User´s Manual for the Q Synthesizer Q Keyboard/Q Rack/Q+
Produktgarantie / Product Warranty ➤ Vielen Dank für den Kauf dieses Waldorf Produktes. Es zeichnet sich durch ➤ Thank you for choosing this Waldorf product. It is a dependable device and ✁ Zuverlässigkeit und Langlebigkeit aus. Dennoch können Material- oder Verarbeitungsfehler nicht völlig ausgeschlossen werden. Daher bieten wir Ihnen eine verlängerte Garantie.
Produktunterstützung / Product Support Wenn Sie Fragen zu Ihrem Waldorf Produkt haben, gibt es vier Möglichkeiten, uns zu kontaktieren: If you have any questions about your Waldorf product, feel free to contact us via one of the four options listed below. 1 Schicken Sie uns eine E-Mail. Das ist der mit Abstand effizienteste und schnellste Weg, uns zu erreichen. Ihre Fragen können sofort an die richtige Stelle weitergeleitet und innerhalb kürzester Zeit beantwortet werden. info@waldorf-music.
Foreword – Development Foreword Thank you for purchasing the Waldorf Q, the Q Rack or the Q+. You now own a synthesizer featuring a wide range of unique sounds from analog to digital. To ensure your instrument functions properly and enjoys a long life, please read and heed the instructions in this manual.
Control Features and Connections – Front Panel Q Keyboard Control Features and Connections Front Panel Q Keyboard 햲 햳 햴 햵 햶 햷 햸 Picture 1: Front Panel Q Keyboard associated with the envelopes, the step System Volume rotary. Controls the overall sequencer and program selection. volume. 햹 Filter Section. Contains all knobs and buttons LFO Section. Contains all the knobs and buttons associated with the filters. associated with the LFOs. 햺 Amplifier Section. Contains all knobs associated Oscillators Section.
Control Features and Connections – Frontpanel Q Rack Frontpanel Q Rack Picture 2: Front Panel Q Rack 햲 System Volume rotary. Controls the overall volume. 햳 LFO Section. Contains all the knobs and buttons associated with the LFOs. 햴 Oscillators Section. Contains all the knobs and buttons associated with the oscillators. 햵 Mixer Section. Contains all the knobs and buttons associated with the mixer. 햶 Routing Section. Contains the Filter Routing Control.
Control Features and Connections – Rear Panel Rear Panel 쐉 POWER 100…240V AC max. 30VA ! C A U T I O N PEDAL / CV IN ! To reduce the risk of electric shock, do not remove cover. No userserviceable parts inside. Refer servicing to qualified service personnel. 1 2 IN Stereo MAIN OUT Left/Stereo Right/Mono SUB OUT 1 Left/Stereo Right/Mono SUB OUT 2 Left/Stereo Right/Mono D.OUT PEDAL Coaxial Tip:1 / Ring:2 MIDI In Thru Out Vorsicht! Gerät nicht öffnen. Gefahr eines Stromschlages.
Contents – Rear Panel Contents Selecting Programs with the Number Buttons .. 26 Bank Hold ................................................... 28 Switching Banks ........................................... 28 Selecting Programs on Memory Cards............. 28 Category Search ........................................... 29 Instruments and Sounds ..................................... 30 Switching between Instruments ...................... 30 Creating Sound Layers with Instruments ..........
Contents – Rear Panel Oscillators........................................................ 66 Oscillator Shapes.......................................... 66 Wavetable Synthesis ..................................... 71 Oscillators Panel Controls ............................. 72 Oscillators Edit Menu.................................... 78 Glide ............................................................... 79 Mixer ............................................................... 80 Mixer Panel Controls .......
Introduction – About this Manual Introduction About this Manual This manual was written to help you to become familiar with the Waldorf Q. It will also aid experienced users with routine tasks. Since this manual is valid for the keyboard- as well as the rack-version, we will separately point out the particular differences. Hence we will talk only of the Q within the manual. To avoid confusion, the terminology in this manual is based on the Q parameter names.
Introduction – What to read? What to read? The biggest problem with any manual is to find a way to cover both the needs of an absolute expert and a beginner alike. There are people who read a manual cover to cover while others don’t even touch it. The latter is the worst choice, especially when the manual describes a Waldorf instrument.
Introduction – What to read? Sound Parameters Glide Mixer Mode Balance RingMod Noise / Ext.
Introduction – What to read? If you are a synthesizer hotshot Do you own a whole bunch of various synthesizers of all flavours, analog, digital, sample playback, and know how to create and modify sounds, multis and other patch types on them? Do you already own any Waldorf synthesizers so that you are familiar with their structure and terminology. Then make sure to read at least the following chapters. They describe the extraordinary features and functions of the Q.
Introduction – General Safety Guidelines General Safety Guidelines Please read the following safety tips carefully! They include several precautions you should always observe when dealing with electronic equipment. Read all of the instructions before operating your device. Suitable Operating Conditions • Use the device in enclosed rooms only. • Never use the device under damp conditions such as in bathrooms, washrooms or around indoor swimming pools.
Introduction – General Safety Guidelines • Use only a dry, soft cloth or brush to clean the device. Never use alcohol, cleaning solutions or similar chemicals. They will damage the surface of the chassis. Proper Use This device is designed exclusively to produce low-frequency audio signals for the purpose of generating sound. Any other use is prohibited and voids the warranty extended by WaldorfMusic AG. Waldorf-Music AG is not liable for damages due to incorrect use.
Setup and Connection – Inventory Setup and Connection Inventory The Waldorf Q comes complete with: • the Q/Q+ or the Q Rack • power supply cable • this manual Please ensure all the items above were included. If something is missing, contact your local dealer. We recommend that you save the original packing material for future transport. Make sure you fill out the warranty card and send it to the appropriate distributor or the address printed on the card.
Setup and Connection – Connections PEDAL / CV IN 1 IN 2 Stereo MAIN OUT Left/Stereo Right/Mono SUB OUT 1 Left/Stereo Main Output to mixing desk, headphone or amplifier Left/Stereo: Tip: Left Signal Ring: Right Signal Control Pedals Tip / Ground: 47kΩ Potentiometer Ring: +5V External In from mixing desk or audio source Tip: Left Signal Ring: Right Signal SUB OUT 2 Right/Mono Left/Stereo Right/Mono Sub Output 2 to mixing desk or amplifier Left/Stereo: Tip: Left Signal Ring: Right Signal D.
Setup and Connection – Audio Connections 6. Then switch on the computer (if connected), the mixing console and finally the amplifier. 7. To play the Q Rack you need a MIDI master keyboard. Please connect the Q Rack´s MIDI In jack with the MIDI Out jack of the keyboard. Instead of this you can also connect the Q Rack to a MIDI computer system.
Setup and Connection – External Input External Input The Q offers a stereo External In jack that can be used to feed an external signal into the mixer section. Therefore, the signal can be processed via the filters and the effects section in the same way as the oscillators. As the external signal is treated like any other sound source within the Q, it is necessary to trigger the Amplifier Envelope to get the signal passed through.
Overview – Memory Structure Overview Memory Structure The memory architecture of the Q is divided into four main sections as shown in the following picture. All memory locations are freely programmable, so there is no separation into preset and user programs. Internal Memory Multi 001 . . . . . . . 100 Sound Drum Map Pattern 001 . . . . . . . 020 001 . . . . . . . 100 Bank C Bank B Bank A 001 . . 100 Memory Card Multi Bank X Sound Bank X Drum Map E 001 . . . 010 001 . . . . . . . 100 001 . . .
Overview – Memory Card Memory Card You can expand the number of program locations by using a memory card of the type Q-Card 256. It is possible that there are cards with more memory available for the Q as technology moves on. Please ask your Waldorf dealer or check our website for further infomation. Picture 4: Q-Card ☞ To plug a Q-Card into your Q: 1. Make sure that you see the yellow arrow and that you can read the text “TOP”.
Basic Operation – Switching on Basic Operation Switching on The Q is equipped with a software-based power control, which means that it is initially switched on when you connect it to an AC outlet, even if it was switched to standby mode before the power was disconnected. This enables you to switch the Q on or off through e.g. a main power switch in your studio.
