Analog Heat MKII User Manual ENG OS1.21C 220202

Analog Heat MKII
User Manual
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. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses and can
radiate radio frequency energy and, if not installed and used in accordance with the instructions, may
cause harmful interference to radio communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encour-
aged to try to correct the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver is
connected.
• Consult the dealer or an experienced radio/TV technician for help.
Canada
This Class B digital apparatus complies with Canadian ICES-003.
Cet appareil numérique de la classe B est conforme à la norme NMB-003
European Union regulation compliance statement

This product has been tested to comply with the Low Voltage Directive 2014/35/EU and the Electro-
magnetic Compatibility Directive 2014/30/EU. The product meets the requirements of RoHS 2 Directive
2011/65/EU.
This symbol indicates that your product must be disposed of properly according to local
laws and regulations.
Legal disclaimer
The information in this document is subject to change without notice and should not be construed as a
commitment by Elektron. Elektron assumes no responsibility for any errors that may appear in this doc-
ument. Elektron may also make improvements and/or changes in the products and programs described
in this document at any time without notice. In no event shall Elektron be liable for any special, indirect,
or consequential damages or any damages whatsoever resulting from loss of use, data, or profits,
whether in an action of contract, negligence, or other action, arising out of or in connection with the use
or performance of this information.
IMPORTANT SAFETY AND MAINTENANCE INSTRUCTIONS
Please read these instructions carefully and follow the operating advice given here.
1. Do not use this unit near water.

2. Never use aggressive cleaners on the casing or the screen. 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. Disconnect all cables before doing this. Only reconnect them when the product is safely dry.
3. Install by following the manufacturer’s instructions. Make sure you place the unit on a stable surface
before use.
4. Connect the unit to an easily accessible electrical outlet close to the unit.
5. When transporting the unit, use accessories recommended by the manufacturer or the original box and
padding.
6. Do not install near any heat sources such as radiators, heat registers, stoves, or any other equipment
(including amplifiers) producing heat.
7. Do not block the ventilation holes located on the bottom of the enclosure of the unit.
Make sure there is sufficient air circulation in the room where the unit is kept.
8. This product, in combination with an amplifier and speakers or headphones, is capable of producing
sound levels that can cause permanent hearing loss. Do not operate for extended periods of time at a
high volume level or at a level that is uncomfortable.
9. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles,
and the point where they exit from the unit.
10. Use attachments/accessories specified by the manufacturer.
11. Unplug this unit during lightning storms or when it is not used for extended periods of time.
12. Refer all servicing to qualified service technicians. Servicing is required when the unit has been
damaged in any way, liquid has been spilled or objects have fallen into the unit, the unit has been
exposed to rain or moisture, does not operate normally, or has been dropped.
WARNING
To reduce the risk of fire, electrical shock or product damage:
• Do not expose the unit to rain, moisture, dripping or splashing and also avoid placing objects filled with
liquid, such as vases, on the unit.
• Do not expose the unit to direct sunlight, nor use it in ambient temperatures exceeding 35°C as this can
lead to malfunction.
• Do not open the casing. There are no user repairable or adjustable parts inside. Leave service and re-
pairs to trained service technicians only.
• Do not exceed the limitations specified in the Electrical specifications.
SAFETY INSTRUCTIONS FOR THE POWER ADAPTER

• The adapter is not safety grounded and may only be used indoors.
• To ensure sufficient ventilation for the adapter, do not place it in tight spaces. To prevent the risk of elec-
tric shock and fire because of overheating, ensure that curtains and other objects do not prevent adapter
ventilation.
• Do not expose the power adapter to direct sunlight, nor use it in ambient temperatures exceeding 40°C.
• Connect the adapter to an easily accessible electrical outlet close to the unit.
• The adapter is in standby mode when the power cord is connected. The primary circuit is always active
as long as the cord is attached to the power outlet. Pull out the power cord to completely disconnect the
adapter.
• In the EU, only use CE approved power cords.
TABLE OF CONTENTS
1. INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.1 CONVENTIONS IN THIS MANUAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
2. PANEL LAYOUT AND CONNECTIONS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

2.1 FRONT PANEL CONTROLS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
2.2 REAR PANEL CONNECTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
3. FIRST STEPS WITH THE ANALOG HEAT MKII. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

3.1 CONNECTING THE UNIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
3.2 SETTING THE INPUT SENSITIVITY LEVEL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
3.3 SETUP EXAMPLES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
3.3.1 ANALOG HEAT MKII AS AN EXTERNAL EFFECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
3.3.2 ANALOG HEAT MKII AS A VST/AU PLUGIN USING OVERBRIDGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
3.3.3 ANALOG HEAT MKII AS A SOUND CARD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
4. SIGNAL FLOW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
4.1 AUDIO SIGNAL FLOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
4.2 MODULATION SIGNAL FLOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
5. INTERACTING WITH THE ANALOG HEAT MKII. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

5.1 PRESETS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
5.1.1 LOADING A PRESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
5.1.2 SAVING A PRESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
5.2 ACTIVE MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
5.3 EFFECT CIRCUITS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
5.4 FILTER TYPES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
5.5 EQUALIZER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
5.6 DRIVE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.7 WET LEVEL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.8 DRY/WET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.9 SETTINGS MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.10 PARAMETER PAGES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.11 PARAMETER EDITING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.12 SCREEN INFORMATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.13 OVERBRIDGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5.14 CLASS COMPLIANT DEVICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5.15 BACKING UP THE ANALOG HEAT MKII. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5.15.1 BACKING UP PRESETS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5.15.2 TRANSFERRING BACKED UP FILES TO YOUR ELEKTRON DEVICE. . . . . . . . . . . . . . . . . . . . . . . . . 15
6. THE SETTINGS MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

6.1 INPUT SENSITIVITY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
6.2 MODULATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
6.3 OPTIONS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6.3.1 INTERNAL TEMPO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6.3.2 ACTIVE AT START. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6.3.3 KNOB MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6.4 CONTROL IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6.4.1 CONTROL IN A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
6.4.2 CONTROL IN B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
6.5 AUDIO ROUTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
TABLE OF CONTENTS
6.5.1 ANALOG IN/OUT (IN OVERBRIDGE MODE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

6.5.2 ANALOG IN/OUT (IN USB AUDIO/MIDI MODE). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
6.5.3 USB CC MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
6.5.4 USB TO MAIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
6.5.5 FX TO USB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
6.6 MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
6.6.1 SYNC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
6.6.2 PORT CONFIG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
6.6.3 CHANNELS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
6.7 SYSEX DUMP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
6.7.1 SYSEX SEND. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
6.7.2 SYSEX RECEIVE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
6.8 SYSTEM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
6.8.1 USB CONFIG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
6.8.2 OS UPGRADE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
6.8.3 CALIBRATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
7. PARAMETER PAGES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
7.1 AMP PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
7.1.1 DRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
7.1.2 WET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
7.1.3 DRY/WET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
7.1.4 VOL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
7.2 FILTER & EQ PAGE 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
7.2.1 FREQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
7.2.2 RESO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
7.2.3 ENV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
7.2.4 LFO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
7.3 FILTER & EQ PAGE 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
7.3.1 FRQPAN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
7.3.2 DIRT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
7.3.3 EQ LO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
7.3.4 EQ HI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
7.4 ENVELOPE PAGE 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
7.4.1 MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
7.4.2 ATK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
7.4.3 REL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
7.4.4 TRIG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
7.5 ENVELOPE PAGE 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
7.5.1 BASE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
7.5.2 WIDTH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
7.5.3 DEST1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
7.5.4 DEPTH1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
7.6 LFO PAGE 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
7.6.1 SPEED. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
7.6.2 MULT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
7.6.3 WAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
7.6.4 START. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
7.7 LFO PAGE 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
7.7.1 FADE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
7.7.2 MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
7.7.3 DEST1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
7.7.4 DEPTH1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
5
TABLE OF CONTENTS
8. TIPS & TRICKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

8.1 ADDING SATURATION TO THE HIGH REGISTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
8.2 PSEUDO-COMPRESSION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
8.3 STEREO PHASER EFFECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
9. STARTUP MENU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
9.1 TEST MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
9.2 EMPTY RESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
9.3 FACTORY RESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
9.4 OS UPGRADE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
10. TECHNICAL INFORMATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

11. CREDITS AND CONTACT INFORMATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
APPENDIX A: MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
APPENDIX B: MODULATION SOURCES AND DESTINATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
INDEX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
6
1. INTRODUCTION
1. INTRODUCTION
Thank you for purchasing Analog Heat MKII. The Analog Heat MKII is a stereo analog sound processor with
many great features such as; 8 different analog effect circuits, an analog multimode filter, analog EQ, and
support for Elektron’s groundbreaking software suite Overbridge.
Its innovative combination of modern technology and tried and trusted ways of analog sound processing
lets you add sparkly brilliance, or grimy roughness, to any sound source. This updated version of the Analog
Heat features a new and bigger OLED screen, ultra-durable backlit buttons, and improved hi-resolution
encoders.
We wish you a happy analog experience. Have fun!
- The Elektron Team
1.1 CONVENTIONS IN THIS MANUAL

