FCC compliance statement This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules.
IMPORTANT SAFETY INSTRUCTIONS Carefully read these instructions and save them for future reference. When using electric products, basic instructions must be followed, including the following: 1. Do not use this unit near water. 2. Never use any aggressive cleaners on the casing or the LCD 3. 4. 5. 6. 7. 8. 9. overlay. Remove dust, dirt and fingerprints with a soft, dry and non-abrasive cloth. More persistent dirt can be removed with a slightly damp cloth using only water.
INTRODUCTION.............................................................................................................. 1 CONVENTIONS IN THIS MANUAL........................................................................................................ 1 THE BACKGROUND OF ANALOG KEYS ..................................................................... 2 PANEL LAYOUT AND CONNECTORS........................................................................... 3 FRONT PANEL ..................................
KITS AND SOUNDS...................................................................................................... 16 THE +DRIVE SOUND LIBRARY AND THE SOUND POOL................................................................. 16 KIT MENU............................................................................................................................................. 17 PERFORMANCE MODE .............................................................................................................
SONGS ................................................................................................................................................. 45 SONG EDIT MENU ......................................................................................................................... 45 ADDING SONG ROWS AND ASSIGNING PATTERNS AND CHAINS........................................... 45 ADDING REPEATS, MUTES AND TRANSPOSE INFORMATION ................................................. 46 SONG MENU..........
ELEKTRON WEBSITE .................................................................................................................... 76 DELIVERY ADDRESS..................................................................................................................... 76 TELEPHONE ................................................................................................................................... 76 APPENDIX A: SYNTH TRACK PARAMETERS OSCILLATOR 1.............................................
INTRODUCTION INTRODUCTION Thank you for choosing Analog Keys. It is a digitally controlled analog synthesizer featuring, among many things, the renowned Elektron step sequencer. The innovative combination of modern technology and tried and trusted ways of sound generation will let you experience the analog realm in its entirety. To make the most of the machine, we recommend you to carefully read this manual. Tutorial videos, found on the Elektron website, are also available.
THE BACKGROUND OF ANALOG KEYS THE BACKGROUND OF ANALOG KEYS Working with a proper synthesizer is a musical experience hard to beat. The tactility, the fluent interaction, and the expressive potential open up another – maybe more direct – way of making music. Less logic, more feeling.
PANEL LAYOUT AND CONNECTORS PANEL LAYOUT AND CONNECTORS FRONT PANEL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 23 22 18 Master Volume 46 45 44 43 42 41 40 39 38 37 36 - + 34 33 35 32 31 30 29 28 27 26 25 24 21 20 19 The Analog Keys Front Panel. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. MASTER VOLUME sets the volume for the main outputs and the headphones output. [SONG MODE] activates/deactivates SONG mode.
PANEL LAYOUT AND CONNECTORS 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 4 [SONG] key opens the SONG menu. The secondary function opens the GLOBAL menu. [PATTERN] key opens the PATTERN menu. The secondary function opens the pattern SWING settings. [TRACK] key opens the TRACK menu. The secondary function opens the CLICK menu. [SOUND] key opens the SOUND menu. Secondary function accesses the trig-activated track muting.
PANEL LAYOUT AND CONNECTORS REAR CONNECTORS 1 2 3 4 5 6 7 8 9 10 11 12 Power The Analog Keys Rear Connectors. 1. 2. Power on/off switch. Power in (100-250 V AC, 50-60 Hz). Use the included C7 power cable, or equivalent, connected to a power outlet. 3. Full-speed USB 2.0 Connection. Connect using the included A to B USB 2.0 connector cable to a computer host. 4. MIDI Thru. Use standard MIDI cable to connect another MIDI unit in chain. Duplicates incoming MIDI In data stream. 5. MIDI Out.
ANALOG KEYS SIGNAL PATH ANALOG KEYS SIGNAL PATH Below is an image outlining the signal path of Analog Keys. OSCILLATOR 1 SUB OSC INDIVIDUAL OUT L AM AND SYNC MODES OSCILLATOR 2 INDIVIDUAL OUT R SUB OSC LADDER FILTER OVERDRIVE MULTIMODE FILTER VCA/PAN MUTE MAIN OUT L MAIN OUT R NOISE GENERATOR ABOUT THE COMPONENTS Both oscillators of each voice are analog. All their elaborate waveshaping abilities are completely analog, with digitally controlled pitches. The noise generator is digital.
OVERVIEW OF THE ANALOG KEYS STRUCTURE OVERVIEW OF THE ANALOG KEYS STRUCTURE The image below outlines the data structure of Analog Keys. 128 PROJECTS 4 GLOBALS 16 SONGS 4 SOUNDS +DRIVE SOUND LIBRARY 4096 SOUNDS 128 PATTERNS CV 128 KITS SOUND POOL 128 SOUNDS FX +DRIVE The +Drive is a non-volatile memory capable of storing up to 128 projects (thousands of patterns, kits and songs) internally. The +Drive also contains the +Drive Sound library, with the capacity of storing 4096 Sounds.
OVERVIEW OF THE ANALOG KEYS STRUCTURE BANK Eight banks exist for each project and each bank contains 16 patterns. Read more in section “THE SEQUENCER” on page 30. PATTERN For each of the 8 banks 16 patterns are available, which means 128 patterns are always readily available. A pattern consists of sequencer data like trigs, parameter locks, time signature and individual track lengths for the synth tracks and the FX and CV tracks, as well as ARP and NOTE page settings.
THE USER INTERFACE THE USER INTERFACE The center of Analog Keys editing is the LCD display. The main interface screen is shown below: 1 2 3 4 5 7 6 1. 2. 3. 4. 5. 6. 7. Bar indicating the main volume setting of the active track. The current tempo displayed with one decimal. The playback/recording status of the sequencer shown by the standard “record”, “play”, “pause” and “stop” symbols; , , and . To the right is a counter displaying how many bars, beats and steps the sequencer has played.
THE USER INTERFACE QUICK SCROLLING Scroll through menus using the SOUND SELECTION wheel. In many menus, quick scrolling is also available. Press [FUNCTION] + the [UP] or [DOWN] arrow keys to move the cursor one menu page at a time. COPY, CLEAR AND PASTE Copy, clear and paste commands are available in a lot of contexts. A copy operation is performed by pressing [FUNCTION] + [REC]. A paste operation is performed by pressing [FUNCTION] + [STOP]. A clear operation is performed by pressing [FUNCTION] + [PLAY].
