Personal choice but thats what i used to think until i bought it. But I got a great price on a new unit so was happy that way.
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I think like anything else IF you have the cash to burn and IF it has a critical studio purpose as a tool other than a pure GAS want, sure why not? For me, I already have tons of stuff like it with Ableton Push and multiple synths so I rather spend the money on other gears.
I might get one. Some of it is that I always have a list of stuff I want and the Heat consistently lurks in my top 5 or top 10 wants, but a lot of it comes down to how there are some softsynths I adore, but wish I could run through a detailed filter and effects box that worked really well for softsynths. Thereās other stuff I try, like reamping through pedals, that makes me think that the Heat is a great solution for stereo distortion in an in-depth way that can add grit and power to some sounds that I like but that can sometimes sound a little too in-the-box for me. I love the idea of a multifaceted distortion tool that I could learn and interact with, and I donāt think thereās anything else that quite fits that itchābut I also can see how there may always be things that I want a little more.
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Right now, I use only the Synthstrom Deluge (my Sub37ās lurking in the corner, though). And I only run it through the Heat, if through anything at all.
For that purpose, the Heat is conceptually great.
Iām still finding my way with it, figuring out if itās right for me. But if youāre going for a singular setup, the Heatās value canāt be underestimated. For me, itās more a matter of character. But even then, just putting something together that does the same but with a different flavour, at that price point and size, just canāt be done.
The closer you look, the more you realise itās one of Elektronās most unique pieces.
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I just joined the Heat club an hour ago
. After watching several YouTube videos (the best of which, as always is sonicstate) I was sold but knew I could never afford it.
Three things happened in my life: a) I started a project with an ITB Ableton/Maschine guy. Iām a hardware guy so this is my way of making sure the sounds donāt suck (soft synths are gross); b) I got a chance to play with Heat at a local vendor show, I used the enhancement circuit on one of my rough mixes I had on my iPhone, it was a total game changer; c) one came up for sale locally. In a way I feel bad because Elektron wonāt record a sales tally for someone reselling it, but at least it will be very loved at my house.
It sounds great
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Iāve owned a Heat probably since around the time they came outā¦
Itās okā¦It should sound better for what it is and what the are charging,
I really only find Saturation and Magnetic Master useful, the rest of its circuits are nothing to write home about.
It actually sounds close enough to software that Iāve had my doubts that it really is analog and that at some point no matter what your i/O you are passing though ADDA converters, someday I may take it apart and check for my self,
Itās useful, the Eq is nice, but itās not capable of major sound shaping, the filter is what it is, but anything I have that needs a filter already has one, can be used to filter lows from the 2-bus
I donāt know, I just think it should have sounded a hell of a lot better than it does
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Iāve recently contemplated getting rid of mine.
However, my gripes were never about the quality of the device but more my use of it and my workflow.
Iād say the perspective youāre coming from is so negative that you would benefit from getting rid of it; you seem particularly cynical of, not only itās ability, but also Elektronās production methods and claims.
If you feel so strongly about it, Iād consider, not only getting rid of the Heat, but getting rid of any Elektron devices you may have. I think, as users, we need to have faith in the machines we purchase and use.
Thatās my personal view anyhow.
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I tend to agree with the above from @terrible.dee
Iāve owned 2 & sold both, because i found its character flat & harsh, regardless of how subtly or heavily i used them. I donāt hear the warmth that people mention. In fact they gave me headaches, as did the Digitakt.
In contrast my (mono) Vermona Filter Lancet sounds beautiful. Even my Digital TC Electronic Fireworx sounds better, imo.
On paper, what it can do is impressive. For me though it simply didnāt sound good.
Had one when they first came out, thought it was good but not significantly different to results I could achieve with other gear, so I sold it. But then I changed my setup a bit and decided that the AH actually offered quite a bit in its compact dimensions, I was considering getting an Oto Boum but after discovering that it is really only just a compressor with a few niceties decided to get another AH, I think for me it is a better choice as it can also perform other roles than just placing on the stereo master.
