Another track in a similar style as the last one, but less aggressive. Oh, and I released a new album on bandcamp. Thank you for the support! Another Full Hour | Ivar Tryti
All audio is coming from the Analog Four, with some heavy processing from the Analog Heat and Maximus. Everything was recorded in one take, no overdubs.
Thanks for listening!
I’ve been really enjoying the Analog Four lately. So much so that I’ve been thinking of saving up and trading up to a mk2.
All audio is coming form the Analog Four, with some saturation and filtering by the Analog Heat, and some heavy post processing with Maximus. Everything was recorded in one take, no overdubs.
Thanks for listening!
Good stuff. Really liked the macros you got for modulating the kick and percussion completely out of their role 
I hope you’re able to go for a mk2. I feel like you, more than most, would get a lot of use out of that dedicated QPER knob.
Thank you @phading and @jemmons! I appreciate that you spotted the macro that removed the drums. All it does is shorten the amp attack and decay on track 4 which has all the drums.
I sampled random sounds and chords out of context from different plugins, then tried putting them together into a full track. Inspired by a conversation with a patron in the comments of another video. Thanks, Sebastian! 
All audio is coming from the Digitakt, with some saturation and compression in post using SGA Phoenix, Air Windows ToTape6 and Maximus.
Thanks for listening!
I was inspired by the “Current sounds coming from your gear” thread. There are some amazing soundscapes and textures there, and I wanted to explore that on the A4. I tuned the oscillators waay down until they only sounded like clicks, then turned up the filter resonance and drive (the mk1 style) to make the weird intro sound.
All audio is coming from the Analog Four, with some heavy processing from the Analog Heat and Maximus. Everything was recorded in one take, no overdubs.
Thanks for watching!’
This is the full version of the snippet I posted here Current sounds coming from your gear (Part 1) - #2039 by Eaves
The fill button on the Analog Four is tiny. Like with the previous track, I was inspired by the awesome sounds on the “Current sounds coming from your gear” thread. I checked out some videos on a Pulsar 23, then tried to see if I could get the A4 to sound nearly as weird as that. I wouldn’t say I succeeded, but I am pretty happy with the results even if there were way more zappy sounds than I thought I made while recording.
All audio is coming from the Analog Four, with some heavy processing from the Analog Heat, ToTape6 and Maximus. Everything was recorded in one take, no overdubs.
Thanks for watching!
As with the previous tracks, I was inspired by the “current sounds coming from your gear” thread. I had been watching more Lyra-8 and Pulsar 23 videos, and wanted to try doing something similar on the Analog Four. Making these soundscapes with minimal use of the sequencer is really therapeutic. I’m so used to punching in melodies and p-locks systematically, but I don’t run into surprises nearly as much as when doing this. I don’t even hit the play button until 4 minutes in.
I made three separate patterns over a few days, but each were too short to make a whole video on. When I made the last one, I thought I’d try performing all three patterns in one video and post that.
Also, my phone’s screen is broken so I’m recording this video with a dusty old backup phone, hence the choppy framerate.
All audio is coming from the Analog Four, with some heavy processing from the Analog Heat, ToTape6 and Maximus. Everything was recorded in one take, no overdubs.
Thanks for watching!
These most recent Analog Four sketches are really blowing me away. You really display the depth and intricacies of these instruments. people could learn a lot by the way you coax these incredible sounds from elektron boxes. subtle shifts and very delicate programming combined with a good ear for composition and sound design. one of my favorite youtubers.
I wouldnt have thought to put an analog heat after the a4 but it sounds so beautiful. thanks for sharing these
Thank you so much for the kind words @Encephalitislerthargi! I was surprised at how well received these soma-esque sketches were. I’ve been having a lot of fun doing them, and I’m kinda excited about making a tutorial on the stuff I’ve discovered so far. I did get a bit of practice on that failed stream (I was explaining stuff with my mic muted), so I already have a faint idea of how to approach a full tutorial 
The Heat is actually 100% dry most of the time. It’s not until around 2 minutes in I start mixing in the wet signal now and then for a blanket of fuzz on top of the whole thing. The A4 sounds plenty brutal on its own!