Basic Operation – Panic Function Switching off: 8 After counting down to 0 the Q will switch off. If you release the Power button before, the shutdown process is cancelled. Panic Function The Power button is also used to perform a Panic function. The Panic function sends and executes an "All Notes Off" command to terminate stuck notes. Panic immediately sets all envelopes to their release phases. Panic also stops the step sequencer and the arpeggiator playing when running in Hold mode.
Basic Operation – The Master Section The Master Section Most of the basic operations like managing programs are done in the Master Section. The picture below shows the controls of the Master Section in detail: 1 2 3 4 5/9/13 6/10/14 7/11/15 8/12/16 Global Utility Instruments Instruments Multi Undo Xphorm Compare Sound Recall Play / O.K.
Basic Operation – Selecting Programs In Single Mode, you can either select Drum Maps, Pattern or Sound Programs. These are selected independently, which means that the Pattern is not changed when you select a different Sound and vice versa. If you want to build a setup with a particular Sound or Drum Map and a related Pattern, use the Multi Mode of the Q. Multi Mode The Multi Mode of the Q consists of 16 Instruments that can be mapped, layered or played individually.
Basic Operation – Selecting Programs Pattern Pattern Sound Sound Select Step 1-8 Step 9-16 Bank A Multi Multi 1 Step 17-24 Bank B 2 Step 25-32 Bank C 3 Pause Hold 9 0 Bank D 4 5 6 7 8 Picture 6: Number Buttons Q Keyboard To the left of the ten number buttons, you can see the Pattern / Sound / Multi Button 햸. This button is used to set the program type that is switched by the number buttons. Entering a two-digit number will select the corresponding program within the current bank.
Basic Operation – Selecting Programs Bank Hold The Bank Hold function gives further enhancement to the numerical program select. By "freezing" one digit of the program number, programs can be changed by typing one single digit of the number. This feature is useful especially in live situations. ☞ To use the Bank Hold function: • Press Shift + Pattern / Sound / Multi . The corresponding LED next to the Pattern / Sound / Multi Button will flash.
Basic Operation – Selecting Programs ☞ To select a card program: 1. Please make sure the Memory-Card is plugged properly into the Card-Slot. The CardBanks each reside after the regular internal banks. 2. The Card-Banks each reside after the regular internal banks. 3. Choose the programs on the card like the programs of the internal storage with the red data-entry-wheel or the number buttons. Category Search The Q offers a special function to enable easy searches for sounds of similar categories.
Basic Operation – Instruments and Sounds Instruments and Sounds Switching between Instruments to change Sounds As mentioned before, the Single Mode of the Q uses four Instruments that can be accessed through the buttons Inst. 1…Inst. 4 . In a live situation, for example, you can set up the Sounds for the Instruments in advance and quickly switch to them during your performance. Or, in a studio session, you can try out several Sounds by switching the Instruments back and forth.
Basic Operation – Editing Parameters Editing Sounds in Layers You can edit individual Sounds in Layers. This helps you to fine-tune a Sound to match it to the sound character of the Layer. ☞ To edit one Sound of a Layer: 1. Press the Instrument button Inst. 1…Inst. 4 that holds the Sound you want to replace. The LED above the Instrument button lights up fully. 2. Now you can edit the Sound with the panel controls and its menus.
Basic Operation – Editing Parameters • 1 Pattern edit buffers: This buffer hold the currently edited sequencer pattern. The edit buffers aren’t cleared when you select a different program so you can always go back to the edited program to examine it or do further edits. The only way to “loose” an edit buffer automatically is when all buffers of this type are already in use and you start to edit another program. Then the oldest edit buffer is cleared and used to hold the new edit.
Basic Operation – Editing Parameters Editing Alternative Panel Parameters Most of the controls on the front panel have alternative functions or parameters, labelled in blue color. To access an alternative function or parameter (e.g. Semi in the Oscillators section), you will have to use the Shift button, located in the Master section. The Shift button can be used in two different ways: • Press the Shift button briefly. The LED next to the button will flash.
Basic Operation – Editing Parameters the panel to the same state when the Sound is selected again. The only selection buttons on the front panel are the Filter Select and the Envelope Select buttons. Editing Display Menu Parameters Most sections offer an Edit button. Pressing this button calls up the display menu for that section. The display menus contain additional parameters that are not directly accessible on the front panel. ☞ To access a specific display menu parameter: 1.
Basic Operation – Editing Parameters The procedure for setting up these parameters is the same as adjusting other display menu parameters described above. When you have finished all your edits, you should save the program. Please read the chapter about storing programs on page 36 for further information. Viewing Parameter Values without Change – Peek The Q offers a special mode to check parameter values without performing any changes. ☞ To check parameter values without changing them: 1.
Basic Operation – Editing Parameters Inst:1 Sound:A001c Zeitlos T 4. You will hear the unedited version of your program when you play the Q. 5. Press the Shift + Compare again. 6. The c in the display changes to e again. The edited version of the program is now active again. You can only view the original settings. If you select a new program while the Compare function is active, the Compare status is automatically terminated. No parameters can be edited when the Compare function is active.
Basic Operation – Editing Parameters Store Sound to A001 01[Zeitlos T] 4. Use the page dial to select the destination program. The default value is the currently selected program but you may want to change it to store your edits under a different location. 5. Optionally, edit the program name. First select the character to be modified via the first value dial. Then change its setting via the second value dial. The program name can use up to 16 characters. 6.
Multi Mode – Selecting an Instrument for editing Multi Mode The Waldorf Q offers a 16 part Multi mode. As soon as you want to arrange keyboard layers for a live performance or want to do multi track recordings in a studio, you should start to program your own Multis that you can use to quickly switch between completely different setups. Only a Multi combines the various sections of the Q like Sounds, Step Sequencer Patterns, MIDI In/Out Channel settings, or audio output routings.
Multi Mode – Instrument settings 1. Hold down the Multimode button and choose the desired instrument with the red dial while being in Multimode. When the Play page is selected, the display shows the Instrument number in the top left corner as follows: Inst:4 Multi:001 Sequencer Multi The instruments are numbered reasonably from 1 to 16. In the display shown above Instrument 4 is selected. If you want to select Instrument 12, for instance, you have to access Bank 3 by pressing Shift + Inst.
Multi Mode – Instrument settings A Multi in the internal memory can point to a Sound that is stored on card or vice versa. However, you should try to avoid to set up a Multi in internal memory that points to a Sound on card because the Multi might sound strange if you haven’t inserted the correct card. Volume 127 ! Panning 1 ! center 000…127 Volume Volume sets the output volume of the selected Instrument. This Volume parameter sets the maximum output volume of the selected Instrument.
Multi Mode – Instrument settings Main Out, Sub Out1, Sub Out2, FX1, FX2, FX3, FX4, Aux Output Output Main Out Output sets the audio output of the selected Instrument. The Instruments 1…4 can only be routed to the physical outputs, the Instruments 5…16 can also be routed to the effect busses of the Instruments 1…4. • Main Out means that the selected Instrument plays over the Main Out and the Digital Out jacks. • Sub Out1 means that the selected Instrument plays over the Sub Out 1 jacks.
Multi Mode – Instrument settings Tx.Status Off / Direct / Sequencer / Seq.+Arp. This parameter determines the data being transmitted via the Midi Out Port. • With the setting off, no Midi data will be transmitted. • Direct will send all keyboard and controller data directly to the Midi Out. • The setting Sequencer will transmit all data after passing through the step sequencer. • The setting Seq.+Arp will transmit all data after passing through the step sequencer and the arpeggiator.
Multi Mode – Instrument settings With this Multimode parameters you can quickly create a live setup with only certain instruments reacting to controller data. You can also define which instruments transmit Midi data and which do not. Play / Mute / Solo Engine Engine Play 1 This parameter activates or deactivates an instrument. • Play will cause the instrument to play normally. • Mute will mute the selected instrument. • Solo mutes all other instruments apart from the one chosen.
Multi Mode – Instrument settings LowKey C-2 |HighKey | G8 1 C-2…G8 LowKey Equivalent to the velocity switching parameters, you can restrict the key range used for the instrument’s tone generation. Only notes with a key number higher or equal to the selected value are passed through. Set this parameter to C-2 if you want to use the full keyboard range. C-2…G8 HighKey HighKey is the counterpart to the LowKey parameter.