We have used the following conventions throughout the manual:
• KEY NAMES
Written in uppercase, bold style and within brackets. For example, the key labeled “YES” is called [YES].
• KNOBS
Written in uppercase, bold, italic letters. For example, the knob “Preset/Data” is called PRESET/DATA.
• LED INDICATORS
Written in uppercase letters with angle brackets. For example, the filter type LEDs are called:
<FILTER TYPE>.
• MENU NAMES
Written in uppercase letters. For example, the SETTINGS menu.
• PARAMETER NAMES, MENU OPTIONS
Written in uppercase bold letters for parameter names and certain menu options where you can make
settings or perform actions. For example, ATTACK.
• PARAMETER SETTING ALTERNATIVES
Written in uppercase letters. For example, OFF.
• SCREEN MESSAGES
Written in uppercase letters with quotation marks. For example, “INPUT LEVEL TOO HIGH!”
The manual uses the following symbols:
Important information that you should pay attention to.
A tip that makes it easier for you to interact with Analog Heat MKII.
Analog Heat MKII User Manual. This manual is copyright © 2022 Elektron Music Machines MAV AB. All reproduction
without written authorization is strictly prohibited. The information in this manual may change without notice. Elektron’s
product names, logotypes, titles, words or phrases may be registered and protected by Swedish and international law.
All other brand or product names are trademarks or registered trademarks of their respective holders. This manual for
Analog Heat MKII OS version 1.21C was last updated February 2, 2022.
7
2. PANEL LAYOUT AND CONNECTIONS
2.1 FRONT PANEL CONTROLS

1 2 3 4 5 6
Out L /R In L /R Control In MIDI In MIDI Out MIDI Thru USB DC In Power

Sync A Sync B
Stereo Analog Sound Processor
21
FLTR
20 AMP
& EQ
ENV LFO 7
Analog Heat MKII 8
19 9
CHARACTER EQUALIZER
Mid Drive Rough Crunch
Enhancement Classic Dist
18 10
Saturation Round Fuzz
Low High
Clean Boost High Gain
F I LT E R
11
On /Off
Drive Wet Level Dry/Wet Frequency Filter Type Resonance
17 16 15 14 13 12
1. [FLTR & EQ] key accesses the FILTER and EQ parameter pages where you, among other things, can
select filter types and adjust the equalizer. Press twice to access the secondary page.
2. [ENV] key accesses the ENV parameter pages where you adjust the settings for the envelope genera-
tor/envelope follower. Press twice to access the secondary page.
3. [SETTINGS] key accesses the SETTINGS menu. Contains both global settings and preset settings.
4. [LFO] key accesses the LFO parameter pages where you set all things related to the Low-Frequency
Oscillator. Press twice to access the secondary page.
5. Screen.
6. PRESET/DATA Used for preset management and data entry.
7. [NO] key is used for exiting the current menu, backing to a higher level menu and negating.
8. [YES] key is used for entering sub-menus, selecting and confirming.
9. DATA ENTRY knobs. Used to set parameter values.
10. LOW and HIGH adjust the amount of low-end and high-end frequency content.
11. <FILTER TYPE> LEDs that indicate the current type of filter and also if the filter is on or not.
12. RESONANCE sets the resonance of the filter.
13. [FILTER TYPE] selects between the different filter types. Also, pressing both keys at the same time
toggles the filter on and off.
14. FREQUENCY sets the filter’s cutoff frequency.
15. DRY/WET sets the balance between the unprocessed (dry) signal and the processed (wet) signal.
16. WET LEVEL sets the level of the processed (wet) signal.
17. DRIVE controls the amount of drive. This parameter increases the effect of the selected circuit type.
18. CIRCUIT SELECTOR chooses between the eight different types of effect circuits.
19. [ON] toggles the effect between active and bypassed.
20. [AMP] key accesses the AMP parameter page where you can set things such as drive amount and the
volume of the preset.
21. MASTER VOLUME sets the master volume for the L/R and Headphones outputs.
8
2.2 REAR PANEL CONNECTIONS
1 2 3 4 5 6 7 8 9 10
1. POWER, Switch for turning the unit on and off.

2. DC IN, Input for power supply. Use the included PSU-3b power adapter connected to
a power outlet.
3. USB, For connecting the unit to a computer. Used for MIDI control or Overbridge.
Connect to a computer host using the included A to B USB 2.0 connector cable.
4. MIDI THRU/SYNC B, Forwards data from MIDI IN. Can also be configured to send DIN sync to legacy
instruments. Use a standard MIDI cable to connect another MIDI unit in the chain.
5. MIDI OUT/SYNC A, MIDI data output. Can also be configured to send DIN sync to legacy instruments.
Use a standard MIDI cable to connect to MIDI In of an external MIDI unit.
6. MIDI IN, MIDI data input. Use a standard MIDI cable to connect to MIDI Out of an
external MIDI unit.
7. CONTROL IN A/B Inputs for an expression pedal, footswitch, or CV. Use 1/4” mono phone plug for
CV signals.
8. INPUT L (mono)/R, Audio inputs. Use either 1/4” mono phone plug (unbalanced
connection) or 1/4” (Tip/Ring/Sleeve) phone plug (balanced connection).
9. OUTPUT L/R, Main audio outputs. Use either 1/4” mono phone plug (unbalanced
connection) or 1/4” (Tip/Ring/Sleeve) phone plug (balanced connection).
10. HEADPHONES, Audio output for stereo headphones. Use 1/4” (Tip/Ring/Sleeve)
phone plug.
9
3. FIRST STEPS WITH THE ANALOG HEAT MKII
3.1 CONNECTING THE UNIT

Make sure you place the Analog Heat MKII on a stable support, such as a sturdy table with sufficient cable
space. Before you start connecting the Analog Heat MKII to other units, make sure all units are switched off.
1. Plug the supplied DC adapter to a power outlet and connect the small plug to the 12 V DC connector
of the Analog Heat MKII unit.
2. Connect the audio source to INPUT L/R.
3. Connect the OUTPUT L/R from the Analog Heat MKII to your mixer or amplifier.
4. To process sound or control the Analog Heat MKII from a computer, connect a USB cable between
the computer and the USB connector of the Analog Heat MKII. You must also download and install the
Overbridge Suite to perform these actions.
5. If you want to use MIDI to control the Analog Heat MKII, connect the MIDI OUT port of the device you
wish to send data from to the MIDI IN port of the Analog Heat MKII. The MIDI THRU port duplicates
the data arriving at the MIDI IN port, so you can use it for chaining MIDI units together.
6. Switch on all units. Press the power switch located at the back of the Analog Heat MKII to switch it on.
3.2 SETTING THE INPUT SENSITIVITY LEVEL
To make sure the Heat distorts as intended it is important to adjust the audio input sensitivity
level so that it matches the level of the sound source.
To make sure the Heat distorts as intended it is essential to set the audio input sensitivity so that it matches
the level of the sound source. (Note that the settings made here only affects the analog input and not the
digital input from Overbridge.) Use the audio input meter on the screen to monitor your audio input level and
follow these steps to set the input sensitivity level:
1. Connect your sound source to the IN L/R inputs of the Analog Heat MKII and make sure that the vol-
ume of the sound source is as loud as possible.
2. Press [SETTINGS] and the select INPUT SENSITIVITY. Keep an eye on the audio input meter and
change the input sensitivity until you find a setting where the bar reaches the vertical line but without
clipping. The message “INPUT LEVEL TOO HIGH” is displayed on the screen when the input level is
too high, and clipping occurs.
Optimal input level.
Too high input level.

3. Adjust the level at the sound source if needed.
10
3.3 SETUP EXAMPLES

The Analog Heat MKII is very well suited for use in both an analog setup and in a more digital environment.
Here are a couple of examples of how you can use the Analog Heat MKII. For more information about how
to set up Analog Heat MKII in different configurations, please see "6.5 AUDIO ROUTING" on page 18.
3.3.1 ANALOG HEAT MKII AS AN EXTERNAL EFFECT

In this example, the Analog Heat MKII is used as an external effect to add color to the Elektron Octatrack
before the signal reaches the mixer.

Sync A Sync B
Master Volume Preset /Data

Press + Hold to Save
FLTR
AMP ENV LFO
& EQ
Analog Heat MKII
CHARACTER EQUALIZER
Low High
F I LT E R
On /Off
3.3.2 ANALOG HEAT MKII AS A VST/AU PLUGIN USING OVERBRIDGE

Analog Heat MKII can also be used together with Overbridge to allow you to use the Analog Heat MKII
as a plug-in for analog distortion processing in your DAW.

Sync A Sync B
Master Volume Preset/Data
USB
FLTR
AMP ENV LFO
& EQ
Analog Heat MKII
CHARACTER EQUALIZER
Low High
F I LT E R
On /Off
3.3.3 ANALOG HEAT MKII AS A SOUND CARD

Analog Heat MKII also functions as a 2 in/2 out sound card for your computer and can be used for both
recording and monitoring audio. At the same time you can, via Overbridge, use the effect to process
another set of audio signals.

