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1. sss 47 Editing Sequence Patterns ssesessssss 47 Activating the Step Sequencer Controls 47 Step Selection uusssensesseeenennesnnennenn 47 Deselecting all Steps 2 48 Programming Notes or Chords 48 Programming a Pause 48 Holding Notes over More Than One Step 49 Limiting the Audible Range to One Bank 49 Changing Modulation Values for Selected Steps49 Changing Modulation Values for All Steps At Gn UP 50 Sequencer Panel Controls c ccceceeeeeeeeeeeeees 50 Sequencer Rotar ies ceecceeceeeeeeeceeeeeeeaeeees 51 Sequencer Edit M NU ccceceeeeececeeeeeeeeeeeees 51 Sound Parameters sss 55 Overview of FUNCtIONS ccceeeeececeeeeeeeeeneeees 55 The Tempo aachen eee eta ees 56 Modulation Speed Levels ssssssss 57 FM Frequency Modulation 57 Fast Mod latioi c anunn o 58 Standard Modulation sssesssss 59 Xphorm Interpolating between two sounds 62 Xphorm Edit Men ssec 63 Triggering of VOICES ccceeeceeeeeeeeeeeeeeeeeeeaeeees 64 Sound Edit Menisin a 64 Waldorf Q User s Manual Contents Rear Panel Oscillatorez 3 tee t tere tr toe Eh 66 Oscillator Shapes cccccceececeeeeeeeceeeeeeeeeees 66 Wavetable Synthesis ccccseececesse
2. 2 Press the Control Select button until the parameter that you want to change is shown 49 Waldorf Q User s Manual 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 The changes are relative meaning that if you decrease the value of one step by 10 the values of all other steps are also decreased by 10 US To change the modulation signal values of all steps at once 1 Press the Control Select button until the parameter that you want to change is shown 2 Hold Shift and turn any control The changes are relative to all steps H If you want to quickly change all parameters to the same value just turn a control fully up and down to make sure all steps have the same values Afterwards you can adjust the parameter to the desired value Sequencer Panel Controls Grab Control Used to switch the number buttons and envelope controls to control the step sequencer This is the first button you have to press to edit a sequence pattern The panel controls described in the following paragraphs only work when
3. AmpMod Source see Table Fast Modulation Sources on page 58 Selects the source of the volume modulation Waldorf Q User s M anual 96 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 97 Waldorf Q User s Manual 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 A When pressing Shift and the FX1 or FX2 button the selected effect gets initialized This function is useful to get a first impression of the corresponding effect Effect Panel Controls The following picture of the Q s front panel shows the Effects section Picture 35 Effects Section Q Keyboard As you can see the Q offers two independent effect units per sound named FX1 and FX2 Additional Controls on the Q Keyboard Mix 0 127 The
4. 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 e If is selected the notes of this step are hold until the next step has to be played Empty steps force to still hold the notes of the step that was set to legato e Values pointing to the left 4 shorten the length of the notes of this step e Ifa vertical line 1 is shown the step is held as long as set in the Length parameter Values pointing to the right make the notes of this step held longer 121 Waldorf Q User s Manual 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 e An Amplifier Envelope This envelope is designed to control the sound volume but can also be used for other modulations e Two additional Envelopes Env 3 and Env 4 These envelopes can be used freely to perform additional modulations on any module The following picture of the Q s fro
5. Schicken Sie uns eine E Mail Das ist der mit Abstand effizienteste und schnellste Weg uns zu erreichen Ihre Fragen k nnen sofort an die richtige Stelle weitergeleitet und innerhalb k rzester Zeit beantwortet werden Senden Sie uns ein Telefax Fast so schnell wie E Mail allerdings f r Sie und uns weniger komfortabel Schicken Sie uns einen Brief Etwas langsamer daf r jedoch genauso zuverl ssig wie ein Telefax Und wenn es ganz dringend ist rufen Sie uns an Wir versuchen Ihre Fragen m glichst sofort zu beantworten Produktunterst tzung Product Support If you have any questions about your Waldorf product feel free to contact us via one of the four options listed below info waldorf music com 49 0 26 42 90 20 8 77 Waldorf Music AG Schlo Ahrenthal 53489 Sinzig Germany 49 0 26 42 99 40 16 Send us an e mail message This is the most efficient and fastest way to contact us Your questions will be forwarded immediately to the resident expert and you will quickly receive an answer Send us a fax This is as fast as e mail but not quite as comfortable for you and us Send us a letter It will take a bit longer but it is just as dependable as a fax If you re in big hurry call us we ll try to answer your questions right away 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
6. Sound Parameters Triggering of Voices Triggering of the Filter Envelope Trig FE Determines the triggering of the Filter Envelope e Normal means that every Note starts the filter envelope of its own voice e 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 Afterwards the release phase is active Triggering of the Amplifier Envelope AE Mono Determines the triggering of the Amplifier Envelope e Normal means that every Note starts the amplifier envelope of its own voice e 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 Afterwards the release phase is active This setting is only active as long as the Parameter Mode is set to Mono Otherwise the envelope behaves as being set to Normal Triggering of the Envelopes 3 Trig E3 and 4 E4 mono Determines the triggering of the Envelopes 3 and 4 e Normal means that every Note starts the amplifier envelope of its own voice e 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
7. but play four notes with different velocities in sequence Programming a Pause A sequence pattern doesn t need to play notes on all steps but can have pauses between some notes or chords US To program a Pause 1 Select any number of steps 2 Press Pause A Programming a Pause in fact deletes all notes of the selected steps There is no specific delete notes function because the Pause function is meant to do this task Waldorf Q User s Manual 48 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 You can program up to 31 steps to hold the notes that you ve programmed in one step If the first step of the first bank is set to Hold the last steps of the last played bank are held US To program a Hold event 1 Select any number of steps 2 Press Hold H Make sure that a Hold event doesn t follow a paused step because then you wouldn t hear anything Limiting the Audible Range of the Sequence to One Bank The visible range of the step sequence is limited to one bank automatically as soon as you select a step or turn a dial However you
8. e Connect the Left and Right jack with 1 4 inch mono plugs To connect an output stereophonically with one stereo cable e Only connect the Left Stereo jack of the output with a 1 4 inch stereo plug Don t plug any cable into the Right Mono jack of the output pair To connect an output monophonically e _ Only connect the Right Mono jack of the output pair with a 1 4 inch mono plug Don t plug any cable into the Left Stereo jack of the output pair To connect a headphone e Connect the headphone with the Left Stereo jack of the Main Out If you do not choose to connect a mixing console you can patch the Q s output signals directly to an amp Use an input usually called Aux or Tape input Before connecting and disconnecting the Q to a power supply source turn your amp s volume control all the way down to avoid damage due to on off switching noise The Q produces a high level output signal see Technical Data on page 158 Please take care that the connected playback device is suitable for the high level of an electronic instrument Never use the mic or phono input of the connected amp Digital S PDIF Output In addition to the 6 analog audio outputs the Q is equipped with an S PDIF type digital output 44 1 kHz 16 Bit signal You can use this output to connect the Q to a digital mixing console or to record the sound signal on a DAT machine or hard disk recording system The signal on the digital out connector is always id
9. 1 Set Pedal CV1 Ctrl to Control W 2 Setan empty Standard Modulation Matrix slot of the current sound as follows Source Control W Destination Pitch Amount 63 3 Move the Pedal to its minimum position or make sure that the CV is at its minimum voltage 4 Adjust Pedal CV 1 Offset until the pitch is the same no matter if the Amount in the Matrix slot is set to 00 or 63 Waldorf Q User s Manual 144 Global Parameters Global Menu Pedal CV1 Gain 0 127 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 SZ To adjust Pedal CV 1 Gain 1 Perform the steps under Pedal CV1 Offset 2 Setthe Matrix slot Source to MAXIMUM and adjust Amount so that you can just hear the sound with a very high pitch 3 Move the Pedal to its maximum position or make sure that the CV is at its maximum voltage 4 Adjust Pedal CV 1 Gain until the pitch is the same no matter if you set Source to MAXIMUM or Control W Pedal CV1 Curve 0 127 Fedal CU1 Curve 127 Sets the curve that is used for Control Pedal CV 1 It changes the behaviour of the internal tone generation and the outgoing MIDI messages It doesn t affect incoming MIDI messages MH Depending on the Control Pedal CV you use different values might apply Please try to find out the best setting yourself Pedal CV1 Ctrl Of
10. Clock Internal Send Auto Auto Thru MH The Clock parameter is located in the Global menu You can also change the clock settings by pressing the Shift button and turning the Tempo knob to the desired value Tempo goes hand in hand with the Clock parameter It determines how the Q reacts on incoming MIDI Clock messages and if it sends those Depending on the setting of Clock the actual sound tempo is set as follows e Internal means that the Q doesn t react on incoming MIDI Clock nor does it send MIDI Clock The Q only syncs to its own tempo base that is set by Tempo e Send means that the Q doesn t react on incoming MIDI Clock but sends it as MIDI Clock messages through its MIDI Out Use this setting when you want to sync other devices to the Q s Tempo setting but never want to sync the Q to any other device e Auto means that the Q automatically syncs to incoming MIDI Clock if it is sent to it by an external device like a sequencer or drum machine If there is no MIDI Clock present the Q generates its internal tempo base and sends it as MIDI Clock messages through its MIDI Out This is the recommended setting that works in almost all situations Now how does Auto really work When you select a Sound or a Multi the programmed tempo is used as long as no MIDI Clock is received As soon as the Q receives MIDI Clock the Tempo parameter is changed to match the incoming MIDI Clock This tempo is still valid when no MIDI Clock is received
11. Multi Mode Instrument settings MH 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 The Sound parameter is sent out as Controller but can t be received as long as any of the Ctrl W Ctrl Z remains assigned the same Controller number Multi settings The Multi settings consists of settings that are common to all instruments in a Multi program Multi Volume 0 127 Multi Volume loy Multi Volume sets the overall volume for the selected Multi program It affects all Instruments of the Multi program so if you would set Multi Volume to 0 you wouldn t hear anything H Multi Volume is used to set several Multi programs to similar output levels especially in live situations While recording in a studio you should set Multi Volume to 127 to get the highest possible Signal to Noise ratio Multi Mixer The Multi Mixer offers fast graphical editing of Volume Panning and Effect Send for all 16 instruments The Mute and Solo functions enable fast and intuitive changes to the Multi setup The Multi mixer is found after the Multi Volume Menu The 16 horizontal segment
12. User s Manual for the Q Synthesizer Q Keyboard Q Rack Q d LLO TT m a wu ren a a Hs u um za ma w a m ase a ww a w ans m wur m m Vielen Dank f r den Kauf dieses Waldorf Produktes Es zeichnet sich durch Zuverlassigkeit und Langlebigkeit aus Dennoch k nnen Material oder Verarbeitungsfehler nicht v llig ausgeschlossen werden Daher bieten wir Ihnen eine verl ngerte Garantie Damit Garantieleistungen in Kraft treten m ssen Kaufrechnung und Garantiekarte vollst ndig ausgef llt innerhalb von 14 Tagen zur ckgesandt werden Diese Garantie erstreckt sich auf alle Defekte in Material und Verarbeitung f r den Zeitraum von 1 Jahr ab Kauf des Produktes Wahrend der Garantiezeit ersetzt oder repariert Waldorf Music AG das durch Waldorf Music AG oder ein autorisiertes Service Zentrum als defekt befundene Produkt ohne dem Kunden Material oder Arbeitsaufwand in Rechnung zu stellen Um die Garantie in Anspruch zu nehmen mu sich der Kunde zun chst telefonisch mit dem zust ndigen Vertrieb in Verbindung setzen Produkte die ohne vorherige Absprache eingesandt werden k nnen nicht kostenfrei ausgetauscht bzw repariert werden Das Produkt mu frei und versichert in Originalverpackung eingesandt werden Detaillierte Fehlerbeschreibungen sind beizuf gen Unfrei und oder nicht originalverpackt eingesandte Produkte gehen unge ffnet zur ck Waldorf M usic AG beh lt sich vor das eingesandte Produkt auf den ne
13. 121 FM Source Filter 89 Polarity Flanger FX 100 120 FM Oscillator 73 Polarity Phaser FX 101 123 FM Source Oscillator 73 Post Gain Overdrive FX 102 Footsw Parmtr Global 142 Predelay Reverb FX 105 80 Frq divide Oscillator 78 eek Curve Global 444 111 FSL V 5 1 Delay FX 108 Prg Chg Mutli 42 112 FSR V 5 1 Delay FX 108 Pulse Oscillator 74 39 GlIb Chnl Global Menu 136 Pulsewidth Oscillator 74 78 Glide Mode Oscillator 79 PWM Oscillator 75 144 Glide Rate Oscillator 79 PWM Source Oscillator 75 42 High Key Multi 44 EL BEINE te HighPass Reverb FX 104 Release Envelope 123 r Release Vel Curve 100 Hi Offset Vocoder FX 111 Global Menu 141 40 Hi Velo Multi 43 Resonance Filter 87 104 HMT depth Global Menu 139 Resonance Vocoder FX 112 116 EY Export Global 139 RingMod 5 FX 103 Init all Lengths i 138 StepSequencer 54 RingMod Mixer 81 101 Input Gain Global 143 Rotate Steps Step Seq 54 130 Input HP 5 1 Dly FX 108 Routing 84 f Rx Prg Chg Global 108 Keytrack Filter 87 Menu 140 144 Keytrack LFO 129 Rx Stat Multi 41 f Same Note Overlap 140 Keytrack Oscillator 78 Arpeagiator 117 44 Length Arpeggiator 114 Sample amp Hold 5 FX 103 137 Length Delay FX 101 Saw Oscillator 74 102 Level Envelope 124 Semi Oscillator 72 87 Level Mode Multimixer 45 Seq Pattern Multi 44 103 LFE LP 5 1 Delay FX 108 Shape LFO 128 Local Ctr Global Menu 137 Shape Oscillator 73 1
14. H We recommended to use this function before dumping a complete new sound set into your Q Attention By using this function you will lose all your stored programs Please be sure backup your programs before 155 Waldorf Q User s Manual 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 This effect is known as scaled tuning The horizontal line shows the levels of the tempered tuning With clean i e scaled tuning HMT changes the frequencies to values that are partly higher or partly lower The values are shown in cents and show how much higher or lower the position is a tempered semitone has 100 cents In good orchestras the musicians adjust their intonation to achieve the best clean sounding chords The HMT Mode in the Q works nearly the same way The Q doesn t use its ears however It uses an intelligent program that s part of its operating system the HMT function The clarity and presence derived from scaled tuning isn t everything Compatibility with normal tem
15. 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 For a classic sounding Vocoder effect you should set the number of bands to values between 13 and 22 bands Analysis Signal External Aux Inst 1 FX Inst 4 FX Main in Subl in Sub2 in Determines the source of the signal that is analyzed This signal is also known as Speech signal The synthesis signal always comes from the current sound This is not a real limitation because the voice architecture isn t affected at all by the Vocoder You still have all three oscillators and two filters MH You achieve the best results with external signals when you set Input Gain in the Global Edit to 7 or 2 for line level signals A Lo Frq and A Hi Frq 10 9Hz 16 7kHz Set the frequency of the lowest respectively the highest analysis band You should set A Lo Frq to around 220Hz and A Hi Frq to 14kHz for voice analysis the default values or to around 100Hz and 16kHz for drum loops or other signals with a lot of bass and treble All other analysis bands are spread equally between these two bands If you find that the Vocoder sounds too nervous you might want to narrow the frequency range of the analysis bands If you want to extract one instrument from a complex sum you should set Bands to 2 and change A Lo Frq and A Hi Frq until you find the signal s main f
16. Sustain Time Attack Decay Release gt 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 It then descends at the rate determined by the Decay value until it reaches the predetermined Sustain value It remains at this value until the key is released The envelope then descends to zero at the rate determined by the Release parameter Attack 0 127 Determines the attack rate or amount of time it takes for a signal to go from zero to maximum level Decay 0 127 Determines the decay rate or amount of time it takes for a signal to reach the Sustain level Sustain 0 127 Determines the sustain level which is held until a note ends Release 0 127 Once the note has ended the release phase begins During this phase the envelope fades to zero at the rate determined by the Release value 123 Waldorf Q User s Manual 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 Level 10096 Key pressed e Key released gt S
17. Then the whole output signal of Filter 1 is routed to the filter s panning unit This setting is equivalentto a parallel routing of two filters each filtering the input signals independently e After passing the panning units both signals are summed up again and sent to the Amplifier and FX sections Waldorf Q User s M anual 84 Filter Sound Parameters 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 For now we explain the basic function of a filter with the filter type that is used most commonly in synthesizers the low pass filter The low pass filter type dampens frequencies that lie above a specified cutoff frequency Frequencies below this threshold are hardly affected The frequency below the cutoff point is called the pass band range the frequencies above are called the stop band range The Q s filter dampens frequencies in the stop band with a certain slope The slope can be 12dB or 24dB per octave This means that the level of a frequency that lies an octave above the cutoff point will be 12dB or 24dB less than those frequencies of the signa
18. e Use the right display dial to select the Instrument s Sound program 001 100 MH In a Multi Program you can use only one Drum Map at a time When you re assigning a Drum Map to an instrument any other instrument using a Drum Map will be restored to the normal program assignment 39 Waldorf Q User s Manual Multi Mode Instrument settings A 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 000 127 Volume sets the output volume of the selected Instrument MH This Volume parameter sets the maximum output volume of the selected Instrument If you use MIDI Controller 7 Channel Volume to change the volume of the Instruments that receive on this MIDI channel the real output level is scaled to the volume set up in this parameter This means that if you set Instrument Volume to 70 and Controller 7 to 127 the maximum output volume is 10 Panning left 64 center right 63 Determines the panning position of the selected instrument The setting left 64 stands for full left right 63 for full right In case you want to have the sound in the mid position select center With this function you can set the stereo outputs of the Q to mono outputs by selecting the full left or full right position for the p
19. menu before the display may show another page This happens because the Q remembers the state of each display menu Use the page dial to scroll through the menu Turning the dial clockwise selects the next page turning it counterclockwise selects the previous page You can also press the Edit button again to select the next page Use the value dials below the display to adjust the corresponding parameters Some display menus only consist of one single parameter Only the leftmost value dial will be active then After finishing all edits press the Play button in the Master section to return to normal mode H While editing display menu parameters you can also adjust panel parameters and vice versa In addition to the display menu parameters of the different sections five buttons located on the right hand of the Master section allow you to set up further parameters The Global parameters provide the basic settings of the Q valid for all programs For more information refer to the chapter Global parameter on page 136 The Multi parameters refer to a Multi program They determine the common setting for all instruments in the Multi program Obviously you can access these parameters only when the Q is in Multi mode For more information refer to the chapter Multimode on page 38 The Matrix button gives access to the Modulation Matrix parameters of the currently selected sound For more information refer to the chapter Modulation
20. o 11 o o e e 12 o 13 o 8 e o o o 14 e e o o o 15 e o o o o e Picture 37 Arpeggiator patterns H Note that you can edit a ROM pattern in the Arpeggiator Edit Menu Step Data section to create your own rhythms based on an existing ROM pattern As soon as you do so the ROM pattern is copied to the User pattern and the previous User pattern is overwritten 115 Waldorf Q User s Manual Sound Parameters Arpeggiator 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 All other notes might still be used by other sounds but the Bass sound plays back only this one particular note Clock 1 32t 1 1 Sets the note value for the steps of the rhythm pattern in the range from whole notes to thirty second triplet notes Triplets e g 1 8T and dotted notes e g 1 16 are available for every note value I eth Rande 1 Length 1 192 127 192 legato See Additional Controls on the Q Keyboard Octave Range Oct Range 1 10 See Additional Controls on the Q Keyboard Direction Sortorcder Le az Fl aged Direction Up Down
21. 1 Octave means that the sequence is transposed relatively to the Transpose Key setting but all transposes are mapped to half an octave below or above the Transpose key The keyboard is used to set the transpose offset with last note priority as soon as the Step Sequencer is running Transpose Key C 2 G8 Sets the basic key from where transposes start This feature is useful when you i e have a sequence in C major where the first note is an E Setting Transpose Key to C3 assures that the sequence really plays in C major when you hit a C 53 Waldorf Q User s Manual Step Sequencer Sequencer Edit Menu Transpose Quantize Next Step Next Bank Next Cycle Determines when the transpose is actually performed after a note was hit e Next Step means that the transpose is performed immediately after the note was hit e Next Bank means that the transpose takes place when the next bank is played e Next Cycle means that the transpose is performed when a new cycle starts Rotate Steps These are temporary controls that actually change the sequence So use them with care and after you ve read this description As long as you turn one of these controls the banks or cycles are moved back or forth in the sequence When you i e turn Rotate Steps Banks to 01 the first bank is moved to the second the second to the third and so on The same behaviour is available for cycle After you ve released the control it is reset to O but t