QUICK START QUICK START This quick start will guide you through some of the basic operations to allow you to start using Analog Keys right away. First connect it as described in section “CONNECTING THE UNIT”, on page 5. PLAYING THE FACTORY PRESETS Analog Keys is shipped with several preset patterns, kits and Sounds. To immediately start experimenting with Analog Keys, just follow the instructions below. 1. 2. 3. 4. 5. 6. Switch on Analog Keys. Press [PLAY] to listen to pattern A01.
KEYBOARD CONTROL KEYBOARD CONTROL Analog Keys comes equipped with a versatile 37-key KEYBOARD. It is made to suit the needs of both delicate and heavy-handed players. Precise studio sessions or intense live performances. On the left-hand side there are three sets of controls. From the top: three keys for the various keyboard modes, an assignable JOYSTICK and lastly a set of keys for shifting the octave up or down. THE KEYBOARD The entire keyboard is made up of 128 notes spanning 11 octaves.
KEYBOARD CONTROL You can assign a wide variety of custom functions to the 128 available keyboard keys by using the MULTI MAP EDITOR. Press [FUNCTION]+[MULTI MAP] to open it. Read more about mapping the keyboard on page 51.
PROJECTS PROJECTS A project is the top level structure of Analog Keys. A project contains 128 patterns, 128 kits, 16 songs, 4 global slots, and a project Sound pool consisting of up to 128 Sounds. Projects are handy when, for example, you want to save a specific setup for a live performance or when managing a select number of compositions. The +Drive can store 128 projects. When a project is loaded it becomes the active working state of Analog Keys, independent of the +Drive.
PROJECTS • The currently active project is linked to the slot indicated by a small arrow in front of the project name. • Projects can be copied/cleared/pasted in the LOAD PROJECT and SAVE PROJECT menus. • A lock symbol indicates the project is write protected. PROJECT MANAGER launches the PROJECT MANAGER menu. Selecting a project in this menu and pressing the [RIGHT] arrow key will bring up a list of commands. CLEAR resets the project slot to a clean state.
KITS AND SOUNDS KITS AND SOUNDS Kits and Sounds are the basic building blocks of Analog Keys soundcrafting. A kit is a collection of Sound, FX and CV track parameter settings. A Sound is essentially a synth track patch, made up by subtractive synthesis from the oscillators through the filters via its various parameter settings. Each of the 4 synth tracks contains one Sound. Kits and Sounds are separated, meaning kits do not necessarily have to use any saved Sounds.
KITS AND SOUNDS KIT MENU In the KIT menu commands relating to kits are found, most importantly kit save and load. Open the menu by pressing [KIT]. Use the [UP] and [DOWN] arrow keys to move between the commands. Press [YES/SAVE] to confirm your selection. Exit the menu by pressing [NO/RELOAD]. RELOAD KIT will reload either the active kit, reverting it to its saved status, or all kits. Using the [LEFT] and [RIGHT] keys selects whether only the active kit or all kits will be reloaded.
KITS AND SOUNDS PERFORMANCE MODE The PERFORMANCE mode makes it possible to control five track parameters, that can be chosen from any track, at the same time by turning a single DATA ENTRY knob. This is called a performance macro. Track muting and an overview of all synth and FX track levels are available in this mode as well. PERFORMANCE mode settings are saved as a part of a kit. Access the PERFORMANCE mode by pressing the [PERFORMANCE] key.
KITS AND SOUNDS Up to five track parameters can be assigned to a performance macro. Parameters can be selected from all six tracks. Select from which tracks parameters will be assigned by clicking DATA ENTRY knobs A-E. Select the track parameters that will be assigned by turning DATA ENTRY knobs A-E. Confirm a selection by clicking the knob or by pressing [YES/SAVE]. DATA ENTRY knobs F-J are used to set the depth of the five track parameters. The depth is an offset of the original track parameter value.
KITS AND SOUNDS POLYPHONY Four voice polyphony can be configured by selecting POLY CONFIG in the KIT menu. Analog Keys is capable of four voice multitimbral polyphony (as well as unison). This is possible due to the powerful sound engine which is able to change sound instantly and allow completely dynamic voice allocation (see figure below). The sequencer is completely polyphonic, allowing overlapping notes and chords to be programmed on the tracks.
KITS AND SOUNDS ROTATE For every new coinciding note played, the voices are allocated in a cyclic manner. REASSIGN Uses the same voice as last time for every note played as long as its unused. Otherwise, the least recently used voice is used for the new note. UNISON Uses all voices to play the same note. Employs the adjustable parameters DETUNE and PAN SPREAD shown below.
KITS AND SOUNDS POLYPHONIC VOICE ALLOCATION METHOD: RESET (SHOWN AS PLAYED FROM TRACK 1) PLAYED NOTE C/D/D#/F BEGINNING OF NOTE END OF NOTE VOICE A/B/C/D ASSIGNED VOICE C D D# D# F VOICE C VOICE B VOICE B VOICE A VOICE A POLYPHONIC VOICE ALLOCATION METHOD: ROTATE PLAYED NOTE C/D/D#/F BEGINNING OF NOTE END OF NOTE VOICE A/B/C/D ASSIGNED VOICE C D D D# F VOICE D VOICE C VOICE B VOICE A 22 VOICE A
KITS AND SOUNDS POLYPHONIC VOICE ALLOCATION METHOD: REASSIGN PLAYED NOTE C/D/D#/F BEGINNING OF NOTE END OF NOTE VOICE A/B/C/D ASSIGNED VOICE C D D D# F VOICE D VOICE C VOICE B VOICE B VOICE A VOICE STEALING PLAYED NOTE C/D/D#/F/G BEGINNING OF NOTE END OF NOTE VOICE A/B/C/D ASSIGNED VOICE C VOICE STOLEN BY G NOTE D D# F G VOICE D VOICE C VOICE B VOICE A VOICE A 23
KITS AND SOUNDS SOUND MENU In this menu Sounds in the +Drive Sound library or in the Sound pool of the active project can be browsed and managed. Other menu options let you clear the track Sound, rename the track Sound or change the settings for the track Sound. Open the menu by pressing [SOUND]. Use the [UP] and [DOWN] arrow keys to move between the options. Press [YES/SAVE] to confirm your selection. Exit the menu by pressing [NO/RELOAD].
KITS AND SOUNDS SOUND MANAGER can be regarded as a more powerful version of the SOUND BROWSER. Here Sounds can be saved, loaded, tagged et cetera. Opening the menu will show a list of all Sounds residing in either the +Drive Sound library or the Sound pool. Scroll the list by turning the SOUND SELECTION wheel or by pressing [UP]/ [DOWN]. Pressing [LEFT] will access the SORTING menu. The available commands are the same as those found in the SORTING menu of the SOUND BROWSER.
