127 Filter1 Resonance 0-127 Filter Overdrive 0-127 Filter1 Keytracking 0-127 Filter1 Envelope Amount 0-127 Filter2 Frequency 0-127 0-127 Filter2 Resonance 0-127 Filter2 Type 0-127 Filter2 Keytracking 0-127...
  • Page 114 ENVF NRPN Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB EnvF Attack Time 0-127 EnvF Decay Time 0-127 EnvF Sustain Level 0-127 EnvF Release Time 0-127 EnvF Env Shape 0-127 EnvF Gate Length 0-127 EnvF Destination A 0-127 EnvF Depth A 0-127...
  • Page 115 ENV2 CC Parameter Encoder CC MSB CC LSB Data Range MSB Data Range LSB Env2 Attack Time 0-127 Env2 Decay Time 0-127 Env2 Sustain Level 0-127 Env2 Release Time 0-127 Env2 Env Shape 0-127 Env2 Gate Length 0-127 Env2 Destination A 0-127 Env2 Depth A 0-127...
  • Page 116 LFO2 NRPN Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB LFO2 Speed 0-127 LFO2 Speed Multiplier 0-127 LFO2 Fade 0-127 LFO2 Start Phase 0-127 LFO2 Mode 0-127 LFO2 Waveform 0-127 LFO2 Destination A 0-127 LFO2 Depth A 0-127 0-127 LFO2 Destination B...
  • Page 117 FX TRACK PARAMETERS The following messages affect the FX track parameters. They are also sent when adjusting the knobs controlling the parameters. EXT IN Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB Ch1 Chorus Send 0-127 Ch1 Delay Send 0-127 Ch1 Reverb Send...
  • Page 118 REVERB Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB Predelay 0-127 Decay Time 0-127 Shelving Freq 0-127 Shelving Gain 0-127 0-127 HP Filter 0-127 LP Filter 0-127 0-127 0-127 Send Level 0-127 LFO1 Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB...
  • Page 119 CV TRACK PARAMETERS The following messages affect the CV track parameters. They are also sent when adjusting the knobs controlling the parameters. CV A Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB CV A Coarse Tune 0-127 CV A Fine Tune 0-127...
  • Page 120 CV D Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB CV D Coarse Tune 0-127 CV D Fine Tune 0-127 CV D Value 0-127 CV D Clock 0-127 CV D Source 0-127 CV D Bend Depth 0-127 CV D Note Slide time 0-127...
  • Page 121 LFO1 Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB LFO1 Speed 0-127 LFO1 Speed Multiplier 0-127 LFO1 Fade 0-127 LFO1 Start Phase 0-127 LFO1 Mode 0-127 LFO1 Waveform 0-127 LFO1 Destination 1 0-127 LFO1 Depth 1 0-127 0-127 LFO1 Destination 2...
  • Page 122 D-14 Appendix D: MIDI...
  • Page 123 Appendix E: ANALOG KEYS ARCHITECTURE This appendix shows the complete architecture and constituent parts of the Analog Keys. Gray boxes show analog elements. White boxes show digital elements. SYNTH TRACKS 1-4 FADE ENVELOPE NOISE GENERATOR PWM LFO SUB OSC 1...
  • Page 124 Appendix E: ANALOG KEYS ARCHITECTURE...
  • Page 125 INDEX 2-Pole 4-Pole FX TRACK 31 Symbols +DRIVE 8 GLOBAL MENU 50 CV config Global slot ACCENT 43 MIDI config ARPEGGIATORS 36 Project manager Arpeggiator setup Synth config SysEx dump GRID RECORDING MODE 34 CALIBRATION 50 CHAINS 47 CLICK TRACK 39 HOLD MODE 15 CONDITIONAL LOCKS 42 CONNECTING THE UNIT 6...
  • Page 126 MULTI MAP 54 Tempo Entries Trig types External trig PERFORMANCE MODE 20 Internal trig Performance setup Pattern play POLYPHONY 22 MULTI MAP MODE 14 Allocation MUTE Allocation illustrations Track Configuration Voices PORTAMENTO 28 NAMING MENU 11 PROJECTS 16 Pop up naming menu Load project NOTE MENU 37 Manage project...
  • Page 127 AK as filter bank TRANSPOSE AK with electric guitar Destructive transpose AK with external oscillator Song AK with external synthesizer Track AK with other Elektron gear TRIG MUTE 43 SIGNAL PATH 7 TRIGS SONGS 47 Accent Transpose Conditional Lock SOUND BROWSER 26...
  • Page 128 INDEX...

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