22. 4 that isn t part of the Sound Layer Editing Parameters In order to change or edit a program in the Q you must access the appropriate parameters Depending on the type of parameters there are different ways to achieve this e The controls on the Q s front panel offer direct access to the most important sound parameters The panel is divided into several sections each containing knobs and buttons associated with that section By adjusting the controls on the panel you have instant access to the sound These parameters are called panel parameters e Most sections offer an Edit button Pressing this button calls up the display menu for that section The display menu contains additional parameters that are not accessible directly via the control elements on the panel These parameters are called display menu parameters Edit Buffers Whenever you edit a program on the Q the program is internally copied to an edit buffer When you use the Store function to save the edits the program is copied back from the edit buffer to the internal memory The display shows an e behind the program number for every program that is actually in an edit buffer The Q has a number of different edit buffers each holding a program of the specific type when you edit them e Multi edit buffer This buffer holds the currently selected Multi in Multi mode e 1 Drum Map edit buffer This buffer holds the currently edited Drum Map in single or multi m
23. Each waveform is classified by its own very special sound character The main difference of wavetable synthesis compared to other sound generation principles is the facility not only to play one waveform per oscillator but also to walk through the wavetable via different modulations Therefore you can create wavetable sweeps The results can be very drastic much more than any sample playback based system could ever produce That is a unique feature of wavetable synthesis The capabilities of this principle are very strong To give some examples Each note on a keyboard can access a different wave of the wavetable Different waves can be played depending on key velocity A LFO can modulate the position inside the wavetable You can create subtle to drastic sound changes Random controllers like e g the modwheel can change the position inside the wavetable When you turn the wheel while playing a chord each note s wave will be modified instantly Wavetables are perfect as FM Source when you want to create very strange sounds You should keep the following sentence in mind because it describes the essential of the wavetable synthesis A wavetable is a table of pointers to up to 128 waves among which you can move at will A If you like the sound and possibilities of the wavetable synthesis you should try out the Waldorf Microwave Il XT or XTk These are pure wavetable synthesizers Also the Waldorf PPG Wave 2 V as a VST Instrum
24. Edit Menu Step Data 118 Envelopes eet i eredi oe Tr RT ed en 122 Envelope Panel Controls 122 ADSR Envelope cessitat iiaa kia 123 ADS1DS2R Envelope seeeeeee 124 ONESHO ueteres rette HIVER 125 Loop S152 ote Her rete 126 MOOR AM Rr THEE 127 Low Frequency Oscillators LFO 128 Low Frequency Oscillator Panel Controls 128 EFO Edit Men estate 129 Modulation Matrix cesses 131 Matrix Edit Menu eeenenee 131 Waldorf Q User s Manual Modifier MatriX ssk s needs 132 Matrix Edit M NU eeeeeeeecececeeeeeeeeeeees 132 Control Delay rnise eee re ertet 133 Drum Map cinerea cin eaa 134 Drum Map Sound Menu ssseseeeee 134 Global Parameters 136 Global Menu teer 136 Utility NGRDU os dee eto Ris cotto ET 147 MIDI CONtt L n itii das cer acera 149 Channel Based MIDI Messages 149 Program Change Messages ssssss 149 Note On and Note Off Messages 149 Aftertouch Messages esesseeeee 149 Poly Pressure Messages esseseseee 149 Pitchbend Messages 150 Modulation Wheel sess 150 Breath Control Messages sssssessss 150 Foot Controller Messages esses 150 Channel Volume Messages 150 Pan Messages ion fees tectae motto tee ee Ea
25. FX Inst 4 FX will route an external signal into the effect sections of instruments 1 4 and to the corresponding audio output e Main Out will route an external signal directly to the Q s Main Out or the Digital Out e Subl out will route an external signal directly to the Q s Sub Out 1 e Sub2 out will route an external signal directly to the Q s Sub Out 2 143 Waldorf Q User s Manual Global Parameters Global Menu Mix Level 0 127 Determines the volume of the audio signal selected in the Mix In to menu Display Timeout Disp Time 0 15s 15 5s Determines how long parameters are displayed in the upper right corner of the display when changing a parameter MH 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 Display Contrast Contrast D 127 Sets the display contrast Operating System OS BOOT Tis This menu page shows the latest Operating and Boot system of your Q For more information about updating your Q please read Updating the System software on page 154 Additional Global menu parameter of the Q Keyboard versions Pedal CV1 Offset 64 63 Sets the initial gain for Control Pedal CV 1 that is used when the pedal is at its minimum position To find out which value is suited for the Control Pedal CV you want to use do the following I To adjust Pedal CV1 Offset
26. Grab Control is active MH The only Step Sequencer controls that you can use without activating Grab Control are the Tempo control the Start Stop button and the Edit button This is handy for a live performance Start Stop Starts or stops the sequencer e Press Start Stop to start the pattern from the first step or to stop the sequencer e Press Shift Start Stop to start the pattern from the last step that was played before you stopped the sequencer If the sequencer is running the current playback position of the sequence pattern is shown by the LED of the step sequencer section as follows e If no step is selected the LED showing the playback position are fully lit e If one or more steps are selected the playback position is shown with dimmed LED Tempo see Sound Tempo Controls the tempo of the step sequencer Bank Select Button Pattern Sound Multi Button The Bank Select Button is used to select step banks or to deselect all steps Waldorf Q User s Manual 50 Step Sequencer Sequencer Rotaries e Press Bank Select to deselect all selected steps e 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 We Using the monitor function of the Step Buttons 1 8 while the step sequ
27. Matrix on page 131 The Xphorm button allows you to set up special parameters for morphing between different sounds in real time For more information refer to the chapter Xphorm function on page 62 The Sound parameters refer to a Sound program If you are in Single Mode you will edit the currently played program If you are in Multi mode the Sound program for the currently selected Instrument will be edited Waldorf Q User s Manual 34 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 US To check parameter values without changing them 1 Press the Peek button located in the Master section The LED beside this button will light up 2 If you move the control element of any panel parameter its current value will be shown in the display E g if you move the Glide Rate knob in the Oscillators section the display will show value may be different Glide F 3 After a few seconds the display will return to its previous state You can check several parameters in the same way You can also check the various display menu parameters P
28. Parameters Parameters Parameters Parameters Picture 8 Multi Program architecture H Setting up a Multi requires some administrative work as it does on all synthesizers but you should do it anyway because it eases your work with the Q when you use it live or for recording Selecting an Instrument for editing Before you can adjust the Instrument Parameters of a particular Instrument you have to select it The Multi mode of the Q offers 16 Instruments that can be played at a time either by the internal keyboard only Q Keyboard or by MIDI The 16 Instruments are organized into 4 banks with each 4 Instruments US To select an Instrument 1 Press Shift Inst 1 4 to select one of the four Instrument banks 2 Press Inst 1 4 to select one of the Instruments of the selected bank or Waldorf Q User s Manual 38 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 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 3 and then button Inst 4 to switch to Instrument 12 When one of the Instrument parameter pages is selected the current Instrument number is shown in the top
29. Q User s Manual 136 Global Parameters Global Menu 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 H This is one of the most important parameters when working in a MIDI setup As soon as you connect the Q to a sequencer by MIDI you should set Local Control to Off The MIDI data flow then is as follows when you play a note on the Q it is send to the sequencer The sequencer eventually maps the note to a different MIDI channel and sends it out through a specific MIDI port With this method you can control your whole MIDI setup and also play the Q s tone generation if you set the sequencer to send MIDI notes to the Q Arpeggiator Send Arp Send Off On Determines if Arpeggiator MIDI notes are sent by the Q over MIDI If Off is selected no notes are sent e If Onis selected all notes are sent over MIDI Out in case of the Arpeggiator is active Controller Send Ctl Send Off Ctl SysEx Ctl SysEx Determines how Real Time Sound Parameter Changes are sent by the Q over MIDI e If Off is selected no data is sent e If Ctl is selected only controller messages are sent Par
30. affected somewhat by the scaled tuning effect but will not sound completely tempered If you continue in A major the Q will recognise A major as the scaled tuning reference The chord A major then becomes the reference chord upon which the HTM alters that sound s tuning If you normally play polyphonic music this mode will sound pleasing to your ears This mode works best with lower tuning values Waldorf Q User s Manual 138 Global Parameters Global Menu e 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 e HMT 3 5 7 affects the natural seventh with the HMT tuning affect in addition to the third and fifth An example would be the interval G F in chords like G B F or G B D F or G B D F A This effect is most pleasing in music that is based primarily around this chord structure This mode can be associated with significant detunings since the scaled natural seventh is about 1 3 semitone deeper than in tempered tuning The following picture shows the corresponding frequency positions in a major seventh chord The down tuned position of the natural seventh
31. alternative parameters will be valid as long as you hold down the button Releasing the button will end the mode The LED will flash while holding the button H Please note that some of the alternative functions mentioned later e g Utility require to hold down the Shift button no matter if Shift is active or not Control and Button Types The front panel has controls of several different types The following paragraphs give a short explanation of how each control reacts Continuous Controls Most controls on the front panel are of this type They control parameters with continuous values All rotary controls are made of dials Turning a dial clockwise increases the corresponding value turning it counterclockwise decreases it The dials have a built in dynamic response feature If you turn the control slowly the value changes very smoothly too If you turn it faster it accelerates as well This gives you the chance of adjusting the whole value range in just one turn without losing accurate control when necessary They don t have any LED and no click An example for a continuous control is the Detune control Selective Controls Selective controls differ to continuous controls by having a click You will easily notice that when you turn a control of this type Selective Controls might have LED to indicate the current value of their parameters An example without LED is the Octave control an example with LED is the Shape control Switc
32. filter cutoff frequency is a significant factor for filters A low pass filter dampens the portion of the signal that lies above this frequency Frequencies below this value are allowed to pass through without being processed Envelope An envelope is used to modulate a sound shaping component within a given time frame so that the sound is changed in some manner For instance an envelope that modulates the cutoff frequency of a filter opens and closes this filter so that some of the signal s frequencies are filtered out An envelope is started via a trigger usually a fixed trigger Normally the trigger is a MIDI Note The classic envelope consists of four individually variable phases Attack Decay Sustain and Release This sequence is called an ADSR envelope Attack Decay and Release are time or slope values and Sustain is a variable volume level Once an incoming trigger is received the envelope runs through the Attack and Decay phases until it reaches the programed Sustain level This level remains constant until the trigger is terminated The envelope then initiates the Release phase until it reaches the minimum value Gate The term Gate has different meanings in a technical context Like a real gate it describes something that can be open or closed or to use a technical term active or inactive A gate in sense of a device is a unit that damps a throughpassing signal corresponding to some specific conditions E g in
33. for any kind of analog type percussion Also wind and other sound effects can be created by using the noise generator Please note that if you use an external sound source you still have to trigger the Q s envelopes to get the signal passed through So you have to generate MIDI notes by the keyboard a connected sequencer or the internal step sequencer or arpeggiator to hear the audio signal Noise Ext Balance F1 64 mid F2 64 Determines how loud the signals set up in N E Select F1 F2 feed are sent to the inputs of Filter 1 and Filter 2 Noise Ext Balance behaves differently than the other Balance controls It doesn t move the signal between Filter 1 and Filter 2 but controls the loudness ratio between the two signals set up in N E Select F1 F2 feed The signal set up in F1 feed is always sent to Filter 1 while the signal set up in F2 feed is always sent to Filter 2 Mixer Edit Menu The following parameters can be accessed via the display menu Press the Mixer section s Edit button to activate the display menu RingMod Q Rack only See Additional Controls on the Q Keyboard RingMod Balance Q Rack only See Additional Controls on the Q Keyboard Noise Ext Q Rack only See Additional Controls on the Q Keyboard Noise Ext Balance Q Rack only See Additional Controls on the Q Keyboard Waldorf Q User s Manual 82 Sound Parameters Mixer N E Select F1 F2 Feed Noise ExtLeft ExtRight ExtL R Sets t
34. instrument transmits and receives aftertouch data Enable or not Disable Sustain Enable Disable Determines whether the chosen instrument transmits and receives sustain pedal data Enable or not Disable Ern tee Pra cha i1 Enable Enable Button 1 amp 2 Btn 1 amp 2 Enable Disable Determines whether the chosen instrument transmits and receives button data Enable or not Disable MH These buttons are available for the Q Keyboard only The Q rack is able to receive the button data Program Change Prg Chg Enable Disable Determines whether the chosen instrument transmits and receives program change data Enable or not Disable Waldorf Q User s Manual 42 Multi Mode Instrument settings H 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 Engine Play Mute Solo Endine i Plau This parameter activates or deactivates an instrument e Play will cause the instrument to play normally e Mute will mute the selected instrument e Solo mutes all other instruments apart from the one chosen H The settings for the Engine parameter are also present in the Multi Mixer Transpose 48 48 Transposes the Instrument in semitone steps l e a value of 12 means that the Instrument sounds one octave lower than it was originally programmed
35. is set to another value than off With this function it is easily possible to send up to 16 notes at once when you ve pressed only one key A Please use omni only for test purposes where you want to check the basic MIDI send and receive functionality As soon as you know that the Q receives MIDI properly set Global MIDI Channel to any other value than omni SysEx ID 0 126 Defines the device identification number for system exclusive data transmission The number in brackets shows the current ID in hexadecimal number format System Exclusive data contains no MIDI channel information so this ID is used to distinguish between several Qs if you have more than one Waldorf Q in your setup Transmission will only be executed successfully if the sender and receiver are set to the same SysEx ID ID 127 is a so called broadcast ID that addresses all connected Qs The Q can receive broadcasted Sysex data from other devices but cannot send it itself This function is limited to special computer software MH The Operating System upgrades are stored with ID 127 so you don t need to change the Sysex ID on your Q when you want to upgrade it to a newer OS A If you have only one Q leave Sysex ID on 0 There is no need at all to change this setting to any other value After you bought your 128th Q please get in contact with Waldorf Electronics You will receive a personally ID number that authorize you to have a diner with our manager Waldorf
36. level Attack Level 0 127 Controls the level where the Attack phase ends and the Decay phase starts Decay Q 127 Determines the decay rate or amount of time it takes for a signal to reach the Sustain level This phase is also used in the loop to go from Sustain 2 to Sustain Sustain 0 127 As soon as the Sustain level is reached the envelope proceeds with the second Decay Sustain pair as explained below Decay 2 0 127 Determines the decay rate or amount of time it takes for a signal to reach the Sustain 2 level Sustain 2 0 127 Sets the second Sustain level As soon as this level is reached the loop starts by using the first Decay rate to go to the first Sustain level Release 0 127 Once the note is released the release phase begins During this phase the envelope fades to zero at the rate determined by the Release value Waldorf Q User s Manual 126 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 Level g Key pressed Je Key released gt 10096 Attack Level Sustain
37. like a sawtooth The same is true for a brass instrument The string in this case are the lips while the bow is the air The lips are moved by the air to a certain extent and abruptly move back to their original position 67 Waldorf Q User s Manual Sound Parameters Oscillators The Square Wave The Square Wave is a special waveform generated by a pulse waveform with 5096 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 This means that the first harmonic has full magnitude the third harmonic has a third magnitude the fifth harmonic has a fifth magnitude and so on The following picture shows how the individual harmonics build up the sawtooth wave 1st Harmonic Magnitude 1 3rd Harmonic Magnitude 1 3 H Mil 5th Harmonic Magnitude 1 5 7th Harmonic Magnitude 1 7 H Amplitude Magnitude Time Frequency 1 3 5 7 9 11 13 15 Harmonics Picture 12 Additive components of the square wave with 50 pulse width The square wave was thought as an abstraction of wind instruments like a panflute or a recorder They consist of a tube that can contain a certain amount of air The player blows air through the tube in a way
38. of oscillator 1 and 2 don t differ very much This is logical because when you use i e one oscillator set to 100Hz and the second set to 101Hz the resulting ring modulation is 201Hz and 1Hz And 1Hz is very low 81 Waldorf Q User s Manual 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 5096 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 RingMod Balance F1 64 mid F2 63 Determines the ratio of the ring modulator s signal that is sent to the inputs of Filter 1 and Filter 2 see routing picture If set to F7 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 Noise Ext 0 127 Volume of the noise generator respectively the external sound source connected to the stereo External In jack This control behaves differently depending on the setting of N E Select F1 F2 feed in the Mixer Edit menu Noise is a fundamental source
39. of the fundamental Confusing Let s generalize it to cyclic waveforms a cyclic waveform like sawtooth square etc only consists of harmonic partials The harmonic with the lowest frequency is dominant and therefore called fundamental All other harmonics are called overtones Waldorf Q User s Manual 66 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 The following picture shows how the individual harmonics build up the sawtooth wave 1st Harmonic Magnitude 1 2nd Harmonic Magnitude 1 2 3rd Harmonic Magnitude 1 3 4th Harmonic Magnitude 1 4 THO Nu Amplitude F Magnitude Time Frequency 4 8 12 Harmonics Picture 11 Additive components of the Sawtooth wave The sawtooth wave was thought as an abstraction of the timbre of string and brass instruments You can easily understand that when you think of a violin Imagine a bow pulling the string slightly into one direction At one point the string abruptly comes off the bow and swings back to its original position The bow is still moved and so it catches the string again and the procedure is repeated The result is a waveform that looks
40. right corner as follows Channel global MH Don t confuse Instruments with MIDI Channels Although you can set up a Multi that uses separate MIDI Channels in ascending order for all Instruments it can also be that a couple or all Instruments are set to the same MIDI Channel Please read the description below to see how the MIDI Channel for a particular Instrument is set ES To call the Multi parameter pages 1 Make sure that the Multimode LED is lit to indicate that the Multi mode is active 2 Press Multi The display changes to the Multi or Instrument parameter page that was active before you left the Multi parameter pages the last time Instrument settings The instrument parameters specify the individual settings of each instrument in a Multi Program You can edit the audio output transpose function or tuning key range and velocity range for a selected sound Additionally the Multimode offers various settings for Midi functions This allows the Q Keyboard to be used as the perfect Masterkeyboard In the appendix of this manual on page 160 you will find a graphical overview of the Q s Midi Signalflow Sound Bank and Number A D 001 100 Each Instrument points to one Sound in memory The display shows the Sound name in the upper row and the Sound bank and number in the lower row as follows ES To select a Sound for an Instrument e Usethe left display dial to select Bank A D from which the Sound program is taken