Multi Mode – Instrument settings The most important Sound parameters of the Q can be controlled by MIDI Continuous Controller messages. If you set one of the Ctrl W…Ctrl Z to a Controller that is also used for a Sound parameter, the Q disables this Controller as Sound parameter Controller and uses it exclusively for one of the Ctrl W…Ctrl Z. This is an important issue when you send Sound parameter changes by tweaking parameters on the front panel.
Multi Mode – Instrument settings All of the Multimode parameters can be changed in VU Mode. In addition to the Level Mode parameters, the following parameters are also available: • PAN sets the panorama position infinitely variable from 0 to 127 • ENG sets the Engine parameter as described above (PLY/MUT/SOL) The Multi Mixer offers the possibility to mute or unmute instruments during a live performance.
Step Sequencer – Editing Sequence Patterns Step Sequencer A Step Sequencer is a classic module to play back a number of notes that are stored in sequence. It is also used to send out modulation signals to control various parameters of the connected tone generator like filter cutoff. It can be found in a number of vintage analog synthesizers, especially in big modular systems, and as stand-alone units to connect to other synthesizers.
Step Sequencer – Editing Sequence Patterns Deselecting all Steps To prevent that the sequence pattern is accidentally changed, you should deselect all steps after you’re done with the modifications you’ve wanted to do. ☞ To deselect all selected steps: • Press Bank Select briefly. Programming Notes or Chords As soon as you select at least one step, the step sequencer is ready to record notes or chords that you program over the keyboard.
Step Sequencer – Editing Sequence Patterns Holding Notes over More Than One Step Although you can change the length of each step individually, it might be easier to use the Hold function instead to keep the overall length of the sequence pattern. If a step is set to Hold, it holds the notes that are programmed in the previous step. If the previous step is also set to Hold, the notes that were held on that step are still held.
Step Sequencer – Sequencer Panel Controls 3. Turn the controls as you like. The changes are relative to all selected steps when you turn a control whose step is selected. If you turn a control whose step isn't selected, the control only changes this particular step. Changing Modulation Signal Values for All Steps At Once It is also possible to change the modulation signal values for all steps at once. This is very handy when you i.e. want to reset Cutoff or to set all Velocities to 127.
Step Sequencer – Sequencer Rotaries • Press Bank Select to deselect all selected steps. • Press Bank Select+Step 1-8…Step 25-32 to select any number of step banks. The LEDs of selected Banks are fully lit. Step Buttons 1…8 The Step Buttons 1…8 are used to select one or more steps. If you press a Step Button while the sequencer is stopped, the notes of this step are played back.
Step Sequencer – Sequencer Edit Menu Pattern #001 SchuppenShampoo! You can select the corresponding menu pages through the data dial. Alternatively you also can change this pages by pressing the Edit button. With the two parameter dials below the display you set the values. Selection of a Pattern In Single-Mode you can select the desired pattern. In Multimode the following display appears: Choose Multi-Seq. in Multi Edit In this mode you can select the sequencer pattern only in the Multi Menu.
Step Sequencer – Sequencer Edit Menu Note 1...8 With the value Note 1 to 8 you can supplementary edit the recorded notes per step. It doesn’t matter how many notes you put in per step. When using a monophonic sequencer line Note 1 transposes the corresponding notes, while Note 2 to 8 are creating new notes in each case.
Step Sequencer – Sequencer Edit Menu Transpose Quantize Next Cycle Transpose Quantize Next Step / Next Bank / Next Cycle Determines when the transpose is actually performed after a note was hit. • Next Step means that the transpose is performed immediately after the note was hit. • Next Bank means that the transpose takes place when the next bank is played. • Next Cycle means that the transpose is performed when a new cycle starts.
Sound Parameters – Overview of Functions Sound Parameters Overview of Functions The Waldorf Q consists of numerous sound-shaping components.
Sound Parameters – The Tempo Envelopes are for modulations that occur once on each note. These generators are assigned to parameters through the Modulation Matrix and influence these parameters to alter a sound. In addition, the Modifier unit can process various mathematical operations and functions on the modulation signals. The Tempo 40…300 Tempo The Tempo control is one of the most important parameters in all operation modes of the Q.
Sound Parameters – Modulation Speed Levels This setting is only useful for special setups where you need to control a device through the Q’s MIDI Out including sync, e.g., when you use the Q as a master keyboard in a live performance where the Q itself is synced to a sequencer but needs to send MIDI Clock to a hardware sequencer, too. The recommended setting for Clock is Auto. This setting works in almost all situations. Please read the description above for a detailed explanation of it.
Sound Parameters – Modulation Speed Levels Fast Modulation Though not calculated in sample speed, the Fast Modulation calculations are performed in audio speed: more than 5000 times per second (>5kHz). Most of the modulations in the Q are performed at this speed level.
Sound Parameters – Modulation Speed Levels The following table shows all available Fast Modulation sources: Fast Modulation sources Off LFO1 LFO1*MW LFO2 LFO2*Prs LFO3 FilterEnv AmpEnv Env3 Env4 Velocity Modwheel Pitchbend Pressure Description No modulation LFO 1 Signal LFO 1 Signal shaped by the Modwheel LFO 2 Signal LFO 2 Signal shaped by Aftertouch LFO 3 Signal Filter Envelope Signal Amplifier Envelope Signal Envelope 3 Signal Envelope 4 Signal MIDI Velocity MIDI modulation wheel (controller #1) MIDI pi
Sound Parameters – Modulation Speed Levels FE Sustain Sustain (and Sustain 2) level of Filter Envelope FE Release Release rate of Filter Envelope AE Attack Attack rate of Amp Envelope AE Decay Decay (and Decay 2) rate of Amp Envelope AE Sustain Sustain (and Sustain 2) level of Amp Envelope AE Release Release rate of Amp Envelope E3 Attack Attack rate of Envelope 3 E3 Decay Decay (and Decay 2) rate of Envelope 3 E3 Sustain Sustain (and Sustain 2) level of Envelope 3 E3 Release Release rate of Envelope 3 E4 A
Sound Parameters – Modulation Speed Levels MAXIMUM constant for maximum modulation (equals +1) Button 1 assignable button 1 Button 2 assignable button 2 LastBtn last button status PrevBtn previous button status S. Cutoff Step sequencer filter cutoff modulation Seq. CV1, CV2 Step sequencer control value 1 and 2 S.CV1 run, CV2 run Step sequencer control value 1 and 2 start Seq. Step Step sequencer step S.Steplen Step sequencer step length S.
Sound Parameters – Xphorm – Interpolating between two sounds Xphorm – Interpolating between two sounds The Xphorm function gives you an easy and powerful way to interpolate between two different sounds. Interpolation means that all continuous sound parameters of two sounds are changed by a certain ratio determined by the Xphorm source. Sounds difficult? Here’s an example: imagine two sounds with different settings for Filter 1 and the Amp Envelope. When you move the Xphorm source, i.e.
Sound Parameters – Xphorm – Interpolating between two sounds • Effect Types Why aren’t switch parameters xphormed? The reason is very simple: all the above are made of models. Xphorming between different oscillator and filter models is not possible because they are representations of analog circuits.
Sound Parameters – Triggering of Voices Triggering of Voices As soon as a note is played, the Q triggers one or several voices. How this triggering is done is set by the following parameters. You can find these parameters in the Sound edit menu. Sound Edit-Menu Mode Poly | Unisono | Dual Poly / Mono Mode Controls if the Sound can be played polyphonically or monophonically. • Poly means that each note triggers its own voice or voices like on a piano.
Sound Parameters – Triggering of Voices Trig FE ! AE (mono) Normal ! Single Triggering of the Filter Envelope (Trig FE) Determines the triggering of the Filter Envelope. • Normal means that every Note starts the filter envelope of its own voice. • Single means that the envelopes of all voices of a selected program behave like a single envelope. This common envelope starts as soon as the first note is played. The sustain level remains until the last note is released.
Sound Parameters – Oscillators Oscillators The Waldorf Q is equipped with three oscillators that have almost the same functionality. Oscillator Shapes The oscillator is the first building block of a synthesizer. It delivers the signal that is transformed by all other components of the synthesizer. In the early days of electronic synthesis, Robert A. Moog found out that most real acoustic instrument waveforms could be reproduced by using abstracted electronic versions of these waveforms.