KITS AND SOUNDS • Sounds residing in the +Drive Sound library are organized into 16 banks, ranging from A to P. Each bank can contain 256 Sounds. Use the [TRIG] keys to view only Sounds located in a specific bank. • You can preview the currently selected Sound with the KEYBOARD or via the MIDI auto-channel. The Sound will be played through the active track. Please note that if the previewed Sound is routed through the effects, the current effects settings will affect it.
KITS AND SOUNDS • LEGATO activates portamento for overlapping notes only. LEGATO MODE needs to be activated for this setting to function. VELOCITY TO VOL selects how MIDI velocity will affect volume when playing the Sound on the Analog Keys KEYBOARD or on an external MIDI keyboard. • OFF means velocity will not affect the volume of the Sound. • LOG will apply a logarithmic velocity curve. The volume difference will be greater between softer keyboard presses than between harder.
KITS AND SOUNDS PLAYING A SOUND Play a Sound with the Analog Keys KEYBOARD. Select the Sound to be played by pressing [TRACK] keys 14. The information in the LCD showing which kit is loaded will briefly change to reflect the name of the loaded Sound. The KEYBOARD key range spans three octaves and one note. The first and last keys of the KEYBOARD play, by default, a C note. To change octave, press the [OCTAVE UP] or [OCTAVE DOWN] keys. The LEDs indicate which octave is selected.
KITS AND SOUNDS EDITING THE FX AND CV TRACKS Editing the FX and CV tracks is very similar to editing the Sounds of the synth tracks. The PARAMETER pages contain parameters relevant for the two types of tracks. For complete explanations of the parameters for the FX and CV tracks, please see “Appendix B: FX TRACK PARAMETERS“ and “Appendix C: CV TRACK PARAMETERS“ respectively. • FX and CV track parameter settings are only saved as part of a kit.
THE SEQUENCER THE SEQUENCER The sequencer of Analog Keys stores information in patterns. A pattern controls the playback of the synth, FX and CV tracks and various aspects of these tracks. Each of the 8 banks, ranging from A to H, can host 16 patterns, meaning 128 patterns are available. All adjustments made to the patterns are automatically saved. Changes made to the active pattern can however be reverted. Read more in “PATTERN MENU” on page 33.
THE SEQUENCER faded out. When the sequencer is stopped, quickly pressing [STOP] + [STOP] will stop playback of all tracks and fade out the send effects. When a pattern is playing and [PLAY] is pressed the playback will be paused. Press [PLAY] again to resume the playback. If a pattern contains more than 16 sequencer steps, the LEDs will indicate this. When a pattern is playing, the currently active pattern page is indicated by a blinking, full-bright, LED.
THE SEQUENCER TRIG TYPES Two types of trigs exist, note trigs and trigless locks. Note trigs trig notes while trigless locks can be used to apply parameter locks without trigging notes. Note trigs are indicated by full-bright LEDs and trigless locks are indicated by half-bright LEDs. Read more about parameter locks in section “PARAMETER LOCKS” on page 38. The two types of trigs are entered differently depending on whether GRID or LIVE recording mode is active.
THE SEQUENCER TRACK MENU In this menu settings and options related to the active track are found. Open the menu by pressing the [TRACK] key. Navigate in the list using the [UP]/[DOWN] arrow keys or the SOUND SELECTION wheel. Select options by pressing [YES]. Change the track that the menu will affect by pressing the [TRACK] keys. NOTES SETUP contains settings mainly relating to track quantization and scale. It is the same menu as accessed by pressing [FUNCTION] + [NOTE].
THE SEQUENCER • The RELOAD PATTERN command is great when improvising live. Any changes made to the active pattern, like adding bass line notes or similar, can immediately be undone. ARPEGGIATOR The ARPEGGIATOR menu controls the six arpeggiators, one for each track. Arpeggiator settings are a part of the pattern, they are not stored together with kits. Select the track whose arpeggiator will be edited by pressing the relevant [TRACK] key. Open the ARPEGGIATOR menu by pressing [ARP].
THE SEQUENCER LEN controls the length of the arpeggiated notes. NO2-NO4 selects the offset in semi-tones for three additional arpeggio notes. The offset is made from the original note trig. The TRK KEY SCALE and TRK KEY NOTE settings found in the NOTES SETUP menu will affect the note values of the arpeggiated notes. • Please note only the NO2-NO4 parameters can be parameter locked. ARPEGGIATOR SETUP Pressing [FUNCTION] + [ARP] opens the ARPEGGIATOR SETUP menu.
THE SEQUENCER ENV controls whether the ENVF should be retrigged or not when a note trig or trigless lock is activated by the sequencer. ENV controls whether the ENV2 should be retrigged or not when a note trig or trigless lock is activated by the sequencer. LFO controls whether the LFO1 should be retrigged or not when a note trig or trigless lock is activated by the sequencer. LFO controls whether the LFO2 should be retrigged or not when a note trig or trigless lock is activated by the sequencer.
THE SEQUENCER CLICK TRACK The CLICK TRACK menu controls the internal metronome of Analog Keys. Open the menu by pressing [FUNCTION] + [TRACK]. Use the [UP]/[DOWN] arrow keys or the SOUND SELECTION wheel to scroll through the list of settings. Press [LEFT]/[RIGHT] to change the highlighted setting. ACTIVE activates/deactivates the metronome. It is also possible to press [FUNCTION] and double-pressing [TRACK] to toggle the metronome on or off. TIME SIG.
THE SEQUENCER • Press the [PAGE] key for quickly changing the total length of the pattern. Press the [TRIG] keys to quickly change the number of steps of the pattern. • A 2X time signature setting is useful for increasing the base resolution of the step sequencer to 32nd notes. A 3/4X setting is useful when Analog Keys is playing alongside other instruments set to the same BPM and you want Analog Keys to play triplets.
THE SEQUENCER To apply parameter locks in GRID RECORDING mode, press and hold the [TRIG] key of a trig. Adjust the parameters you want to lock using the DATA ENTRY knobs. The graphics in LCD will become inverted for the locked parameter and the locked parameter value will be displayed. The LED of the locked trig will begin to flash rapidly, indicating the trig now contains a parameter lock. Remove a single parameter lock by holding [TRIG] + pressing the DATA ENTRY knob of the locked parameter.