41. routing connections that are updated at the same speed level the Fast Modulation Matrix The following table lists all available destinations for a Fast Modulation Matrix slot Fast Modulation Matrix destinations Description Pitch O1 Pitch O2 Pitch O3 Pitch O1 PW O2 PW O3 PW O1 FM O2 FM O3 FM O1 Level O2 Level O3 Level O1 Bal O2 Bal O3Bal RingLevel Ring Bal N E Level N E Bal Routing F1 Cutoff F2 Cutoff F1 Reson F2 Reson F1 FM F2 FM F1 Drive F2 Drive F1 Pan F2 Pan Volume Table 5 Fast Modulation Matrix destinations Waldorf Q User s Manual 58 Sound Parameters Modulation Speed Levels The following table shows all available Fast Modulation sources Fast Modulation sources Description Off LFO1 LFO1 MW LFO2 LFO2 Prs LFO3 FilterEnv AmpEnv Env3 Env4 Velocit Modwheel Pitchbend Pressure Table 6 Fast Modulation sources Standard Modulation The Standard Modulations are calculated at normal speed that is still fast enough for the most modulation purposes e g when dealing with the modulation wheel or velocity The Standard Modulation slots offer an extended set of modulation sources and destinations compared to the Fast Modulation slots The Standard Modulation speed level is only available in the Modulation Matrix all other modulations are performed as Fast Modulations or FM Standard Modulation Matrix Description destinations Pitch O1 Pitch O2 Pitch O3 Pitch O1 PW O2 PW O3 PW
42. should turn the Mix control fully up with this effect type because you probably want the sample rate reduction to process the whole signal The Ring Mod and the Chor Dlay effect have their own mix control Sample amp Hold 44 1kHz 2 6Hz Controls the output sample rate 44 1kHz means that the signal is unaffected while other values reduce the sample rate of the sound to the respective rate You will hear a lot of aliasing when you lower the sample rate but this is great for so called lo fi sounds Overdrive 0 127 Cape iue Band Controls the amount of distortion of the signal Please note that the signal might become a little louder when you increase this parameter Ring Mod 0 127 Eins Mod Source Hed Bux Controls the level of ring modulation between the input signal and a second signal that can be chosen with Source 103 Waldorf Q User s Manual 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 Dias Chor Dlay 0 127 Controls the mix level of the Chorus Delay effect Speed 0 127 Controls the LFO speed of the Chorus effect Depth 0 127 Controls the modu
43. the characteristics of both wavetables The best way to do this is to set up a kind of test sound to listen to the wavetables US Test program for wavetables Start with an initialized sound program please read Init Sound in the chapter Utility menu on page 147 1 Choose Alt as Shape for oscillator 1 and turn down the mixer level of oscillator 2 and 3 2 Choose the modulation wheel Modwheel as PWM Source for oscillator 1 3 Setthe PWM amount to 63 Now you can use the Modulation Wheel of your keyboard to sweep through the whole wavetable Choose Alt2 to hear how this wavetable sounds You will notice that both wavetables cover an extremely wide range of interesting spectral timbres including analog FM like bell type or vocal To get very lively sounds you should always use modulators when using the Wavetables of Alt and Alt2 When you like to create a wavetable sweep you should set the starting point roughly to the wanted position with Pulsewidth before programming the modulation This proceeding can help to find the basic character of the sound the modulation is moving around Please note that you can use unipolar as well as bipolar modulation sources For instance set the Pulsewidth Parameter to 64 nearly the middle of the wavetable and use a slow LFO to sweep through the whole wavetable Try out very lively sounds by using different fast modulation sources LFO or envelopes on Osc1 set to Alt and Osc2 set to Alt2 a
44. the parameter Shape that determines the waveform of the oscillators can be accessed on the front panel via a dedicated control Use the knob to select the desired waveform e g Sine 3 Whenever you change a parameter by moving a knob or pressing a button the display shows the edited parameter and its current value in the upper right corner for a few seconds 2harPe Sine H You can adjust the time a parameter is shown in the display in the Global menu The standard setting is 1 5 seconds but when you re new to the Q you should raise the time to about 5 seconds Waldorf Q User s M anual 32 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 e Press the Shift button briefly The LED next to the button will flash Now you can access all parameters labelled in light blue colour Briefly press the button again LED will go off to switch back the controls to their normal operation If you don t perform any edits for a certain time the Shift mode will be terminated automatically You can adjust this timeout in the Global section e Press and hold the Shift button while moving controls on the panel The
45. to select Bank A C or X from which the Sound program is taken e Use the right display dial to select the Sound program 001 100 A A Drum Map in the internal memory can point to a Sound that is stored on card or vice versa However you should try to avoid to setup a Drum Map in internal memory that points to a Sound on card because the Drum Map might sound strange if you haven t inserted the correct card Pan L64 center R63 Controls the stereo position of the selected Drum Map entry Output Main Out Sub Out 1 Sub Out 2 Sets the audio output of the selected Drum Map entry Waldorf Q User s Manual 134 Drum Map Drum Map Sound Menu Key C 2 G8 Defines the lowest key for the selected Drum Map entry A Drum Map entry can span over more than one note l e when you set entry 01 to C1 and entry 02 to E1 entry 01 can be played from C1 to D 1 H 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 Transpose 60 60 Controls the transpose offset of the selected Drum Map entry In the Drum Map Sound programs still keep their various Keytrack settings so melodic sounds still play the pitch of the notes they are mapped to With Transpose you can change the Keytrack offset to the tuning you like H Please note that this parameter shifts the incoming note When you ve set the oscillators
46. to switch between different banks e Bank 0 contains Sound Programs A001 A100 e Bank 1 contains Sound Programs BO01 B100 e Bank 2 contains Sound Programs C001 C100 e Bank 3 contains the Sound Programs on a Memory Card X001 X100 In Multimode the Q changes the Sound on individual Instruments the whole Multi or both depending on the setting of Rx PrgChange in the Global menu Please read this section on page 140 for details Note On and Note Off Messages The Q sends and receives Note On and Note Off Messages in the entire MIDI Note Number range with Velocity and Release Velocity Note On with Velocity 0 simple note off is evaluated as Note Off with Release Velocity 64 Aftertouch Messages The Q sends and receives monophonic Aftertouch messages The Q evaluates incoming Aftertouch messages as Pressure modulation source Poly Pressure Messages The Q receives Poly Pressure Messages but can t send them Poly Pressure Messages are evaluated as Poly Prs modulation source 149 Waldorf Q User s Manual 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 Modulation
47. 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 Development Software development J rgen Fornoff Albert Huitsing Stefan Stenzel Hardware development Thomas Kircher Design Axel Hartmann Housing Frank Schneider Factory Sound programming Michael Bruder Wolfram Franke Achim Gratz Uwe G Hoenig J rg H ttner Tommy Kircher Dirk Krause Hubertus Maass Stefan Stenzel Tsching Eric Young Manual Holger Tsching Steinbrink Head Wolfgang D ren Revision Date Januar 2003 version 3 02 Q version 3 53 Q We would like to thank Holger Bahr Sigi Barishi Steffi vom Berg H P Bonni Bonnenberg t Piera Caccia Mike Caroll Geoff Farr Gunther Gr fe Peter Grandl Florian Gypser Christian Halten Martin Herbst Thilo Kloft Achim Lenzgen Evi Mognol Wolfgang M rs Werner Mohrlok Dr Georg M ller Martin Neideck Drew Neumann Stefan Profitlich Amanda and Mark Pulver Alex Sauff Holger Tsching Steinbrink Beate Walkowiak Kurt Lu Wangard K D Warnecke Sabine Weiland Hubertus Hubi Weller Oliver W st Rocco Zodiac and anyone we have forgotten Waldorf M usic AG is not liable for any erroneous information contained in this manual The contents of this manual may be updated at any time without prior notice We made every effort to ensure the information herein is accurate and tha
48. use a different power cable than the one that came with the Q Never install a different plug If the included cable is not equipped with a suitable plug for your local sockets take the Q and the cable to a qualified electrician Unplug the device when you are not using it for longer periods Never touch the plug with wet hands Always pull the plug when unplugging the device never the cable Operation Never place objects containing liquids on or near the device Place the device on a stable base only Use a suitable platform or rack Make sure no foreign objects find their way into the chassis If for some reason this should occur switch the power off unplug the device and consult a qualified repair center This device used on its own or with amplifiers speakers or headphones can generate volume levels that may do irreparable damage to your hearing For this reason you should keep the volume at tolerable levels Maintenance Do not open the device or remove the cover Refer all service and repair tasks to qualified personnel The interior of the chassis contains no components that require user maintenance 15 Waldorf Q User s Manual Introduction General Safety Guidelines e 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 signa
49. while high settings might add a bell character to the timbre Ultra low settings like 128 can create very nice rhythmic changes when used with the ring modulator If this is still not low enough you can use the Standard M odulation Matrix to apply MAXIMUM to the respective oscillator pitch with a negative amount Semi 12 12 Sets the pitch of the oscillator in semitone steps The standard setting for this parameter is 0 but there are cases where different values are interesting as well Waldorf Q User s M anual 72 Sound Parameters Oscillators Organ sounds often include a fifth therefore one oscillator s semitone parameter must be set to te 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 Use a positive setting for one oscillator and an equivalent negative setting for another A low value of 7 results in a slow and soft Flanger effect Mid ranged settings of 5 are perfect for pads and other fat sounding programs High values of 72 or above will give a strong detune that can be used for accordions or effect sounds FM 0 127 Sets the amount of frequency modulation that is applied to the oscillator by the selected
50. 0 and 120 e The Controller value which determines the extent of the modification Controllers can be used for effects such as slowly swelling vibrato changing the stereo panorama position and influencing filter frequency CV CV is the abbreviation for control voltage In analog synthesizers control voltages are used to control sound parameters like pitch cutoff frequency etc E g to get a tremolo effect the output signal of a LFO must be routed to the CV input of an or several oscillator s Decay Decay describes the descent rate of an envelope once the Attack phase has reached its zenith and the envelope drops to the level defined for the Sustain value Filter A filter is a component that allows some of a signal s frequencies to pass through it and dampens other frequencies The most important aspect of a filter is the filter cutoff frequency Filters generally come in four categories low pass high pass band pass and band stop A low pass filter dampens all frequencies above the cutoff frequency A high pass filter in turn Waldorf Q User s Manual Appendix Glossary 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 Filter Cutoff Frequency The
51. 05 Low Key Multi 44 Shape Reverb FX 105 123 Lowpass Reverb FX 104 Sine Oscillator 74 105 Low Velo Multi 43 Size Reverb FX 105 112 M Max Notes Arpeggiator 116 S Offset Vocoder FX 111 107 Mix 1 2 FX 98 Sort Order Arpeggiator 117 104 Mix In to Global Menu 143 Sound Multi 39 99 Mix Level Global Menu 144 Source 5 FX 104 Source ModMatrix 108 Mode Envelope 122 M1F M8F M1S M8S 108 Modwheel Multi 42 Spacing Phaser FX 101 106 Multi Volume Multi 45 Speed 5 FX 104 104 N INE Select Mixer 83 Speed Chorus FX 99 99 Noise Ext Mixer 82 Speed Flanger FX 100 100 Octave Oscillator 72 Speed LFO 129 100 Oct Range Arpeggiator 114 Speed Phaser FX 100 43 OnVel Curve Global 141 Startphase LFO 130 73 Option Line Parm Step 52 Sub Vol Oscillator 78 105 OS Global Menu 144 Sustain Envelope 123 116 Osc 1 2 3 Mixer 80 Sustain Multi 42 144 Output Multi 41 Swing Factor Tap Dly FX 106 88 Overdrive 5FX 103 Sync LFO 129 102 SysEx ID Global 136 159 Page Parameter Manual T Tempo Delay FX 101 Tempo Main Parameter 56 T Factor Arpeggiator 117 Transpose Global 138 Transpose Multi 43 Transpose Key Step S 53 Transpose Mode Sep 53 Sequencer Transpose Quantize 54 Step Sequencer Tri Oscillator 74 Tune Mode Global 138 Tune Mode Oscillator 78 Tuning Global Menu 138 Tx PrgChg Global 140 Tx Stat Multi 42 Type Filter 87 V Vel Mode Arpeggiator 117 Velo Fil
52. 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 RingMod 0 127 Volume of the ring modulation between Oscillator 1 and 2 From a technical point of view ring modulation is the multiplication of two oscillators signals The result of this operation is a waveform that contains the sums and the differences of the source frequency components Since the ring modulation generates disharmonic components it can be used to add metallic distorted sound characteristics This is useful e g when generating synth percussion Please note that in a complex waveform all harmonic components behave like interacting sine waves resulting in a wide spectral range of the ring modulated sound The following pictures show the results of a saw wave ringmodulated with a square wave and two ringmodulated sine waves PME Wed This Sawtooth wave ringmodulated with this Square wave results in this wave Picture 19 Ring Modulation of a Sawtooth and a Square wave with different frequencies Ag INN Ae A Sine wave with frequency 1 ringmodulated with a Sine wave with results in this wave frequency 2 5 1 octave 4 semitones Picture 20 Ring Modulation of two Sine waves with different frequencies H Ring Modulation can result in unwanted low frequencies when the pitches
53. 2 Ei m Sound 1 1 O Xe Select a Multi an an Bank BankD Picture 9 Sequencer Section Q Keyboard Editing Sequence Patterns It doesn t matter if the step sequencer is stopped or running All changes are immediate and you can listen to them instantly Activating the Step Sequencer Controls The step sequencer uses the number buttons and the envelope controls as input controls This means that you have to switch this section to control the step sequencer ES To switch the number buttons and envelope controls to control the step sequencer Press Grab Control until the LED is lit Step Selection To perform changes on one or more steps you need to select all the steps you want to change This is done as follows ES To select one or more steps 1 Hold Bank Select and Step 1 8 and or Step 9 16 Step 25 32 to select one or more banks of 8 steps If you select more than one bank changes will be performed on all selected banks 2 Pressone or more number buttons 1 8 to select one or more steps If you select a step without having a bank selected the current bank is locked This is very important when the sequencer is running As soon as you select at least one step the step sequencer is armed to record notes 47 Waldorf Q User s M anual 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
54. 2 Sustain H E Time Attack Decay gt Decay 2 Release gt Picture 43 Loop All Envelope Attack 0 127 Determines the attack rate or amount of time it takes for a signal to go from zero to Attack level Attack Level 0 127 Controls the level where the Attack phase ends and the Decay phase starts Decay 0 127 Determines the decay rate or amount of time it takes for a signal to reach the Sustain level This phase is also used in the loop to go from Sustain 2 to Sustain Sustain 0 127 As soon as the Sustain level is reached the envelope proceeds with the second Decay Sustain pair as explained below Decay 2 0 127 Determines the decay rate or amount of time it takes for a signal to reach the Sustain 2 level Sustain 2 0 127 Sets the second Sustain level As soon as this level is reached the envelope goes into the Release phase Release 0 127 The Release phase is used while the note is pressed to form the last stage before the loop restarts with the Attack phase When the note is released the loop stops and the Release phase is used to fade the envelope to zero 127 Waldorf Q User s Manual 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 Low Freq
55. Alt Up Alt Down Sets the direction that is used for playing back the arpeggio This parameter is closely related with Range and Sort Order e If Up is selected the note list is played forward and the octaves are transposed upward The arpeggio starts in the original octave and goes up to the highest octave set by Range Then the arpeggio is repeated e If Down is selected the note list is played backward and the octaves are transposed downward The arpeggio starts in the highest octave set by Range and goes down to the original octave Then the arpeggio is repeated e If Alt Up is selected the note list is first played forward and the octaves are transposed upward After reaching the last note of the note list in the highest octave to play the note list is played backward and the octaves are transposed downward down to the first note of the note list in the original octave Then the arpeggio is repeated e If Alt Down is selected the note list is first played backward and the octaves are transposed downward The arpeggio starts in the highest octave set by Range After reaching the first note of the note list in the original octave the note list is played forward and the octaves are transposed upward up to the last note of the note list in the highest octave to play Then the arpeggio is repeated Waldorf Q User s Manual 116 Sound Parameters Arpeggiator SortOrder as played reversed Num Lo gt Hi Num Hi Lo Vel Lo gt Hi Ve
56. CV1 CV2 S CV1 run CV2 run Seq Step S Steplen S Notelen Voice Num Voice 961 6 8 964 902 Unisono V Table 8 Sound Parameters Modulation Speed Levels constant for maximum modulation equals 1 assignable button 1 assignable button 2 last button status previous button status Step sequencer filter cutoff modulation Step sequencer control value 1 and 2 Step sequencer control value 1 and 2 start Step sequencer step Step sequencer step length Step sequencer note length Note number of played voices Number of played voices Number of played unisono voices Standard Modulation Matrix sources 61 Waldorf Q User s Manual 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 the Modwheel half up the parameter values are in the exact middle of the two sounds The following table shows some parameters of the original sound the interpolated sound and the sound setup in the Xphorm menu Table 9 An example of two sounds that are Xphormed You can easily see how the paramet
57. Determines if the feedback signal is fed back into the delay line as it is or if it is inverted beforehand Auto Par rn Cutoff 0 127 Dampens the signal produced by the Delay effect This filter is routed before the feedback circuitry meaning that adjacent taps of the Delay will be dampened further This creates the typical high frequency loss that often happens in natural echoes A setting of 127 means that the signal isn t filtered while lower settings filter the high frequencies of the feedback signal Auto Pan Off On Controls if the delay produces an automatic panning effect If Auto Pan is set to Off the left input signal is routed into the left delay line and its output signal is fed back into the same delay line The same is true for the right signal and the right delay line If Auto Pan is set to On the left input signal is fed into the right delay line and the right signal is fed into the left delay line The output of the delay lines are fed back into the opposite delay line The result is a so called Ping Pong delay H You can only hear that effect if the left signal input is different from the right signal input Overdrive The Overdrive effect distorts the input signal by amplifying it drastically and clipping the resulting signal to a certain output level The difference between this Overdrive effect and the Drive parameter of the Filter sections is that Drive affects one single voice while this effect type disto
58. Detune 64 63 Detunes the Instrument in steps of 1 64th of a semitone You can set up nice layer sounds with Transpose and Detune Activate two Instruments and set their parameters to identical values including the sound number Then just transpose one Instrument by one octave and you got a fat layer sound Or set them both to the same octave and set Detune of one Instrument to 05 and the other to 05 Loullelo IHil aai Low Velo 001 127 LowVelo allows you to limit the velocity range in which the instrument is played Only notes with a velocity higher or equal to the selected value are passed through Set this parameter to 1 if you want to turn velocity switching off Hi Velo 001 127 HiVelo is the counterpart to LowVelo Only notes with a velocity lower or equal to the selected value are passed through Set this parameter to 127 if you want to turn velocity switching off 43 Waldorf Q User s Manual Multi Mode Instrument settings LowKey C 2 G8 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 HighKey C 2 G8 HighKey is the counterpart to the LowKey parameter Only notes with a key number lower or equal to the selected value are passed through Set this parameter to G8 if yo
59. 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 esce Pelas ML 12v ign X FSL Volume 0 127 Determines the volume of the effect signal for the left Front Speaker Main Out L Delay ML 0 400 Determines the relative delay of the effect signal pertaining to the setting of the Delay parameter FSE M Delas ME 127 inn X FSR Volume 0 127 Determines the volume of the effect signal for the right Front Speaker Main Out R Delay MR 0 400 Determines the relative delay of the effect signal pertaining to the setting of the Delay parameter CntrS Volume 0 127 Determines the volume of the effect signal for the Center Speaker Sub Out 2 L Delay S2L 0 400 Determines the relative delay of the effect signal pertaining to the setting of the Delay parameter EearSL Uh Delas SIL i 127 188 8 X Rear SL Volume 0 127 Determines the volume of the effect signal for the left Rear Speaker Sub Out 1 L Delay S1L 0 400 Determines the relative delay of the effect signal pertaining to the setting of the Delay parameter Waldorf Q User s Manual 108 Sound Parameters Effects 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 Determin
60. IDI works One sender is connected to one or several receivers For instance if you want to use a computer to play the Pulse then the computer is the sender and the Pulse acts as the receiver With a few exceptions the majority of MIDI devices are equipped with two or three ports for this purpose MIDI In MIDI Out and in some cases MIDI Thru The sender transfers data to the receiver via the MIDI Out jack Data are sent via a cable to the receiver s MIDI In jack MIDI Thru has a special function It allows the sender to transmit to several receivers It routes the incoming signal to the next device without modifying it Another device is simply connected to this jack thus creating a chain through which the sender can address a number of receivers Of course it is desirable for the sender to be able to address each device individually Consequently there is a rule which is applied to ensure each device responds accordingly MIDI Channel 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 MIDI Clock The MIDI Clock message determines the tempo of a piece of music It serves to synchronize processes based on time Modulation A modulation influences or chang