Sound Parameters – Oscillators The Sawtooth Wave The Sawtooth Wave is the most popular synthesizer waveform. It consists of all harmonics where the magnitude of each harmonic descends by the factor of its position. This means that the first harmonic (the fundamental) has full magnitude, the second harmonic has half magnitude, the third harmonic has a third magnitude and so on.
Sound Parameters – Oscillators The Square Wave The Square Wave is a special waveform generated by a pulse waveform with 50% pulse width. This means that the positive part of the waveform has equal length to the negative part. The pulse waveform can have other pulse widths as you can read later. For now, we speak about the square wave as a unique waveform. The square wave consists of all odd harmonics where the magnitude of each harmonic descends by the factor of its position.
Sound Parameters – Oscillators The Pulse Wave The Pulse Wave is the most versatile wave in a classic synthesizer because its shape and therefore its harmonic content can be changed in realtime. This is done by changing the width of the upper and lower portion of the waveform cycle. These portions are called pulses, hence the name pulse width. The width of the first pulse is used to distinguish between different pulse waves and it is measured in percent.
Sound Parameters – Oscillators The Triangle Wave The Triangle Wave is very similar to the square wave. It is made of the same harmonics as the square wave, but with different magnitude ratios. The magnitude of each harmonic is divided by the power of the number of it. This means that the third harmonic’s magnitude is a ninth, the fifth harmonic is a twenty-fifth and so on.
Sound Parameters – Oscillators Wavetable Synthesis The sound generation of the alternative waveforms (Alt1 and Alt2) of the Q is based on wavetable synthesis. This type of synthesis combines analog access and digital flexibility in a simple way. Although wavetable synthesis is a form of "sample playback" in principle, you should avoid this term because functionality, operation and results are totally different. Each of Alt1 and Alt2 contain one wavetable with 128 Waves each.
Sound Parameters – Oscillators Oscillators Panel Controls The most important controls of the oscillators can be found on the front panel.
Sound Parameters – Oscillators Organ sounds often include a fifth, therefore one oscillator's semitone parameter must be set to +7. Lead and Solo sounds might sound interesting when you set one Oscillator to e.g. a quart (+5 semitones). When making ring modulated or FM sounds, try to use disharmonic values, e.g. +6 or +8. Detune -64…+63 Fine-tunes the oscillator in steps of 1/128th of a semitone. The audible result of detuned oscillators is a Chorus or Flanger effect.
Sound Parameters – Oscillators behaviour is the Pulse shape. However, the term “waveform” is used interchangeably throughout the manual. The following shapes are currently available: Pulse (variable Pulse Width) Sawtooth Triangle Sine • Pulse selects the pulse waveform. A pulse waveform with a pulse width of 50% only has the odd harmonics of the fundamental frequency present. This waveform produces a hollow / metallic sound.
Sound Parameters – Oscillators than Pulse, Alt1 or Alt2 this parameter does not have any effect The following picture illustrates the effect of the pulsewidth parameter: Pulse Width 50% (Square) Pulse Width 33% Pulse Width 25% Pulse Width <1% (Impulse) Picture 16: Pulse Width parameter results A pulse width of 50% can be used for flute sounds or very hollow bass sounds. A pulse width of around 30% can be used for e-piano or fat bass sounds.
Sound Parameters – Oscillators Alt1 and Alt2 waveforms At this point we offer a few more hints and tips about the „Alternate Waveforms“: As stated above, the Shapes Alt1 and Alt2 each contain a wavetable generator showing a few particulars that are opposite to the normal synthesis functions. Please refer to the chapter "Wavetable Synthesis" on page 71.
Sound Parameters – Oscillators new cycle of master oscillator This oscillator synced to this oscillator results in this wave Picture 17: Oscillator Sync Use Sync for Lead or Solo sounds. Set Oscillator 2 to play one octave and 7 semitones higher, apply an envelope to its pitch with positive amount and you get a screaming sync sound. Sync can also be very interesting on arpeggio sounds. Apply a slow clocked LFO to Oscillator 2 pitch and the arpeggio starts to move.
Sound Parameters – Oscillators Oscillators Edit Menu The following parameters can be accessed via the display menu. Press the Oscillators section’s Edit button to activate the display menu. O1 Keytrk|O1 BendRg +100% | +12 PitchMod (only Q Rack) See Additional Controls on the Q Keyboard. PitchMod Source (only Q Rack) See Additional Controls on the Q Keyboard. Keytrk -200%...+197% Determines how much the pitch of the oscillator depends on the MIDI note number.
Sound Parameters – Glide • Tempered is the normal equal stage tuning for electronic keyboard instrument. HMT is not active in this case. • Global activates the HMT Mode as selected in the Tune Mode parameter in the Global Menu. The different HMT settings can be made in the Global menu. For more information refer to page 138. Glide “Glide or "Portamento" describes the continuous gliding from one note to another. This effect can be created on fretless string instruments or some brass instruments (e.
Sound Parameters – Mixer Mixer In the Mixer, you control the volumes of the oscillators, the noise generator and an external sound source. Ring modulation can be applied optionally to extend the Q’s tonal range.
Sound Parameters – Mixer 0…127 Osc2 Volume of Oscillator 2. Osc2 Balance F1 64…mid…F2 63 Determines the ratio of the oscillator’s signal that is sent to the inputs of Filter 1 and Filter 2 (see routing picture). If set to F1 64, the signal is sent to Filter 1 only. Higher values will increase the amount of signal that feeds Filter 2 and decrease the amount of signal that feeds Filter 1. If set to mid, both filters will receive the same signal level. If set to F2 63, the signal is sent to Filter 2 only.
Sound Parameters – Mixer Ring Modulation can be very interesting with a slow pitch modulation that is applied to one oscillator, i.e. a decaying Envelope. This creates spacey effect sounds. For an E-Piano sound, you should use Ring Modulation where one high pitched oscillator’s Keytrack is lowered to i.e. 50%. If you turn the pitch of one oscillator down very far, you can get a very similar effect to Amplitude modulation. Use this for sounds with a periodic element if you like.
Sound Parameters – Mixer N/E Select F1 / F2 Feed Noise / ExtLeft / ExtRight / ExtL+R Sets the input signal sources that are fed into filter 1 and filter 2. Please note that the N/E Balance control behaves differently compared to the other Balance controls. N/E Balance only affects the input levels but doesn't move the signals between the filters. F1 Feed is always routed to Filter 1 while F2 Feed is always routed to Filter 2.
Sound Parameters – Routing Routing The Routing section is one of the advanced features of the Q. Its purpose is to control the signal flow of the filters. In comparison with many other synthesizers where signal flow is static, the Q offers a completely flexible configuration.
Sound Parameters – Filter Filter Once the audio signal leaves the mixer, it is sent to the filters. The Q has two independent filter units, each with its own individual settings. The signal flow in the filters can be controlled in the Routing section. The filters are components that have significant influence on the Q’s sound characteristics. For a detailed description of the different filter types that are available in the Q, see the section “Filter Types”.
Sound Parameters – Filter If the resonance is raised to a great extent, then the filter will begin self-oscillation, i.e. the filter generates an audible sine wave even when it does not receive an incoming signal.
Sound Parameters – Filter Filter Panel Controls The most commonly used controls of the filters can be found on the front panel. 0…127 Cutoff Controls the cutoff frequency for the low pass and high pass filter types, the center frequency for the band pass and notch filter types and the delay length of the comb filter types. • When a low pass is selected via the Type parameter, all frequencies above the cutoff frequency are damped.
Sound Parameters – Filter time. Sounds with a hard attack usually have a positive envelope amount that makes the start phase bright and then closes the filter to get a darker sustain phase. On the other side string sounds usually use a negative envelope amount that gives a slow and dark attack before the cutoff rises in the sustain phase. -64…+63 Velo Determines the amount of influence the filter envelope has on the cutoff frequency, based on key velocity.