THE SEQUENCER • Trig mutes are good for experimenting with the feel of tracks when playing live. The last eight steps of a bass line track could for example be muted to build suspense. ACCENT Adding accent trigs is useful for quickly changing the volume and filter envelope behavior, or accentuation, for chosen steps of a track. Accent level is a destination for modulation, which means it can be affected by, for example, LFOs. Open the ACCENT menu by pressing [FUNCTION] + [BANK B/F].
THE SEQUENCER PARAMETER SLIDE The PARAMETER SLIDE menu makes it possible for the parameter values of two separate note trigs or trigless locks of a track to slide between each other. Open the menu by pressing [FUNCTION] + [BANK D/H]. When this menu is active and [TRIG] keys are pressed, slide trigs will be placed on the sequencer. For a parameter value to slide between two trigs, it needs to be locked on one of the trigs. A locked parameter value will slide to the unlocked value and vice versa.
THE SEQUENCER If [FUNCTION] + [TRANSPOSE] are pressed, the transpose lock functionality will be activated. Transpose lock is indicated by a full-bright LED. When this function is activated, the [TRANSPOSE] key will act as if constantly pressed, enabling one-handed transpositions when pressing the KEYBOARD keys. • Please note that when transpose lock is activated, the KEYBOARD keys will not be able to play Sounds or set the note value of note trigs. They will only be used for transposing.
THE SEQUENCER To quick save a track, press [YES/SAVE] + [TRACK]. The operation is the same as the SAVE TRACK command, covered on page 43. To quick save the active pattern, press [YES/SAVE] + [PATTERN]. The operation is the same as the SAVE PATTERN command, covered on page 33. To quick save a song, press [YES/SAVE] + [SONG]. The command is the same as the SAVE command found in the SONG menu, covered on page 46. To quick reload a kit, press [NO/RELOAD] + [KIT].
CHAINS AND SONGS CHAINS AND SONGS Chains are sequences of several patterns. Chains and patterns are used to form songs. 256 pattern entries are available for the 64 chains, meaning for example one chain can be made of 256 patterns or two chains can be made of 128 patterns each. In most scenarios, 2-8 patterns per chain is sufficient. One song is always active and being worked on. Songs contain two main forms of entries, song rows and a scratch pad row.
CHAINS AND SONGS SONGS Songs are essentially patterns and chains structured to form a long sequence. To enter SONG mode, press the [SONG MODE] key. The LED will light up, indicating SONG mode is active. The active song will start to play, row by row. If the active song row is the scratch pad row, song row 00 will be played afterwards, given that the song has been programmed in SONG EDIT and that the scratch pad row has not been moved within the song.
CHAINS AND SONGS ADDING REPEATS, MUTES AND TRANSPOSE INFORMATION Various extra information can be entered for song rows and pattern or patterns assigned to the song rows. Repeat a song row with a chosen factor by moving to the leftmost position of the song row. Turn DATA ENTRY knob A to select how many times the song row will be repeated. Add song mutes to a pattern by highlighting it and pressing [FUNCTION] + [TRACK]. The mute graphics to the right in the LCD screen shows which tracks have been muted.
GLOBAL MENU GLOBAL MENU The GLOBAL menu offers settings that affect Analog Keys on a global level. Global tune, MIDI and CV settings are made here. Up to four Global slots, where each can have individual settings, are available. Access the menu by pressing [FUNCTION] + [SONG]. Scroll the list by using [UP]/[DOWN] or the SOUND SELECTION wheel. Open a highlighted menu by pressing [YES/SAVE]. PROJECT Here projects are managed. This menu is covered in the section “PROJECTS” on page 14.
GLOBAL MENU SEQUENCER CONFIG Here settings relating to the sequencer can be found. Change settings by using the [LEFT]/[RIGHT] arrow keys. QUANTIZE LIVE REC will when active quantize notes entered in LIVE RECORDING mode to complete sequencer steps. When the setting is deactivated, live recorded notes will where applicable be affected by micro timing. Read more about micro timing in the section “NOTE MENU” on page 35.
GLOBAL MENU MIDI PORT CONFIG MIDI port related settings are found in this menu. Change settings by using the [LEFT]/[RIGHT] arrow keys. TURBO SPEED selects the multiplier of the MIDI transfer rate that will be used when Analog Keys MIDI IN/OUT ports are connected to the MIDI OUT/IN ports of a turbo protocol compatible device. The [LEFT]/[RIGHT] arrow keys are used to select the multiplier. If AUTO is chosen, press [YES/SAVE] to start the turbo speed negotiation.
GLOBAL MENU • If MIDI+USB is selected in the INPUT FROM and/or OUTPUT TO settings, MIDI data transfers might limit the USB speed. OUTPUT CH selects whether the KEYBOARD and the knobs will send data on the auto channel or the MIDI channel of the selected track. PARAM OUTPUT selects what type of MIDI messages the DATA ENTRY knobs will send. For information about which CC/NRPN parameters that will be sent, please see “Appendix D: MIDI“. • NRPN will make the knobs send out NRPN MIDI messages.
GLOBAL MENU MULTI MAP EDIT Opens an editor for mapping the functions of single notes or note ranges on the KEYBOARD or on an external MIDI keyboard. The functions that can be mapped include: Internal trigging of Sounds on any track, trigging of MIDI notes on any MIDI channel and the ability to trig patterns with custom transpose settings. Multi map allows custom mapped keyboards splits, custom pattern trigging per key, individual Sound trig per key, MIDI trig of external synths, and more.
GLOBAL MENU INSERT BEFORE will create a new entry with a range ending on the note preceding the current entry. Select by pressing [YES/SAVE]. INSERT AFTER will create a new entry with a range beginning on the note succeeding the current entry. Select by pressing [YES/SAVE]. • PAT.PLAY maps a chosen pattern to a specific KEYBOARD or external MIDI keyboard key or range. RANGE LOW sets the note on the keyboard on which to start the desired keyboard range.
GLOBAL MENU NOTE sets which note the start of the chosen keyboard range will play. If no offset is desired, it should be set to the same note as RANGE LOW. NOTE INC defines by what increment the subsequent notes played will increase. For instance, if this value is set to 2, and the first note in the range is C5, the following note in the range will play D5, the one after that E5 and so on. If set to 0, all notes in the keyboard range will play the same note (as set in NOTE above).
GLOBAL MENU • In MULTI MAP EDIT, Setting a specific SOUND SLOT and setting SOUND INC to 1 is convenient if you wish to define, for example, a succession of drum sounds that you have stored in a given sound slot range to be mapped to a certain section of the keyboard.