61. M with Noise as source for this oscillator to control the strength of the noise For a classic Filter Trigger sound you don t need to actually use a filter You can also use a sine oscillator that is pitch modulated by an envelope This frees up the two filters and you can use them to perform other tasks e g filtering noise for a snare drum sound or the like Use the LFO as FM Sources With this technique you get up to six oscillators frequency modulating each other to create extremely complex timbres Just keep in mind that the LFO have a maximum speed of around 2500Hz and that they can produce aliasing side effects Use the wavetables as FM sources If a LFO modulate the wavetable at the same time you will create really amazing sounds For extremely wide sounds you can do the following Create a sound that uses only Filter 1 with the desired settings Now set Routing to 64 so that both filters are routed to the panning stages with equal volume Set Filter 2 to a comb filter type with middle or low cutoff and no resonance Now put the Pan parameters of the filters to opposite directions and you should get a very fat sound You can create further movement by applying an LFO to the comb filter cutoff The perfect place to read this user manual is your favourite bathroom We recommend 5 pages per session 157 Waldorf Q User s Manual Appendix Technical Data Appendix Technical Data Power Supply Nominal voltage Maximum cur
62. Name or Value Range Sound Parameter 64 65 66 67 68 see Filter Types 69 70 71 72 73 74 75 76 77 78 79 see Filter Types 80 81 82 83 84 64 63 85 86 87 88 89 90 91 92 64 63 93 94 95 167 Waldorf Q User s Manual Appendix Controller Numbers Ctrl Controller Range 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 Fo Es TEA a 122 TA as 124 125 126 127 Waldorf Q User s Manual Controller Name or Sound Parameter FE Deca FE Sustain FE Decay 2 FE Sustain 2 FE Release AE Attack AE Deca AE Sustain AE Decay 2 AE Sustain 2 AE Release E3 Attack E3 Deca E3 Sustain E3 Decay 2 E3 Sustain 2 E3 Release E4 Attack E4 Deca E4 Sustain E4 Decay 2 E4 Sustain 2 E4 Release undefined All Sound Off Reset All Controllers Local Control All Notes Off Omni Mode Off Omni Mode On Poly Mode On Off Poly Mode On 168 Value Range Oo Oll ZZ 0177 0 127 O1 0981277 0281777 sss BH o1 27 QNID 098177 0 127 09291577 0 127 0177 0 127 0900815277 099815277 098815277 0 127 0 127 Do 27 02991277 not used immediate silence resets all controllers Local Control Off On releases all voices not used not used not used not used Appendix MIDI Implementation Chart MIDI Implementation Chart Date June 02 2001 Mod
63. O1 FM O2 FM O3 FM O1 Level O2 Level O3 Level O1 Bal O2 Bal O3Bal RingLevel Ring Bal N E Level N E Bal Routing F1 Cutoff F2 Cutoff F1 Reson F2 Reson FI FM F2 FM F1 Drive F2 Drive F1 Pan F2 Pan Volume LFO1Speed LFO2Speed LFO3Speed FE Attack FE Deca Decay and Decay 2 rate of Filter Envelope 59 Waldorf Q User s Manual Sound Parameters Modulation Speed Levels 01SubDiv 02SubDiv Frequency divide of the sub oscillator1 2 01SubVol 02SubVol Volume of the sub oscillators 1 2 Table 7 Standard Modulation Matrix destinations FE Sustain Sustain and Sustain 2 level of Filter Envelope FE Release AE Attack AE Deca AE Sustain AE Release E3 Attack E3 Deca E3 Sustain E3 Release E4 Attack E4 Deca E4 Sustain E4 Release M1F Amount M2F Amount MIS Amount M2S Amount Frequency divide of the sub oscillator1 2 Volume of the sub oscillators 1 2 The following table shows all available Standard Modulation sources Standard Modulation Matrix sources Description Off LFO1 LFOT MW LFO2 LFO2 Prs LFO3 FilterEnv AmpEnv Env3 Env4 Keytrack Velocit Rel Velo Pressure Poly Prs Pitchbend Modwheel MIDI modulation wheel controller 1 Sust Ctr MIDI sustain pedal controller 64 Foot Ctr BreathCtr Control W X Y Z Ctr Dela Modif 1 4 minimum constant for minimum modulation equals 0 Waldorf Q User s Manual 60 MAXIMUM Button 1 Button 2 LastBtn PrevBtn S Cutoff Seq
64. 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 Hain m Sensitivity of the Stereo External In The different Input Gain settings attenuate or amplify the input signal as follows Input Gain Gain max Input Remarks 14dBm For very high level signals Studio level signals This is the recommended setting 10dB Line level signals 29dB 23dBml Low level signals like microphone guitar etc Table 16 Input Gain Settings AH It is not recommended to connect a microphone or guitar directly to the Q Low signal level instruments should be amplified by a special pre amplifier before they are routed into the Q s External In Mix In to Off Aux Inst 1 4 FX Main Out Sub out Sub2 out to lix Leusl A Bee This parameter allows you to send an external audio signal directly into the Q s effect section without the need of a note trigger e No external audio signal will be routed through the Q with Off being selected e Aux will route the external audio signal to the internal audio bus So you can use this signal to feed the vocoder or the 5FX For more information refer to the chapter Effects on page 104 and 110 e Inst
65. Panel Q Rack sssssseeeee 7 Rear Parle e Mire eee anoles 8 enc M 9 Introduction atacan rta itui ta zitni tain 11 About this Manual essseeeee 11 Symbols i tdem rote rte ga 11 Highlighted Control Features and Parameters 11 What to read nete eie tee ette Deed 12 If you are new to the whole subject 12 If you have experience with synthesizers 12 If you are a synthesizer hotshot 14 General Safety Guidelines een 15 Suitable Operating Conditions 15 Power Supply eere eere ta ne eee t anges 15 Operation se arena 15 Maintenance anna eerte ebat lente eee enin 15 Proper Uses daneen e e e eee A thes 16 Setup and Connection 17 Inventory 2 2 22 E 17 SetU Ps Heels lanteexsiakidulet nbiecteehbeyaledanker 17 GonneGtlOnS s treo eiecti TEE OEA 17 Audio Connections uunnneeesssssseeenesnsseenneneseee nenn 19 Digital S PDIF Output neneenenennnn 19 External Input iiie dete he 20 Switch Pedal Inputs sestiers 20 Control Pedal CV Inputs ss seen 20 OVEIVIEW nern iuc Ul tien 21 Memory Structure ccecceeceeecceeceeeceeeceeeeeeeaes 21 Memory Card isses alas 22 Maintenance sushi sarah 22 Basic Operation eeees 23 Switching 61 erit debe nee e aa 23 Switching Off ceste tette etta ea 23 Panic F
66. R Returns the binary or operation of Source 1 and Source 2 e XOR Returns the binary exclusive or operation of Source 1 and Source 2 e min Returns the minimum value of either Source 1 or Source 2 If Source 1 is smaller than Source 2 the value of Source 1 is returned and vice versa Waldorf Q User s Manual 132 Sound Parameters Control Delay e 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 Constant 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 This parameter can be found in the Modulation Matrix after the Modifiers Additionally the Control Delay can be used as Standard Modulation Source M1S M8S Ctr Delay 0 127 Determines the amount of time delaying the selected modulation signal after a note is triggered Previously values would be reset to their default value With this update parameter changes are now audible AH Please note that the Control Delay must be set as the Modulation Source in the Modulation Matrix for the Modulation Destination to be affected Source see Table Standard Modulation Sources on page 60 Selects the Modulation Source and correspondingly its signal which w
67. Wheel LSB Controller 33 is not sent when the Modulation Wheel is turned but used to change a particular sound parameter as you can read in the chapter Influencing Editing Sounds over MIDI on page 151 The Q receives Modulation Wheel MSB Messages and evaluates them as Modwheel resp MW modulation source Breath Control Messages The Q receives Breath Control MSB Messages and evaluates them as BreathCtr modulation source Foot Controller Messages The Q receives Breath Control MSB Messages and evaluates them as Foot Ctr modulation source Channel Volume Messages The Q receives Channel Volume Messages Controller 7 and scales the output of the respective Sound to that value The maximum Sound volume depends on the settings in the Sound Instrument and Multi Channel Volume changes the volume relatively to these settings Pan Messages The Q receives Pan Messages Controller 10 and balances the two Filter outputs by that value A value of 64 means that the Filter Pan settings are kept as they are while smaller values weigh the signal to the left output and bigger values weigh the signal to the right output Sustain Pedal Messages The Q receives Sustain Pedal Messages Controller 64 and evaluates them as follows if a value greater or equal than 64 is received the Key Pressed envelope phases of all voices of the respective MIDI channel are played If a value smaller than 64 is received the Key Off envelope phase
68. a noise gate a signal is cut off when its level falls above a predetermined threshold Gate stands also for a control signal of analog synthesizer systems A keyboard generates an active gate signal as long as a key is held down When the key is released the gate signal becomes inactive again An envelope generator can use this signal for its trigger purposes and as a result a VCA unit can be controlled Waldorf Q User s Manual 162 High Pass Filter A high pass filter dampens all frequencies below its cutoff frequency Frequencies above the cutoff point are not affected LFO LFO is an acronym for low frequency generator The LFO generates a periodic oscillation at a low frequency and features variable waveshapes Similar to an envelope an LFO can be used to modulate a sound shaping component Low Pass Filter Synthesizers are often equipped with a low pass filter A low pass filter dampens all frequencies above its cutoff frequency Frequencies below the cutoff point are not affected MIDI The acronym MIDI stands for musical instrument digital interface It was developed in the early 80s so that diverse types of electronic musical instruments by different manufacturers could interact At the time a communications standard for heterogeneous devices did not exist so MIDI was a significant advance It made it possible to link all devices with one another through simple uniform connections Essentially this is how M
69. a Multi select the Multi page e f you want to store a Sequencer Pattern select the Step Sequencer Edit menu e If you want to store a Drum Map select the Drum Map Edit menu Press Shift Store to activate the Store page The display shows the Store page where you can select the destination and the program name Waldorf Q User s Manual 36 Basic Operation Editing Parameters 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 When the cursor is on the 16th character and you scroll it even further to the right you will come to a second page where you can change the category of the sound It is strongly recommended to select an appropriate category for your sound or to create a new category This helps you finding your sound later You can get more information on how to search for a Sound category in the chapter Category Search on page 29 This is how the display looks 7 Press Shift Store to store the Program to the selected location A Whenever you store a program the selected memory location is overwritten Therefore any previously stored program under this location will be erased
70. a note that was originally played at velocity 64 Arp Glide off Are Glide Bir 1 For each step in the arpeggio pattern you can activate the glide effect individually This gives you the ability to create the classic Bass Line melody character Make sure that you set up a reasonable glide effect in the Glide section e If offis selected empty space the glide effect is disabled for this step e If is selected legato symbol the glide effect is enabled for this step This means that the previous note glides to the note that has to be played at this particular position in the arpeggio H Please note that Glide Active in the Oscillators section must be set to Off when you want to set Arp Glide for individual pattern notes Otherwise the glide effect would be on all notes Arp Step Wo amp gt 2 This parameter can have a very strong effect on the resulting arpeggio so you should read the following paragraphs carefully Arp Step basically determines which note of the note list is played at a particular step You can also force the Arpeggiator to play a whole chord or part of a chord or set it up to play a random note from the list e f is selected asterisk symbol the Arpeggiator plays the step unaltered The note list is advanced beforehand except when you press a new chord e If offis selected empty space the Arpeggiator plays nothing at this step position When Length or Steplen is set to le
71. after the trigger is terminated regardless of the envelope s current status For instance the Release phase may be initiated during the Attack phase Resonance Resonance is an important filter parameter It emphasizes a narrow bandwidth around the filter cutoff frequency by amplifying these frequencies This is one of the most popular methods of manipulating sounds If you substantially increase the resonance i e to a level where the filter begins self oscillation then it will generate a relatively clean sine oscillation Sustain An envelope parameter The term Sustain describes the level of an envelope that remains constant after it has run through the Attack and Decay phases Sustain lasts until the trigger is terminated System Exclusive Data System exclusive data allow access to the heart of a MIDI device They enable access to data and functions that no other MIDI messages are able to address Exclusive in this context means that these data pertain only to one device type or model Every device has unique system exclusive data The most common applications for SysEx data include transfer of entire memories and complete control of a device via a computer Trigger A trigger is a signal that activates events Trigger signals are very diverse For instance a MIDI note or an audio signal can be used as triggers The events a trigger can initiate are also very diverse A common application for a trigger is when it is u
72. again The edited version of the program is now active again H 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 Any attempt will give you an error message on the display Compare achive Recalling Edited Programs You can void edits at any time and return to the original program ES To recall an edited program 1 Choose the program type to recall as follows e f you want to recall a Sound select the Play page or any of the Sound Edit menus e Ifyou want to recall a Multi select the Multi page e Ifyou want to recall a Sequencer Pattern select the Step Sequencer Edit menu e If you want to recall a Drum Map select the Drum Map Edit menu Press Shift Recall Thee orc in the display after the program number will disappear All edits will be recalled and the program returns back to its stored state Storing Programs After you have finished editing a program you must save it if you intend to use it again All memory locations of the Q are available for this purpose The type of program that is stored depends on the page you were in before performing the Store function US Tostorea program 1 Choose the program type to store as follows e If you want to store a Sound select the Play page or any of the Sound Edit menus e If you want to store
73. ages won t be send e The setting Num Bank will cause the Q to send program as well as bank change messages when selecting programs Waldorf Q User s Manual 140 Global Parameters Global Menu On Velocity Curve exp 2 exp 1 linear log 1 log 2 fix 32 127 Qe Helocits Durus EXE 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 The following picture shows the response of the different curves Output 1 31 63 95 127 Picture 46 Response of the different Curve settings H For a standard keyboard velocity response you should set On Velocity Curve to linear or exp 1 Other curves might be applicable under special circumstances only Rel Velocity Curve exp 2 exp 1 linear log 1 log 2 fix 32 127 lelocituzu Cure inean Sets the curve that is used for release velocities when played on the keyboard It changes the release velocity behaviour of the internal tone generation and the outgoing MIDI Note Off messages It doesn t affect incoming MIDI Note Off messages The various curves are identical to the ones shown under On Velocity Curve H For a standard keyboard release velocity response you should set Rel Velocity Curve to linear or log 1 Other curves might be applicable under special circumstances only Pressure C
74. akes place inside an edit buffer Therefore no data will be lost until you store the program 147 Waldorf Q User s Manual Global Parameters Utility menu Init Drums Init Drums Dal CUhilityd 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 Ux This is how you initialize a Drum Map e Select the appropriated Drum Map e Press Shift Utility and choose the option Init Drums e Press Shift Utility again to activate the function The selected Drum Map is now initialized A When you initialize a Drum Map all action takes place inside an edit buffer Therefore no data will be lost until you store the program Random Sound This function initializes all parameters of a Sound Program with random values Ux This is how you randomize a program e Selectthe appropriated Sound program e Press Shift Utility and choose the option Random Sound e Press Shift Utility again to activate the function The selected program is now randomized MH When you ranomize a program all action takes place inside an edit buffer Therefore no data will be lost until you store the program With the help of this function you can name the RAM Cards with up to 16 signs This function is only available if a RAM Card is put into the card slot of the Q First select the character to be m
75. al 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 To ensure that everyone finds the information he needs to work with the Q we collected the following information to tell you which chapters you should read at the very least H On page 159 you will find an index table with the corresponding page hint If you are new to the whole subject Is this your first or second synthesizer Then you should first read the whole manual once You don t need to do that while you re exploring the Q you can also read it as you would read a good book But read it You don t need to understand everything but after you ve read the manual you know where to find a particular topic Then it s time to go deep into the Q and when you re stuck you will find the answer quickly and easily Furthermore we recommend the purchase of a good book explaining synthesizers and sound synthesis in general This book might help you when you don t understand a certain term that is used in the manual The appendix of the Q manual contains a glossary but it is possible that you want or need even deeper explanation A good book explaining analog sound synthesis named Analog Sound Synthesis ca
76. ameters without a dedicated controller are not sent at all e If SysEx is selected all Sound parameters are sent as system exclusive messages This has the advantage that the parameter change is not channel based but instrument based which can avoid unwanted parameter changes of layered sounds The disadvantage is a larger amount of data that is transferred e If Ctl SysEx is selected all Sound parameters with a dedicated controller assignment are sent as controller messages All other Sound parameters are sent as system exclusive messages This is the recommended setting MH Set Controller Send to Ct SysEx during normal operation Only switch it to SysEx when you work with layer Multis or to Ct when your sequencer can t work with system exclusive data anyway Controller Receive Ctl Recv Off On Determines if Real Time Sound Parameter Changes are received over MIDI by the Q e If Off is selected no Sound Parameter Changes are received 137 Waldorf Q User s Manual Global Parameters Global Menu e If Onis selected all Sound Parameter Changes are received no matter if they were sent as controller or system exclusive messages H Set Controller Receive to On during normal operation You should only set it to Off for diagnostic purpose Tuning 430 450 Hz 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 mo
77. and or another product use only high quality shielded cables Cable s supplied with this product MUST be used Follow all installation instructions Failure to follow instructions could void your FCC authorisation to use this product in the USA 3 NOTE This product has been tested and found to comply with the requirements listed in FCC Regulations Part 15 for Class B digital devices Compliance with these requirements provides a reasonable level of assurance that your use of this product in residential environment will not result in harful interference with other electronic devices This equipment generates uses radio frequencies and if not installed and used according to the instructions found in the users manual may cause interference harmful to the operation of other electronic devices Compliance with FCC regulations does not guarantee that interference will not occur in all installations If this product is found to be the source of interference which can be determinated by turning the unit OFF and ON please try to eliminate the problem by using one of the following measures Relocate either this product or the device that is being affected by the interference Utilise power outlets that are on branch Circuit breaker or fuse circuits or install AC line filter s In the case of radio or TV interference relocate reorient the antenna If the antenna lead in is 300 ohm ribbon lead change the lead in to co axial type cable If
78. and pass and notch filter types and the delay length of the comb filter types e When a low pass is selected via the Type parameter all frequencies above the cutoff frequency are damped e When a high pass type is selected all frequencies below the cutoff frequency are damped e When a band pass type is selected only frequencies near the cutoff setting will be passed through e When a notch type is selected the frequencies near the cutoff frequency are damped e When a comb type is selected the frequencies near the cutoff frequency are emphasized comb or attenuated comb You can bring more movement into the sound by modulating the cutoff frequency via the LFOs the envelopes or the Keytrack parameter At a value of 64 and a Resonance value of 114 the filter oscillates with 440Hz which is equal to A3 the Comb type oscillates one octave higher Tuning is scaled in semitone steps When Keytrack is set to 700 the filter can be played in a tempered scale Resonance 0 127 Controls the emphasis of the frequencies around the cutoff point Use lower values in the range of 0 80 to give more brilliance to the sound At higher values of 80 113 the sound gets the typical filter character with a strong boost around the cutoff frequency When the setting is raised to values above 113 the filter starts to self oscillate generating a pure sine wave This feature can be used to create analog style effects and percussion like electro
79. and there is no way to get it back So you should do backups of the sounds multis and patterns regularly If you want to restore the factory presets you can download them as a Standard MIDI File from our website You now have stored the program When you activate the Store function the Edit or Compare status of the stored program is terminated By pressing any button before performing the last step you can discard the Store process at any time A Use the Store function also if you want to copy programs There is no need to edit a program before storing it 37 Waldorf Q User s Manual 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 The following picture shows the structure of a Multi Multi Program Multi Program Parameters Instrument 4 Instrument 8 Instrument 12 Instrument 16 Instrument 3 Instrument 7 i Instrument 11 f Instrument 15 Instrument 2 Instrument 6 i Instrument 10 I Instrument 14 Instrument 1 Instrument 5 Instrument 9 Instrument 13 Instrument Instrument Instrument Instrument