Sound Parameters – Filter Additional Controls on the Q Keyboard Cutoff Mod -64…+63 Controls the amount of cutoff modulation. Positive amounts will increase the cutoff frequency when positive modulation is applied, e.g. by pressing the aftertouch on the keyboard. Negative amounts will decrease the cutoff frequency when positive modulation is applied. Cutoff Mod Source see Table “Fast Modulation Sources” on page 58 Selects the source of the cutoff modulation.
Sound Parameters – Filter Types Filter Types This paragraph describes the Q’s different filter types. Most types are based on traditional low pass, high pass or band pass structures. Bypass Use this setting to bypass the filter. This is useful if you want to disable the filter temporarily and listen to the pure oscillators’ signals. 24dB Low Pass and 12dB Low Pass The low pass types 24dB LP and 12dB LP are suitable for the most usual applications.
Sound Parameters – Filter Types Level Resonance Frequency Cutoff Picture 28: Band Bass Filter Type 24dB High Pass and 12dB High Pass The high pass filters 24db HP and 12dB HP are useful to thin out a sound’s bass frequencies. This may give interesting results also in conjunction with cutoff frequency modulation. By doing this you can e.g. "fly-in" a sound starting at its high harmonics and then coming up to its full frequency range.
Sound Parameters – Filter Types Level Frequency Cutoff Picture 30: Notch Filter Type On Notch filter types, the Resonance parameter is almost useless by definition because the resonance frequency is exactly the frequency that is blocked by the filter. However, you will still be able to hear slight differences when you change the Resonance because of phase changes. Anyway, the effect isn’t that spectacular.
Sound Parameters – Filter Types Level Resonance Frequency Cutoff determines number of teeth Picture 32: Comb – Filter Type So, as with all other filter types, the Comb filter is controlled with two parameters: • Cutoff controls the delay length. • Resonance controls the feedback depth. Now, what sound can a comb filter produce? Here are some examples: The Comb filter as Chorus This is the most basic way to use the Comb filter.
Sound Parameters – Filter Types hear that when you change LFO Keytrack or Filter Keytrack. Then each voice sounds with a different Chorus speed or frequency. • You have full control over all parameters that make up the Chorus effect over MIDI by using Control messages. The Comb filter as Flanger A Flanger is almost the same as a Chorus. The only difference is that it has a feedback circuitry to change the depth of the Flanger effect. ☞ To set up the Comb filter to produce a Flanger: 1.
Sound Parameters – Filter Types Oscillator Comb+ Comb64’ 11 23 32’ 23 35 16’ 35 47 8’ 47 59 4’ 59 71 2’ 71 83 Table 10: Comb Filter Cutoff settings If you need other tunings, just keep in mind that Cutoff is changed in semitones, so if you increment Cutoff by 12, the filter oscillates one octave higher and vice versa. ☞ To set up the Comb filter to produce a tone: 1. Select either Comb+ to produce a string-like tone or Comb- to produce a tube-like tone. 2. Turn up Resonance to around 114 to 127.
Sound Parameters – Amplifier Amplifier This unit is almost the last part in the Q’s signal routing, only followed by the Effects section. Its purpose is to set the volume of the sound. To understand the operation of this unit, it is important to know that the Amplifier Envelope is always acting as a modulation source for the volume. This means that an audio signal can only pass through if the Amplifier Envelope is triggered and opened.
Sound Parameters – Amplifier Amplifer Edit Menu The following parameters can be accessed via the display menu of the Q Rack only. Press the Amplifer section’s Edit button to activate the display menu. AmpMod See Additional Controls on the Q Keyboard. AmpMod Source See Additional Controls on the Q Keyboard.
Sound Parameters – Effects Effects The Q offers eight separate effect units. They are grouped to two effects working on four different Instruments. This means that in Single Mode, each Instrument keeps its effect settings, while in Multi Mode the Instruments 1 to 4 determine the effect settings. The Instruments 5 to 16 each can be routed to one of these effect busses. Both effect units feature nearly the same effect types and parameters. The following chapters are therefore valid for both effect units.
Sound Parameters – Effects FX1 Type Bypass FX2 Type Delay The 5.1 Delay Types are only available on the FX2 unit. Bypass Disables the effect unit. No further parameters available. Chorus A Chorus effect is generated by using Comb filters that generate slightly detuned copies of the input signal and mixing it into the output signal. The result sounds like an ensemble of several sounds at the time, as a choir in opposite to a single voice, hence the name Chorus.
Sound Parameters – Effects Speed 064 Speed | | Depth 064 0…127 Sets the LFO speed of the Flanger effect. Depth 0…127 Sets the modulation depth of the Flanger effect. Feedback |Polarity 064 |positive Feedback 0…127 Controls the feedback amount of the Flanger signal. Polarity positive / negative Determines if the feedback signal is fed back into the Flanger as it is or if it is inverted beforehand. Phaser A Phaser is a combination of several "allpass" filters working in parallel.
Sound Parameters – Effects Spacing 0…127 Controls the frequency relation of the allpass filters. A setting of 0 produces a classic phaser while higher settings spread the frequencies of the allpass filters. Feedback |Polarity 050.0% |negative Feedback 0…127 Controls the feedback amount of the delay signal. Polarity positive / negative Determines if the feedback signal is fed back into the Phaser as it is or if it is inverted beforehand.
Sound Parameters – Effects Feedback |Polarity 064 |positive Feedback 0…127 Controls the amount of signal that is routed back into the Delay line. Lower values therefore produce fewer echoes than higher values. Polarity positive / negative Determines if the feedback signal is fed back into the delay line as it is or if it is inverted beforehand. Cutoff 064 Cutoff |Auto Pan | On 0…127 Dampens the signal produced by the Delay effect.
Sound Parameters – Effects 0…127 Cutoff Cutoff 064 Dampens the high frequency output of the Overdrive effect. Please note that the setting of the Mix parameter doesn’t affect the strength of the overdrive effect but only the volume of it. Therefore, you can get a very strong overdrive with a low volume when you turn up Drive and turn down Mix. Five FX This effect type is a combination of five different effects. You can easily use that as a replacement for one of the above mentioned effect types.
Sound Parameters – Effects Source External / Aux / Inst.1 FX...Inst. FX 4 / Main in /Sub1 in / Sub2 in Selects the source of the second signal that is used for the ring modulation. The first signal is the summed output of the current Sound or Instrument. You can find more details about the function of a ring modulator in the sub chapter “Ring Modulator” on page 81. Chor/Dlay| 064 | Chor/Dlay Speed 032 0…127 Controls the mix level of the Chorus/Delay effect.
Sound Parameters – Effects doesn´t produce all frequencies equally so the lowpass cuts the higher frequencies to produce a more realistic reverb effect. Predelay !Diffusion 100.0 ms | 127 Predelay 0…300ms Determines the delay in milliseconds between the direct sound and the reverb effect output. A natural reverb contains a reflexion which is heard later than the original signal. The predelay determines this delay so that the reverb is separated from the original sound.
Sound Parameters – Effects Tap Delay Like the normal delay the Tap Delay produces echoes of the input signal. You can control volume and panorama by up to 16 delay steps allowing you to create very complex and rhythmic sound structures. The Tap Delay is synced automatically to the Q´s tempo. Please refer to the chapter “The Tempo“ on page 56. Delay 1/4 Delay !Feedback ! 050.0 % 1/128...8/4. Sets the length of the Delay taps in note values. A “t” behind the number means a triplet note value while a “.
Sound Parameters – Effects Feedback Ducking off Feedback Ducking off, 1...3 Dampens the feedback signal generated by the delay effect. A setting of off doesn´t dampen the feedback signal at all, while higher values generate a heavier dampening effect. 5.1 Surround Delay Types The Surround Delay Types are only available on the FX2 unit.
Sound Parameters – Effects LFE LP !Input HP 082.4 Hz |110.0 Hz LFE LP 10.9Hz...16.7kHz Determines the crossover frequency below which the effect signal is routed to the LFE channel output (Sub Out 2 R). If you want to make a typical „5.1 mix“ a setting of 80 Hz is recommended. Input HP 10.9Hz...16.7kHz Determines the highpass crossover frequency for all effect signals except for the LFE. The Input HP is used to adjust the bass frequencies for all channels independently from the LFE channel. FSL V.