I watched that stream after it aired live and i actually enjoyed it. but yeah it would be helpful to have some explanation i suppose.
agreed on the a4. @trytykee was a major inspiration to me as well in another thread where he showed off some musique concrete style sketches on the A4 with feedback oscillators or neighbor tracks, i forget which. but if you start using filter 2 as bp on multiple tracks with qper and start scratching it around inside of a 3 neighbor-track feedback loop, with a lot of overdrive and maybe some resonant chorus, it starts to feel like you’re rubbing two sheets of aluminum together as the resonance band scrapes the frequency spectrum of that feedback loop. very magical
anyway, keep it up. you’ve taken this idea to it’s logical next level and i love seeing the a4 being pushed to its limits. these walkthroughs that show non-obvious tips and tricks for sound design are my favorite thing to watch. extremely inspiring. thanks for sharing
When Gear Acquisition Syndrome strikes, I fight it by making music with the gear I already have. I sampled the drums from my old tracks on the Analog Four, and recorded my acoustic guitar which took around 20 minutes to get one good 10 second take. I considered mapping the bottom row of trigs to toggle plugins in FL Studio for extra performance options, but it’s a lot more work than I had the energy for. Instead I placed a lot of lock trigs with the FILL condition to highpass and add delay and reverb to the drums and guitar whenever I hold the fill/page button and left it at that.
All audio is coming from the Digitakt, with some heavy processing by SGA Phoenix (preamp plugin), AirWindows’ ToTape6 (tape saturation), and Maximus (multiband expander). Everything was recorded in one take, no overdubs.
Thanks for watching!
Excellent as usual. Words can’t really do justice, your stuff is so consistently great man!
what would make you consider the 404 mk2 over the dt? iimediacy? different sequencing technique? effects?
Thank you @JPM!
@Encephalitislerthargi I don’t think I’d replace my DT with an SP404 mk2. The DT is too useful! But I’m very interested in trying out the SP404’s live recording approach. The main draw for me is the built in preamp for instrument level inputs and send FX, which lets me use my guitar and bass without having to hook up an amp and pedals or use my audio interface’s preamp and plugins. With 16gb space and SD card slot I don’t have to be as picky about what I sample, like I am with the 1gb on the DT. I’d like to try finger drumming on the velocity sensitive pads instead of step sequencing, and resample destructively with all the different FX.
So yeah, I don’t want an SP404 mk2 instead of a DT. In fact I could use it as preamp and FX pedal when for sampling my guitar and bass into the DT if I want to use the Elektron sequencer.
Or you would end using the Vinyl or Cassette Sim on top of your tracks, most definitely 
yes, don’t listen to the gas. you don’t need anything, there is still so much to discover with the gear you have. (says the person who really wants a hydrasynth )
btw. i have a drumpad(korg padkontrol) permanently connected to my digitakt, plays quite well! although i wish one could map velocity to something other than just volume.
Those are some good points. I ask because I’ve considered a lot of alternates to live sequencing or sampling like Akai force, deluge, sp404, old electribes, blackbox. I’m sure there are advantages but I can’t imagine there is a better overall option than most Elektron machines. That workflow has completely taken over my setup and changed the way I approach producing, so there’s no turning back for me. I can only hope they keep expanding and innovating along the same lines with more sound design and synthesis options so I don’t have to seek out alternatives that never live up to these boxes
Anyway that makes sense but I agree, you can always find a way with elektron stuff. The missing features never seem to outweigh the massive advantages. Just wanted to make sure I wasn’t missing something. but I see the appeal.
I admire your approach to synthesis/sound design so I would be inclined to take your advice on gear
Thank you for sharing an inspiring story and great music as usual!
I have a question about your FILL use: how do you lock filter and effect parameters only, they affect the trigs that are already there it seems. Or did you add additional trigs and nudge them and set the regular trigs to not play when you press FILL?
Thank you very much @Encephalitislerthargi and @amaury!
To make the fill only affect parameters that are already there, I place a lock trig (the yellow ones) next to the normal trigs, microtime it all the way to the left so they almost completely overlap, give it the FILL condition, then p-lock all the parameters I want. When holding FILL, the millisecond between the normal trig and lock trig is almost imperceptible.
I’m still fighting GAS for the SP404 mk2. This time I tried making a lofi beat on the Digitone, with drunken beat and ocean waves and tape warble and all.
All audio is coming from the Digitone, with some heavy processing Fruity Limiter, by SGA Phoenix (preamp plugin), AirWindows’ ToTape6 (tape saturation), and Maximus (multiband expander). Everything was recorded in one take, no overdubs.
Thanks for watching!
Hot Damn! You outdid yourself this time. Really dig this one. You’re helping me resist the SP too