GLOBAL MENU TYPE selects the type of signal that will be sent from the output. GROUNDED, PITCH V/OCT, PITCH HZ/V, VALUE LIN, TRIG and GATE settings can be made. Depending on the selection, different parameters will be available. • GROUNDED turns the CV output off. No additional parameters available. • PITCH V/OCT should be chosen for controlling the pitch of equipment using the volt per octave standard, which applies to most analog synthesizers.
GLOBAL MENU VOLTAGE TRIM It is possible to trim the CV out voltage levels. These settings are stored in the machine without being connected to any specific Project. Adjusting these values is mainly useful if you wish to send pulses with very exact voltage levels, or to generate very specific voltages as a linear value and you believe that the factory trim is off. Make sure you have a good voltmeter before proceeding. Connect a TRS cable to the output you want to trim.
GLOBAL MENU SYSEX SEND Here kits, Sounds, patterns, songs and global slots can be sent to an external device via the MIDI OUT port or the USB port of Analog Keys. The column to the left selects what will be backed up. Select the column using the [LEFT] arrow key. Use the [UP]/[DOWN] keys or the SOUND SELECTION wheel to scroll through the column. The SysEx data send alternatives located in the column to the right will change depending on the selection made in the left column.
GLOBAL MENU SYSEX RECEIVE Here kits, Sounds, patterns, songs and global slots can be received from an external device via the MIDI IN port or the USB port of Analog Keys. The column to the left selects what will be received. Select the column using the [LEFT] arrow key. Use the [UP]/[DOWN] keys or the SOUND SELECTION wheel to scroll through the column. The SysEx data receive alternatives located in the column to the right will change depending on the selection made in the left column.
GLOBAL MENU OS UPGRADE This menu option is used when upgrading Analog Keys OS. Press [YES/SAVE] to make Analog Keys start listening for incoming OS SysEx data. For the transfer to be possible, the device sending the OS syx-file should be connected to either the MIDI IN or USB port of Analog Keys. Cancel the waiting state by pressing [NO/RELOAD]. When receiving the OS a progress bar will be visible. Once the bar has been filled, the texts “ERASING FLASH” and “WRITING FLASH” will appear.
GLOBAL MENU Alternatively, instantly activate or deactivate voice to main or voice to FX using the [TRIG] keys 1-4 and 9-12, respectively. Red LEDs above these sets of keys will show if the voice is active (full-bright) or inactive (halfbright). Note that voice routing can be set and stored for each individual kit, and that these settings override the GLOBAL voice routing unless they are set not to (see KIT MENU, page 17).
EARLY STARTUP MENU EARLY STARTUP MENU To access this menu, hold down the [FUNCTION] key while powering up Analog Keys. From here you can perform a variety of tasks. To choose the different alternatives, press the corresponding [TRIG] key. TEST MODE To enter this mode, press the first [TRIG] key. If you have any trouble with your Analog Keys and suspect it may be due to a hardware problem, perform this self test. No errors should be reported as shown below.
MORE ON OSCILLATORS, FILTERS AND ENVELOPES MORE ON OSCILLATORS, FILTERS AND ENVELOPES In this chapter the functionality of the oscillators, filters and envelopes will be explained in further detail. OSCILLATORS Several waveforms are available to the two oscillators of each synth track. By adjusting the PW parameter, the waveshape can be changed on all types of waveforms, changing their timbre.
MORE ON OSCILLATORS, FILTERS AND ENVELOPES 5TH This option adds a 33% pulse waveform one perfect fifth, which is equivalent to seven semitones, below the oscillator. The sub oscillator thus operates at 2/3 of the oscillator frequency. If, for instance, the oscillator plays a G, then the sub oscillator will play the C below it. Together with the other oscillator, this makes it possible to play a simple chord using just one track of Analog Keys.
MORE ON OSCILLATORS, FILTERS AND ENVELOPES FILTERS 4-POLE LADDER FILTER There is no way to turn the ladder filter completely off, but turning up the cutoff frequency will pass all frequencies through. It should be noted that zero resonance does not give the flattest frequency response – instead it drops some decibels both in the treble and in the bass. The flattest response is reached when resonance is somewhere around 25, which is also the default value.
MORE ON OSCILLATORS, FILTERS AND ENVELOPES ENVELOPES The amplitude envelopes and the assignable envelopes offer 12 different shapes, consisting of six basic shapes each with two different trigging behaviors. The envelope shape graphics give an indication of how the envelope will affect the modulation destination. The left portion of the graphics shows how the envelope behaves when it is rising, i.e. the attack phase, and to the right the falling behavior is shown, i.e. decay and release.
SETUP EXAMPLES SETUP EXAMPLES The versatile Analog Keys yearns to play with other machines. Whether it uses its ability to sequencer control and play other analog synths using CV, plays its part in a MIDI chain of machines or processes amplified incoming audio: Analog Keys gets along with other gear. Vintage or modern. Five examples are shown here.
SETUP EXAMPLES 6. Press [FUNCTION] + [CV B]. In this menu, set TYPE to GATE. Exit the menu. 7. Press [FUNCTION] + [CV C]. In this menu, set TYPE to VALUE LIN. Exit the menu. 8. Analog Keys is now ready to control the external synthesizer. On the CV A, CV B and CV C pages, the controllable parameters are indicated by arrows pointing from the parameters to the cable plug graphics. These parameters can of course be parameter locked.
SETUP EXAMPLES ANALOG KEYS WITH OTHER ELEKTRON GEAR MAIN OUT TO P.A.
SETUP EXAMPLES ANALOG KEYS AS A FILTER BANK Headphones Left Right Trk 1 Trk 2 Trk 3 Trk 4 In Left In Right CV AB CV CD MIDI In MIDI Out Sync A MIDI Thru Sync B USB AC In Power Mode Trk 1 Mute Level Master Volume Song Edit Trk 2 Mute A B C D F G H I E Chain New Sound Selection Trk 3 Mute Tempo Tap J Bank Group Direct Change Yes/Save Trk 4 Mute Trig Mute Accent Note Slide Parameter Slide Copy Clear Paste Perf Setup No/Reload Multi Map Edit FX Mute Transpose Loc
SETUP EXAMPLES 4. On the AMP page for all tracks, make sure ATK is 0, DEC 0, SUS 127 and REL INF. 5. On the FILTER page for all tracks, the DEP parameters should be set to 0. 6. 7. 8. Place note trigs on the first step of the sequencer. It is necessary to trig the amplitude envelope. Press play on the Machinedrum. Press play on Analog Keys. The filters of the synth tracks can now be used to shape the incoming Machinedrum sound.
