Okay. That’s kind of counter intuitive as a process but now that I know I won’t make the same mistakes. Thank you!
Unacceptable!!
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success 
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For the purposes of this forum software, yes, that was a complete sentence.
So was this.
i’d love to learn how to make that kind of hoover sound! This is really sounding spot on!
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Thank you, you can book lessons with me, but the sound (and everything to hardcore, gabber and rave … and industrial and techno and even berlin school …) is also inside my Analog Four Curses Soundpack 
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o cool, thanks!
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from anti-pop, ebm, hardcore, dfam, Eminent/Solina Strings electronica, pulsar-23, gabber, industrial to dub, … my Analog Four adventures
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I love that realistic strings patch. is it available?
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Thank you! Every sound in this video and a lot more are available in my “Analog Four Curses” at https://dissonantwitchcraft.com/ (still at introductionary price) 
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Jeanne your stuff is dope, but ever thought about some “cursed tutorials” (ST DN) (not YT)?
You know: “give a human a fish and he will… etc”
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Mad inspiring. Thanks for sharing and fueling the A4 gas :}
Strings patch gave me some hints of Angelo Badalamenti’s “Mulholland Drive” theme.
I understand that there are many discussions and I have read a lot… but am I right that the difference in sound between A4 and Mk2 is small and mainly the differences in drive?
This is a good overview of the changes:
But yeah. To sum up, new OD (something very similar to the mkI OD can still be accessed when moving the OD counter-clockwise) and a vague “reworked circuitry” for deeper bass that I personally have never really been able to hear. As far as patch-compatibility goes, I think the OD is the only thing to pay attention to?
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The thing I’ve wondered (and never seen compared or discussed) is the difference, if any, between the overdrive on the Analog Keys and the MkII. After all, the overdrive on the AK has the clockwise / counterclockwise for two different characters of drive. So the reasonable assumption is that it’s quite similar or the same as the MkII, but I’m not sure.
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For the MKII they kept one of the two present in the AK (IIRC the one on the left side of the knob) and developed a completely different one for the right part of the knob.
The one on the left it’s cool and weird, the one on the right is warm and more akin to the analog saturation we all love (meaning as you crank it the perceived volume raises as well as harmonics, and the transients proportionally rounding off).
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Hey, I’d be really interested to hear about your routing of NEI tracks. It still flys over my head, and I’m always unsure what part in the signal chain I’m actually processing from each track. Like if I have Track 3 set to NEI is it then taking the processed signal from Track 2, and one can then further process that audio through the Track 3 filters, overdrive etc.?
Will definetly check in the manual again what NEI is about, still any advice is appreciated! : )
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Yeah, so Neighbor oscillator mode takes the signal chain from the previous track. Thats the entire analog signal so everything from the oscillator to the amp. Obviously you’re not processing the digital effects as those as send effects that exist on different tracks before hitting the master.
So if you have an overdriven sound on track 1, and an oscillator set to neighbor on track 2 and you overdrive that you’re getting even more overdrive.
The other thing to note is that track volume is independent from the sound being sent the neighbor track. So if you only want to hear track one processed through track 2, you’d turn down the volume on track one in the mixer view. You’ll only hear track 1 when a trig is played on track 2, but you’d also want a trig to be played on track 1 as well as you still need the amp to be opening up on track 1. This is where interesting stuff can happen as you can have the notes play at different times and lengths which can help give that ebb and flow sound, especially if you have different lengths for each track sequencer.
You could also do some what parallel processing but not turning down a track that is also going into a neighbor track and maybe automate the second filter on just track 2 at certain steps. Lots of stuff you can do with this.
But yeah, simply put: the neighbor oscillator is taking the entire synth engine from the track before. That’s the oscillator, filter, second filter, amplifier, and of course all the modulation, and sends it right at the beginning of the synth on the next track to be processed once again by another two filters overdrive, and amp. Combine that with the feedback oscillator type that takes the audio right after the ladder filter on the same track and modulate the oscillator volume and you start getting into crazy territory quick
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Forgive me to chime in here, it would be even more incredible if that were the case, but… it’s basically the signal before VCA that can be processed as neighbour track in the next track.
Edit:
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