Sync A Sync B
Master Volume Preset /Data
USB
FLTR
AMP ENV LFO
& EQ
Analog Heat MKII
CHARACTER EQUALIZER
Low High
F I LT E R
On /Off
11
4. SIGNAL FLOW
4. SIGNAL FLOW
The illustrations below show the signal flows of the Analog Heat MKII and illustrates how the different com-
ponents interact with each other.
4.1 AUDIO SIGNAL FLOW

This illustration shows the general flow of audio through the Analog Heat MKII. The complete signal chain is
in stereo.
Multi-mode
Circuit Filter Equalizer
Drive Dirt
Bypass Out L/R
In L/R Effect
Input Wet level Dry/Wet Preset Master Head-
Sensitivity Mix Volume Volume phones
Overbridge or Class compliant USB audio host
4.2 MODULATION SIGNAL FLOW

This illustration shows the flow of how modulation signals are generated and routed through the
Analog Heat MKII.
Filter
Modulation
Over-
bridge
Modulation
LFO
Destination
Bandpass Envelope Compar- Trig
In L/R
Filter Follower ator
Input Gain Envelope Modulation
Sensitivity Generator Destination
Filter Modulation Filter

Modulation Destination Modulation
5. INTERACTING WITH THE ANALOG HEAT MKII
5.1 PRESETS
The Analog Heat MKII has 128 preset slots where you can store your presets. Preset slot 000 is an INIT
preset with default values. Note that, when switching off the power on your Heat, any changes to the
currently active preset will be lost unless the preset is first saved. There is an indicator (next to the preset
number) on the LCD screen showing when changes have been made to the preset. For more information,
please see "5.12 SCREEN INFORMATION" on page 14.
5.1.1 LOADING A PRESET

1. Turn PRESET/DATA to select a preset.
2. Press PRESET/DATA or [YES] to load the preset.
12
5.1.2 SAVING A PRESET

1. Press and hold PRESET/DATA for two seconds. The selected preset now starts to blink to illustrate
that you are about to overwrite a preset position.
2. Turn PRESET/DATA to select the preset slot to where you want to save your sound, and then press
[YES].
3. (Optional) Turn PRESET/DATA to the character you wish to edit. Press and hold [SETTINGS] and
then turn PRESET/DATA to move the cursor to the desired character and select it by releasing
[SETTINGS]. To delete a character, turn PRESET/DATA to move the cursor to highlight the charac-
ter after the one you wish to delete, then press and hold [SETTINGS] and press [NO] twice.
4. Press [YES] to save the preset.
5.2 ACTIVE MODE

When you set the Active Mode to ON, the Analog Heat MKII affects the incoming signal. Active Mode is tog-
gled on and off by pressing [ON]. The light of the [ON] key indicates if the effect is active or not. You can
also use a Footswitch to toggle the Active Mode. For more information, please see "6.4 CONTROL IN" on
page 17. You also have the option to set if you want the Analog Heat MKII to start in active mode or not
when you turn it on. For more information, please see "6.3.2 ACTIVE AT START" on page 17. Turn Active
Mode OFF to bypass the effect.
5.3 EFFECT CIRCUITS

You can use the CIRCUIT SELECTOR to choose between 8 different types of effect circuits for a wide vari-
ety of drive and distortion sounds.
• CLEAN BOOST
Makes the signal louder. When fully driven, it sounds similar to overdriving old mixers. Use for minimal
distortion or when you only want to use the filter and EQ.
• SATURATION
This circuit is reminiscent of classic tape saturation. Woolly and warm.
• ENHANCEMENT
Adding tube-like glow and sheen to a track or loop.
• MID DRIVE
Mid-range focused overdrive with a solid and distinct body.
• ROUGH CRUNCH
Gritty, worn and gnarly character. Full of flavor.
• CLASSIC DIST
Pleasantly distorts upper mid-range frequencies. Ideal for acid bass lines.
• ROUND FUZZ
Adds a lot of harmonics and alters the signal in interesting and often unpredictable ways.
• HIGH GAIN
Probably the most aggressive of all the circuits. Very maxed out!
5.4 FILTER TYPES

Change the type of the filter by pressing one of the two [FILTER TYPE] keys. You can also press the two
[FILTER TYPE] keys simultaneously to toggle the filter on/off. It is possible to change the filter type even if
the filter is turned off.
There are seven different analog filter types in the Analog Heat MKII to help to shape the sound.
• LOW PASS 2 (two-pole, 12 dB per octave)
• LOW PASS 1 (one-pole, 6 dB per octave)
• BAND PASS
• HIGH PASS 1 (one-pole, 6 dB per octave)
• HIGH PASS 2 (two-pole, 12 dB per octave)
• BAND STOP (NOTCH)
• PEAK
5.5 EQUALIZER
LOW and HIGH adjust the amount of low-end and high-end frequency gain or attenuation of the effect
circuit. Each character circuit comes with its tailor-made equalizer characteristics. For more information,
please see "4.1 AUDIO SIGNAL FLOW" on page 12.
13
5.6 DRIVE
DRIVE sets the gain level in the effect circuit. A higher setting increases the effect of the selected circuit type,
typically resulting in more distortion. For more information, please see "4. SIGNAL FLOW" on page 12.
5.7 WET LEVEL

WET LEVEL sets the level of the signal coming from the effect. It is applied before the DRY/WET mix. It is
used to match the level of the dry signal for easy mixing of the two. For more information, please see "4.
SIGNAL FLOW" on page 12.
5.8 DRY/WET
DRY/WET sets the mix between the clean signal and the signal that is affected by the effect. For more infor-
mation, please see "4. SIGNAL FLOW" on page 12.
5.9 SETTINGS MENU

Press [SETTINGS] to access the SETTINGS menu.
Scroll through the list of settings by using the PRESET/DATA knob. Open a highlighted menu by pressing
the PRESET/DATA knob or [YES]. To change the settings in the menus, first press, and then turn the PRE-
SET/DATA knob. For more information, please see "6. THE SETTINGS MENU" on page 16.
5.10 PARAMETER PAGES

Access the parameter pages by pressing the corresponding key [AMP], [FLTR & EQ], [ENV], and [LFO].
There are two pages associated with each key (AMP has only one page). You can access the secondary
pages by pressing the [PARAMETER] key a second time. For more information, please see "7. PARAMETER
PAGES" on page 24.
5.11 PARAMETER EDITING

The four DATA ENTRY knobs are used to change the parameter values that you see on the screen. (Some
parameters also have dedicated knobs on the panel.) The physical location of the knobs on the front panel
corresponds to the layout of the parameters on the screen.
• Press down and turn the DATA ENTRY to adjust the parameters in larger increments.
• Press [SETTINGS] + turn DATA ENTRY knob to quantize the parameter value to integers.
• Press [NO] + DATA ENTRY knob to reset the parameter to the default value.
• Press [NO] + [PARAMETER] key to reset the selected parameter group to default values.
• Use the [NO] key to exit an active menu, back to a higher level menu and to negate.
5.12 SCREEN INFORMATION

Preset number Change indicator Preset name Audio input meter Trigger icon
Current PARAMETER
page parameters
Current PARAMETER
page graphical info
14
• The Preset number and Preset name display the currently selected preset. If you push one of the pa-
rameter keys, the title bar briefly shows the name of the active parameter page. This text is replaced by
parameter names when turning the DATA ENTRY knobs or the dedicated controllers.
• Between the preset number and the preset name, there is an indicator that shows if the preset is altered,
(contain changes that will be lost unless you save the preset.)
• The Audio input meter displays the level of the incoming audio.
• The Trigger icon shows that the Envelope Follower, an external gate signal or manual triggering has
generated a trigger event.
• The PARAMETER page parameters show what the DATA ENTRY knobs control and their current param-
eter values.
• The graphical information varies depending on the current PARAMETER page.
The Analog Heat MKII features a screen saver that dims the screen after 5 minutes of inac-
tivity and turns off the screen after 60 minutes. Press any key or move any controller to wake
up the screen.
5.13 OVERBRIDGE
The Overbridge software suite enables a tight integration between the Analog Heat MKII and a computer
DAW software.
When using Overbridge, the user interface for the Analog Heat MKII presents itself as a plug-in window in
your DAW. Access, edit and automate parameters for sound shaping on screen. Always find your device
preset parameters in the same state as you left them when you return to your DAW project, with the useful
total recall functionality.
Read more about Overbridge use and availability on the Elektron website: https://www.elektron.se/overbridge/
5.14 CLASS COMPLIANT DEVICE

The Analog Heat MKII is a class compliant device (also known as plug-and-play). It means it does not re-
quire any extra drivers to connect to your Windows or macOS computer, or your iOS device.
The Analog Heat MKII can, therefore, stream audio and MIDI directly over USB to and from supported
computers/phones/tablets. It opens up several exciting possibilities of what you can do with your device,
for example, record audio from your device directly over USB in your DAW. For more information, please see
"6.8.1 USB CONFIG" on page 23 and "6.5.3 USB CC MODE" on page 19
5.15 BACKING UP THE ANALOG HEAT MKII

It is always recommended to make regular backups of your data. Backups are also a convenient way to
share your presets with other users. To make backups and transfer files to and from your Elektron device,
you should use Transfer, a free application that you can download from the Elektron site https://www.elek-
tron.se/support. The application is available for both Windows and macOS.
5.15.1 BACKING UP PRESETS

You can backup up your presets from your Elektron device to a computer. Here is the general procedure
for how to back up your device:
1. Connect the Elektron device to the computer via USB.
2. Open the Transfer application on your computer, and then select the USB MIDI port(s) for your
device on the CONNECTION page, and then click “CONNECT” (or click “CONNECT” next to your
device under PREVIOUSLY USED if it has been connected before).
3. In Transfer, click the EXPLORE tab to open the EXPLORE page.
4. On the EXPLORE page top left side of the drop-down menu, make sure “MY COMPUTER” is selected.
5. On the top right side, in the drop-down menu, select the type of file you want to transfer.
6. In the window on the right, navigate to the files or folders you want to transfer
7. Drag and drop the files or folders to your preferred location under “MY COMPUTER.”
5.15.2 TRANSFERRING BACKED UP FILES TO YOUR ELEKTRON DEVICE

Use the EXPLORE page in Transfer to transfer previously backed up files to your Elektron device from a
computer.
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6. THE SETTINGS MENU

2. Open the Transfer application on your computer and then select the USB MIDI port(s) for your device
on the Transfer CONNECTION page. Click “CONNECT” (or click “CONNECT” next to your device
under PREVIOUSLY USED if it had been connected before).
3. In Transfer, click the EXPLORE tab to open the EXPLORE page.
4. On the top right side, in the drop-down menu, select the type of file you want to transfer.
5. On the top left side in the drop-down menu, make sure “MY COMPUTER” is
selected.
6. Under “MY COMPUTER,” navigate to the files or folders you want to transfer.
7. Drag and drop the files or folders to your preferred location on your device.
8. Depending on what file type you send, you might encounter pop-up windows asking you to decide
what files you want to send and how you want to organize them.