SETUP EXAMPLES USING AN EXTERNAL OSCILLATOR WITH ANALOG KEYS AUDIO OUT PITCH Headphones Left Right Trk 1 Trk 2 Trk 3 Trk 4 In Left In Right CV AB CV CD MIDI In MIDI Out Sync A MIDI Thru Sync B USB AC In Power Mode Trk 1 Mute Level Master Volume Song Edit Trk 2 Mute A B C D F G H I E Chain New Sound Selection Trk 3 Mute Tempo Tap J Bank Group Direct Change Yes/Save Trk 4 Mute Trig Mute Accent Note Slide Parameter Slide Copy Clear Paste Perf Setup No/Reload Mul
SETUP EXAMPLES 6. Select track 1. Set WAV on the OSC1 page to IN L. For oscillator 2, choose one of the internal Analog Keys waveforms. 7. Note trigs placed on track 1 will now control both the internal and the external oscillators. • Use parameter locks to alternate the waveform of oscillator 1 between external/internal selections. • This example can use more than one external oscillator.
SETUP EXAMPLES ANALOG KEYS WITH AN ELECTRIC GUITAR Headphones Left Right Trk 1 Trk 2 Trk 3 Trk 4 In Left In Right CV AB CV CD MIDI In MIDI Out Sync A MIDI Thru Sync B USB AC In Power Mode Trk 1 Mute Level Master Volume Song Edit Trk 2 Mute B C D E Chain New Sound Selection Trk 3 Mute A Tempo Tap F G H I J Bank Group Direct Change Yes/Save Trk 4 Mute Trig Mute Accent Note Slide Parameter Slide Copy Clear Paste Perf Setup No/Reload FX Mute Transpose Lock CV Mut
SETUP EXAMPLES 6. Make a custom set of filtering, amplifier, envelope and LFO processing of the sound feed from the electric guitar by setting the values of your choice on the corresponding parameter menu page, [PARAMETER] key 3-6. Remember to set the LEV to a high value on the AMP page. 7. Place a note trig on the first step of the sequencer for Track 1. This is required in order to start the envelope processing of the feed from the electric guitar. Press play on Analog Keys. 8.
TECHNICAL INFORMATION TECHNICAL INFORMATION SPECIFICATIONS THE SEQUENCER ELECTRICAL SPECIFICATIONS 4 synth tracks 1 FX track 1 CV/Gate track 128 projects (+Drive) 4096 sounds (+Drive Sound library) 128 patterns (per project) Up to 64 steps per pattern 128 Sounds (per project) 128 Kits (per project) 16 Songs (per project) 6× arpeggiators Individual track lengths Swing, slide and accent functions Track transpose Micro timing Parameter locks Live friendly Performance mode Sound-per-step change Instant kit,
CREDITS AND CONTACT INFORMATION CREDITS AND CONTACT INFORMATION CREDITS PRODUCT DESIGN AND DEVELOPMENT Oscar Albinsson Magnus Forsell Anders Gärder Jimmy Myhrman Jon Mårtensson David Revelj Mattias Rickardsson Daniel Troberg ADDITIONAL DESIGN Thomas Ekelund FACTORY DEFAULT SOUND DESIGN Richard Devine Jimmy Myhrman Jon Mårtensson Daniel Troberg Cenk Sayinli Charlie Storm Nicholas Lem Alex Schetter Daren Ager REFERENCE MANUAL Ufuk Demir Thomas Ekelund Jon Mårtensson Daniel Sterner CONTACT INFORMATION ELEKTR
Appendix A: SYNTH TRACK PARAMETERS In this appendix, the parameters of the synth tracks are explained. OSCILLATOR 1 The OSC1 pages control the first oscillator, its suboscillator, plus the noise generator. OSC 1 (page 1) NOISE (page 2) TUN (OSC1 Coarse Tune) sets the pitch of the oscillator in semitones. To jump a whole octave, press the knob while turning it. S&H (Sample & Hold) sets the tuning of the noise spectrum. FIN (OSC1 Fine Tune) fine tunes the pitch of the oscillator.
OSCILLATOR 2 The OSC2 pages control the second oscillator and the accompanying suboscillator. Settings that will affect both oscillators are found here as well. OSC 2 (page 1) OSC (page 2) TUN (OSC2 Coarse Tune) sets the pitch of the oscillator in semitones. To jump a whole octave, press the knob while turning it. AM1 (Osc1 AM) engages Amplitude Modulation on Oscillator 1, which means that its signal is switched on/off (multiplied) by the pulse wave of Oscillator 2.
FILTERS In the FILTERS page, settings that will affect the two track filters are found. FILTERS FRQ (Filter1 Frequency) controls the cutoff frequency of Filter 1, the 4-pole lowpass transistor ladder filter. RES (Filter1 Resonance) controls the resonance of Filter 1. Increased resonance introduces a peak in the spectrum at the cutoff frequency.
AMPLITUDE The AMP page contains settings for the amplitude envelope and the effects sends, as well as panning and volume of the sound. AMP ATK (EnvA Attack) controls the attack time of the EnvA envelope, which controls the amplitude of the track. DEC (EnvA Decay) controls the decay time of the EnvA envelope. SUS (EnvA Sustain) controls the sustain level of the EnvA envelope. REL (EnvA Release) controls the release time of the EnvA envelope. SHP (EnvA Shape) controls the general shape of the EnvA envelope.
ENVELOPES Here parameters controlling the two assignable envelopes are found. The first envelope, ENVF, is hardlinked to the cutoff parameters of the two filters but can also modulate two user-selectable destinations. ENVF (page 1) ENV2 (page 2) ATK (EnvF Attack) controls the attack time of the EnvF envelope. ATK (Env2 Attack) controls the attack time of the Env2 envelope. DEC (EnvF Decay) controls the decay time of the EnvF envelope. SUS (EnvF Sustain) controls the sustain level of the EnvF envelope.
LFO The two track LFOs can be used to modulate the other synth track parameters. LFO1 (page 1) LFO2 (page 2) SPD (LFO1 Speed) controls the speed of LFO1. It is synced to the BPM. For LFO1 to be synced to straight beats, try settings of 16, 32 or 64. The value is bi-polar, meaning the LFO shape can be played backwards by using negative values. SPD (LFO2 Speed) controls the speed of LFO2. It is synced to the BPM. For LFO2 to be synced to straight beats, try settings of 16, 32 or 64.
