To everyone that ever stated that “A4 sounds thin”, this track is a slap shouting “TRY HARDER”.
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Thanks for all the kind comments!
- OSC 1 set to Saw (not Square!!!), enable PWM. Tweak that until it sounds as close as possible to the famous sound. If you are satisfied,
- copy those settings to OSC 2, set it one octave higher, but detune it a bit (around 10 cent lower or higher).
- Now set the volume of OSC 2 to zero, and then slowly turn it up until you hear this octave above just very subtely. (If it’s too loud, it’ll sound like an ugly funfair organ.)
- Usually we’d need a sub-osc that’s two octaves below OSC 1. The A4 can do that, but it’ll be too loud and grating and we can’t change its volume. As a compromise, we enable the 2PUL (because it’s the softest sounding) sub-osc of OSC 2. It’ll be different to the original, but at least not too loud since we gave OSC 2 a lower volume than OSC 1: Two problems solved with one shot.
- Enable Chorus
- Devour
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Sounds great, 1990’s vibe
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Nice! Yes, I did some detuning, but in different way and 2 sub-oscs were totally wrong (added mud).
What could be more relaxing than live gabber improvisation after hours… for yourself and your neighbours…
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coincidentally, I’ve used the second Filter as a low-cut on the acid line to make it thinner, so the overall lowend stays fat and uncluttered 
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Interesting, can this sort of thing not be done natively though!?
Just came back from the local music store after having a test, and to be fair didn’t really feel prepared at all as wasn’t entirely sure how to use it, but had some great fun with bass lines, kick drums, and general playing around.
Why are the presets so bad though!? Really feel like they don’t do the box justice, hearing some of the other better output.
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Yep. The presets and especially the demo patterns are awful
Various sound packs and personal sounds are fantastic tho
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Not only the factory content, many soundpacks seem to have a lot of underwhelming presets, but the best of them are quite something. There is another factor: A4 is really four coordinated (and highly p-lockable) monosynths, even though it can do 4-voice polyphony. Sometimes using several sounds together that are underwhelming on their own adds up to something great, because they fit together without one dominating or unbalancing things, and you don’t discover that until you use it for a while. It’s not something you’d notice while trying a unit in a store.
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No native paraphonic possibility.
Not when you play notes at least. You can fake it with p-locks though.
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Had fun with this 16 step bassline with two macros carefully balancing around a sweet spot in the resonance and mk1 style overdrive.
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Your videos are fantastic!
They get me hyped to go make tracks
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Thank you! I’m glad to hear it 
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Well, I bought my first piece of Elektron gear back in 2016, the Analog Four MKI. I’ve added a few others to the desk and now I’ve finally made a decision to part with it. Don’t get me wrong, it’s a wonderful machine, in fact that Is why I’ve just bought an Analog Four MKII.
So I’d like to ask, what are the workflow differences that people have found most useful, what key differences should I be aware of now that I’ve got a newer model? Are there some threads I should be directed to?
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The overdrive circuit works way better. Has a better bass response too.
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The overdrive is great. I’ve been messing with the feedback oscillator and doing trigless locks on the overdrive circuits with long drones for added/altered textures.
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Oscillator feedback + overdrive does some amazing things. I believe there’s a thread dedicated to the oscillator feedback
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