Here follows a description of all the parameters that are in the SETTINGS menu. You access the SETTINGS
menu by pressing the [SETTINGS] key. Scroll through the list of settings by using the PRESET/DATA knob.
Open a highlighted menu by pressing the PRESET/DATA knob or [YES]. To change the settings in the
menus, first press and then turn the PRESET/DATA knob.
6.1 INPUT SENSITIVITY
Sets the audio input level to fit the audio level sent to the effect via the IN L/R inputs. It is important to set
this level correctly to get the best sound from your Analog Heat MKII. There are four different settings for
the input sensitivity: LOW, MID, HIGH & MAX. Low is the most silent, Max is the loudest. For more informa-
tion, please see "3.2 SETTING THE INPUT SENSITIVITY LEVEL" on page 10.
• LOW (Maximum input level 10,5 V, peak to peak)
• MID (Maximum input level 5,3 V, peak to peak)
• HIGH (Maximum input level 2,5 V, peak to peak)
• MAX (Maximum input level 1,2 V, peak to peak)
6.2 MODULATION
Here you can connect a number of modulation sources with their destinations and set the modulation
depth. For more information, please see "APPENDIX B: MODULATION SOURCES AND DESTINATIONS" on
page 34.
1. Turn the PRESET/DATA knob to scroll through the source list, and then select it by pressing PRESET/
DATA or [YES].
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2. Turn the PRESET/DATA knob to scroll through the available destinations, and then select it by press-
ing PRESET/DATA or [YES].
3. Lastly, set the modulation depth amount by turning the PRESET/DATA knob. A negative value gives an
inverted modulation. You can also use the rightmost DATA ENTRY knob to set the modulation depth.
To reset the modulation amount to 0, press and hold [NO].
6.3 OPTIONS
6.3.1 INTERNAL TEMPO

Sets the internal tempo. The tempo range is 30 – 300 BPM. This tempo controls the speed of the LFO.
The Analog Heat MKII can also be set to respond to MIDI clock sent from external devices. If the device
is synced from either MIDI Clock or Overbridge, the Internal Tempo setting is locked from editing, and
this parameter instead shows the sync source together with the currently active (external) tempo. For
more information, please see "6.6.1 SYNC" on page 20.
You can also use tap tempo. To tap a tempo setting, highlight INTERNAL TEMPO in the
SETTINGS menu, and then press and hold the [SETTINGS] key and tap the [YES] key in a
steady rhythm. The average tempo of the taps calculates after four consecutive taps. By
continuing tapping, the average tempo keeps on updating.
6.3.2 ACTIVE AT START

Sets if Analog Heat MKII is in Active Mode or not when it is turned on.
6.3.3 KNOB MODE

Sets how the knobs on the panel affect the parameters. When you load a preset, the knobs positions
typically don’t match their parameter values.
• JUMP immediately sets the value to the current knob position.
• In CATCH mode, turning the knob do not change the parameter value until the knob position match-
es the presets stored value.
You can see the current value of the parameter in the screens title bar while you turn the knob.
6.4 CONTROL IN
6.4.1 CONTROL IN A
• CONTROL MODE
Sets the port mode to adjust to different kinds of input signals. There are four modes: CV (Control
Voltage), EXPR (Expression Pedal), FOOTSW (Footswitch) and OFF.
• CV ZERO LEVEL (Available when mode is set to CV.)
Sets the Volt level at which CV modulation amount is zero. A control input level equal to this setting
corresponds to zero modulation. (-5.50 V–+5.50 V).
• CV MAX LEVEL (Available when mode is set to CV.)
Sets the Volt level at which CV modulation amount is max. A control input level equal to this setting
corresponds to full modulation. (-5.50 V–+5.50 V).
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• EXPRESSION LEARN (Available when mode is set to EXPR.)

Sets the highest and lowest limit of the control input level. When in this setting, connect the Expression
pedal to CONTROL IN A/B. Press YES and then move the expression pedal first to max and then to
min position. Press YES to save settings.
• REVERSE DIRECTION (Available when mode is set to EXPR.)
Reverses the direction of how the Expression pedal sends control input signals.
• FOOTSW DEST (Available when mode is set to FOOTSW.)
Sets the destination of the control input from the Footswitch. The options are: TEMPO, ACTIVE,
PRESET +, PRESET -, ENV TRIG
• FOOTSWITCH LEARN (Available when mode is set to FOOTSW.)
Sets the high and low limit of the control input level. When in this setting, connect the Footswitch
pedal to CONTROL IN A/B. Press YES and then press the Footswitch pedal a couple of times.
Press YES to save settings.
• REVERSE DIRECTION (Available when mode is set to FOOTSW.)
Reverses the direction of how the Footswitch pedal sends control input signals.
6.4.2 CONTROL IN B
The available settings are the same as for CONTROL IN A.
If you set CONTROL MODE to FOOTSW you can send a gate signal to the Control In
inputs to trigger the envelope generator. For more information, please see "7.4 ENVELOPE
PAGE 1" on page 25.
6.5 AUDIO ROUTING

These settings are stored in the global settings and are not part of the preset.
6.5.1 ANALOG IN/OUT (IN OVERBRIDGE MODE)

Sets if the signal from the analog inputs (INPUT L/R) is routed to the Analog Heat MKII's FX or not. It also
sets if the signal from the effect is routed to analog outputs (OUTPUT L/R and HEADPHONES) or not.
These are the settings if Overbridge mode is chosen in the USB CONFIG menu. For more information,
please see "6.8.1 USB CONFIG" on page 23.
OVERBRIDGE
PLUGIN
FX Send L/R FX Return L/R
ANALOG IN FX ANALOG OUT

IN OUT
Analog Input L/R Analog Output L/R
OVERBRIDGE
AUDIO INTERFACE
Analog Heat MKII supports 4 channels of audio. Audio from Analog Input is routed to the analog in-, and
outputs, and can optionally also be routed through the Analog Heat MKII's FX (distortion circuit, EQ, and
filter). FX Send L/R is always routed to the effect.
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• AUTO In AUTO mode, Analog Heat MKII automatically detects if the Overbridge plugin is running
or not. With Overbridge running, the Analog In is not routed through the effect to the Analog Out.
(Same as OFF setting.) If Overbridge is not running, the signal from Analog In is routed through the
Analog Heat MKII's FX to the Analog Out. (Same as the IN+OUT setting.)
• IN+OUT Both Analog In and Analog Out are routed to the Analog Heat MKII's FX.
• IN Routes the signal from Analog In to the Analog Heat MKII's FX.
• OUT Routes the signal from the effect to Analog Out.
• OFF Neither Analog In nor Analog Out are routed to the Analog Heat MKII's FX.
You can use the Analog Heat MKII as a regular audio interface and let signals pass in and
out unaffected by the effect. At the same time, you can, via Overbridge, also use the effect
to process another set of audio signals.
AUTO mode is suitable for most use cases. It lets the Analog Heat MKII function both as a
standalone effect and together with Overbridge as a plugin, while still retaining its func-
tionality as a sound card.
6.5.2 ANALOG IN/OUT (IN USB AUDIO/MIDI MODE)
Sets if the signal from the analog inputs (INPUT L/R) is routed to the effect or not. It also sets if the
signal from the Analog Heat MKII's FX is routed to analog outputs (OUTPUT L/R and HEADPHONES)
or not. These are the settings if USB AUDIO+MIDI mode is chosen in the USB CONFIG menu. For more
information, please see "6.8.1 USB CONFIG" on page 23.
ANALOG HEAT MKII

IN OUT
CLASS COMPLIANT
USB AUDIO HOST
• AUTO In AUTO mode, Analog Heat MKII automatically detects if a class compliant USB audio host
(computer, smartphone, etc.) is connected or not. If no USB audio host is connected, the signal is
routed from Analog In through the Analog Heat MKII's FX to the Analog Out. (Same as the IN+OUT
setting.) With the USB audio host connected, the audio routing in AUTO mode depends on which
option is selected by the USB CC MODE parameter:
INSERT sets ANALOG IN/OUT to IN+OUT.
PRE sets ANALOG IN/OUT to OUT.
POST sets ANALOG IN/OUT to IN.
BYPASS sets ANALOG IN/OUT to OFF.
• IN+OUT Both Analog In and Analog Out are routed to the Analog Heat MKII's FX.
• IN Routes the signal from Analog In to the Analog Heat MKII's FX.
• OUT Routes the signal from the effect to Analog Out.
• OFF Neither Analog In nor Analog Out are routed to the Analog Heat MKII's FX.
6.5.3 USB CC MODE

