I still don’t understand your settings if you want something neutral. frq 33 ? res ?
For the deep bass trick with Hipass and TRK=32, I chose 53 because it seemed to be the root note.
I don’t understand why you’d choose a lower frequency, because theoretically there’s nothing underneath…
Sorry, I didn’t note res… and I forgot.
I try any value since “neutral values” don’t give neutral result.
I understand… SE1 was one octave lower. I guess 33 is one octave lower.
Really? I didn’t know. is it documented somewhere?
I made again the test but I had same result with 50 osc level (external). But like that, ext input as an osc doesn’t matcha at all ext input in a Fx track.
Ok I understand your settings now. 
I suppose you send midi notes to SE1 and A4.
But I don’t understand why you don’t just simply use only SE1 for deep bass !? 
great ideas in this thread!
Sure I will go on using SE1, or other synth, like MFB2, Nord G2, Diva, 0 Coast… But A4 has fine features: envelope seems quicker than SE1, osc retrig, 2 filters, overdrive, sub osc, performance macros, no steppy freq filter knob (SE1 freq knob is unusable)… All those features in an analog multitimbral desktop are incredible and could be useful with a nice square bass sound. One always look for a Swiss knive able to make all usual good sounds. I must admit A4 has a lot of very sweet or distorded nice sounds, and it is very inspiring.
I was watching an older Cukoo video and the bit from about 19:05-20:00 sounded really massive. It combines oscillator FM via the LFO and filter tricks as mentioned above. Pitch-tracking (or not) oscillator FM via and LFO (goes well into audio range) can create all sorts of interesting sounds.
You are right, those sounds are amazing, original, full of low end and nice distortion.
Here is a sample of SE1 first, and then SE1 thru Analog 4 filters
“Neutral setting” as written in manual:
Filt1 freq 127 res 25
Filt 2 LoPass 2 freq 127 res 0
Ext osc level 50
We clearly hear minus bass frequencies in second sample
Here is a sample of SE1 square wave first, and Analog 4 Square wave
(same settings but osc 1 is a square)
Here is a sample of SE1 square wave first, and Nord Stage 3 Square
Here is a thought, I think I have found a reason why I often fail to get nice proper basses from the A4: wrong gain staging.
When I program bass patches on the A4, these have to compete, loudness wise, with what is already there in the kit. I usually start with a kick track. It is really easy to create very loud sounds with filter resonance and overdrive, so my bass patches have to compete with that, i.e. with a kick patch that is already at the maximum loudness the A4 can deliver over Overbridge, somewhere at -18db. Hence, I end up, mostly, with oscillator levels at >100, plus filter overdrive and so forth - resulting in patches that are distorted and often sound very similar to the ones I already have.
As a solution, I have started to put a +12db Utility in Ableton behind my A4 overbridge vst - the A4 is almost noise-free, so no problem with that - and bingo, I have many more options when I program patches. I now always start at OSC level 50 with all my patches, and use a limiter to sefeguard my speakers as the A4 can really throw a punch with some presets when resonance is used. For final volume of a patch, I lower or increase the volume of each track using the amp level to get to -18db peak (which is actually -18 - 12 = -30db).
Still, I think the square wave of the A4 needs some love, but I think the approach above helps to create better patches.
K
Life is not square.
What you are hearing here is the so called ‘character’ of the A4.
You either like how the A4’s filters influence the raw oscillator sound or not, even with the filters wide open, but either way with no way to completely bypass the filters, it is what it is
After having tried all the tricks mentioned in this treat here is my best result to create a square wave in key E0.
The settings are:
Filt 1 : Frq 122, Res 49, Ovr +56, Trk +13
Filt 2 : Frq 11, Res 0 HP2, Trk 32 (it’s irrelevant since there is no audible action, but I prefer prepare tracking for further tweaking)
PW -8
I’m really impressed by huge Overdrive and Filt 1 resonance amount necessary to get necessary high frequencies. Isn’t it a technical problem?
PW 0 was not symmetrical in E0. I tuned it listening to a central position, where the sub harmonic disappears.
But here is another problem : PW changes over the keyboard range. E6 needs PW -1 to be symmetrical.
This picture shows SE1 (left) and A4 Square at E0
This 1st wave file is a succession of SE1 and A4 square over the keyboard range with PW set to -8 (SE1 E0, Analog4 E0, SE1 E1, Analog4 E1… and so on till E6).
The 2nd wave is the same succession with PW set to -1
As can e heard, PW -8 was only valid for E0, PW -1 is only for E6. Other octaves need settings between -5 and -3.
I don’t know if there is any way to track PW parameter with osc freq (not only the keyboard but every pitch modulation, including bend, lfo…). Those values were valid for my experience, but I guess it can change. For example, at the beginning, I allowed 4 voices for that sound (not at the same time, but voices alternate). Every voice had it own sound. That’s normal and can be beautiful in other context, but every voice played different PW.
That’s a huge work to get an approximative result. More than one week for a square that is only symmetrical in a very small range. How much time for a saw? Is it possible to get a playable sine with filter self oscillation? I couldn’t. Minilog filter is perfect for that. I also never heard any clean and punchy 808 Bass drum sound (like one can get with for example Operator). It is a shame one cannot change oscillator phase. Retrig is especially interesting if one can modulate starting point (like in Operator for example).
I also experimented several times strange comportment with pots (value reset to 0 when I barely move pot), or I turned a pot that changed previous page parameter. Did anyone noticed that too?
With all respect, my opinion differs here… As it is, the A4 is a synth that does not have proper square waves, and I don’t buy that that is a result from the colourful, character-ladden filters. The Rytm can play square waves nicely (via the sample engine) as its MMF where the sample goes through does not approach the harmonics like a wrecking ball does a house. If the 24db ladder filter in the A4 really would be causing this, then we would all be better off without it.
This is a bug, not a feature.
K
I guess we will never know
If this is indeed the case, it explains why I get along with it so well, and with other synths not so well.
It surprises me at every other turn. Especially when Envelopes are modulating the OSC sections.
You spend a long time with it. You know it by heard. You also are a experienced producer.
Lesser mortals (e.g., me) have it for four days, have not much experience with analog synthesizers, and certainly did not expect it not to have a square wave available when there is actually two of them advertised - I read that manual twice before buying and I would have remembered something in the line of “oh, btw., our square waves actually are something that may sound like what other waves sound like after they had a serious accident. Also, do not expect any waveform to keep its general timbre over the whole keyboard. We did this for, you know, character.”.
I might, right now, want to drop it from third floor because it does not behave at all like expected. Also, because high blood pressure is said not to be good for you, a certain degree of predictability is ok for electronic musical instruments.
Now, would some swedish or other elves please come to my aid and explain how we can get a square wave, plz?