80. anning H If stereo effects are active e g delay the effect will still sound in both outputs even if the basic sound is set to full left or full right ut gut i sin Gut Channel global omni 1 16 Channel sets the MIDI Channel for the selected Instrument This MIDI channel is used to send MIDI messages and to receive MIDI messages for this Instrument e global means that the selected Instrument receives and sends on the MIDI channel set up in the Global menu This setting is recommended for a Multi that should be used for a live performance e omni means that the selected Instrument receives all MIDI channels and sends on the MIDI channel set up in the Global menu This setting is not recommended Only use it for diagnostic purposes when you need to know if the Q receives any MIDI messages at all 1 16 means that the selected Instrument receives and sends on this MIDI channel This setting is recommended for a Multi that should be used for multi track playback with a software sequencer Waldorf Q User s Manual 40 Multi Mode Instrument settings Output Main Out Sub Out1 Sub Out2 FX1 FX2 FX3 FX4 Aux Duatgut Hain 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 e Main Out means that the selected Instrument plays over the Main Out a
81. anymore You can now change the Tempo manually starting from the calculated value or perform the Recall function for the Sound or Multi to get back to the stored tempo e Auto Thru means that the Q automatically syncs to incoming MIDI Clock and always sends out MIDI Clock no matter if it received it or if it generated the tempo base itself Waldorf Q User s Manual 56 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 MH 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 Modulation Speed Levels The Q offers three levels of modulation speeds FM Fast Modulation and Standard Modulation This separation assures a maximum flexibility in sound generation while keeping the amount of processor power needed to calculate a voice as low as possible You find separate descriptions how to access the different modulation types in the chapters below The three modulation speed levels are divided as follows FM Frequency Modulation This is the fastest modulation speed level These calculations are performed for each generated sample or in other words 48000 time
82. 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 The following picture of the Q s front panel shows the Amplifier section Picture 33 Amplifier Section Q Keyboard Volume 0 127 D etermines the master volume of the sound program Velo 64 63 Specifies how much volume will be affected by keyboard velocity Use this feature to give more expression to the sound With a setting of 0 velocity will have no effect on the volume Classic organs work in this way because they do not have dynamic response For positive settings the volume rises up to higher velocities This is the most commonly used setting which gives a piano like character For negative settings the volume falls up to higher velocities This gives an untypical character suitable for effect sounds As the Amplifier always works in conjunction with the Amplifier Envelope this parameter actually determines the envelope velocity amount The following picture illustrates this functionality O utput m A agaa a oe o Key Velocity 1 127 Key Velocity 127 Key Velocity 21 Key Velocity 64 Time Time Time Velocity Parameter 0 Velocity Parameter 63 Velocity Parameter 64 Picture 34 Volume influence of different Velo parameter settings Additional Controls on the Q Keyboard AmpMod 64 63 Determines the amount of volume modulation
83. as tone F in the chord G B D F e Import accommodates different note tuning formats like octave scale tuning GM Level 2 or single note retuning through Midi Take this setting when the Q should react to incoming tuned scales HMT depth 000 100 Determines the degree of impact of the HMT function A value of 100 results in a maximum scaled tuning effect while 0 changes nothing resulting in completely normal tempered tuning When playing with other unaffected instruments i e instruments using tempered tuning a degree of 7096 sounds pleasing HMT MIDI Export off on HHT HIDI Esport an This function determines whether notes retuned by HMT will transmit that tuning information via the Midi Out port to other connected MIDI instruments With HMT MIDI Export turned on Midi data will be sent as Octave Scale Tuning A Please note that the connected MIDI instrument must be able to correctly interpret the incoming scaled tuning data Please refer to the owner s manual of the connected instrument to verify if it can 139 Waldorf Q User s Manual Global Parameters Global Menu Ctrl W Ctrl Z 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 Th
84. ases it When you are at the end of one Bank and turn the Page Dial 6 further you will jump to the beginning of the next Bank and vice versa The only exceptions are the first Program in the first Bank and the last Program in the last Bank The Bank names are Sound Bank A to C or X if a Memory Card is inserted Drum Map bank D or E if a Memory Card is inserted Multi Bank A and X if a Memory Card is inserted 4 The display shows the Program number in the top right corner and the name of the selected Program name may be different depending on the factory set in your Q Single Mode Sourd poi T i Tos Multi Mode Ingt i Pulti nn Abfahrt Selecting Programs with the Number Buttons You can also use the Sequencer section s number buttons to select a program The following picture shows the number buttons Waldorf Q User s Manual 26 Basic O peration Selecting Programs J e iz n F sepoi seus step 25 32 e IN y Q Bank B ll Bank C Bank D e p N Picture 6 Number Buttons Q Keyboard To the left of the ten number buttons you can see the Pattern Sound Multi Button 7 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 Here are three examples Entering 01 will call up Program number 001 in the current bank Entering 99 will call up Program n
85. at feeds Filter 1 If set to mid both filters will receive the same signal level If set to F2 63 the signal is sentto Filter 2 only Additional Controls on the Q Keyboard Osc1 0 127 Volume of O scillator 1 Osc1 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 sentto Filter 2 only Waldorf Q User s M anual 80 Sound Parameters Mixer Osc2 0 127 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 F7 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 Osc3 0 127 Volume of Oscillator 3 Osc3 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 F7 64 the signal is sent to Filter
86. atrix Edit Menu All parameters related to the Modifier Matrix are located in the Matrix Edit Menu Press the Master section s Matrix button and select the respective pages Md1 Md4 with the Page Dial Source 1 see Table Standard Modulation Sources Selects the first source signal used for the calculation Source 2 see Table Standard Modulation Sources Selects the second source signal when two sources are required for the calculation See description of modifier functions for further details The possible settings are the same as for Source 1 with one exception Off is replaced by constant meaning that the calculation is performed with a constant value that you can set up with the Constant parameter Operation Oper see Table Modifier functions Determines which kind of operation will be performed on the selected input sources The following types are available Description Table 15 Modifier functions The result of a modifier operation always lies within the range max 0 max When it is assigned to a parameter in the Modulation Matrix it is scaled to the range of the selected parameter The following paragraph describes the function and the result of each modifier function in detail e 4 Returns the sum of Source 1 and Source 2 e Returns the difference of Source 1 and Source 2 e Returns the product of Source 1 and Source 2 e AND Returns the binary and operation of Source 1 and Source 2 e O
87. attern 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 e If Off is selected the note list is not restarted so that there is no synchronization between rhythm and note list E g when you have a pattern where four steps are set and you play three notes the pattern and the note list are repeated differently The pattern restarts after the fourth step while the note list restarts after the third step The arpeggio might look like this Pattern Step 2 3 4 1 2 43 4 l1 2 3 4 l1 2 43 44 Table 12 Arpeggio with Pattern Reset set to Off e f Onis selected the note list will be restarted as soon as the rhythm pattern is restarted The same arpeggio might now look like this note the two C1s in sequence Pattern Step 2 3 4 1 2 93 94 11 2 35 4 11 2 43 44 Sets the length of the rhythm pattern This parameter is also valid when Pattern is set to Off or if one of the ROM patterns is selected Note that you can only edit a particular step in the Step Data section when its position is within the range of the Pattern Length parameter Arpeggiator Edit Menu Step Data The following Arpeggiator menus all behave similarly The left value dial sets the step that should be changed while the right value dial changes the value of the step according to the possible value range MH You can only select the st
88. ayed and so on When you play legato only the first note that was played triggers the envelopes All later notes use these envelopes but sound in the pitch you ve played This mode is for sustained sounds like typical 70 s solo sounds H When Mono is selected and you have set up a decaying volume envelope for the selected Sound you might not hear anything after playing several notes because of the envelopes decaying to 0 Unisono Off Dual 3 6 Controls how many voices are triggered when a note is played e Off means that a note triggers one voice This is the standard mode e Dual means that a note triggers two voices Both voices have high priority so they can cut off other voices that are played e 3 6 means that this number of voices is triggered when a note is played Only the first voice has high priority meaning that it can cut off other played notes The other voices can only sound if any voices are free or if there are other unison voices with lower priority that could be cut off This ensures that older notes play at least one voice as long as the voice allocation isn t forced to steal even this voice for a new note Unisono Detune 000 031 Controls the detuning of the Unison voices Each voice is detuned differently with Unisono Detune you control the overall amount H Unisono Detune suits perfect for thickening the tone Also Step Sequences and Arpeggios profit from the detune function Waldorf Q User s Manual 64
89. c AG or an authorized service center You must first contact your dealer or distributor by telephone Products that were mailed without prior agreement cannot be exchanged or repaired free of charge The unit must be insured and sent prepared in its original package Please include a detailed description of the defect Products that were not send prepared or in the original package will be returned unopened Waldorf M usic AG reserves the right to upgrade the unit with the latest technological advances if necessary This warranty does not cover defects due to abuse operation under other than specified conditions or repair by unauthorized persons The warranty covers only those malfunctions caused by material or workmanship defects that occur during normal operation Garantiekarte Warranty Card Please fill out this warranty card completely include a copy of the purchase receipt and send the two items to us in order to ensure the warranty is valid Name Name Strafe Street PLZ Wohnort ZIP Code City Land Country Telefon Telephone Email Sonderausstattungen Custom features PO Seriennummer Serial number Kaufdatum Purchase date Name Ihres Handlers Name of your dealer e Ort Ihres Handlers City of your dealer Wenn Sie Fragen zu Ihrem Waldorf Produkt haben gibt es vier M glichkeiten uns zu kontaktieren
90. ce to get bellish sounds Attack 000 127 Controls the raise rate of the synthesis bands until they reach the level evaluated by the respective analysis band For real Vocoder sounds set it between 0 and 15 Decay 000 127 Controls the decay rate of the synthesis bands until they reach minimum volume For real Vocoder sounds set it between 70 and 25 Shorter values might result in nervous volume changes of individual bands while longer values smear the signal Both can be nice but if the results aren t as you ve expected them try to change this parameter X When you set Decay to 127 you get a Resonator effect Be careful with the input signal volume then EQ Low Band Level and EQ High Band Level 64 63 Control the overall weighing of all synthesis bands by 18dB When you set both to the same level the filters are all equal in volume if you set one of them to a different value all filters in between are scaled proportionally EQ Middle 001 025 Selects the band that is emphasized or attenuated by Mid Level The surrounding bands are scaled to match the level of the Middle EQ Mid Level 64 63 Emphasizes or attenuates the band selected with EQ Middle by 18dB Waldorf Q User s Manual 112 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
91. d closed when not pressed The Q then generates a Control value of 127 on the first press and a value of 0 on the next press and so on Footsw1 Ctrl Sustain Sostenuto Control W Z Foot Ctrl Sets the controller that is used for Switch Pedal 1 Sustain sends the Sustain controller controller 64 with a value of 127 to the internal tone generation and over MIDI Out This forces the Q envelopes to stay in their Key Pressed phases until the Sustain controller is set to O again Sostenuto sends the Sostenuto controller controller 66 with a value of 127 to the internal tone generation and over MIDI Out This forces the Q envelopes of all active voices to stay in their Key Pressed phases until the Sostenuto controller is set to O again Voices that are triggered after Sostenuto was set to 127 aren t affected If they are released they proceed with their release phase as usual Control W Z send the respective controller number to the internal tone generation and over MIDI Out These controllers can be used to change any Sound parameter that is accessible in the Standard Modulation Matrix Foot Contr send the Foot controller Controller 4 to the internal tone generation and over MIDI Out This controller can be used to change any Sound parameter that is accessible in the Standard Modulation Matrix Waldorf Q User s Manual 142 Global Parameters Global Menu Fnonotzuz Mode Threl zuitch Cli Suztain Footsw2 Mode
92. d in the modulation matrix Every step can create a different modulation Please read the chapter Modulation matrix on page 131 for detailed information H Use Control Value to control various sound parameters like Resonance and Filter Envelope Decay for instance A Control Value can drive different Controllers at the same time when the necessary settings are made in the Modulation Matrix StepLen Step Length Each step and its notes can have individual lengths Step Length determines how long a step is hold before the step sequencer advances to the next step You can change this parameter in a range from 1 64 to 4 Bars Step Length is set in the same manner as Modulation Signals The only difference is that you can t change more than one step at a time because you would destroy the rhythm of the sequence pattern NoteLen Note Length Note Length sets the length of the notes of the current step The note lengths can be longer or shorter than the actual step length Musicians usually say staccato to shorter notes and legato to notes that are as long or longer than the step You can change this parameter in a range from 1 64 to 4 Bars Note Length is set in the same manner as Modulation Signals The only difference is that you can t change more than one step at a time because you would destroy the rhythm of the sequence pattern Waldorf Q User s Manual 52 Step Sequencer Sequencer Edit Menu Note 1 8 With the value Note 1
93. derungen entspricht die in der Richtlinie 89 346 FWG des Rates zur Angleichung der Rechtsvorschriften der Mitgliedstaaten ber die elektromagnetische Vertr glichkeit festgelegt sind au erdem entspricht es den Vorschriften des Gesetzes ber die elek tromagnetische Vertr glichkeit von Ger ten EMVG vom 30 August 1995 will be hereby declared that it conforms to the requirements af the Council Directive 89 336 FWG for radio frequency interference It also complies with the regulations about radio interference of electronic devices dated an August 30th 1995 Zur Beurteilung des Erzeugnisses hinsichtlich der elektromagnetischen Vertr glichkeit wurden folpende einschl gige harmonisierte Normen herangezogen The following standards have been used to declare conformity EN 50 082 1 1992 EN 50 081 1 1992 EN 60065 1993 Diese Erkl rung wird verantwortlich f r den Hersteller abgegeben This declaration has been given responsibly by the manufacturer Waldart Electranies GmbH Neustra e 12 D 53488 Waldorf Wolfgang D ren Mom Director 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
94. done with the modifications you ve wanted to do ES To deselect all selected steps e 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 Each sequence pattern can hold up to 256 notes each step up to 8 notes E g one step can play a chord of 8 notes while the next step only plays 1 note US To program a note or chord 1 Select any number of steps 2 Play the note or chord on the keyboard As soon as you program a step the step sequencer automatically advances to the next step This is also true when more than one step is selected all steps are advanced by one and you can program the following set of steps If only one bank is selected the step bank is also advanced when you program a note or chord This gives you the ability to program a whole sequence pattern in one run without selecting individual steps or banks However if more than one bank is selected the step banks aren t advanced although the selected steps are still advanced in the selected bank It is a handy feature to program more than one step at a time e g when you want to program a Bass Drum into a 1 16th sequence pattern Just select all four step banks and select the steps 1 and 5 Now hit one note and the sequence pattern is programmed When you want to program a 1 16th HiHat pattern just perform the same selection as above
95. down the Shift button 2 Chose a category with the red dial The following message shows up on the display 3 Release the Shift button 4 Use the red dial to scroll through the patches of the selected category The following categories are available Arp Atmo Bass Bell Brs Drum Ext FX Init Keys Lead Pad Perc Pluk Poly Seq Strg Voc and Wave By using the store function you can create own categories For more information refer to the chaper Storing programs on page 36 MH With the category search function activated the Q scans its entire storage bank for only those type of sounds This can lead to short waiting periods US Switching off Category Search 1 Hold down the Shift button 2 Turn the red dial clockwise until the display shows 3 Release the Shift button H Category Search doesn t change any program numbers It only filters out all patches not belonging to the selected category Scrolling through patches with this function is much faster because only patches belonging to the selected category are visible 29 Waldorf Q User s Manual 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 6 In a live situation for example you can set up the Sounds for the Instruments in advance and quickly switch to them d
96. e Filter Select button The two LED above the button indicate which filter is selected for editing If both filters are selected for editing moving any control will alter the setting of the corresponding parameter for Filter 1 and Filter 2 Please note that all edits are relative Therefore the relationship of the parameters will be retained E g the display may look like this when turning the Cutoff knob Fi Cutoff 201 F2 Cutoff 33 In the given example turning the Cutoff control two steps clockwise will result in the following F1 Cutoff 52 LFZ Enter 35 Ifthe value range of one parameter is reached e g by turning Cutoff clockwise until 127 is set for Filter 1 the relationship is not retained anymore In this case Filter 1 s cutoff will keep its maximum value while Filter 2 s cutoff is still increased by turning the knob H This scenario is not valid when moving the Type knob or any other selective parameter like CutoffMod Source l e If both filters are selected for editing and Type is moved the same filter type is assigned to Filter 1 and Filter 2 Thisis performed because altering selective parameters in relation does not make any sense Waldorf Q User s M anual 86 Sound Parameters Filter Filter Panel Controls The most commonly used controls of the filters can be found on the front panel Cutoff 0 127 Controls the cutoff frequency for the low pass and high pass filter types the center frequency for the b
97. e card 2 Push the card carefully into the card slot located on the rear of the Q Keyboard until you feel that it can t be moved further You won t hear a click the card just stops moving The card slot at the Q Rack is located at the left side of the front panel The text TOP should point to the right side 3 Now the card is ready to be used Maintenance Although it is nearly impossible to destroy the Q Card you should handle it with the same care as you would do with a floppy disk However it might be that you have to clean the contact plate if the card stopped working US To clean a dirty contact plate 1 Use a soft pencil eraser and wipe over the contact plate carefully until it looks shiny 2 Check if the card works A Never use any other type of eraser than a pencil eraser There are various erasers for ink or charcoal that aren t suited for this cleaning process They might destroy or scratch the surface of the contact plate MH The Q Card is equipped with FLASH memory the same type of memory that is used for the internal memory ofthe Q This means that you never need to replace a battery or to recharge the card Waldorf Q User s Manual 22 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 disconnect
98. e highest possible Controller number is 120 because all higher numbers are reserved for non real time purposes MH 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 The Sound parameter is sent out as Controller but can t be received as long as you don t change Ctrl W Ctrl Z to other MIDI Continuous Controller messages Rx PrgChange Off Num Num Bank Determines how incoming Midi Program and Bank Changes will be handled e Incoming program and bank changes will be ignored if Off is selected e If Numis selected the Q only reacts to incoming program change commands Bank change messages will be ignored This setting can be used in case you wish to work with only one sound bank e With Num Bank being active the Q reacts to program as well as bank changes This setting is recommended for normal use Tx PrgChange Off Num Num Bank Determines the Midi Program and Bank Changes that the Q will send through its Midi Out ports e f Offis selected no program and bank change commands will be send e When set to Num the Q only sends program change messages Bank change mess