Sets how and where, in the signal chain, the signal between the Analog Heat MKII and the class com-
pliant USB audio host (computer, smartphone etc.) is routed. This parameter is only available if USB
AUDIO+MIDI mode is chosen in the USB CONFIG menu. For more information, please see "6.8.1 USB
CONFIG" on page 23.
ANALOG HEAT MKII

FX TO USB USB TO MAIN
CLASS COMPLIANT
USB AUDIO HOST
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• INSERT Routes the audio bi-directionally over USB between the Analog Heat MKII's FX (distortion
circuit, EQ, and filter) and the USB audio host.
• PRE Routes the audio from Analog In to the USB audio host and then back to the Analog Heat
MKII's FX.
• POST Routes the audio from the Analog Heat MKII's FX to the USB audio host and then to the
Analog Out.
• BYPASS Routes the audio from Analog In to the USB audio host and then to Analog Out without
being affected by the Analog Heat MKII's FX.
Using a USB audio host together with Analog Heat MKII opens up several interesting
possibilities of how to use the Analog Heat MKII. Here are some examples and how the
ANALOG IN/OUT and USB CC MODE parameters should be set to achieve them:
• Analog Heat MKII as an insert effect for the USB audio host:
ANALOG IN/OUT: IN+OUT, USB CC MODE: INSERT
• USB audio host as a pre-Heat insert effect:
ANALOG IN/OUT: OUT, USB CC MODE: PRE
• USB audio host as a post-Heat insert effect:
ANALOG IN/OUT: IN, USB CC MODE: POST
• Analog Heat MKII as a transparent sound card for the USB audio host:
ANALOG IN/OUT: OFF, USB CC MODE: BYPASS
6.5.4 USB TO MAIN

Sets the gain level of the audio sent from the USB audio host to the Analog Heat MKII. This setting only
affects the audio sent from the USB audio host to the analog OUTPUT L/R and HEADPHONES out-
puts. This parameter is only available if USB AUDIO+MIDI or OVERBRIDGE mode is chosen in the USB
CONFIG menu, and if it is included in the audio routing chosen in USB CC MODE. For more information,
please see "6.8.1 USB CONFIG" on page 23. (0 dB–+18 dB)
6.5.5 FX TO USB
Sets the gain level of the audio sent from Analog Heat MKII's FX to the USB audio host. This parameter
is only available if USB AUDIO+MIDI mode is chosen in the USB CONFIG menu and if it is included in the
audio routing chosen in USB CC MODE. For more information, please see "6.8.1 USB CONFIG" on page
23. (0 dB–+30 dB)
6.6 MIDI
These settings are stored in the global settings and are not part of the preset.
6.6.1 SYNC
• CLOCK RECEIVE
Sets whether or not the Analog Heat MKII responds to MIDI clock and transport sent from external
devices. (ON, OFF)
• CLOCK SEND
Sets whether or not the Analog Heat MKII sends/forwards MIDI Clock and transport. Transport is
transmitted when an external clock source (MIDI or Overbridge) is used. (ON, OFF)
• PROG CHG RECEIVE
Sets whether or not the Analog Heat MKII responds to incoming program change messages. This
is useful when wanting to select presets from an external source. For more information on how to
select the appropriate MIDI channel, please see "6.6.3 CHANNELS" on page 21. (ON, OFF)
• PROG CHG SND
Sets whether or not the Analog Heat MKII sends program change messages when it changes
20
patches. For more information on how to select the appropriate MIDI channel, please see "6.6.3
CHANNELS" on page 21. (ON, OFF)
6.6.2 PORT CONFIG
• TURBO SPEED
This setting allows Turbo mode negotiation between Elektron gear. Connecting the Analog Heat
MKII to other Turbo protocol compatible gear, like the Analog Rytm and the Octatrack, makes it
possible to increase the average MIDI bandwidth by up to 10x. This increases the accuracy of MIDI
clock signals as well as the timing of CC messages. (ON, OFF)
• OUT PORT FUNC
Sets what type of signal the MIDI OUT port sends.
• MIDI sets the port to send MIDI data.
• DIN24 sets the port to send DIN 24 sync pulses. No MIDI data can be sent on the port when this
option is selected.
• DIN48 sets the port to send DIN 48 sync pulses. No MIDI data can be sent on the port when this
option is selected.
• THRU PORT FUNC
Sets what type of signal the MIDI THRU port sends. The settings are the same as for OUT PORT
FUNC.
• INPUT FROM
Sets the source from which the Analog Heat MKII receives MIDI data.
• MIDI Only receives MIDI data from the MIDI IN port.
• USB Only receives MIDI data from the USB port.
• MIDI+USB Receives MIDI data from both the MIDI IN and USB port.
• NONE Disregards any incoming MIDI data.
• OUTPUT TO
Selects the port to which Analog Heat MKII sends MIDI data (CC or NRPN).
• MIDI Only sends MIDI data to the MIDI OUT port.
• USB Only sends MIDI data to the USB port.
• MIDI+USB Sends MIDI data to both the MIDI OUT and USB port.
• NONE Do not send MIDI data to any port.
• PARAM OUTPUT
Sets what type of MIDI messages the DATA ENTRY knobs sends. For information about which CC/
NRPN parameters that are sent, please see "APPENDIX A: MIDI" on page 33.
• CC Sets the knobs to send CC MIDI messages.
• NRPN Sets the knobs to send NRPN MIDI messages.
• ENCODER DEST
Sets whether or not the DATA ENTRY and LEVEL knobs send MIDI data.
• INT MIDI only sends data internally.
• INT + EXT MIDI sends data both internally and externally.
• PARAM INPUT
Makes it possible to control Analog Heat MKII parameters from an external MIDI device sending
CC/NRPN data. (ON, OFF)
6.6.3 CHANNELS
• MIDI CHANNEL
Sets the MIDI channel that Analog Heat MKII uses to send and receive MIDI data. When set to OFF,
all MIDI functionality is disabled. (1–16)
6.7 SYSEX DUMP

In the SYSEX DUMP menu, settings and Presets can be sent and received. Select a menu option using the
PRESET/DATA knob. Press [YES] to open the highlighted menu selection.
21
When receiving or sending SysEx data, the MIDI ports or the USB port of the Analog Heat MKII should be
connected to the external sending/receiving device.
If the Analog Heat MKII is sending or receiving SysEx data through the MIDI ports, use the Elektron TM-1
USB MIDI interface for up to 10x transfer speeds.
If the external device is a computer, we recommend using our free SysEx utility C6, which can be down-
loaded from the Elektron website.
Before initiating a SysEx send or receive, first, make sure the receiving device is listening for
data to be sent.
6.7.1 SYSEX SEND

Here settings and Presets can be sent to an external device via the MIDI OUT port or the USB port of the
Analog Heat MKII.
The column to the left selects what will be sent. Use the PRESET/DATA knob to navigate in the column.
The SysEx data send alternatives located in the column to the right will change depending on the selec-
tion made in the left column. Press [YES] to access this column. Use the PRESET/DATA knob to select
what will be sent. Press [YES] to initiate the SysEx send procedure.
SETTINGS will send all the Analog Heat MKII settings to the receiving device.
PRESET will send the selected Preset (or all Presets) to the receiving device.
6.7.2 SYSEX RECEIVE

Here settings and Presets can be received from an external device via the MIDI IN port or the USB port
of the Analog Heat MKII.
The column to the left selects what will be received. Use the PRESET/DATA knob to navigate in the col-
umn. The SysEx data receive alternatives located in the column to the right will change depending on the
selection made in the left column. Press [YES] to access this column. Use the PRESET/DATA knob to
select what will be received. Press [YES] to initiate the SysEx receive procedure. The Analog Heat MKII
starts listening to incoming data. Press [NO] to stop listening.
RECEIVE ANY listens to and receives any viable SysEx data (settings, Presets).
PRESET receives and stores a Preset to the selected slot.
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6.8 SYSTEM
6.8.1 USB CONFIG

• OVERBRIDGE
To use the Analog Heat MKII as an Overbridge device, select Overbridge mode. (ON, OFF)
• USB MIDI
Select this option If you wish to send MIDI over USB and disable the Overbridge integration func-
tionality. (ON, OFF)
• USB AUDIO/MIDI
Sets the Analog Heat MKII to send and receive audio and MIDI over USB. Select this option if you
want to use the Analog Heat MKII together with a class compliant USB audio host. For more infor-
mation, please see "5.14 CLASS COMPLIANT DEVICE" on page 15. (ON, OFF)
6.8.2 OS UPGRADE
Use this menu option is used when you want to upgrade the Analog Heat MKII OS. To send the OS syx
file, use our free Elektron Transfer software. The OS syx file and Elektron Transfer can be downloaded
from the Elektron website.
For the transfer to be possible, the device sending the OS syx file must be connected to the USB port of
Analog Heat MKII OS.
Please note that the Analog Heat MKII OS will not appear as an icon on your computer desktop.
2. Open the Transfer application on your computer.
3. On the Transfer CONNECTIONS page, set the MIDI IN and MIDI OUT ports to your Elektron device.
4. On the Transfer DROP page, drag and drop the OS file. The OS file is then automatically trans-
ferred to the Elektron device and the OS update initiates. A progress bar is visible on device screen
when receiving the OS.
5. On your device. Press [YES] to confirm the OS update.
When the process is successfully completed, the OS is updated and the unit reboots.
6.8.3 CALIBRATION
CALIBRATION starts the calibration routine for the drive circuits and filters. After selecting this option,
a popup window appears asking to confirm the calibration. Press [YES] to proceed with the calibration.
Please note that the calibration routine takes quite a while to complete.
The device should be turned on for at least 2 hours before you perform a calibration for
its circuits to warm up properly. If the unit has not yet warmed up for 2 hours, there is a
calibration countdown counter which automatically initiates the calibration once it reaches
the timeout.
Also, please note that nothing should be connected to the device during the calibration.
Analog Heat MKII is factory calibrated. It should not be re-calibrated unless specifically
stated by Elektron Support or if prompted by the machine.
23
7. PARAMETER PAGES
7. PARAMETER PAGES
Here follows a description of all the parameters that are on the PARAMETER pages. You access the param-
eter pages by pressing the [PARAMETER] keys. AMP has one page. FILTER/EQ, ENV, and LFO has two
pages. To access page one, press the [PARAMETER] key once. To access page two, press the [PARAME-
TER] key twice.
7.1 AMP PAGE