The filter is probably my favourite aspect of it because of the many modes, it can be used for a large number of audio processing duties and in that regard there are no alternatives. Of course all the other functions are very handy too and there is a reason it gets such good reviews, it is very flexible and can make material sound a whole lot better, or worse if that is what you want 
Edit: Iāll add that - as is typical for Elektron gear, it is equally as easy to make the AH sound crap, I think due to the number of parameters and their ranges it is sometimes very easy to go from great to pants. It does require a certain amount of restraint and critical listening particularly when processing whole mixes to determine if you are making improvements or just changing the character in a good or bad way.
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Also pay particular attention to input levels, sometimes if the incoming level is too high it can sound flat and bad, I think you want to be hitting around 75% of the peak most of the time for processing mixes, if you are hitting the line at any time dial it back a bit.
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I recently became very interested in the AH again specifically for its ability to create pseudo side-chaining effects. I thought I was more interested in the OTO Boum, but I already have a couple compressors I like, and the Boum is lacking the envelope follower that makes the AH so special. Iām not interested in using the AH to āwarmā things up as much as I am to get things punchy. From the demos Iāve heard, I really like how it adds pumping to tracks while retaining/adding punchiness to the drums. Iām just really hoping it can be used as an audio interface in my setup as well.
I works very well for this use, very good pumping effect I find. The only downside to this is that setting the right threshold for the env follower is a tad fiddly (itās better with over bridge, more quality visual feedback) to really only have the kick drum triggering it without having it at the forefront of the mix. A side chain input would have been useful to this effect. Iād be wary of using it live, but maybe thereās a way to have it safely locked.
shameless example of pumping effect :
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I caught your demos on the Muffwigglers forum. Your demos actually helped revitalize my interest in the AH; I really dig this pumping effect. It reminds me of the vinyl sim compressor on the Boss/Roland SP303/404. You really have to mix into it, and raise the volume of the drums to get the pumping right; I totally understand what you are describing with getting the levels right.
Iāve been spending the last few months trying to think of the best side-chaining options for my live setup, but then I realized the effect I liked most was not real side-chaining, but actually that sound of making a gnarly compressor/limiter pump just like they did in the good old days.
As long as you donāt need to tweak anything by hand, Iād think that having the ability to instantly recall presets, and control paramters via midi would make it quite ideal for a live setting.
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Yeah, I think I just need to make better presets ! This thing is very volume dependent thatās for sure. Good thing the Digitakt has various ways to adapt the volume of each channel. In any case it really breath life to drones ! And I love the effect when the sound comes back full volume when you cut the kick drum.
Before getting the Analog Heat I was looking at the BugBrand Compressor which seems really good too; but almost the same price and not nearly as feature packed; but itās probably a better compressor in the end. I donāt know if there are that many good options in that price rangeā¦ These things become expensive very quickly.
I was wondering, if youāre using the DT, would it be useful at all to send a CC message to the AH to lower the envelope threshold each time the kick triggered, and to keep it all the way up otherwise.
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As Iāve said before: the most fun Iāve ever had with any of my +40 music devices bought over the years.
And someone talked about the filter - just adding that itās the best filter Iāve ever heard.
Each to their own.
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Good call, never though of trying this. Iām not very midi-savvy thoughā¦
New example of āpumping effectā as well as some use of the high pass filter if thatās ok :
I donāt think I could live without the Heat on the master bus anymore.
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Does anyone know what I would need to do to this ?
My problem/pet peeve about the Analog Heat is that the enveloppe follower is too fiddly to have a reliable side chain compression. Itās especially the case with sub-heavy kicks with long decays that may not cut right through the mix or even kicks voluntarily mixed low when you still want the side chain compression.
Easy way to do it would be CV since I use a modular, but I also like the side chain to stop when I mute the kick and I would be unable to do both at the same time. So Iād like to have a midi channel on the Digitakt (say 9 since itās right under the kick) trigger the enveloppe of the enveloppe follower.
Iām a total midi n00b and I couldnāt really figure it despite both manualsā¦ If anybody could help thatād be greatly appreciated !