Appendix B: FX TRACK PARAMETERS In this appendix, the parameters of the external input page and the three send effects are explained. EXTERNAL IN The EXT IN page controls the signal path from the two audio inputs to the main mixer. These external signals can be routed to the effects and panned just like the four synth tracks. EXT CHO (Ext. L Chorus) controls how much of the signal coming from the left external input that will be sent to the Wideshift Chorus effect. DEL (Ext.
WIDESHIFT CHORUS The Wideshift Chorus can be used to widen sounds, enhance the stereo image or add subtle movement to sounds. CHORUS PRE (Predelay) controls the predelay time of the Wideshift Chorus. SPD (Speed) sets the low frequency modulation speed of the chorus taps. DEP (Depth) controls the depth of the modulation of the chorus taps. WID (Width) controls the stereo width of the Wideshift Chorus. FDB (Feedback) controls the feedback of the chorus taps.
SATURATOR DELAY The Saturator Delay adds an echo-like effect to the audio. Thanks to the special features of this effect, it can also be used to subtly warm or severely distort the delay signal. DELAY TIM (Time) sets the delay time. It is relative to the current BPM and is measured in 128th notes. For instance, a setting of 32 equals a one beat delay (four 1/16th notes). X (Pingpong) controls how the delay signal will act in the stereo field.
SUPERVOID REVERB The Supervoid Reverb is perfect for positioning sounds in the mix.It can simulate everything from vast locations to small spaces. REVERB PRE (Predelay) controls the predelay time of the Supervoid Reverb. DEC (Decay Time) sets the decay time of the reverberated signal, essentially setting the size of the room. FRQ (Shelving Frequency) controls the frequency of a shelving filter.
FX LFO The FX LFO menu consists of two LFOs dedicated to modulating FX track parameters. LFO1 (page 1) LFO2 (page 2) SPD (LFO1 Speed) controls the speed of LFO1. It is synced to the BPM. For LFO1 to be synced to straight beats, try settings of 16, 32 or 64. The value is bi-polar, meaning the LFO shape can be played backwards by using negative values. SPD (LFO2 Speed) controls the speed of LFO2. It is synced to the BPM. For LFO2 to be synced to straight beats, try settings of 16, 32 or 64.
B-6 Appendix B: FX TRACK PARAMETERS
Appendix C: CV TRACK PARAMETERS In this appendix, the CV/Gate track parameters are explained. CV A-D The CV A-D pages control the signals sent from the 2 dual CV/Gate outputs. Depending on the CV type chosen in the CV CONFIG menu, the available parameters will change. CV (GROUNDED) CV (PITCH V/OCT) No parameters available. The CV output will not send any signal. TUN (Coarse Tune) sets the coarse tuning of the CV in semitones. FIN (Fine Tune) sets the fine tuning of the CV.
CV (VALUE LIN) CV (PITCH HZ/V) TUN (Coarse Tune) sets the coarse tuning of the CV in semitones. VAL (Value) sets the voltage level of the CV. Applicable when the chosen CV type is VALUE LIN. FIN (Fine Tune) sets the fine tuning of the CV. BND (Bend Depth) controls the bend depth. The higher the setting, the more the pitch of a trigged note will be offset. SLI (Note Slide time) sets the CV control of the slide time of note slides.
CV (TRIG) CV (GATE) SRC (Source Track) selects the track whose notes should be used for sending trig signals. The CV track, FX track and synth tracks 1-4 can be used as source. SRC (Source Track) selects the track whose notes should be used for sending gate signals. The CV track, FX track and synth tracks 1-4 can be used as source.
CV (CLOCK) CLK (Clock Division) sets the clock division. This setting relates to the BPM of the sequencer.
CV ENVELOPES Here parameters controlling the two assignable CV envelopes are found. The CV envelopes can modulate parameters found on the CV track. They can also be sent to the CV/Gate outputs, by setting up a CV channel's type as VALUE LIN. ENV1 (page 1) ENV2 (page 2) ATK (Env1 Attack) controls the attack time of the Env1 envelope. ATK (Env2 Attack) controls the attack time of the Env2 envelope. DEC (Env1 Decay) controls the decay time of the EnvF envelope.
CV LFO The two CV LFOs can be used to modulate other CV track parameters. They can also be sent to the CV/Gate outputs, by setting up a CV channel's type as VALUE LIN and then letting the LFO modulate its VAL parameter. LFO1 (page 1) LFO2 (page 2) SPD (LFO1 Speed) controls the speed of LFO1. It is synced to the BPM. For LFO1 to be synced to straight beats, try settings of 16, 32 or 64. The value is bi-polar, meaning the LFO shape can be played backwards by using negative values.
Appendix D: MIDI In this appendix, the MIDI CC and NRPN implementation is covered. PERFORMANCE PARAMETERS The following messages affect the performance parameters on all tracks. They are also sent when adjusting the knobs controlling the parameters.
SYNTH TRACK PARAMETERS The following messages affect the synth track parameters. They are also sent when adjusting the knobs controlling the parameters.