Press [AMP] once to access this parameter page.
7.1.1 DRIVE
Sets the gain level of the audio into the distortion circuit. A higher setting results in more distortion. Even
at zero level some of the circuits have a clear effect on the sound. (0.00–127.00)
7.1.2 WET
Sets the level of the signal that is affected by the effect. Use WET LEVEL to balance the Wet part so
that it has a similar level to the Dry part. This makes it easier to use the (Dry/Wet) MIX parameter to do
parallel distortion. For more information, please see "4. SIGNAL FLOW" on page 12. (This parameter
is written as WET LEVEL on the device panel.) (0.00–127.00)
7.1.3 DRY/WET
Sets the mix between the clean signal and the signal that is affected by the effect. (-64.00–63.00)
7.1.4 VOL
Sets the overall level of the sound and is saved as part of the preset. Use this to pick a good output gain
for the complete preset (i.e. from the output of the Dry/Wet mix). (0–127)
7.2 FILTER & EQ PAGE 1

Press [FLTR & EQ] once to access this parameter page.
7.2.1 FREQ
Sets the cutoff frequency of the filter. (0.00–127.00)
7.2.2 RESO
Sets the amount of resonance at the cutoff point of the filter. (0.00–127.00)
7.2.3 ENV
Sets the amount of how much the envelope and envelope follower affects the filter frequency. A negative
value gives an inverted modulation. (-128.00–127.00)
7.2.4 LFO
Sets the amount of how much the LFO affects the filter frequency. A negative value gives an inverted
modulation. (-128.00–127.00)
24
7. PARAMETER PAGES
7.3 FILTER & EQ PAGE 2

Press [FLTR & EQ] twice to access this parameter page.
7.3.1 FRQPAN
Adjust the cutoff frequency of the filter and pans its behavior between the Left and Right channel. At a
value of 0 there is no frequency panning effect. Lower values increase the cutoff frequency in the Left
channel and decrease it in the Right channel. Higher values increase the cutoff frequency in the Right
channel and decrease it in the Left channel. (-64.00–63.00)
7.3.2 DIRT
This parameter sets the amount of input level to the filter. It can be used to slightly overdrive the signal
going into the filter, producing filter distortion. (0–127)
7.3.3 EQ LO
Controls the amount of low-end in the equalizer. Depending on selected circuit-type, this affects the
low-end in slightly different ways, always tailor-made to suit the characteristics of the selected circuit.
(-64.00–63.00)
7.3.4 EQ HI
Controls the amount of high-end in the equalizer. Depending on selected circuit-type, this affects the
high-end in slightly different ways, always tailor-made to suit the characteristics of the selected circuit.
(-64.00–63.00)
7.4 ENVELOPE PAGE 1

Press [ENV] once to access this parameter page.
Analog Heat MKII contains an envelope follower function. The envelope follower is used to detect the am-
plitude variations of the incoming audio signal to produce a control signal (envelope) that resembles those
variations. The control voltage rises and falls with the overall volume of the input signal. This control signal
can be routed to modulate the filter and also to two other modulation destinations of your choice. For more
information, please see "6.2 MODULATION" on page 16. Tightly coupled with the Envelope Follower is
also an Envelope Generator. If you do not want to use the follower output directly, you can choose to use
the follower only to trigger the Envelope Generator, if you want to use predefined Attack/Decay (or Attack/
Release) times rather than follow the audio with the rise/fall slopes. For more information, please see "4.2
MODULATION SIGNAL FLOW" on page 12.
7.4.1 MODE
Sets the mode of the envelope follower. Turn the knob to access the next mode. The higher the value
under the selected mode, the more gain is added to the signal, which is useful for weak input signals.
• AR (Attack-Release)
Creates an envelope control signal where the Attack phase begins when the incoming sound exceeds
the threshold. The envelope then holds until the incoming sound falls under the threshold and the
release phase starts
25
7. PARAMETER PAGES
Envelope
control signal
Attack Release
Trig
LEVEL
Audio signal
TIME
• AD (Attack-Decay)
Creates an envelope control signal where the Attack phase begins when the incoming sound exceeds
the threshold and is then followed directly by the decay phase.
Envelope
control signal
Attack Decay
Trig
LEVEL
Audio signal
TIME
• FLW (Follow)
The envelope follows the amplitude of the input signal when it is above the threshold level.
Envelope
control signal
LEVEL
Audio signal
Trig
TIME
7.4.2 ATK
In Follow (FLW) mode, this is the rise time of the envelope follower, i.e. how quickly the follower rises
when the amplitude of the audio increases. In generator mode (AD or AR), this is the attack time of the
generated envelope. The rise time of the underlying envelope follower is set to fastest possible rise time
in these configurations. (0–127)
7.4.3 REL
In Follow (FLW) mode, this is the fall time of the envelope follower, i.e. how quickly the follower falls when
the amplitude of the audio falls. In generator mode (AD or AR), this is the decay- or release time of the
generated envelope. The fall time of the underlying envelope follower is set to a good, predefined fall
time in these configurations. (0–127)
26
7. PARAMETER PAGES
7.4.4 TRIG
Sets the threshold level at which the envelope follower triggers the envelope generator and the LFO.
(0.00–127.00)
Press [YES] + [ENV] to trigger the envelope generator manually. You can also send a gate
signal to the Analog Heat MKII Control In inputs to trigger the envelope generator. For
more information, please see "6.4 CONTROL IN" on page 17.
7.5 ENVELOPE PAGE 2

Press [ENV] twice to access this parameter page.
The envelope has three modulation destinations.

1. The first destination is set using the parameter DEST1. DEPTH1 controls the amount of envelope modu-
lation sent to the chosen destination. The first destination can also be set in the MODULATION parame-
ter page found at SETTINGS > MODULATION. Select ENV 1ST as a source and then select modulation
destination and modulation depth. For more information, please see "6.2 MODULATION" on page 16.
2. The second destination is set in the MODULATION parameter page (see above). Select ENV 2ND as a
source and then select modulation destination and modulation depth.
3. The third modulation destination is permanently set to the filter cutoff. The parameter ENV on the FIL-
TER/EQ PAGE 1 parameter page controls the amount of envelope modulation added to the filter cutoff.
The envelope follower uses a filter to define the frequency span of the input signal that the envelope follow-
er reacts to. This span is defined by the BASE and WIDTH parameters.
Examples of how the BASE and WIDTH parameters affect the filter of the envelope follower:
GAIN
GAIN
GAIN
Width Width Width
Base Base Base

FREQUENCY FREQUENCY FREQUENCY
With BASE set to 0, the envelope follower filter functions as a low pass filter with WIDTH
adjusting the frequency range.
With WIDTH set to 127, the envelope follower filter functions as a high pass filter with BASE
adjusting the frequency range.
If you want the envelope follower to trigger specifically on different types of drums in a loop
(for example the snare, or the hi-hats), this filter is very usable to isolate these elements.
7.5.1 BASE
Sets the base frequency of the filter detection. (0–127)
7.5.2 WIDTH
Sets the frequency width above the base frequency. (0–127)
7.5.3 DEST1
Sets the modulation destination of the envelope follower. For more information, please see "APPENDIX
B: MODULATION SOURCES AND DESTINATIONS" on page 34.
27
7. PARAMETER PAGES
7.5.4 DEPTH1
Sets the amount of how much the envelope follower affects the modulation destination. A negative value
gives an inverted modulation. (-128.00–+127.00)
7.6 LFO PAGE 1

Press [LFO] once to access this parameter page.
7.6.1 SPEED
Sets the rate of the LFO in relation to the internal or external tempo. It is synced to BPM if one of the
“BPM x” settings are selected in the MULT parameter. To sync the LFO to straight beats, try settings of
16 or 32. The value of this parameter is bi-polar. (The LFO shape can be played backward by using nega-
tive values.) For more information, please see "6.3.1 INTERNAL TEMPO" on page 17. (-64–63)
7.6.2 MULT
Multiplies the SPEED parameter by the set factor. (x) multiplies the current BPM. 1-2K multiplies the LFO
speed regardless of the current internal or external tempo.
7.6.3 WAVE
Sets the LFO waveform. (TRI, SINE, SQR, SAW, EXP, RAMP, RND)
7.6.4 START
Sets wherein the LFO waveform cycle it starts when triggered. (0–127) For example, if you set WAVE to
SAW and START to 64 it starts at the middle of the wave cycle:
Start
7.7 LFO PAGE 2

Press [LFO] twice to access this parameter page.
The LFO has three modulation destinations.

