Awesome thanks!
Have the machine and really have to dig in when i have the time, starting out with your Patches 
I see them everywhere in youtube videos, (bedroom)studio pics, mentioned in interviews, used on stage etc.
Must be something else^^
It’s one of those boxes where it’s easy to fall back on just using it as per the immediate knobs on the front - I use it plenty, but only really at that level. I guess that other people similarly might not dive into the menus on LFO etc.?
I’d love a few bits of inspiration to help push me deeper with it! Recipes like those above are a cool starting point.
1 Like
I’m interested in resurrecting this topic. There is a topic of tips and tricks for every Elektron machine, but for the analog heat. There are some ideas in different posts, buried in the forum, but not a compilation place.
I’ve only used the AH in very basic ways, and I’m interested in squeezing all the juice from this machine.
How do you use your AH? Can you share some tricks/patches/ideas?
2 Likes
I wonder if anyone has tried clean boost on their master bus?
Oh yeah! Also, I mixed in the box tracks for a dear friend, and mastered with Clean boost, some drive, and then a limiter in the box. The result is great!
I was being a little sarcastic as that seems to be the use most put it to. Mine is gathering dust at the moment so I’m in no position to judge.
I actually got mine as an anti gas measure to liven up synth sounds on things like the circuit and the gaia. I remember being sold on it after seejng a video of someone running just a sine wave through it and making it sound amazing.
My most recent main use has been to run a drum pattern through it for 3 or 4 minutes and just use tweaks of filter, eq and distortion to map out a rudimentary song structure.
Looking forward to punching in the settings from the first post. I’m also getting the sense that people using and making presets is the exception to the norm?
I see 
I didn’t detect the sarcasm. It’s indeed easy (for me) to forget the depth of the Heat. To balance that I would say it still brings a lot of satisfaction on just clean boost for subtle duties.
I’ve started lately to use it as a processor to record single instruments in the box in my hybrid setup. I still don’t use the envelope follower or lfo to their pour
Tential but get a wide smile with what the drive, filter and eq give me while recording a take.
I like this thread and will also try the things shared in the first posts to widen my palette.
Cheers!
1 Like
The Heat really opens up when modulating parameters via an external source. I sometimes like to route a MIDI LFO from the Octatrack to the AH’s circuit type for glitched out, steppy distortion.
Another thing I’ve been fond of doing lately is using one of the control inputs in CV mode to modulate a parameter of my choosing, and using the other input in footswitch mode to trigger the envelope from a gate signal instead of incoming audio. I currently have this set up with my Microfreak, sending pressure CV for modulation and gate to the footswitch input. It’s a lot of fun and really augments any synth with CV output. A4 anyone? 
One more little trick that I find useful is treating it as dual mono, monitoring only one of the channels, and using the input of the other channel as a sidechain to trigger the envelope. The only thing to be mindful of is that the input level of the affected signal stays below that of the “sidechain” so that only one channel is triggering the envelope. This can be used to emulate sidechain compression of course, but also many other interesting things.
I love the Analog Heat!
4 Likes
Really interesting to read your experiments. This part I don’t understand yet. Can you trigger envelopes in footswitch mode (how?)? And how does that work via a gate?
I can’t understand most of this paragraph 
For starters, why a gate signal and not a MIDI signal?
I have the Microfreak and the A4 and, so far, I’ve completely neglected the capacities of CV, thinking it was only a communication system for pure analog devices that weren’t capable of using MIDI.
You can change the behavior of each control input in the settings menu. I’m not in front of mine right now so I can’t say exactly where, but it should be fairly easy to find. Once you set an input to footswitch mode, on the same page you can set what will happen when it receives a signal, and you can invert the polarity if necessary.
1 Like
That’s a good question. I always assumed that the envelope couldn’t be triggered via MIDI, so I never even bothered to try. Does it work?
I guess I just enjoy using CV to control things because it feels a bit more like having direct access to the hardware, though it is generally more limited than MIDI. I like the modularity of CV, being able to route different elements to different destinations discretely.
4 Likes
I completely get what you’re doing with CV to gate the AH’s Filter Envelope.
However, I have a question: Can you still limit the Filter Envelope Gate AMOUNT using a knob on the AH while using a CV Control Input?
Let’s say your Control-1 CV signal is simply steady +5Volt pulses; and obviously you don’t want the gate to open at maximum every time; but instead you want to control the amount (or depth) on the AH’s interface, making the Heat act as a normal filter, as found on all analog synthesizers.
Can you do that, or does one need to vary the external +5Volt pulse?
I don’t think there’s any way to set the voltage threshold in footswitch mode, so you would have to vary the incoming pulses.
You can always control the ENV depth knob on the filter page, but if you want to automate that behavior you could use the LFO or external CV source routed to Filter Env.
Shoot, so there’s no way to construct a snappy resonant filter envelope without having to vary the input voltage?
I assumed the Control Inputs could act like a CV/Gate input on a synth - like on a SH-101 for example - the Gate input always receives +5Volts, but it’s DEPTH can be varied with a VCF slider on the synth itself.
(Doing this gives you fast snappy zaps, even with all oscillators off - which is pretty useful)
I know the A4 does this, but I’m interested knowing if this can be done on a Heat. (I think you said no already, but I thought this is what you were referring to initially)
I think you can still utilize the different envelope modes when triggering via control input, in which case setting the Env to AD mode with a short REL will give you those snappy zaps.
With Elektron announcing a live demo of the AH+ with some tricks and Q&A, I figured it would be nice to throw our own tips & tricks.
Lately I’ve been using the AH+ with A4, I really love this pair!
Getting the snappy envelope follower on filter frequency is the basic, but it can be used to enhance the dynamics like an expander, together with some distorsion.
I also like to use the inverted envelope amount on a slight tape noise, to get some sidechain-like pumping on the background noise.
Try LFOs everywhere, you have plenty!
Tape or Chorus Stereo, Bass Focus XFREQ, there are many places where you can give your sound some life.
Get to the point where it’s noticeable, then dial it back a bit.
1 Like
ANALOG HEAT AS A SYHTH!
yes, use the selfocillation of the filters then route some envellopes from your daw true midi in of you AH and sent to FrQpan and Filter freq to start with!
1 Like