Sound Parameters – Effects RearSR V.!Delay S1R 127 | 100.0 % Rear SR Volume 0...127 Determines the volume of the effect signal for the right Rear Speaker (Sub Out 1 R). Delay S1R 0%...400% Determines the relative delay of the effect signal pertaining to the setting of the Delay parameter. 5.1 D.Clk This surround delay type is similar to the 5.1 Delay. With this delay type, the delay time is synchronized to the Q´s internal tempo.
Sound Parameters – Effects Vocoder The Vocoder effect is a special effect type. Only one Vocoder is allowed at a time. When you have several sounds using a Vocoder, the one in the lowest Instrument slot wins. I.e., if you have a sound with a Vocoder effect set up for Instrument 1 and another sound with a Vocoder in Instrument 8, only the Vocoder in Instrument 1 works. A Vocoder is a circuitry to process the frequency content of one signal with the frequency content of another signal.
Sound Parameters – Effects 5. Feed the Q´s audio input with your external signal and trigger one or more notes . You should hear the vocoder effect. We recommend using speech or drum loops as external audio material. 6. Try different settings of the vocoder parameter and tune to taste. Bands 002…025 Sets the number of filter bands. A setting of 25 bands results in a very fine frequency resolution, so that the original signal is almost completely restored by the synthesis filters.
Sound Parameters – Effects Bandwidth -64…+63 Controls the width of the synthesis bands. Negative values result in wider bands while positive values result in narrower bands. 0 is the ideal Vocoder setting but it's up to you if you want other widths. Resonance -64…+63 Controls the impulse response of the synthesis bands. Again, 0 results in an ideal Vocoder effect while you can remove resonance to make the vocoded signal less defined or add resonance to get bellish sounds.
Sound Parameters – Arpeggiator Arpeggiator An Arpeggiator is a device that splits an incoming MIDI chord into its single notes and repeats them rhythmically. Different sequence modes can be defined for the Arpeggiator to cover a wide range of applications. In addition to the synthesis features, the Q offers a deeply programmable Arpeggiator for every sound program.
Sound Parameters – Arpeggiator • Press all keys of the chord simultaneously. This is the standard way as you would do with the other Arpeggiator Modes, too. or • Press and hold the first key of the chord. While holding this key, enter the other keys sequentially. After playing all keys, you can release the first key. On one hand this method is practicable for playing difficult chords, on the other hand it is essential when using the as played setting of the Sort Order parameter.
Sound Parameters – Arpeggiator Arpeggiator Edit Menu The following parameters can be accessed via the display menu. Press the Arpeggiator section’s Edit button to activate the display menu. Arp Mode ! Pattern On ! User Mode See “Arpeggiator Panel Controls”. Off / User / 1…15 Pattern Sets the rhythm pattern that is used for generating the arpeggio. If Pattern is set to Off or to one of the 15 ROM patterns and T.
Sound Parameters – Arpeggiator Max.Notes! Clock 16 ! 12/192 Max. Notes 1…16 Sets the maximum number of notes that are used for the note list. When you press more notes than set up here, the oldest notes are removed from the list. This feature is particularly interesting in Multi Mode. When you set it e.g. to 1 on a Bass sound, the Arpeggiator only stores the last note that you hit and plays it back sequentially.
Sound Parameters – Arpeggiator SortOrder as played / reversed / Num Lo>Hi / Num Hi>Lo /Vel Lo>Hi / Vel Hi>Lo Sets the order in which the note list is arranged. With this parameter, you can determine how the notes you originally play are split up for the arpeggio. • If as played is selected, the notes are sorted in the exact order as you played them. If you e.g. press E1, G1 and C1, the note list looks exactly like that.
Sound Parameters – Arpeggiator • If Off is selected, the Note Off message of the previous note is sent right before the next note with the same pitch is started. Pattern Reset Off / On Pattern Reset Off When all steps of an arpeggio pattern are played back, the pattern is repeated from the beginning so that the arpeggio is looped. With Pattern Reset, you can decide if the note list is also restarted from the beginning when the rhythm pattern is reset.
Sound Parameters – Arpeggiator never exceed the maximum MIDI velocity 127 or minimum MIDI velocity 1. This means when you have already played the notes with a high velocity, Arp Accent might not be able to further offset it positively, so you will only hear differences with negative accent offsets. Vice versa, low velocities might not be able to be lowered by Arp Accent. The only exception is Í. See the following description. • If Í is selected, the current step is actually played, but inaudible.
Sound Parameters – Arpeggiator • If Ú is selected, the Arpeggiator plays the very first note of the note list. This might be interesting if you want to only play the "root note" of a chord in a bass sound. The note list is not advanced. • If Û is selected, the Arpeggiator plays the very last note of the note list. The note list is not advanced. • If Ù is selected, the Arpeggiator plays a chord with two notes, the first and the last one of the note list.
Sound Parameters – Arpeggiator Arp Steplen ˜ / ¯…˛ Arp Steplen ˛˚˛ ˛˚˛ ˛˚˛ ˛˚˛ ˛˚˛ ˛˚˛ ˛˚˛ ˛] 01[˚˛ Changes the length of the note of a particular step. The overall length of the arpeggio depends on the Length setting. If Length is set to legato, Arp Steplen doesn’t have any effect at all. Also, if Length is set to a very small value, Arp Steplen might not have an audible effect when you set it to a negative value. You can create very nice staccato and legato effects with this parameter.
Sound Parameters – Envelopes Envelopes The Q’s envelopes allow you to manipulate sound parameters via rate or timed modulations. The Q offers four independent programmable envelopes for every sound program: • A Filter Envelope. This envelope is designed to control the filter but can also be used for other modulations. • An Amplifier Envelope. This envelope is designed to control the sound volume, but can also be used for other modulations. • Two additional Envelopes Env 3 and Env 4.
Sound Parameters – Envelopes ADSR Envelope Most traditional synthesizers feature ADSR envelopes. These envelopes are made up of four parameters that determine their response: Attack, Decay, Sustain and Release. The following picture illustrates the structure of an ADSR envelope: Level Key pressed Key released 100% Sustain Attack Decay Release Time Picture 39: ADSR Envelope The envelope is started by pressing a key. It ascends to its maximum value at the rate determined by the Attack parameter.
Sound Parameters – Envelopes ADS1DS2R Envelope A difficult name for an envelope that is quite easy to understand. Besides the parameters an ADSR envelope features, it offers an adjustable attack level and a second Decay and Sustain pair. With this additional parameters, you can create much more complex envelopes. The additional envelope parameters are accessed through the Shift button.
Sound Parameters – Envelopes One Shot The One Shot envelope type is thought for percussive sounds that don’t need a stage that is held as long as a note is played. In other words: the envelope goes through all its stages, no matter how long a key is pressed. This includes even the Attack phase. It uses the parameter set of the ADSR envelope type where the Sustain parameter is used to set a level breakpoint. This allows creating One Shot envelopes with a very percussive attack or with a “Gate” effect.
Sound Parameters – Envelopes Loop S1S2 The Loop S1S2 envelope type loops the envelope between Sustain 1 and Sustain 2 as long as a note is held, after it went through the attack phase once. This means, when Sustain 2 is reached, Decay 1 is used to go to Sustain 1 again, then Decay 2 is used to go to Sustain 2 and so on. As soon as the note is released, the envelope proceeds with the Release phase. It uses the parameter set of the ADS1DS2R envelope.
Sound Parameters – Envelopes Loop All The Loop All envelope type is similar to the Loop S1S2 envelope type but it loops through all envelope stages as long as a note is held. This means that it goes through all envelope stages first and if it ended with the Release phase, the envelope restarts from zero and goes through all its phases again. As soon as the note is released, the looping stops and the envelope goes into its Release phase.
Sound Parameters – Low Frequency Oscillators (LFO) Low Frequency Oscillators (LFO) In addition to the main oscillators, the Q is equipped with three low frequency oscillators that can be used for modulation purposes. Each LFO generates a periodic waveform with adjustable frequency and shape.
Sound Parameters – Low Frequency Oscillators (LFO) • The Sawtooth shape can generate interesting filter or volume changes. If you need a modulation with inverted slope, just apply the Sawtooth shape with negative amount. • The Random shape generates random values and glides to them linearly. • S&H (Sample & Hold) samples a random value and holds it until the next value is generated. If Speed is set to 0, a random value is generated on each new note.
