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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Thanks a lot for the in-depth reply!
Will investigate and see just how crazy the A4 can go! 
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purchased!
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I had a quick question regarding the MK1, are the interface and patch creation fairly similar between that and the MK2. I know they sound slightly different the MK2 has more low end etc but if I was watching someone create a patch on the mk2 would it be easy to follow along on the MK1 although it would sound slightly different?
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Yeah no problem at all. A button might be in a slightly different place, etc, but they both have the same menu functionality.
I have an Analog Keys and can follow along with any patch on either the MK1 or 2 machines.
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Thanks for the knowledge, apart from the low end is there much difference between to two? Sound wise and functionalality?
Should probably watch ye video posted a few posts up 
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Yeah, I’m sure this question has been answered a couple times in this forum.
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Yeah I know I do try and do as much research before posting a question but always good to get the most up to date info and see if anyone has anymore information. Will carry on reading up this thread. Thanks for the help.
Yeah, I’ve not used a MK1 next to a MK2 but I’ve seen plenty of videos of both, and both sound like an Analog Four.
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I found it!
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I was contemplating upgrading from an AK to A4MKII… Ended up keeping AK and buying a Roland JD-XA instead. I think it’s the closest thing to an A4 Roland will ever come up with, and will surely sound diffferent to my AK. That third filter mode is bonkers on it! Will be fun running AK into its mic input
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The JD-XA is a very interesting synth! I was close to purchasing a secondhand unit once. Used prices are quite low compared with MSRP. Would love to get your thoughts on it, especially beside an AK (of course they are very different in a lot of ways). In the not-so-near-future I could be in the market for one again…
But we are going off topic, so let’s keep this for another thread, please 
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If i buy another hardware synth it’s the Analog Four (again). It’s way more powerful than what we can think when analyzing the specifications.
I love having everything at my fingertips and being able to act unconsciously or inspired in real time—something that’s absolutely impossible with a plugin unless you pre-map everything to a controller (which very few people do because it takes so much time) - you have to know what parameter you will automate, map it and then try or make your automation (which is a conscious action). While unconsciously actions are the most interesting actions in Sound Design (To me) as it goes with the flow and not interrupt it…
I’ve never came across LFOs quite like the ones on this machine—the multiplier coefficients are just so clever. The possibilities they offer are insane. I could list all its strengths—there are so many… It’s by far one of the most powerful machines I’ve ever laid my hands on. A true joy for analog sound design. Since the Virus TI, no machine has offered plugin integration that turns it into such a Swiss Army knife—and Overbridge clearly surpasses Virus Control 3.0
I never achieve shit load of Presets on a plugin or any other machines than the Analog Four. (of course it have to do with a challenge I give to myself) but it was a memory I will remember my entire life.
But as any piece of hardware, you have to learn it in depth and take your time. And be prepared to invest time as well so the machine get back great juice to you in return. I feel like, reset and empty the factory library and make your own is a great advise (especially if you into electronic club music). As this machine is totally capable of pretty much anything analog.
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This one probably!
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