99. e made any changes to existing programs that you would like to keep you should store them now However stored programs aren t affected in any way ES To start the Demo Playback e Press Multimode and Peek simultaneously The Q shows a selection of various demo songs e Press one of the highlighted Number Buttons to listen to a particular demo song or press Start Stop to listen to all demo songs in sequence US To play back another demo song e Press another highlighted Number Button If you got a clue what the Q is capable of it is time to leave the Demo Playback and to start exploring it yourself US To exit the Demo Playback Mode e Press Multimode and Peek simultaneously The Q returns to normal operation Waldorf Q User s Manual 24 Basic O peration 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 Global 5 9 13 6 10 14 7 1 15 8 12 16 Multi Xphorm Sound Matrix Multimode Peak Shift Picture 5 Master Section As you can see the Master Section consists of several controls A 2x20 character display that shows program names parameters and other messages A page dial on the right of the display It is used to select sound programs or when editing a program to select a parameter page Two value dials below the display for adjusting
100. ease phases Furthermore Arpeggiators and the Step Sequencers are stopped if they were running All Sound Off Message The Q sends an All Sound Off Message to the internal tone generation and over MIDI on all channels when the Power button is pressed until the power down countdown starts When the Q receives an All Sound Off Message it closes the amplifiers of all sounding voices and stops the output of all effects immediately Reset All Controllers Message When the Q receives a Reset All Controllers Message it resets all controllers mentioned above Aftertouch Poly Pressure and Pitchbend to their default values usually O except for Pan 64 Volume 127 Pitchbend 64 Influencing Editing Sounds over MIDI Controllers as Modulation Sources The controllers mentioned above are always used as modulation sources The freely definable Control W Z can also be used as modulation source W Z stands for definable controller numbers 1 120 Use these controllers in the Modifiers and the Modulation Matrix Changing Sound Parameters with Controllers Every Sound parameter that has a control on the front panel is assigned to a MIDI Controller through which the parameter can be changed If a front panel control is turned this change is sent with the appropriate controller number over MIDI With this feature you can easily record panel parameter changes with a MIDI sequencer All controller messages are sent and received on the MIDI channe
101. eate a one time sweep that is triggered at Note On Use Filter Keytrack with an amount of 700 to create really different flangings depending on the Note you play The Comb filter used to simulate a string or a tube A Comb filter is one of the most basic building blocks of the so called Physical Modeling which is an algorithmic description of an acoustic instrument The Q is definitely not meant to replace a good physical modeling synthesizer so you shouldn t expect to get a perfect emulation of any acoustic instrument like a trumpet or a violin out of the Q However the Comb filter enables you to create abstractions of those sounds that can be played expressively To do so you have to understand that the Comb filter is the part that actually sets the pitch of the resulting sound the oscillators or the noise generator are only used to trigger the Comb filter somehow When you play with the Comb filter you can hear that it emphasizes or attenuates certain frequencies depending on the setting of Cutoff and Resonance When you set Resonance to a very high value you will notice that the Comb filter oscillates heavily and that s the key to use it as a tone generator When you set Filter Keytrack to 700 you can play the Comb filter musically Now you need to know how to set up Cutoff Filter Cutoff is scaled in semitone steps and you only have to find the Cutoff value where the filter oscillates with standard pitch The fol
102. ecific oscillator model that could produce a number of waveforms depending on other settings A good example for this 73 Waldorf Q User s Manual 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 Sawtooth Triangle Sine variable Pulse Width e 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 If the Pulse waveform is selected the parameters Pulsewidth and PWM are used to change the pulsewidth of the waveform Furthermore the modulation destinations O1 PW O2PW or O3PW gain functionality depending on which oscillator is set to Pulse e Saw selects the sawtooth waveform A Sawtooth wave has all the harmonics of the fundamental frequency in descending magnitude It doesn t have any further parameters This waveform is pleasing to the ear e Tri selects the triangular waveform The triangle mainly consists of the odd harmonics with very low magnitudes It doesn t have any further parameters e The Sine waveform consists of the fundamental frequency only It has no harmonics at all It doesn t have any further parameters e Alt and Alt2 are wavetable generators Both can create a wavetable with 128 waves each Please refer the chapter Wavetable synthesi
103. ed This enables you to switch the Q on or off through e g a main power switch in your studio However if you switched the Q off manually you can switch it on again with the following procedure US To switch the Q on manually e Press Power to switch the Q on The standby LED will go out First the version number of the Q s operating software and the serial number of your device will appear in the display waldorf 6 s 3 mng8 zH g20111973 MH Please note that both the OS version and the serial number will differ from the numbers shown here Thereafter the number of voices of the Q will be shown in the upper line of the display In the basic version the Q offers 16 voices With the optional available expansion board you can get up to 32 voices The Q offers up to 100 voices 16 Llinicez sek zeitlos H Please take into consideration that we re releasing new Operating Systems for our Synthesizers at regular intervals These new Operating Systems might contain new and desired features To read about this please see the chapter Updating the System Software on page 154 After a couple of seconds the display will change to show the last sound or multi program that was selected before the Q has been switched off The Q is now ready to be played Inztil au ABAI zeitlos Switching off H The Q has a special shutdown feature that prevents data loss by accidentally pressing the power button ES To switch t
104. eeeeeeeees 71 Oscillators Panel Controls 72 Oscillators Edit Menu esses 78 Glide sense ERE 79 Mcr ERE 80 Mixer Panel Controls eneeee 80 Mixer Edit Menu essssseeenee 82 Routing au een 84 Filter aet De neigen 85 Selecting and Editing Filters 86 Filter Panel Controls ceee 87 Filter Edit Menu sess 89 Filter TY DES sen a ea 90 Bypass cetus A SERIE BA eta 90 24dB Low Pass and 12dB Low Pass 90 PR amp ER LOW P3SSan 2 2 ae a 90 24dB Band Pass and 12dB Band Pass 90 24dB High Pass and 12dB High Pass 91 24dB Notch and 12dB Notch 91 Comb and Comb ssseesessssnnensenen 92 Amplifier ien erede ee e e e RR 96 Amplifier Edit Menu cese 97 Effecis cR en 98 Effect Panel Controls esesesssssss 98 FX1 and FX2 Edit Menus nennen 98 Bypass teet etuer nen 99 Chorus n eS en aereo e aes 99 Flanger raami Gies Pte at Gans 99 Phasen este eei ts 100 Delay ES 101 Overdrive Ere ERR 102 21132 CHE 103 Revet Desie seele messen 104 Tap Delayze cce ene gute tocco ere rete e 106 5 1 Surround Delay Types sssssss 107 Merov ES 110 ye ciel 113 Arpeggiator Panel Controls 113 Arpeggiator Edit Menu essen 115 Arpeggiator
105. efer to the page 156 The following parameters are available Waldorf Q User s Manual 78 Glide 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 MH The different HMT settings can be made in the Global menu For more information refer to page 138 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 g trombone It is very common on synthesizers and used throughout all music styles Please note that Glide affects the pitch of all oscillators The controls for the glide effect are located in the Oscillators section The following parameters can be accessed via the Oscillator edit menu of the Q Rack or the front panel of the Q Keyboard Glide Rate 0 127 Determines the glide time Low values will give a short glide time in the range of milliseconds that gives a special character to the sound High values will result in a long glide time up to several seconds which can be useful for solo and effect sounds Glide Mode Portamento Fingered Portamento Glissando Fingered Gliss Determines the way the Glide effect works Portamento means that a continuous glide is performed on all new notes e Fingered Portamento means that a conti
106. effect The following picture illustrates the effect of the pulsewidth parameter Pr F e Pulse Width 50 Pulse Width 3396 Pulse Width 25 Pulse Width lt 1 Square Impulse Picture 16 Pulse Width parameter results A pulse width of 5096 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 A pulse width of around 10 is interesting for Clavinet sounds Go experimenting with different startpoints for A tT and Alt2 Waveforms to get a general view on the supply of Waveforms of both Wavetables PWM 64 63 PWM stands for pulsewidth modulation This parameter determines the amount of modulation that is applied to the pulsewidth of the oscillator s square wave If Alt1 or Alt2 is selected PWM determines the amount of the wavetable modulation If you select any shape other than Pulse Alt1 or Alt2 this parameter does not have any effect The modulation source that affects the pulsewidth is selected by the source parameter described below PWM Source see Table Fast Modulation Sources on page 58 Selects the source of the pulsewidth modulation or the wavetable modulation Common sources for pulsewidth modulation are envelopes and LFO but other sources like the modulation wheel or aftertouch can create nice effects as well To create a thick oscillator sound use a triangular LFO as PWM Source with full PWM and a Pulsewidth of around 80 This bas
107. el Waldorf Q Keyboard Q Rack Version 3 0 Transmitted Recognized Basic Default Memorized Channel Changed Default Memorized Messages Altered xi Note Number True Voice Velocity Note ON v 1 127 Note OFF v 0 127 Touch Ch s Modwheel 3 Breath Control Foot Control Portamento Time Channel Volume Pan Bank Select LSB Sustain Pedal Portamento On Off Sostenuto Pedal xo a O xo o Control Change 2 Prog Change True HSRC RRR System Exclusive System Song Pos Common Song Sel Tune System Clock Real Time Commands Local ON OFF Aux All Notes OFF Messages Active Sense Reset All Sound OFF MIDI Clock Start Stop Continue Memorized Issued by Power button x peo O x x x x x x O x a x x x x O x x O x i at Issued by Power button 1 Mode 3b is known as MULTI Mode 2 Please see the chapters Control W Z MIDI Control and Appendix Controller Numbers for all controllers that can be sent and received 3 ModWheel is transmitted by Q Keyboard only 4 Bank Select LSB is used to switch between Banks A to D Mode 1 OMNI ON POLY Mode 2 OMNI ON MONO O Yes Mode 3 OMNI OFF POLY Mode 4 OMNI OFF MONO x No 169 Waldorf Q User s Manual Appendix Declaration of Conformity Declaration of Conformity F r das folgend bezeichnete Erzeugnis For the following named product Waldorf Q Synthesizer wird hiermit best tigt da es den Schutzanfor
108. encer is stopped is a handy feature to trigger chords or arpeggios Just program a couple of chords into a sequence pattern and hit the step buttons during your performance Pause Button Sets the selected steps to Pause All notes that were previously stored on these steps are deleted Hold Button Sets the selected steps to Hold This means that the notes of the previous step are held over the length of the step You can set adjacent steps to Hold to hold notes over several steps Make sure that no Pause event occurs between the step with the notes and the step you set to Hold otherwise the notes aren t held Control Select Button Cutoff Velocity Option Button Switches the eight rotary controls to control the following parameters per step e Cutoff performs relative changes to the Cutoff parameters of Filter 1 and Filter 2 e Velocity sets the velocity for all notes of the step e Option controls further parameters Available parameters are selected in the Step Sequencer Edit menu Please read the chapter Option Line parameter for further information Sequencer Rotaries The Sequencer Rotaries are used to control various continuous parameters of the sequence pattern e If you turn the control of a step that isn t selected only the parameter of that step is changed e If you turn the control of a selected step all other selected steps in all selected banks are changed relatively e Ifyou turn a control while Shift is
109. ent is capable of this synthesis 71 Waldorf Q User s Manual Sound Parameters Oscillators Oscillators Panel Controls The most important controls of the oscillators can be found on the front panel The following picture of the Q s front panel shows the Oscillators section Octave 5 Detune Pitch Mod EE Pulsewidth Detune Pitch Mod Sour Pulsewidth Octave Detune Pitch Mod Source Pulsewidth Glide Rate Pitch Mod Sourc Picture 15 Oscillators section Q Keyboard Selecting an Oscillator on the Q Rack Press one or more Oscillator Select buttons to select one or more Oscillators on the Q Rack to be edited with the Panel Controls Octave 128 1 2 Sets the basic pitch of the oscillator in steps of an octave The Octave setting is shown as register value acommon measurement based on the length of organ pipes The reference pitch for the oscillator is generated at MIDI note A3 note no 69 when Octave is set to 8 Semi and Detune are set to 0 and no pitch modulation is applied In this case the oscillator s frequency will be the same as set in the global Tune parameter usually 440H 2 Set Octave to 16 for bass sounds Set Octave to 8 if you are creating typical keyboard sounds Set Octave to 4 if you are programming strings or other high pitched sounds When you use an Oscillator to modulate other Oscillators or the Filters experiment with the O ctave parameter Low settings might result in periodic modulations
110. entical to the Main Out jacks 19 Waldorf Q User s Manual 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 A 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 To do so notes must be sent to the Q s sound generation either by playing on the keyboard receiving MIDI notes or via the internal step sequencer or arpeggiator You can also send an external audio signal directly to the Q s FX section by using the Mix In to parameter in the Global menu Switch Pedal Inputs The Q features two inputs for switch pedals These switch pedals can be of any type you can i e use foot switches sustain pedals etc It also doesn t matter if the pedal or switch is open or closed in either pressed or non pressed state You can adjust the behaviour of each pedal separately in the Global menu The Switch Pedal Jack G on the Q is a stereophonic 1 4 inch phono jack You can connect one switch pedal to it with a monophonic 1 4 inch phono plug or two switches using a stereophonic plug If you do so the plug has to be connected as follows e Footswitch 1 is connected to the tip and the ground e Footswitch 2 is connected t
111. eps that are in the range set by Pattern Length E g when you have set Pattern Length to 8 you can t change a value of step 9 or above Arp Accent Sets the accent of a particular step This accent is interpreted as velocity offset that is added or subtracted from the original velocity stored in the note list However the generated velocities can Waldorf Q User s Manual 118 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 See the following description e f is selected the current step is actually played but inaudible This means that the note list is advanced by one note but you are not able to hear it This feature is the opposite to Arp Step set to Off which doesn t generate any note and therefore doesn t advance the note list e f is selected the velocity of the current step is not altered The arpeggio steps are played back with their original velocity e If Arp Accent is set to any positive or negative value the velocity is raised or lowered accordingly Each step adds or subtracts 15 from the original velocity The following table gives an overview over all settings with
112. equency modulation PanMod 64 63 Determines the amount of panorama modulation PanMod Source see Table Fast Modulation Sources on page 58 Selects the source of the panorama modulation Filter Edit Menu The following parameters can be accessed via the display menu of the Q Rack only Press the Filter section s Edit button to activate the display menu Cutoff Mod See Additional Controls on the Q Keyboard above Cutoff Mod Source See Additional Controls on the Q Keyboard above FM See Additional Controls on the Q Keyboard above FM Source See Additional Controls on the Q Keyboard above PanMod See Additional Controls on the Q Keyboard above PanMod Source See Additional Controls on the Q Keyboard above 89 Waldorf Q User s Manual 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 Use the 24dB slope if you want to create sounds with a typical audible filtered character use the 12dB slope if you want to get softer results Level 12dB Oct Cutoff Frequency Picture 27 Low Pas
113. eral minutes until the LFO performs a complete cycle while higher values are in the audible range Very high values are scaled in semitone steps With LFO Keytrack set to 100 a Speed setting of 122 delivers an 8 LFO oscillation 16 oscillation can therefore be generated with a Speed setting of 770 and so on When the LFO Clocked parameter is set to On you can adjust the LFO Speed in musical values The lowest possible value is 256 bars meaning that a complete LFO cycle would need 256 bars Sync Off On When Sync is set to On the respective LFO phases of all voices are synced so that they sound as one LFO This can be interesting when the LFO is applied to modulate Filter Cutoff or Panning When Sync is set to Off the LFO run independently which is better suited for pitch modulation to get bigger sounds H Sync does not mean that the LFO is synced to MIDI Clock or to note start This is done with the Clocked parameter or the Phase parameter Delay 0 127 The Delay parameter works differently depending on the setting of the Fade parameter in the LFO display menu e When Fade is set to 00 63 the LFO signal output is zero for the time set with the Delay parameter After this time the LFO is faded in and then runs with full magnitude e When Fade is set to 64 01 the LFO runs with full magnitude for the time set with the Delay parameter After this time the LFO is faded out to zero LFO Edit Menu The following para
114. erial filter configuration and vice versa Even more the routing control is fully modulatable via the modulation matrix This is how the Routing section works in detail Ascan be seen in the picture the Mixer section uses two separate outputs one connected to the input of Filter 1 the other connected to the input of Filter 2 Each sound source i e the oscillators the ring modulator and the noise generator external input has an individual Balance control in the Mixer By means of these controls you can determine what portion of each source s signal is routed to the inputs of Filter 1 and Filter 2 E g this makes it possible to send the signal of Oscillator 1 and 2 to Filter 1 and the ring modulation signal to Filter 2 e The output of Filter 1 is split up into two paths The Routing knob determines the ratio of the signals for each path The LED beside the knob will give you a visual control of the setting Fully counterclockwise the Routing parameter is set to 0 Then the whole output signal of Filter 1 is routed to the input of Filter 2 added to the amount of signal that is already coming from the Mixer through its dedicated output This setting is equivalent to a serial connection of the two filters e Tuming the knob clockwise will increase the amount of signal that is sent to the panning unit of Filter 1 and decrease the amount of signal that feeds the input of Filter 2 Fully clockwise the Routing parameter is set to 127
115. erical buttons to select the desired bank These buttons are also labelled Bank A to Bank D The program number will be retained when you change the bank E g if program A025 was selected before pressing the Bank C button will select program number C025 Take account that the Drum Map Bank D contains only 20 programs 3 Release the Select button again Selecting Programs on Memory Cards When a memory card of type Q Card 256 is inserted the total memory of the Q is expanded by e 100 Sounds e 20 Drum Maps e 10 Multis Waldorf Q User s Manual 28 Basic Operation Selecting Programs ES To select a card program 1 Please make sure the Memory Card is plugged properly into the Card Slot The Card Banks 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 If you re searching for pad sounds only these sounds will be displayed as you scan the storage banks with the red dial To accomplish this each sound contains 4 extra digits in the sound name to define its sound category Further details about how to change a sound s category are described in the chapter Storing programs on page 36 ES Searching for a special sound categroy 1 Hold
116. ers are changed l e Cutoff was set to 32 in the original sound and to 96 in the Xphorm sound so the 50 interpolation is in the middle 64 The same is true for bipolar parameters like Env Amount You also see that Xphorm is a blending of parameters not a fade out and fade in of two different sounds Xphorm can change all continuous parameters but no switch parameters So the basic functionality is similar to what would happen when you would set up a lot of modulations in the various modulation slots But Xphorm is faster and easier to set up and sometimes it creates surprising results you wouldn t have found by manually setting up modulations Continuous parameters include e LFO Speed Delay Fade e Osc Pitch PW Glide and Mod Amounts e Mixer Levels and Balances e Filter Routing e Filter Cutoff Resonance Drive Pan and Mod Amounts e Amp Volume and Mod Amounts e Envelope Rates and Levels The Mod Matrix Amounts aren t xphormed because it is very likely that the sources and destinations are different in the xphormed patch Switch parameters that aren t xphormed e LFO Shapes Sync Clocked e Osc Shapes Sync and Mod Sources e Mixer Input settings for N E e Filter Types and Mod Sources Waldorf Q User s Manual 62 Sound Parameters Xphorm Interpolating between two sounds e Effect Types Why aren t switch parameters xphormed The reason is very simple all the above are made of models Xphorming between different oscilla
117. ers 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 Dume Gourg Turn the page dial until you reached the appropriate function MIDI Dump functions Please read the chapter Sending System Exclusive Data on page 152 Init Sound Init Sourd The Q provides a special function for setting all parameters of a Sound program to initial values You can use it to create a program from the scratch Uu This is how you initialize a Sound program e Select the appropriated Sound program e Press Shift Utility and choose the option Init Sound e Press Shift Utility again to activate the function The selected program is now initialized MH When you initialize a program all action takes place inside an edit buffer Therefore no data will be lost until you store the program Init Multi Init Multi AGGI Guba 5 Lit litul The Q provides a special function for setting all parameters of a Multi program to initial values You can use it to create a Multi program from the scratch This function is only available in Multi mode Ux This is how you initialize a Multiprogram e Select the appropriated Multi program e Press Shift Utility and choose the option Init Multi e Press Shift Utility again to activate the function The selected Multi program is now initialized H When you initialize a Multi program all action t
