I understand this, and have felt like that at times with the A4, but it does get easy the more familiar you are with it. If it was a single voice synth, meaning you didn’t have to jump between 4 tracks, it would seem a lot more straightforward… it’s the ‘which track am I editing?’ moments that still catch me.
Saying this, it’s possible to use a dedicated controller with it and take a lot of the menu diving/track switching out of the equation.
My A4 is probably the last synth I would sell. I love it. So much I bought a second one.
I haven’t sold my MK1, but thinking of it, to partially fund a syntakt.
I find it hard and slow to program sounds on it (I’m more into creating tracks than into sound design). I don’t like the tiny screen. It is for sure an excellent analog synth, but I have more fun when using the DT+DN combo.
In the analog realm, the typhon and microfreak give me more instant results.
Having lots of fun sequencing and processing the Syntrx with the A4 mk2 but I’d like to know it is possible to somehow have the tracks 1&2 as one track in order to control both of the tracks simultaneously from one track?
Yes, you can either use the poly configuration to use two identical voices, or you can set poly config to track sound (so you can use panning and different inputs per voice) and use the performance macros to control the two tracks together.
I don’t think there is a way to control two differently configured voices using just 1 track without the performance page. Unless you have a third track sending midi to the two tracks you want to use (too complicated and resource hungry).
I’m such an idiot heh, the signal from the syntrx has absolutely no reason to be in stereo. Dunno what I was thinking lol. Thanks for clearing that up for me still!
I did notice however that having the syntrx going in stereo or rather the two outputs in mono and then using the same seq on the A4 but the track 2 nudged for one step offset to the track 1 can create some v nice rhythmic stuff.
I second what has been said about the sound and overall design of a4. There is something amazing happening upon tweaking - especially overdriven - sound, something I have not experienced playing ‘virtual analogs’, regardless of how much their filters were acclaimed.
Also the design, its abundance in meaningful functions (as listed by many already above), plus those tiny details which do make a difference such copying/pasting operations on several patterns at once - you feel, even with such logistics, that you’re making music with your palms - not with the mouse.
Next to the Moog Sub 37, the Analog 4 MK2 was my first real out of box hardware synth that I still own and love today even though most of my focus now is modular synthesis and guitar music.
I had a great recording session with a friend of mine last Saturday having the A4 and shrooms. We played for hours and recorded everything and ended up with an album worth of material. I was really exploring the vcf-feedback mode and made some great discoveries. My relationship with the instrument deepened so much and although I’ve always felt there is so much potential in the A4 I’m not really taking advantage of, this session really made me realize what an absolute monster this device is.
I was mostly using track one and the FX track and was able to create the kind of sounds I’ve never heard before anywhere.
Another thing I find incredibly helpful is a healthy level of disrespect for the device (not Electron lol) when learning new things. I mean what’s the worst thing that can happen when you decide to do something completely “idiotic” and insane with your instruments?
A4mk1 is a Swiss army knife in my studio. Finding sweet spots with its sound is a joy and you can really put it in the right pocket with the two filters. But its connect-ability does so much for me as well with my other instruments.
WAV (OSC1 Waveform) sets the oscillator waveform to Sawtooth, Transistor Pulse, Pulse, or Triangle. It is also possible to choose one of the two External Inputs (to send external sounds through the filters) or to activate Filter Feedback. Note that selectinga waveform does not change the PW parameter, which affects the waveshape of the chosen waveform.
PW (OSC1 Pulsewidth) sets the oscillator wave- shape. The mid position (64) gives the default wave- shape. Unlike on most synths, all four waveforms, selected by WAV, have variable waveshapes.
)