Sound Parameters – Low Frequency Oscillators (LFO) out 64…in 63 Fade Controls the speed with which the LFO is faded in or out. With this parameter you can create slowly rising or falling modulations that might create interesting when routed to pitch or volume. Please see the LFO Delay parameter on page 129 for further information. Clocked Off / On When Clocked is activated, the LFO is synced to the global Tempo of the Q. The LFO Speed setting is changed to offer musically meaningful values.
Sound Parameters – Modulation Matrix Modulation Matrix A modulation can be described as influencing a sound parameter by a signal-generating unit. The terms used in this context are "source" and "destination". The Q offers 16 independent modulation assignments (slots) each with individual settings of source, destination and amount. The Modulation Matrix is the key of the power of each Waldorf synthesizer, so start experimenting with it right now.
Sound Parameters – Modifier Matrix Modifier Matrix Modifiers allow you to perform mathematical functions on modulation signals. Depending on the function type selected, calculation is done between two source signals or between a source signal and a constant parameter. You can use up to four independent modifier units. The result of each operation is not processed directly but can be used as input source for the Standard Modulation Matrix. Also you can use it again as source for another modifying process.
Sound Parameters – Control Delay • Constant MAX Returns the maximum value of either Source #1 or Source #2. If Source #1 is greater than Source #2, the value of Source #1 is returned and vice versa. -64…+63 Defines a value for modifier functions that require a constant parameter. See the Operation parameter described above for further details. Control Delay This function offers a delay of a user-selected modulation source during a certain time period.
Drum Map – Drum Map Sound Menu Drum Map The Q offers the creation of so-called Drum Maps, which are collections of 32 sounds that are mapped over the keyboard. You can use them to trigger drum or effect sounds that you don’t need to play polyphonically with different pitches. A Multi program can hold one Drum Map, so, combined with the 16 part Multi mode of the Q, this gives you 15 + 32 = 47 different sounds at a time. To select a Drum Map, refer to the section Selecting Programs.
Drum Map – Drum Map Sound Menu #01 Key C1 |Transpose | +00 C-2…G8 Key Defines the lowest key for the selected Drum Map entry. A Drum Map entry can span over more than one note. I.e., when you set entry #01 to C1 and entry #02 to E1, entry #01 can be played from C1 to D#1. Be careful with this parameter. As soon as you change it to another note, you have to press this note to call up the entry again. This sounds obvious but it might be a trap.
Global Parameters – Global Menu Global Parameters Global parameters are settings that influence the Q’s general response. They are valid for all programs but might be overridden by other more specific settings. Global parameters are stored automatically when you modify them, so you are not required to save them manually. Global Menu All Global parameters are located in the Global Menu.
Global Parameters – Global Menu Local Ctr!Arp. Send off ! off Local Control (Local Ctr) Off / On Determines, if the keyboard (only Q keyboard), pitch bend and modulation wheel are coupled to the internal tone generation. When set to On, the Q sends all note information and controller data to the tone generation and eventually over MIDI. When set to Off, the Q doesn’t send any note information to its tone generation but works similar to a MIDI master keyboard.
Global Parameters – Global Menu • If On is selected, all Sound Parameter Changes are received, no matter if they were sent as controller or system exclusive messages. Set Controller Receive to On during normal operation. You should only set it to Off for diagnostic purpose. Tuning |Transpose 440Hz | +00 430…450 Hz Tuning Controls the Q’s overall pitch in Hertz. The value specified here is the reference pitch for MIDI note A3. The default setting is 440Hz, which is commonly used by most instruments.
Global Parameters – Global Menu • HMT 3/5 creates thirds and fifths with a high scaled tuning affect. In extreme cases (for example when the chord played does not contain thirds or fifths) the scaled tuning effect will be reduced resulting in nearly inaudible tuning changes. • HMT 3/5ref works like HMT 3/5 but does not reduce the scaled tuning effect in extreme cases like HMT 3/5 does. Using this Mode only makes sense with a scaled tuning value of 100%.
Global Parameters – Global Menu Ctrl W…Ctrl Z 0…120 Ctrl W | Ctrl X 000 (00) |000 (00) Ctrl Y | Ctrl Z 000 (00) |000 (00) These parameters are used to define arbitrary MIDI Continuous Controllers as modulation sources for Sounds. You can set up four Controls, W, X, Y and Z, for this purpose. Each value represents a MIDI Continuous Controller number that is used when you assign its parameter as modulation source in the Modifiers or the Modulation Matrix.
Global Parameters – Global Menu exp 2 / exp 1 / linear / log 1 / log 2 / fix 32...127 On Velocity Curve On Velocity Curve exp 1 Sets the curve that is used for Note On Velocities when played on the keyboard. It changes the velocity behaviour of the internal tone generation and the outgoing MIDI Note messages. It doesn’t affect incoming MIDI Note messages.
Global Parameters – Global Menu The various curves are identical to the ones shown under “On Velocity Curve”. For a standard keyboard aftertouch response, you should set Pressure Curve to linear or exp 1. Other curves might be applicable under special circumstances only. Footsw1 Mode/Ctrl. switch Cl| Sustain Footsw1 Mode Off / switch Cl / toggle Cl / switch Op / toggle Op Determines the way Switch Pedal 1 is evaluated by the Q. • Off means that the Switch Pedal is deactivated.
Global Parameters – Global Menu Footsw2 Mode/Ctrl. switch Cl| Sustain Footsw2 Mode Off / switch Cl / toggle Cl / switch Op / toggle Op Determines the way Switch Pedal 2 is evaluated by the Q. Please read “Footsw1 Mode” for details. Footsw2 Ctrl. Sustain / Sostenuto / Control W…Z / Foot Ctrl. Sets the controller that is used for Switch Pedal 2 . Please read “Footsw1 Ctrl.” for details. Input Gain 1…4 Input Gain 2 Sensitivity of the Stereo External In .
Global Parameters – Global Menu Mix Level 0...127 Determines the volume of the audio signal selected in the Mix In to menu. Disp.Time!Contrast 1.5s ! 064 Display Timeout (Disp.Time) 0.1s…15.5s Determines how long parameters are displayed in the upper right corner of the display when changing a parameter. When you are new to the Q, you might want to set it to a value of around 10.0s. When you got some experience with the Q, you will probably set it to a lower value of around 1.5s.
Global Parameters – Global Menu Pedal/CV1 Gain 0...127 Pedal/CV1 Gain 127 Sets the maximum gain for Control Pedal/CV 1 that is used when the pedal is at its maximum position. To find out which value is suited for the Control Pedal/CV you want to use, do the following: ☞ To adjust Pedal/CV 1 Gain: 1. Perform the steps under Pedal/CV1 Offset. 2. Set the Matrix slot Source to MAXIMUM and adjust Amount so that you can just hear the sound with a very high pitch. 3.
Global Parameters – Global Menu Pedal/CV2 Gain 0...127 Pedal/CV2 Gain 127 Sets the maximum gain for Control Pedal/CV 2 that is used when the pedal is at its maximum position. Please read “Pedal/CV1 Gain” above for further information. Pedal/CV2 Curve 0...127 Pedal/CV2 Curve 127 Sets the curve that is used for Control Pedal/CV 2. It changes the behaviour of the internal tone generation and the outgoing MIDI messages. It doesn’t affect incoming MIDI messages.
Global Parameters – Utility menu Utility menu Beside the different Midi Dump Options the Utility Menu offers further helpful functions. You can obtain the Utility Menu by pressing Shift + Utility. In the display a page for selecting the wanted function will appear: Dump Sound A001 [Utility] Turn the page dial until you reached the appropriate function. MIDI Dump functions Please read the chapter "Sending System Exclusive Data" on page 152.
Global Parameters – Utility menu Init Drums Init Drums D01 [Utility] The Q provides a special function for setting all parameters of a Drum Map to initial values. You can use it to create a Drum Map from the scratch. This function is only available when a Drum Map is selected. ☞ This is how you initialize a Drum Map: • Select the appropriated Drum Map. • Press Shift+Utility and choose the option Init Drums. • Press Shift+Utility again to activate the function.