1. The first is set using the parameter DEST1. The amount of LFO modulation added to the selected des-
tination is controlled by the parameter DEPTH1. The first modulation destination can also be set in the
MODULATION parameter page found at SETTINGS>MODULATION. Select LFO 1ST as a source and
then select modulation destination and modulation depth. For more information, please see "6.2 MODU-
LATION" on page 16.
28
8. TIPS & TRICKS
2. The second destination is set in the MODULATION parameter page (see above). Select LFO 2ND as a
source and then select modulation destination and modulation depth.
3. The third modulation destination is permanently set to the filter cutoff. The amount of LFO modulation
added to the filter cutoff is controlled by the parameter LFO on the FILTER/EQ PAGE 1 parameter page.
7.7.1 FADE
FADE offers the possibility to fade in/out the LFO modulation. Positive values give a fade-out, negative
values give a fade-in. A middle position (0) results in no fade in/out. The fade curve is restarted each time
the LFO triggers. For more information, please see "7.4.4 TRIG" on page 27. (-64–63)
7.7.2 MODE
Selects between four different modes of LFO behavior.
• FREE is the default free-running mode. The LFO run continuously, never restarting or stopping.
• TRIG The LFO run continuously, but restarts on the event of an envelope trig.
• HOLD The LFO run continuously, but on the event of an envelope trig, the output LFO level is latched
and held still until the next envelope trig
• ONE The LFO starts when a note is trigged, then runs to the end of the waveform and then stops.
This makes the LFO function similar to an envelope.
• HALF The LFO starts when a note is trigged, then runs to the middle of the waveform and then stops.
7.7.3 DEST1
Sets the modulation destination of the LFO. For more information, please see "APPENDIX B: MODULA-
TION SOURCES AND DESTINATIONS" on page 34.
7.7.4 DEPTH1
Sets the amount of how much the LFO affects the modulation destination. A negative value gives an
inverted modulation. (Range -128.00–127.00.)
8. TIPS & TRICKS

Here you can find a couple of different examples of some of the things you can do with the Analog Heat MKII.
8.1 ADDING SATURATION TO THE HIGH REGISTER

You can use the Analog Heat MKII to add saturation to the high-frequency register of a full range mix. This
is useful when you want to introduce some subtle harmonics to the mix, without distorting the overall sound.
1. Select the SATURATION circuit and the HIGH PASS 2 filter.
2. Connect your sound source to the Analog Heat MKII and make sure that the volume of the sound
source is as strong as possible.
3. Make sure the input level is correctly set. For more information, please see "3.2 SETTING THE INPUT
SENSITIVITY LEVEL" on page 10.
4. Start by setting DRIVE to 0, WET LEVEL to 127, and DRY/WET to 0. Set the filter RESONANCE to 0
and FREQUENCY to 100.
5. Increase DRIVE until you start to hear a little saturation in the higher registers, but not so much that
the saturation gets too dominant. The processed signal is lower than the bypassed signal, so you
should adjust the preset volume (For more information, please see "7.1.4 VOL" on page 24.) to
match the active and bypassed state to be able to A/B test correctly.
6. Tweak DRY/WET and DRIVE until you find a nice balance and the sound you want. If you want to use
the EQ, remember that only HIGH EQ affects the sound, since the low frequencies are filtered out.
8.2 PSEUDO-COMPRESSION
You can use the Analog Heat MKII to emulate a compressor and/or expander by using the Envelope Gener-
ator. This is useful if you want to add some extra pump to drums, or to liven up a flat sound. In this example,
you should use a highly dynamic sound source, with sharp transients, such as drums.
1. Select the CLEAN BOOST circuit and disable the filter by pressing both [FILTER TYPE] keys at the
same time. All filter type LEDs should be turned off.
29
8. TIPS & TRICKS
4. Start by setting DRIVE to 0, WET LEVEL to 127, and DRY/WET to 127.
5. Press the [AMP] key to access AMP PAGE, and set VOL to 127.
6. Press the [ENV] key to access ENVELOPE PAGE 1, and set MODE to AD. Adjust the MODE (AD) pa-
rameter until you clearly see the incoming signal in the TRIG meter. You should see the peaks and dips
of the incoming signal, retaining as much as possible of dynamics of the signal.
7. Lower the TRIG value until you see the trigger icon blink in the upper right corner of the screen. Make
sure it triggers mainly from the strongest peaks of the incoming sound.
8. Set ATK to 48, and REL to 72.
9. Press [ENV] a second time to access ENVELOPE PAGE 2 and change DEST1 to PRESET VOL and
DEPTH1 to -72.
You should now hear a very dynamic ducking effect with pretty sharp transients. You can change VOL, ATK,
REL, and DEPTH1 to achieve different compression effects.
If you change VOL to 80 and apply positive modulation (DEPTH1), you expand the signal instead of
compress it.
Bonus: Adding LFO
1. Press the [LFO] key to access LFO PAGE 1.
2. Set WAVE to SQR, SPEED to 1, and MULT to x1.
3. Press the [LFO] key again to access LFO PAGE 2.
4. Set DEST1 to PRESET VOL, MODE to TRI, and FADE to 40.
5. Apply positive modulation from DEPTH1 for even louder transients.
Note that DEPTH1 on ENVELOPE PAGE 2 need to be lowered to make room for the LFO modulation.
8.3 STEREO PHASER EFFECT

The Analog Heat MKII can also achieve an effect similar to that of a classic stereo phaser pedal by using
the filter frequency panning function.
1. Select any circuit and set the [FILTER TYPE] to BAND STOP.
4. Start by setting WET LEVEL to 127, and DRY/WET to 63. Set FREQUENCY to 64, and RESONANCE
to 0.
5. Press the [LFO] key twice to access LFO PAGE 2, and change DEST1 to FILTER PAN and set
DEPTH1 to around +64.
6. Press the [LFO] key to access LFO PAGE 1 and set SPEED to your liking.
You should now hear a phasing effect applied to your sound. Try playing around with the LFO waveforms,
speed, and depth, as well as the filter frequency. The different Filter Types have a different impact on the
sound when you use the filter frequency panning.
30
9. STARTUP MENU
9. STARTUP MENU
To access this menu, hold down the [ON] key while powering up the Analog Heat MKII. From here you can
perform a variety of tasks.
9.1 TEST MODE

To enter this mode, press the [AMP] key.
Remember to turn down the volume on all speakers and headphones before activating Test
mode. For testing purposes, a short sound is heard through all outputs of the Analog Heat
MKII.
If you have any trouble with your Analog Heat MKII and suspect it may be due to a hardware problem,
perform this self-test. Use the PRESET/DATA knob to scroll through the test log. A fully functional device
should not report any errors. If it does report an error, please contact Elektron support or the retailer that
you bought your Analog Heat MKII from.
9.2 EMPTY RESET

To perform an empty reset, press the [FLTR & EQ] key. This will reset the device and erase all presets.
9.3 FACTORY RESET

To perform a factory reset, press the [ENV] key. This will reset the device and overwrite preset 001–016
with factory presets. The remaining preset slots will be empty.
9.4 OS UPGRADE
Initiate the OS upgrade by pressing the [LFO] key. Use this menu option if you for some reason cant
upgrade the Analog Heat MKII OS using the standard procedure in the SYSTEM menu. To send the OS
file, use our free Elektron Transfer software. The Elektron Transfer can be downloaded from the Elektron
website.
1. Download the Analog Heat MKII OS file from the Elektron website.
2. Connect the Analog Heat MKII’s MIDI IN port to the MIDI OUT port of the computer’s MIDI interface.
3. Hold down the [FUNC] key while powering on Analog Heat MKII. This takes you to the STARTUP
menu.
4. Press the [LFO] key to enter OS UPGRADE mode.
5. Open the Transfer application on your computer. On the Transfer CONNECTION page, click “go to the
SYSEX TRANSFER page”.
6. On the SYSEX TRANSFER page, click “OS Upgrade via device startup menu”, and then follow the on-
screen instructions.
When the update is done, the Analog Heat MKII will reboot.
USB MIDI transfer is not possible when upgrading the OS from the STARTUP menu.
31
10. TECHNICAL INFORMATION
10. TECHNICAL INFORMATION
ELECTRICAL SPECIFICATIONS HARDWARE

Impedance balanced audio outputs 128 × 64 pixel OLED screen
Main outputs level: +19 dBu MIDI In/Out/Thru with DIN Sync out
Output impedance: 440 Ω unbalanced 2 x 1/4” impedance balanced audio out jacks
Headphones output 2 x 1/4” balanced audio in jacks
Headphones out level: +19 dBu 1 x 1/4” stereo headphone jack
Output impedance: 36 Ω 2 x 1/4” control input jacks
48 kHz, 24-bit D/A and A/D converters
Balanced audio inputs Electrically isolated Hi-speed USB 2.0 port
Input level: +19 dBu peak Power inlet: Center positive 5.5 x 2.5 mm barrel jack,
Audio input impedance: 39 kΩ 12 V DC, 2A
Control inputs
Input level on tip: -5 V–+5 V. Supplies +5 V on ring PHYSICAL SPECIFICATIONS
Accepts CV, Expression pedals, Footswitches Sturdy steel casing
Unit power consumption: 12 W typical Dimensions: W 215 x D 184 x H 63 mm (8.5” x 7.2” x
Recommended power supply: PSU-3/b/c, 2.5”) (including power switch, jacks, knobs and feet)
12 V DC, 2A Weight: approximately 1.5 kg (3.3 lbs)
100 x 100 mm VESA mounting holes. Use M4
screws with a max length of 7.4 mm.
Maximum recommended ambient operating
temperature: +35˚C (+96˚F)
11. CREDITS AND CONTACT INFORMATION
CREDITS CONTACT INFORMATION