NOISE CC Parameter Encoder CC MSB CC LSB Data Range MSB Data Range LSB Noise S&H A 75 - 0-127 - B - - 0-127 - C 76 - 0-127 - D - - 0-127 - E 77 - 0-127 - F - - 0-127 - G - - 0-127 - H - - 0-127 - I - - 0-127 - J - - 0-127 - Noise Fade Noise Level OSC 2 NRPN Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB Pitch A 1 20 0-127 0-127 B 1 0-127 - Detune C 1 22 0-127 - Keytracking D 1 23 0-127 - Level E 1 24
OSC COMMON NRPN Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB OSC1 AM A 1 30 0-127 - Sync Mode B 1 31 0-127 - Sync Amount C 1 32 0-127 - Bend Amount D 1 33 0-127 - Slide Time E 1 34 0-127 - OSC2 AM F 1 35 0-127 - Note Sync G 1 36 0-127 - Vibrato Fade H 1 37 0-127 - Vibrato Speed I 1 38 0-127 - Vibrato Depth J 1 39 0-127 - OSC COMMON CC Parameter Encoder CC MSB CC LSB Data Range MSB Data Range LSB OSC1 AM A - - 0-
FILTERS CC Parameter Encoder CC MSB CC LSB Data Range MSB Data Range LSB Filter1 Frequency A 18 50 0-127 0-127 Filter1 Resonance B 89 - 0-127 - Filter Overdrive C - - 0-127 - Filter1 Keytracking D - - 0-127 - Filter1 Envelope Amount E 102 - 0-127 - Filter2 Frequency F 19 51 0-127 0-127 Filter2 Resonance G 90 - 0-127 - Filter2 Type H - - 0-127 - Filter2 Keytracking I - - 0-127 - Filter2 Envelope Amount J 103 - 0-127 - AMP NRPN Parameter Encod
ENVF NRPN Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB EnvF Attack Time A 1 60 0-127 - EnvF Decay Time B 1 61 0-127 - EnvF Sustain Level C 1 62 0-127 - EnvF Release Time D 1 63 0-127 - EnvF Env Shape E 1 64 0-127 - EnvF Gate Length F 1 65 0-127 - EnvF Destination A G 1 66 0-127 - EnvF Depth A H 1 67 0-127 0-127 EnvF Destination B I 1 68 0-127 - EnvF Depth B J 1 69 0-127 0-127 ENVF CC Parameter Encoder CC MSB CC LSB Da
ENV2 CC Parameter Encoder CC MSB CC LSB Data Range MSB Data Range LSB Env2 Attack Time A 112 - 0-127 - Env2 Decay Time B 113 - 0-127 - Env2 Sustain Level C 114 - 0-127 - Env2 Release Time D 115 - 0-127 - Env2 Env Shape E - - 0-127 - Env2 Gate Length F - - 0-127 - Env2 Destination A G - - 0-127 - Env2 Depth A H 22 54 0-127 0-127 Env2 Destination B I - - 0-127 - Env2 Depth B J 23 55 0-127 0-127 LFO1 NRPN Parameter Encoder NRPN MSB NRPN LSB
LFO2 NRPN Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB LFO2 Speed A 1 90 0-127 - LFO2 Speed Multiplier B 1 91 0-127 - LFO2 Fade C 1 92 0-127 - LFO2 Start Phase D 1 93 0-127 - LFO2 Mode E 1 94 0-127 - LFO2 Waveform F 1 95 0-127 - LFO2 Destination A G 1 96 0-127 - LFO2 Depth A H 1 97 0-127 0-127 LFO2 Destination B I 1 98 0-127 - LFO2 Depth B J 1 99 0-127 0-127 LFO2 CC Parameter Encoder CC MSB CC LSB Data Range MSB Data
FX TRACK PARAMETERS The following messages affect the FX track parameters. They are also sent when adjusting the knobs controlling the parameters.
REVERB Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB Predelay A 2 60 0-127 - Decay Time B 2 61 0-127 - Shelving Freq C 2 62 0-127 - Shelving Gain D 2 63 0-127 - E 2 64 0-127 - HP Filter F 2 65 0-127 - LP Filter G 2 66 0-127 - H 2 67 0-127 - I 2 68 0-127 - J 2 69 0-127 - Send Level LFO1 Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB LFO1 Speed A 2 80 0-127 - LFO1 Speed Multiplier B 2 81 0-127
CV TRACK PARAMETERS The following messages affect the CV track parameters. They are also sent when adjusting the knobs controlling the parameters.
CV D Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB CV D Coarse Tune A 3 50 0-127 - CV D Fine Tune B 3 51 0-127 - CV D Value C 3 52 0-127 - CV D Clock D 3 53 0-127 - CV D Source E 3 54 0-127 - CV D Bend Depth C 3 55 0-127 - CV D Note Slide time D 3 56 0-127 - H 3 0-127 - I 3 0-127 - J 3 0-127 - ENV1 Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB Env1 Attack Time A 3 60 0-127 - Env1 Decay Time B 3
LFO1 Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Range LSB LFO1 Speed A 3 80 0-127 - LFO1 Speed Multiplier B 3 81 0-127 - LFO1 Fade C 3 82 0-127 - LFO1 Start Phase D 3 83 0-127 - LFO1 Mode E 3 84 0-127 - LFO1 Waveform F 3 85 0-127 - LFO1 Destination 1 G 3 86 0-127 - LFO1 Depth 1 H 3 87 0-127 0-127 LFO1 Destination 2 I 3 88 0-127 - LFO1 Depth 2 J 3 89 0-127 0-127 LFO2 Parameter Encoder NRPN MSB NRPN LSB Data Range MSB Data Ran
D-14 Appendix D: MIDI
Appendix E: ANALOG KEYS ARCHITECTURE This appendix shows the complete architecture and constituent parts of the Analog Keys. Gray boxes show analog elements. White boxes show digital elements.
E-2 Appendix E: ANALOG KEYS ARCHITECTURE
INDEX 4-Pole 64 FX TRACK 29 G Symbols GLOBAL MENU 47 +DRIVE 7 CV config 54 Global slot 47 A MIDI config 48 ACCENT 40 OS upgrade 59 ARPEGGIATORS 34 Project manager 47 Arpeggiator setup 35 Synth config 47 SysEx dump 56 C CALIBRATION 47 CHAINS 44 CLICK TRACK 37 CONNECTING THE UNIT 5 COPY, PASTE AND CLEAR Kit 17, 27 GRID RECORDING MODE 32 H HOLD MODE 13 K KEYBOARD CONTROL 12 Pattern 42 Joystick 12 Track 42 Keyboard 12 Track page 42 Keyboard mode keys 12 Trig 42 KITS 17 CREDITS 76 Cl
MULTI MAP 51 Tempo 31 Entries 51 Trig types 32 External trig 53 PERFORMANCE MODE 18 Internal trig 52 Performance setup 18, 20 Pattern play 52 POLYPHONY 20 MULTI MAP MODE 12 MUTE Track 29 Allocation 20 Allocation illustrations 22 Configuration 20 Voices 20 N PORTAMENTO 26 NAMING MENU 10 Pop up naming menu 10 PROJECTS 14 Load project 14 NOTE MENU 35 Manage project 15 NOTE SLIDE 40 Save project 14 O ONE-HANDED OPERATION 10 OS UPGRADE 59 Q QUICK RELOAD 42 Kit 43 OSCILLATORS 62 Pattern 43
Advanced 38 T Normal 37 TECHNICAL INFORMATION 75 TEMPO Tap tempo 31 SETUP EXAMPLES 66 AK as filter bank 69 Tempo Nudge 31 AK with electric guitar 73 AK with external oscillator 71 TRANSPOSE Destructive transpose 42 AK with external synthesizer 66 Song 46 AK with other Elektron gear 68 SIGNAL PATH 6 SONGS 44 Transpose 46 SOUND BROWSER 24 Track 41 TRIG MUTE 39 TRIGS Accent 40 Note 32 SOUND LOCKS 39 Note slide 40 SOUND MANAGER 25 Parameter lock 38 SOUND MENU 24 SOUNDS Clear Sound 26 Paramet
4 INDEX