MIDI Control – Channel Based MIDI Messages MIDI Control This chapter describes the MIDI functions of the Waldorf Q. Channel Based MIDI Messages In Single Mode, the Q sends and receives channel based MIDI messages like Notes, Aftertouch, Pitchbend and Controllers on the selected Global MIDI Channel. If it is set to omni, the Q sends channel based MIDI messages on channel 1 but receives them on any channel. All received channel based MIDI messages are played back by the active Instrument or Layer.
MIDI Control – Channel Based MIDI Messages Pitchbend Messages The Q sends and receives Pitchbend Messages with a resolution of 14 bit. The pitchbend ranges are controlled by the Bend Range parameter in the Oscillator Edit menus. Pitchbend Messages can also be used as “Pitchbend” modulation source. Modulation Wheel The Q sends Modulation Wheel changes as Modulation Wheel MSB Message (Controller #1).
MIDI Control – Influencing / Editing Sounds over MIDI Pedals The Pedals send on the controller numbers they are set to in the Global menu. There is also no dedicated “MIDI Pedal Message” so the reception of the MIDI Messages they originally generated depends on the settings of the current Sound. All Notes Off Message The Q sends an All Notes Off Message to the internal tone generation and over MIDI on all channels when the Power button is pressed briefly.
MIDI Control – System Exclusive Data Transmission You can find a detailed description of the commands and data formats as a PDF file at our ftp-server (ftp://ftp.waldorf-gmbh.de/pub/waldorf/q). System Exclusive Data Transmission System Exclusive data transmission lets you send and receive the contents of the Q’s memory via MIDI (dump). Sending System Exclusive Data When you activate the send functions, the Q sends the contents of its memory to the MIDI Out jack.
MIDI Control – System Exclusive Data Transmission Receiving System Exclusive Data You are not required to activate a special receive mode at the Q in order to receive system exclusive data through MIDI. However, there are a few things you should check before you transmit system exclusive data to the Q: • Make sure none of the Q’s programs is in Edit mode. The edit buffers might be cleared or overridden depending on the type of dump that is sent to the Q. • Check out the parameter SysEx ID.
Other Functions – Updating the System Software Other Functions Updating the System Software The Q has a service-friendly feature that makes it possible to update the system software without changing any parts. All software updates come in the form of a standard MIDI file that can be read by every sequencer. The fastest way to get this file is by downloading it from our website at: http://www.waldorf-music.com Please make sure to download the following files: • os_xx.
Other Functions – Updating the System Software 7. Wait until the operation is completed. If updating was successful, the Q will perform a system reset and start up. If something goes wrong with updating, the Q displays an error message, e.g.: Checksum Error If this happens, try updating again. In some cases it can be necessary to adjust the sequencer tempo before playing the file so that the data events are sent more slowly.
Other Functions – The HMT function The HMT function The tuning of the Q is not static, but rather dynamic. It adjusts itself depending on the content of the music. This is done for the following reason: As an alternative to „tempered” or normal tuning, fifth and third intervals can also be tuned to certain ideal frequency ratios: the fifth to a ratio of 3:2, the major third to 5:4. Major triads will then sound very strong and convincing. Achieving this requires sound frequencies (pitches) to be altered.
Other Functions – Tips & Tricks Tips & Tricks • Noise as FM Source for an oscillator gives a coloured noise output whose character can be changed with FM Amount, the oscillator waveform and the pitch of the oscillator. • Use Envelope 3 or 4 to blend in one of the oscillators. If you e.g. need a small blip in the attack phase, just use a free oscillator and a short percussive envelope to create this effect.
Appendix – Technical Data Appendix Technical Data Power Supply Nominal voltage: Digital Out AC 100…240V Maximum current consumption: 1.
Appendix - Index Index Parameter A B C Parameter E Page Manual Parameter P Page Manual Parameter T Page Manual AE (mono) 65 Engine (Multi) 43 Pan (Filter) 88 Aftertouch (Multi) 42 Env (Filter) 87 Pan (Tap Delay FX) 106 Tempo (Main Parameter) 56 A.Hi.Frq (Vocoder FX) A.Lo.Frq (Vocoder FX) Alt1/Alt2 (Oscillator) Amount (ModMatrix) M1F... M8F...M1S...
Appendix – MIDI Signalflow Diagram MIDI Signalflow Diagram Keyboard Wheels, CV In, Pedals MIDI In Rx Status Off, Local, Loc.+Midi Off, Midi, Loc.+Midi Key/Vel. Filter Off MIDI Message Filter Direct Tx Status Step Sequencer Note only Seq. Arpeggiator Note only Off Local On Mute Mute Engine Play, Solo Engine MIDI signalflow diagram Waldorf Q User’s Manual 160 Arp.
Appendix – Glossary Band Stop Filter A band stop filter does the opposite to a band pass filter, i.e. it dampens only the frequencies around the cutoff point and lets all other frequencies pass through. Glossary Aftertouch The majority of contemporary keyboards are capable of generating aftertouch messages. On this type of keyboard, when you press harder on a key you are already holding down, a MIDI Aftertouch message is generated. This feature makes sounds even more expressive (e.g. through vibrato).
Appendix – Glossary High Pass Filter dampens the frequencies below the cutoff. The band pass filter allows only those frequencies around the cutoff frequency to pass, all others are dampened. A band stop filter does just the opposite, i.e. it dampens only the frequencies around the cutoff frequency. The most common type is the low pass filter. A high pass filter dampens all frequencies below its cutoff frequency. Frequencies above the cutoff point are not affected.
Appendix – Glossary MIDI Channel Release This is a very important element of most messages. A receiver can only respond to incoming messages if its receive channel is set to the same channel as the one the sender is using to transmit data. Subsequently, the sender can address specific receivers individually. MIDI Channels 1 through 16 are available for this purpose. An envelope parameter. The term "Release" describes the descent rate of an envelope to its minimum value after a trigger is terminated.
Appendix – Glossary VCF Volume VCF is the acronym for voltage-controlled filter. It is a filter component that allows you to manipulate the filter parameters via control voltages. The term describes a sound's output level.
Appendix – Controller Numbers Controller Numbers Controllers marked with * don’t change the Sound program but can perform temporary modulations or other tasks.
Appendix – Controller Numbers Ctrl # 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 Controller Range Controller Name or Sound Parameter 0…3 Bank Select LSB* 0…127 Osc 1 PW 0…127 Osc 1 PWM 16, 28, 40…112 Osc 2 Octave 52…76 Osc 2 Semitone 0…127 Osc 2 Detune 0…127 Osc 2 FM 0…5 Osc 2 Shape 0…127 Osc 2 PW 0…127 Osc 2 PWM 16, 28, 40…112 Osc 3 Octave 52…76 Osc 3 Semitone 0…127 Osc 3 Detune 0…127 Osc 3 FM 0…5 Osc 3 Shape 0…127 Osc 3 PW 0…127 Osc 3 PWM 0…1 Sync 0…12
Appendix – Controller Numbers Ctrl # 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 Controller Range Controller Name or Sound Parameter 0…127 Sustain Pedal* 0…127 Glide Active 0…127 Sostenuto 0…127 Routing 0…10 Filter 1 Type 0…127 Filter 1 Cutoff 0…127 Filter 1 Resonance 0…127 Filter 1 Drive 0…127 Filter 1 Keytrack 0…127 Filter 1 Env. Amount 0…127 Filter 1 Env.
Appendix – Controller Numbers Ctrl # 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 Controller Range Controller Name or Sound Parameter 0…127 FE Decay 0…127 FE Sustain 0…127 FE Decay 2 0…127 FE Sustain 2 0…127 FE Release 0…127 AE Attack 0…127 AE Decay 0…127 AE Sustain 0…127 AE Decay 2 0…127 AE Sustain 2 0…127 AE Release 0…127 E3 Attack 0…127 E3 Decay 0…127 E3 Sustain 0…127 E3 Decay 2 0…127 E3 Sustain 2 0…127 E3 Release 0…127 E4 A
Appendix – MIDI Implementation Chart MIDI Implementation Chart Date: June/02/2001 Version: 3.
Appendix – Declaration of Conformity Waldorf Q User’s Manual 170
FCC Information (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this Manual, meets FCC requirements. Modifications not expressly approved by Waldorf may void your authority, granted by the FCC, to use this product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions.
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