PRODUCT DESIGN AND DEVELOPMENT ELEKTRON WEBSITE
Oscar Albinsson http://www.elektron.se
Johannes Algelind
Ali Alper Çakır OFFICE ADDRESS
Ufuk Demir Elektron Music Machines MAV AB
Magnus Forsell Banehagsliden 5
Anders Gärder SE-414 51 Gothenburg
Andreas Henriksson Sweden
Ess Mattisson
Jimmy Myhrman
Jon Mårtensson
Viktor Nilsson
Olle Petersson
David Revelj
Mattias Rickardsson
Martin Sigby
ADDITIONAL DESIGN
Johan Damerau
Thomas Ekelund
Olle Petersson
Cenk Sayınlı
DOCUMENTATION
Erik Ångman
32
APPENDIX A: MIDI
APPENDIX A: MIDI
This appendix lists the CC and NRPN numbers for the Analog Heat MKII.
Parameter CC MSB CC LSB NRPN MSB NRPN LSB Specific values info
Circuit Select 70 0 70 0=CB, 1=SA, 2=EN, 3=MD, 4=RC,
5=CD, 6=RF, 7=HG
Drive 12 37 0 12
Wet Level 11 38 0 11
Dry/wet Mix 8 39 0 8
Preset Volume 7 0 7
EQ Low 9 40 0 9
EQ High 10 41 0 10
VCF Mode 80 0 80 1=LP2, 3=LP1, 5=BP, 7=HP1,
9=HP2, 11=BS, 13=PK
VCF Frequency 74 42 0 74
VCF Frequency Pan 79 49 0 79
VCF Resonance 71 43 0 71
VCF Dirt 13 0 13
ENV to Filter 14 44 0 14
LFO to Filter 15 45 0 15
ENV Threshold 16 46 0 16
ENV Attack 73 0 73
ENV Release 72 0 72
ENV Base 17 0 17
ENV Width 18 0 18
ENV Mode 19 0 19
ENV Destination 75 0 75
ENV Depth 20 47 0 20
ENV Destination 2 76 0 76
ENV Depth 2 21 0 21
LFO Waveform 83 0 83 0=TRI, 1=SIN 2=SQR, 3=SAW,
4=EXP, 5=RAMP, 6=RND
LFO Speed 22 0 22
LFO Multiplier 23 0 23
LFO Fade 24 0 24
LFO Mode 25 0 25 0=FREE, 1=TRIG, 2=HOLD,
3=ONE, 4=HALF
LFO Start Phase 26 0 26
LFO Destination 77 0 77
LFO Depth 27 48 0 27
LFO Destination 2 78 0 78
LFO Depth 2 28 0 28
CV A Destination 85 0 85
CV A Depth 86 0 86
Expr. A Destination 87 0 87
Expr. A Depth 88 0 88
CV B Destination 89 0 89
CV B Depth 90 0 90
Expr. B Destination 91 0 91
Expr. B Depth 92 0 92
33
APPENDIX B: MODULATION SOURCES AND DESTINATIONS
APPENDIX B: MODULATION SOURCES AND DESTINATIONS

This appendix lists parameters that can be modulated by one or more of the following modulation sources;
Envelope/Envelope Follower, LFO, and Expression pedal/CV.
Modulation source
Parameter ENV LFO EXP/CV
Drive X X X
Wet Level X X X
Dry/Wet Mix X X X
Preset Volume X X X
EQ Low X X X
EQ High X X X
VCF Frequency X X X
VCF Frequency Pan X X X
VCF Resonance X X X
VCF Dirt X X X
ENV to VCF X X
LFO to VCF X X X
ENV Trig Level X
ENV Attack X
ENV Release X
ENV Base X
ENV Width X
ENV Destination X
ENV Depth X
ENV Destination 2 X
ENV Depth 2 X
LFO Waveform X X
LFO Speed X X
LFO Multiplier X X
LFO Fade X X
LFO Mode X X
LFO Start X X
LFO Destination X X
LFO Depth X X
LFO Destination 2 X X
LFO Depth 2 X X
34
INDEX
INDEX
A Multiplier 28
ACTIVE MODE 13 Phase 28
AMPLIFIER 24 Speed 28
Drive 24 Waveform 28
Dry/Wet 24
M
Volume 24
Wet 24 MIDI 18, 20
AUDIO & ROUTING 18, 19 CC, NRPN specification 33
Ports 21
B Sync 18, 20
BACKUP 15 MODULATION SOURCES/DESTINATIONS 34
C O
CALIBRATION 23 OS UPGRADE 23
CLASS COMPLIANT 15 OVERBRIDGE 15
Analog In/Out 19
P
USB CC mode 19
CONNECTIONS 9 PANEL LAYOUT AND CONNECTIONS
CONTROL INPUTS 17 Connecting the unit 10
CREDITS AND CONTACT INFORMATION 32 Front panel 8
CV 17 Rear panel 9
PARAMETER EDITING 14
E PARAMETER PAGES 14
EFFECT CIRCUITS 13 PARAMETERS 24
ENVELOPE (FOLLOWER) 25 Amp 24
Attack 26 Envelope follower 25
Base 27 EQ 25
Filter 27 Filter 24
Mode 25 LFO 28
Modulation depth 28 PRESETS 12
Modulation destination 27 Loading a preset 12
Release 26 Preset volume 24
Trigger 27 Saving a preset 13
Width 27
S
EQUALIZER 25
EXPRESSION PEDAL 17 SAFETY AND MAINTENANCE 3
SCREEN SAVER 15
F SETTINGS MENU
FACTORY RESET 31 Audio 16
FILTER Audio & Routing 18, 19
Dirt 25 Control in 17
Env modulation 24 Input sensitivity 16
Frequency 24 MIDI 18, 20
Frequency panning 25 Options 17
LFO modulation 24 System 23
Resonance 24 SETUP EXAMPLES 11, 15
FOOTSWITCH 17 SIGNAL FLOW 12
Audio signal flow 12
I Modulation signal flow 12
STARTUP MENU 31
INPUT LEVEL
SYSEX DUMP 21
Input sensitivity 16
SYSTEM 23
Setting 10
Calibration 23
L OS Upgrade 23
USB config 23
LCD SCREEN 14
LFO 28 T
Fade 29
TECHNICAL INFORMATION 32
LFO Tempo 17
TEMPO 17
Mode 29
TEST MODE 31
Modulation depth 29
TIPS & TRICKS 29
Modulation destination 29
35
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Analog Heat MKII

• Reorient or relocate the receiving antenna.

European Union regulation compliance statement

1. Do not use this unit near water.

SAFETY INSTRUCTIONS FOR THE POWER ADAPTER

2. PANEL LAYOUT AND CONNECTIONS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

3. FIRST STEPS WITH THE ANALOG HEAT MKII. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

5. INTERACTING WITH THE ANALOG HEAT MKII. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

6. THE SETTINGS MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

6.5.1 ANALOG IN/OUT (IN OVERBRIDGE MODE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

8. TIPS & TRICKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

10. TECHNICAL INFORMATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

1.1 CONVENTIONS IN THIS MANUAL

The manual uses the following symbols:

Important information that you should pay attention to.

2. PANEL LAYOUT AND CONNECTIONS

2.1 FRONT PANEL CONTROLS

Out L /R In L /R Control In MIDI In MIDI Out MIDI Thru USB DC In Power

Stereo Analog Sound Processor

Analog Heat MKII 8

Enhancement Classic Dist

2.2 REAR PANEL CONNECTIONS

1. POWER, Switch for turning the unit on and off.

3. FIRST STEPS WITH THE ANALOG HEAT MKII

3.1 CONNECTING THE UNIT

3.2 SETTING THE INPUT SENSITIVITY LEVEL

Optimal input level.

Too high input level.

3.3 SETUP EXAMPLES

3.3.1 ANALOG HEAT MKII AS AN EXTERNAL EFFECT

Out L /R In L /R Control In MIDI In MIDI Out MIDI Thru USB DC In Power

Stereo Analog Sound Processor

Master Volume Preset /Data

Analog Heat MKII

Enhancement Classic Dist

Saturation Round Fuzz

3.3.2 ANALOG HEAT MKII AS A VST/AU PLUGIN USING OVERBRIDGE

Out L /R In L /R Control In MIDI In MIDI Out MIDI Thru USB DC In Power

Stereo Analog Sound Processor

Master Volume Preset/Data

Analog Heat MKII

Enhancement Classic Dist

Saturation Round Fuzz

3.3.3 ANALOG HEAT MKII AS A SOUND CARD

Out L /R In L /R Control In MIDI In MIDI Out MIDI Thru USB DC In Power

Stereo Analog Sound Processor

Master Volume Preset /Data

Analog Heat MKII

Enhancement Classic Dist

Saturation Round Fuzz

4.1 AUDIO SIGNAL FLOW

Bypass Out L/R

Overbridge or Class compliant USB audio host

4.2 MODULATION SIGNAL FLOW

Filter Modulation Filter

5. INTERACTING WITH THE ANALOG HEAT MKII

5.1.1 LOADING A PRESET

5.1.2 SAVING A PRESET

5.2 ACTIVE MODE

5.3 EFFECT CIRCUITS