118. es a sound shaping component via a modulation source Modulation sources include envelopes LFO or MIDI messages The modulation destination is sound shaping component such as a filter or a VCA Note on Note off This is the most important MIDI message It determines the pitch and velocity of every generated note The time of arrival is simultaneously the start time of the note Its pitch is derived from the note number which lies between 0 and 127 The velocity lies between 1 and 127 A value of 0 for velocity is similar to Note Off Panning The process of changing the signal s position within the stereo panorama Pitchbend Pitchbend is a MIDI message Although pitchbend messages are similar in function to control change messages they are a distinct type of message The reason for this distinction is that the resolution of a pitchbend message is substantially higher than that of a conventional Controller message The human ear is exceptionally sensitive to deviations in pitch so the higher resolution is used because it relays pitchbend information more accurately Program Change These are MIDI messages that switch sound programs Program numbers 1 through 128 can be changed via program change messages 163 Appendix Glossary Release An envelope parameter The term Release describes the descent rate of an envelope to its minimum value after a trigger is terminated The Release phase begins immediately
119. es 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 For more information about tempo settings refer to the chapter The Tempo on page 56 Delay 1 128 8 4 Sets the length of the delay tap in note values A t behind the number means a triplet note value while a Behind means a dotted note H All other parameter of the 5 1 D CIk Delay are identical to the 5 1 Delay 109 Waldorf Q User s Manual Sound Parameters Effects Vocoder H 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 l 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 This is done by splitting up the analysis signal also known as Speech signal with bandpass filters into several frequency bands The volume of each frequency band is then evaluated with an envelope follower and the resulting envelope is used to control the volume of a bandpass filter that processes the synthesis signal also known as Carrier signal The synthe
120. f Volume Control W Z F1 Cutoff F2 Cutoff Pedalz UCUi Ctrl Werle Sets the controller that is used for Control Pedal CV 1 The respective controller is sent to the internal tone generation and over MIDI The controller numbers for the various settings are Table 17 Pedal CV controller numbers Pedal CV2 Offset 64 63 Sets the initial gain for Control Pedal CV 2 that is used when the pedal is at its minimum position Please read Pedal CV1 Offset above for further information 145 Waldorf Q User s Manual Global Parameters Global Menu Pedal CV2 Gain 0 127 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 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 MH Depending on the Control Pedal CV you use different values might apply Please try to find out the best setting yourself Pedal CV2 Ctrl Off Volume Control W Z F1 Cutoff F2 Cutof Pedal CUz Ctrl Hol ume Sets the controller that is used for Control Pedal CV 2 Please read Pedal CV1 Ctrl above for further information Waldorf Q User s Manual 146 Global Parameters Utility menu Utility menu Beside the different Midi Dump Options the Utility Menu off
121. for all arpeggio steps e If Last Note is selected the last note you played sets the velocity for all arpeggio steps T Factor 0 127 Determines how strong the Arp Timing parameter affects an arpeggio step If T Factor is set to O the settings in Arp Timing are completely ignored and the arpeggio is played back without any shuffled timing Settings from 1 to 127 increase the shuffling of the notes depending on the setting in the Arp Timing parameter T Factor also works on ROM patterns these are set up with standard swing rhythm Same Note Overlap Off On Due to the various Length parameters in the Arpeggiator section it might happen that two notes having equal pitch overlap e g when you play only one single note on a 16 beat rhythm with lengths set to 1 8 Note that this parameter only affects notes of the same pitches If you want to control the lengths of notes of different pitches use the Length or Arp Steplen parameters e f Onis selected the Note Off message of the previous note is allowed to be sent after a Note On message of the next note with the same pitch This setting can be nice with arpeggios triggering sounds with slow attack 117 Waldorf Q User s Manual Sound Parameters Arpeggiator e If Offis 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 When all steps of an arpeggio pattern are played back the p
122. formation about the character of a sound e 20 Drum Maps Drum Map D001 D020 A Drum Map contains up to 32 Single Sound Programs which can be organized on the keyboard e 100 Pattern programs Pattern 001 100 A Pattern is used to store step sequencer information that can be used in a Sound or Multi program Dynamic Voice Management Q only The Q has a Dynamic Voice Management This means that unused or deactivated parts of the Sound Engine e g Oscillators Filters Effects etc do not need any CPU capacity This enhances the following maximum polyphony up to 100 voices A The simple rule of thumb says the less complex the sound the higher the available polyphony A If you select a sound that uses the analog filter the polyphony for this sound is reduced to 16 voices because of the 16 hardware analog filter 21 Waldorf Q User s Manual Overview Memory Card Memory Card You can expand the number of program locations by using a memory card of the type Q Card 256 H 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 US 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 The yellow arrow points into the direction where the card is plugged into the card slot The golden contact plate has to be on the bottom side of th
123. ft 64 center right 63 Determines the position in the stereo panorama When the setting is left 64 the sound is panned far left when the setting is right 63 it is panned far right If you want to set the sound into the middle of the stereo panorama use the center setting To give further movement to the sound set this parameter to a basic value and apply some modulation to it via the PanMod parameter Drive 0 127 Determines the amount of saturation that is added to the signal If set to O no saturation will be added or in other words the signal will remain clean Lower values will add some harmonics to the signal resulting in a warm character Increasing the value will bring in more and more distortion suitable for harder lead sounds and effects Waldorf Q User s Manual 88 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 FM 0 127 Sets the amount of frequency modulation that is applied to the filter by the selected source FM Source See Table FM Sources on page 57 Selects the source of the fr
124. g 0 127 Determines how fast the room simulation dampens the higher reverb frequencies Higher frequencies are not dampened not as much as lower frequencies This phenomenon makes a natural echo sound somewhat hollow Higher values of the Damping parameter mean more high frequencies will be dampened 105 Waldorf Q User s Manual 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 1 128 8 4 Sets the length of the Delay taps in note values A t behind the number means a triplet note value while a behind it means a dotted note Feedback 0 100 Controls the amount of signal that is routed back into the Delay line Lower values therefore produce fewer echoes than higher values Swing Factor 0 100 Changes the timing of the Offbeat Delay A setting of 50 doesn t change the timing while lower or higher settings spread the delay time forwards or backwards Selection and Editing of the Delay Taps Single taps are chosen with the left display dial while the right display dial change its corresponding value You can see the selected tap displayed as a number in the left corner The current value of this tap is simul
125. g on note input E1 G1 C1 E1 G1 C1 E2 G2 C2 E3 G3 C3 E1 Tempo See Sound Tempo Waldorf Q User s Manual 114 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 Mode See Arpeggiator Panel Controls Pattern Off User 1 15 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 Factor is set to a value greater than 0 the sequence is played back with a Shuffle or Swing effect This means that the off beat steps are played back slightly later in time e f Offis selected the Arpeggiator plays back a continuous sequence of notes with the current Clock setting e Usergives you the ability to create your own custom rhythm pattern This pattern is stored in the sound See the section Arpeggiator Edit Menu Step Data below for the pattern settings you can perform e 1 15 selects one of the 15 internal ROM rhythm patterns See the table below for an overview of each ROM rhythm pattern Pattern 1 28 4 5 7 G S 10 11 12 13 14 15 16 1 o o o eo e o 2 o e oo o e e 3 e e e oo o o o 4 o o e o 00 5 o e o o e 6 o o o o e o 7 e e e o e o 8 o o 9 o o o 10
126. gato the previous step that isn t set to Off is still held to create the legato effect The note list is not advanced e If is selected the Arpeggiator plays the same note as it had to play in the previous step that was set to or With this setting you can repeat a particular note of the note list several times The note list is not advanced 119 Waldorf Q User s Manual Sound Parameters Arpeggiator e If 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 e If is selected the Arpeggiator plays the very last note of the note list The note list is not advanced e f is selected the Arpeggiator plays a chord with two notes the first and the last one of the note list This means that you have to play at least two notes to hear the effect Otherwise you would hear only one note anyway The note list is not advanced e fs is selected notes symbol the Arpeggiator plays a chord with all notes from the note list This means that you have to play at least two notes to hear the effect The note list is not advanced e If is selected the Arpeggiator plays a random note from the note list This doesn t mean that it creates any random note it only uses one note of the note list at will The note list is not advanced As you can see the effects can differ greatly depending on wha
127. h Buttons Switch buttons are used to switch a parameter on or off or to toggle between different values They have a direct influence on the edited Sound An example for an on off switch is the Sync button an example for a button that toggles between different values is the Arpeggiator Mode button whose values can be Off On One Shot or Hold Selection Buttons Selection buttons are used to switch a part of the panel to control different aspects of the sound They don t have a direct influence on the edited Sound but their status is saved with the Sound to recall 33 Waldorf Q User s Manual 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 US To access a specific display menu parameter 1 Locate the section that contains the desired parameter on the front panel For example if you want to change the Keytrack of one of the oscillators refer to the Oscillators section Press the Edit button of the Oscillators section The LED beside the button will light The first page of the oscillators display menu will appear If you did some editing in this
128. harmonic content 1st Harmonic Magnitude 1 3rd Harmonic Magnitude 1 9 TR ll 5th Harmonic Magnitude 1 25 7th Harmonic Magnitude 1 49 Amplitude Magnitude Time Frequency 1 3 5 7 9 11 13 15 Harmonics Picture 14 Additive components of the Triangle wave The reason why the triangle wave is so popular in classic synthesizers is because it was easier to generate than a sine wave but could be used for the same purpose It could act as a suboscillator wave to emphasize certain frequencies or to frequency modulate other oscillators The triangle wave sounds like a wood wind instrument i e a clarinet It can also be used for mallet instruments like vibraphone xylophone etc Waldorf Q User s Manual 70 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 AN Please keep the terms wavetable and wave in mind Don t bring them into confusion The following overview will clearly explain the system of the Wavetable Synthesis A wavetable into the Q is a table consisting of 128 waveforms
129. he Q s MIDI features 17 Waldorf Q User s Manual Setup and Connection Connections PEDAL CV IN MAIN OUT SUB OUT I SUB OUT 2 D OUT PEDAL MIDI 1 2 Sterei lefi Stereo Right Mono Left Stereo Right Mono Left Stereo Right Mono Coaxial Tip l Ring 2 Thru r Ld a a 2 c x ge x AE 1 AE AEN Am M Main Output Sub Output2 M Switch Pedals to mixing desk to mixing desk or Switch 1 Tip MIDI Thru Control Pedals headphone or amplifier Ground to MIDI In of further Tip Ground amplifier Left Stereo Switch 2 Ring tone generators 47kQ Potentiometer Left Stereo Tip Left Signal Ground Ring 5V Tip Left Signal Ring Right Signal Ring Right Signal MIDI In Sub Output 1 Digital Output from MIDI Outota MIDI Out External In un S PDIF Format to MIDI In of a ae to mixing desk or Computer or other from mixing desk or Pe Computer or tone amplifier MIDI Controller audio source generator Left Stereo Tip Left Signal Ring Right Signal Tip Left Signal Ring Right Signal 2 00 20 2080 eeeeeeccccccetc eeeeeceecccccccveo RN EN IUOS EE EEEE eeeeccec e e e e e _ BS M Mu SM SM M nr WSS NSS RSS RSS RSS SS NSS A Z 99 7 AA Connections 13 To connect the devices 1 Turn all units off 2 Connect the Q s main audio outputs Main Out to your mixing console Optionally connect the auxilliary audio
130. he Q off e Press and hold the Power button 2 The display now shows a countdown message from 10 to 0 23 Waldorf Q User s Manual Basic Operation Panic Function 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 2 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 To activate this function briefly press Power 2 When holding Power a bit longer all sound is suppressed and the release phases are cancelled System Volume You can use the System Volume control 1 to adjust the Q s master volume The volume setting is global and affects the levels of all audio outputs including the digital output Demo Playback The Q is equipped with several demo songs to show some of its unique features They should give you a quick overview of the Q s sound character and the possibilities you can expect when you start working with your Q To listen to the songs in highest quality you should make sure that the Q is connected stereophonically to a good amplifier loudspeaker combination Alternatively you could use good headphones A The Demo Playback mode clears all edit buffers If you should hav
131. he change is performed in the sequence so don t be confused Init All Lengths Steeler iMotelen Init All Lengths Step and Note Length 1 64 4 Bars As soon as you turn one of these controls the Step Lengths or Note Lengths of all steps are set to this value This is a handy feature when you e g want to set all steps to 16th notes Waldorf Q User s Manual 54 Sound Parameters Overview of Functions Sound Parameters Overview of Functions The Waldorf Q consists of numerous sound shaping components The following overview gives you an idea of how the individual components interact m Audio Signal nain Control Signal e FM Destination PA ee Pe TD Cee ee Te mI imminens L Output R Qe Qaim BOO umi Picture 10 Block schematic diagram of a sound As you can see the Q consists of two different types of components for sound generation and sound shaping e Oscillators Ring Modulator Noise Generator External Audio Signal Mixer Filters Amplifier Effects These modules represent the audio signal flow Sound generation actually occurs within the Oscillators They produce square sawtooth triangular sine and alternative waveforms The Mixer follows the Oscillators in the signal chain which is where the Oscillators output signals are mixed Noise or signals received through the audio inputs can also be added to the mix The Filter then shapes the sound by amplifying boosting o
132. he 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 The available sources are e Noise selects the Noise Generator as input for the respective filter Amplitude Magnitude Time Frequency Hz 1 10 100 1000 10000 Picture 21 Noise e ExtLeft selects the Left input signal as input for the respective filter e ExtRight selects the right input signal as input for the respective filter e ExtL R feeds the summed signal of the left and right input into the respective filter 83 Waldorf Q User s Manual 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 The following picture of the Q s front panel shows the Routing section Osc I Ring Mod Osc 2 Osc 3 Noise Ext Picture 22 Routing Section Q Keyboard The Q offers two independent filters and panning units In fact the panning units are part of the filters in the Q The routing control makes it possible to blend the signal flow continuously from a parallel to a s
133. he repetition interval Some arpeggiators also feature preset or programmable rhythm patterns Attack An envelope parameter Attack is a term that describes the ascent rate of an envelope from its starting point to the point where it reaches its highest value The Attack phase is initiated immediately after a trigger signal is received i e after you play a note on the keyboard Band Pass Filter A band pass filter allows only those frequencies around the cutoff frequency to pass Frequencies both below and above the cutoff point are damped 161 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 Clipping Clipping is a sort of distortion that occurs when a signal exceeds its maximum value The curve of a clipped signal is dependent of the system where the clipping takes place In the analog domain clipping works like limiting the signal to its maximum level In the digital domain clipping is similar to a numerical overflow and so the polarity of the signal s part above the maximum level is negated Control Change Controllers MIDI messages enable you to manipulate the response of a sound generator to a significant degree This message essentially consists of two components The Controller number which defines the element to be influenced It can be between
134. held all steps in all banks are changed relatively The row of LED to the right of the eight controls shows which parameter is currently edited Sequencer Edit Menu The following parameters can be accessed via the display menu Press the Sequencer section s Edit button to activate the display menu 51 Waldorf Q User s Manual Step Sequencer Sequencer Edit Menu Pattern 221 zchurrgenshamrao 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 Fulti 2e3 in Multi Edit In this mode you can select the sequencer pattern only in the Multi Menu Beside this please read Pattern in the chapter Multimode on page 44 The internal storage of the Q can hold up to 100 patterns ption Line Parm Hotel en Option Line Parameter Here you can select the parameter being activated in the Option function with the Control Select Button All values of this parameter are adjusted with the encoders of the Sequencer Section The following parameters are available for Option Line Parameter CtrVal1 Control Value 1 and CtrVal2 Control Value 2 Control Value 1 and 2 are Standard Modulation Sources which destinations have to been define
135. horus high frequency output can be dampened with the Cutoff parameter MH A Mix setting of 48 to 96 produces the strongest effect because both the unaffected signal and the processed signal are mixed together Speed 0 127 Sets the LFO speed of the Chorus effect Depth 0 127 Sets the modulation depth of the Chorus effect Delay 0 127 Delas ped Sets the initial delay that is added to the Chorus delay line Flanger The Flanger effect is very similar to the Chorus effect but features a feedback circuitry to feed the generated signal back into the comb filter This generates a deeper detuning and colorizes the signal With extreme settings you can hear a whistling sound which is very characteristic for a Flanger effect H A Mix setting of 48 to 96 produces the strongest effect because both the unaffected signal and the processed signal are mixed together 99 Waldorf Q User s Manual Sound Parameters Effects Speed 0 127 Sets the LFO speed of the Flanger effect Depth 0 127 Sets the modulation depth of the Flanger effect Feedback IPolarites ped Ipazitius 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 This generates an effect with equally spaced fre
136. ic Blue colored with silver Waldorf logo and writing one mouth port Euro 6 00 Waldorf T Shirt Coffee s ready black with stylish printing available sizes M L XL XXL Euro 13 00 Gekko Arpeggio Gekko Chord The reptile with arpeggio or chord memorizer function One button one LED MIDI In O ut no external power supply necessary Euro 76 00 Euro 51 00 All prices excluding shippment O rder via Email Fax or phone info waldorf music com Phone 49 0 26 42 90 20 8 0 Fax 77 Zeitlos Il The latest ambient amp electronic music CD from Waldorf Records Previously unreleased tracks from Pete Namlook DaDamn aka Hardfloor Pascal F E O S etc Euro 15 00 Zeitlos Timeless ambient and cill out productions from artists like Oliver Lieb Pete Namlook Astral Projection Gabriel Le Mar etc All tracks are previously unre leased Euro 15 00 Subout Still available Independant Electronic Music from famous artists O omph De Vision Front 242 Wolfsheim Frontline Assembly Ernst Horn Deine Lakaien etc Previously unreleased tracks Euro 10 00 OW aldorf M usic AG 2003 AII rights reserved Printed in Germany y Waldorf Music AG Schlo Ahrenthal D 53489 Sinzig German Phone 49 0 26 42 90 20 8 0 Fax 49 0 26 42 90 20 8 77 http www waldorf music com info waldorf music com m 4 Q gost ol as jemand C Q prm jn
137. ic setting is useful for very big string and lead sounds When you play different notes on the keyboard you might notice that bass notes sound more detuned than higher notes To avoid this behaviour set Keytrack of the used LFO to a positive setting between 50 and 100 To create a Bass sound use a decaying Envelope as PWM Source with negative PWM and a Pulsewidth of around 80 127 This results in a fat attack phase especially when only one oscillator is used for the Bass When you want to create a sound with a wave sweep you should roughly set the startpoint Pulsewidth onto the desired wave before you apply any modulation This helps you to find the basic waveform where all modulations start from Note that you can apply unipolar and bipolar modulation sources For example set Pulsewidth to 64 which is almost the middle of the wavetable and apply a slow running LFO to PWM Source to sweep through the whole wavetable 75 Waldorf Q User s Manual Sound Parameters Oscillators Alt1 and AIt2 waveforms At this point we offer a few more hints and tips about the Alternate Waveforms As stated above the Shapes A t7 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 To make sure that you have access to the power of the wavetable synthesis you should make yourself familiar with the sound and
138. ifferences 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 You will find a glossary at the end of the manual it explains the various terms used We also used a uniform set of symbols to show you topics of particular interest or significance Important terms are highlighted in bold letters Symbols AN Caution The comments that follow this symbol will help you avoid errors and malfunctions gt Instruction Follow these guidelines to execute a desired function H Info Additional information on a given topic Vo zs Example Real world examples to try out Highlighted Control Features and Parameters All of the Q s buttons controls and parameters are highlighted in bold letters throughout the manual Example e Press the Play button Also each section and the main control elements have position numbers which refer to the pictures at the beginning of this manual The connectors on the rear panel are referred by position numbers We suggest you make a copy of these pages to have it at hand when needed The Q s different modes and parameter pages are illustrated in a depiction of the display Inztil Sau Hen zeitlos The value range of a continuous parameter is indicated from low to high with both values shown in italic letters separated by three dots Example Semi 12 12 11 Waldorf Q User s Manu
139. ill be delayed 133 Waldorf Q User s Manual 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 In general Drum Maps are stored in Bank D of the Q s internal or Bank E of the Q s card memory After you ve selected a Drum Map you can edit its parameters in the Sound menu Drum Map Sound Menu Selecting a Drum Map entry for editing is done by just playing a key on the keyboard The upper left corner of the display shows the Drum Sound you are currently editing like this 21 une Kick T r nr ie CASS With the Page Dial you can select the various pages for the selected Drum Sound When you turn the Page Dial further than the last page the Q automatically jumps to the next Drum Sound s first page and vice versa k WARF A Sound Bank and Number A C 001 100 Each Drum Map entry points to one Sound in memory The display shows the Sound name in the upper row and the Sound bank and number in the lower row as follows ES To select a Sound for an Instrument e Usethe left display dial
140. ill be supported at the same time 2 front speakers 2 rear speakers and one center channel speaker build up the normal 5 tone channels 5 x where the loudspeakers surround the listener in a circle The sixth channel supports the so called LFE channel Low Frequency Effects which is almost always connected to a subwoofer x 1 To use the full performance of the surround delays please connect the Q s audio outputs to your mixing unit or to a special surround amplifier as follows Ux Output setup of the Q when using the surround delays e Main Out L R outputs the signal for the front speaker L R e Sub Out 1 L R outputs the signal for the rear speaker L R e Sub Out 2 L outputs the signal for the center speaker e Sub Out 2 R outputs the LFE signal for the subwoofer 5 1 Delay This delay type produces different echoes of the input signal and sends them to the corresponding audio outputs of the Q refer to the text above Delay 1 4ms 1 48s Sets the length of the SurroundDelay in milliseconds Feedback 0 100 Controls the amount of signal that is routed back into the Delay line Lower values therefore produce fewer echoes than higher values 107 Waldorf Q User s Manual Sound Parameters Effects LFELP 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
141. ion source Amount 64 63 Determines the amount of modulation applied to the destination Since the modulation is in fact a multiplication of the source signal and this parameter the resulting amplitude depends on the type of modulation source you select e For the so called unipolar modulation sources the resulting amplitude lies within the range of 0 1 if Amount is positive or O 1 if Amount is negative These sources are all envelopes all MIDI controllers including Modwheel Foot control etc Velocity Release Velocity Aftertouch Pressure and Polyphonic Pressure e For the so called bipolar modulation sources the resulting amplitude lies within the range of 1 0 1 These sources are all LFO Keytrack Pitchbend and the Modifiers Destination see Tables Fast Modulation Matrix Destinations and Standard Modulation Matrix Destinations Defines the modulation destination 131 Waldorf Q User s Manual 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 M
142. is a pulse wave with a very narrow pulse width in the above picture labelled with lt 1 An infinitely thin pulse creates a spectrum that has all harmonics with equal magnitudes In a digital synthesizer infinitely for sure means one sample The pulse wave is an artificial wave which means that it doesn t occur in nature It was built into synthesizers because it could create a lot of different timbres with a minimum of technical effort However certain pulse widths sound very close to the timbres of acoustic or semi acoustic instruments i e a guitar or bass guitar an e piano or even a flute The most powerful feature of the pulse wave is to change its pulse width during a sound This is called pulse width modulation When the pulse width is changed the waveform starts to sound thicker This happens because the effect is very similar to what you would get when you have two oscillators running with slightly different frequencies They interfere and create irregular holes in the resulting waveforms 69 Waldorf Q User s Manual 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 The following picture shows the
143. itive settings the oscillator pitch rises on notes above the reference note for negative settings the oscillator pitch falls up to higher notes and vice versa A setting of 700 corresponds to a 1 1 scale e g when an octave is played on the keyboard the pitch changes for the same amount Other settings than 100 make sense especially when using ring modulation FM or oscillator synchronization Try to use values in the range 0 75 or even negative settings for one oscillator while leaving the second at 100 Keytrack BendRg 24 24 Determines the intensity of the pitchbend via MIDI Pitchbend messages in semitones Suboscillator The parameters for the Suboscillator settings are only available when Alt1 or Alt2 are chosen as Waveform Therefore Oscillator 3 cannot create a Suboscillator SubVol determines the volume of the Suboscillator creating a Square Waveform A setting of 0 corresponds to no volume Please note that the loudness of the Suboscillator also depends on the volume of the main oscillator Frq divide determines the relative proportion of Sub and Main oscillator frequencies Higher values represent a lower tuning MH When Alt Waveforms are selected for the first two oscillators and the Suboscillators are activated the Q can create up to 5 oscillators per voice Tune Mode Tune Morde global The Tune Mode determines if the sound uses the normal global tuning or the HMT tuning For more information about HMT r
144. ix all chapters all chapters Global Parameters Global Menu Sysex Device ID Clock HMT function Controller Send Input Gain Mix In parameter MIDI Control Channel Based MIDI Program Change Messages Messages Poly Pressure Messages Sostenuto Pedal Messages Footswitches Pedals Influencing and Editing all chapters Sounds over MIDI Updating the System Software Table 1 Suggested chapters for advanced users 13 Waldorf Q User s Manual 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 Section Chapter Sub Chapter Introduction General Safety Guidelines Setup and Connection External Input E Panic Function Multi Mode Instrument Parameters Selecting an Instrument for editing Instrument settings Step Sequencer all chapters Sound Parameters The Tempo Clock Modulation Speed Levels Xphorm Oscillators FM and FM Source Wavetable Oscillators Mixer Balance Noise Ext Balance N E Select F1 F2 Feed i Sa Filter Selecting and Editing Filters FM and FM Source Pan PanMod and PanMod Source Arpeggiato
145. l Hi gt 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 e Ifas 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 e f reversed is selected the notes are sorted vice versa to the order in which you played them If you e g press E1 G1 and C1 the note list is sorted to C1 G1 and E1 e If Num Lo gt Hi is selected the notes are sorted from the lowest note to the highest note If you e g press E1 G1 and C1 the note list is sorted to C1 E1 and G1 e Num Hi Lo is the opposite of Num Lo gt Hi The example would be sorted as G1 E1 and C1 e If Vel Lo gt Hi is selected the notes are sorted from the softest to the loudest velocity If you e g pressed notes with velocities 64 120 and 96 the note list is sorted to 64 96 and 120 e Vel Hi gt Lo is the opposite of Vel Lo gt Hi The example would be sorted as 120 96 and 64 Vel Mode Each Note First Note Last Note Determines how velocity is interpreted in the arpeggio Note that each arpeggio step might have an additional positive or negative offset set by the Arp Accent parameter e If Each Note is selected each note of the arpeggio is played back with the velocity that you originally played e If First Note is selected the first note you played sets the velocity
146. l appear in the note list accordingly A You can stop the playback of the Arpeggiator by performing the Panic function by setting Mode to Off On or One Shot or by sending an All Notes Off message from your sequencer Additional Controls on the Q Keyboard Length 1 192 1 1 legato Sets the length of the generated arpeggio notes When Length is set to a value between 1 192 and 1 1 the Arp Steplen parameter may change the actual length of each step relatively However when Length is set to legato all arpeggio notes are played without pauses between each step and Arp Steplen therefore has no effect Range 1 Oct 10 Oct Determines the range of the single notes in octaves When it is set to 7 Oct the note list will be played back in the same octave as it was originally hit Greater values mean that the note list is repeated in higher or lower octaves The octave in which the arpeggio starts is determined by the Direction parameter If you play notes that span over more than one octave they are still kept in the note list and played back before the note list is transposed The following table shows some possible arpeggios all set to Sort Order as played Note input Range Direction ing Arpeggio C1 E1 G1 C1 E1 G1 C1 E1 G1 C1 E1 G1 C1 EI G11 C2 E2G21C1 1G11C2 C1 G1 E2 CIGIEE2INC2IGZESTOSIOS ELEC C1 E1 G1 Down G3 E3 C3 G2 E2 C2 G1 E1 C1 G3 C1 E1 G1 G2 E2 C2 GT E1 C1 E1 G1 C2 E2 Table 11 Arpeggio results dependin
147. l defined in the Global menu or if in Multi Mode on the MIDI channel selected for the corresponding Instrument Please read the sections Controller Send and Controller Recv on page 137 for further information The appendix on page 165 of this manual contains a table listing the controller numbers and the sound parameters they are assigned to Changing Sound Parameters with System Exclusive Data All Sound parameters of the Q can be controlled by system exclusive data Please read the sections Controller Send and Controller Recv on page 137 for further information 151 Waldorf Q User s Manual 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 Using a sequencer or a special sound editor program you can record and archive this data ES To activate the dump function 1 Press Shift Utility The display shows a page where you can select the dump type 2 Use the page dial to select the desired dump function If Sound is selected the current Sound program will be sent When used in Multimode the So
148. l that fall into the pass band Level Frequency Cutoff Picture 23 Low Pass Filter principle To give you an idea of the extent of damping consider this example of a low pass filter A reduction of 24dB reduces the original level one octave above the cutoff point by approx 94 The damping factor two octaves above the cutoff point reduces the original level by more than 99 which in most cases means this portion of the signal is no longer audible The Q s filter also features a resonance parameter Resonance in the context of a low band or high pass filter means that a narrow frequency band around the cutoff point is emphasized The following picture shows the effect of the resonance parameter on the filter s frequency curve Level Resonance Frequency Cutoff Picture 24 Low Pass Filter Resonance 85 Waldorf Q User s Manual 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 The following picture of the Q s front panel shows the Filter section Type Cutoff Mod FM Sou Keytrack PanMod 2 EO OL M Cutoff Resonance Env Velo Pan Filter Select Picture 25 Filter Section Q Keyboard Selecting and Editing Filters Before you make any edits to the filters you must select whether to edit Filter 1 Filter 2 or both This is done by pressing th
149. lation depth of the Chorus effect Delay 0 127 Controls the initial delay that is added to the Chorus delay line sie X Five FX is perfect for processing external audio signals So start to experiment with Voice Speech and Drumloops Reverb The Reverb effect is probably the most widely used effect in music production It is used to add a realistic ambience to clean and dry audio recorded in a studio Very complicated mathematical algorithms are needed to simulate the complexity of a natural reverb As a result good reverb processors are very expensive The Q s reverb effects don t intend to simulate the perfect natural room rather they are an addition to the Q s sound synthesis to make it more 3 dimensional and expressive HighPass 0 127 Determines the frequency where the lower frequency parts are divided from the effect signal This parameter works in the same way as the highpass filter in the Q s sound synthesis A natural reverb doesn t produce all frequencies equally so the highpass cuts the lower frequencies to produce a more realistic reverb effect Lowpass Q 127 Determines the frequency where the higher frequency parts are divided from the effect signal This parameter works in the same way as the lowpass filter in the Q s sound synthesis A natural reverb Waldorf Q User s Manual 104 Sound Parameters Effects doesn t produce all frequencies equally so the lowpass cuts the higher frequencies to p
150. lowing table gives you these settings Waldorf Q User s Manual 94 Sound Parameters Filter Types 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 US 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 174 to 127 3 Turn up Keytrack to 100 to have Filter Cutoff change with well tempered scaling 4 Set Cutoff to 23 35 47 or 59to have it oscillating in the same pitch as the oscillators are usually tuned Please note that Comb oscillates one octave higher than Comb 5 Feed the Comb filter with a signal of any kind The incoming signal s pitch isn t important for the resulting tuning but both pitch and timbre of the input signal affect the timbre of the Comb filter output sound greatly Try to experiment with all kinds of input signals i e different oscillator settings noise combinations of both and the like Also try to set up envelopes to control the levels of the input signal i e use a short percussive signal that only triggers the comb filter shortly The filter then oscillates to produce the final tone 12dB 24dB Analog LP Q only These are the analog filters types As soon as one of these is selected the sound will have a pol
151. ls for the purpose of generating sound Any other use is prohibited and voids the warranty extended by Waldorf Music AG Waldorf M usic AG is not liable for damages due to incorrect use AN Don t let your Q beside children or animals This could leads into critical interactions Waldorf Q User s Manual 16 Setup and Connection Inventory Setup and Connection Inventory Setup The Waldorf Q comes complete with e the Q Q or the Q Rack e power supply cable e 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 A Make sure you fill out the warranty card and send it to the appropriate distributor or the address printed on the card This is the only way we can keep you informed of updates and upgrades Other available services are listed on the warranty card Place the Q ona clean even surface If you choose to take the device on the road we suggest transporting it in a special keyboard or rack case which should be available from your dealer We recommended the installation in a stable 19 rack for the Q Rack version Connections In order to get started with your Q you will need an AC power outlet a mixing console an amp and an audio monitor such as a speaker cabinet The Q Rack also needs to connect with a MIDI master keyboard You can also use a computer or sequencer to make use of t
152. ly use a negative envelope amount that gives a slow and dark attack before the cutoff rises in the sustain phase Velo 64 63 Determines the amount of influence the filter envelope has on the cutoff frequency based on key velocity This parameter works similarly to the Env parameter with the difference that its strength is velocity based Use this feature to give a more expressive character to the sound When you hit the keys smoothly only few modulation is applied When you hit them harder the modulation amount also gets stronger The following picture illustrates the functionality of this parameter Envelope Depth T0095 ces nenn RR Ra uds LE LIE Key Velocity 127 Key Velocity 1 Key Velocity 1 Key Velocity 2 127 SOG Tea Key Velocity 1 127 0 DB 0 9p claus Het ena eed EE E E 10 keene eras 310095 echte AAE EIN ee Time Time Time Env Parameter 32 Env Parameter 32 Env Parameter 32 Velocity Parameter 0 Velocity Parameter 32 Velocity Parameter 64 Picture 26 Envelope depth influence of different Velo parameter settings MH The overall modulation applied to the filter s cutoff frequency is calculated as the sum of both parameters Env and Velo Therefore you should always bear in mind what the result is especially when the filter does not behave as you expect You can also create interesting effects by setting one parameter to a positive amount and the other to a negative Pan le
153. ments will be added to the other Instruments as long as you hold the Instrument button you ve pressed first The respective Instrument LED light up half as bright to indicate that these Instruments are added 4 Release the Instrument button you ve pressed first 5 The LED of the Instrument you ve selected first will light fully to indicate that this is the editable Instrument All other selected Instrument LED are dimmed Replacing Sounds in Layers If you are not happy with one Sound of your Sound Layer you can replace it at any time with a different Sound US To replace 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 Select a Sound for this Instrument Waldorf Q User s Manual 30 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 ES 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 Deactivating Sound Layers US To deactivate a Sound Layer e Press all Instrument buttons Inst 1 Inst 4 that make up the Sound Layer or e Press an Instrument button Inst 1 Inst
154. meters can be accessed via the display menu Press the LFO section s Edit button to activate the display menu Keytrack 200 196 Determines how much the speed of the LFO depends on the MIDI note number The reference note for Keytrack is E3 note number 64 For positive settings the LFO speeds up on notes above the reference note for negative settings the LFO slows down when higher notes are played and vice versa A setting of 100 corresponds to a 1 1 scale e g when an octave up is played on the keyboard the LFO speed is doubled 129 Waldorf Q User s Manual Sound Parameters Low Frequency Oscillators LFO Fade out 64 in 63 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 H 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 H Please read the section The Tempo on page 56 for further information Phase free 000 357 Controls the initial phase of the LFO when a new note is started Free means that the LFO isn t restarted on a new note but runs freely while other values set the LFO phase to the respective offset in degrees Waldorf Q User s Manual 130 Sound Parameters Modulation Ma
155. might also want to listen only to one bank to find mistakes ES To limit the audible range to one bank e Hold Shift and press one of the Step 1 8 Step 25 32 buttons The Bank Select LED flashes rapidly to indicate that you listen only to this particular bank of steps To deactivate this feature perform the above action again MH Limiting the audible range to one bank is only a temporary function It isn t meant to set the length of the sequence pattern To change the length of the sequence pattern use the Pattern Length function Changing Modulation Signal Values for Selected Steps One of the most powerful features of a step sequencer is the ability to send out modulation signals for each step like Cutoff or Velocity This and more can be done with the rotary controls above the number buttons You can change Cutoff and Velocity for all selected steps at once The changes are relative meaning that if you decrease the value of one step by 10 the values of the other selected steps are also decreased by 10 Further Controllers can be adjusted by using the Control Value Parameter you can choose in the Option menu please read additionally the chapter Option Line Parameter If you turn a control of a step that isn t selected the value of this step of the current bank is changed and the visible bank is locked as soon as you turn a control US To change the modulation signal values of selected steps 1 Select any number of steps
156. n be obtained from the German publisher WIZOO You can find further info about it and other books covering similar topics at http www wizoo com If you have experience with synthesizers Do you own a couple of synthesizers and have you edited some sounds to fit your needs Then make sure to read at least the following chapters Section Introduction General Safety Guidelines Setup and Connection Audio Connections Digital S PDIF Output Panic Function Multi Mode Instrument Parameters all chapters Step Sequencer all chapters mn Sound Parameters The Tempo Clock Modulation Speed Levels Xphorm Oscillators FM and FM Source Wavetable Oscillators Pulsewidth PWM and PWM Source PitchMod and PitchMod Source Sync Keytrack Waldorf Q User s Manual 12 Introduction What to read Sound Parameters Glide Mode Balance RingMod Noise Ext Balance N E Select F1 F2 Feed Dou Sl Selecting and Editing Filters CutoffMod and CutoffMod Source FM and FM Source Drive Env Velo Pan PanMod and PanMod Source Filter Types Notch Comb and Comb Amplifier Velo AmpMod and AmpMod Source Effects Introduction Mix FX Types all Chapters Arpeggiator Edit Menu all chapters Arpeggiator Edit Menu Step all chapters Data Envelopes Mode ADS1DS2R Envelope One Shot Envelope LoopS152 Envelope Loop All Envelope LFOs Sync Delay Keytrack Fade Clocked Phase Modulation Matrix all chapters Modifier Matr
157. n the Q through Cutoff while the amount of colorization is set by the Comb filter feedback which is controlled in the Q through Resonance Level Resonance Frequency Cutoff determines number of teeth Picture 31 Comb Filter Type Waldorf Q User s Manual 92 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 e Cutoff controls the delay length e 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 A Chorus in fact is made of one or several Comb filters so it is an easy task to set it up manually cS To set up the Comb filter to produce a Chorus 1 Select the Comb filter type for the desired filter 2 Set Cutoff to a medium value 3 Set Resonance Drive Keytrack and any other modulation to 0 4 Select an LFO as Cutoff Mod Source 5 Set Cutoff Mod to a medium positive or negative amount 6 Adjust the LFO to generate a slow triangle oscillation 7 Finetune Cutoff Cutoff Mod and LFO Speed until you get the desired Chorus effect You can also use both filters to create a Chorus and pan them to different stereo positions You can also pan the original i e low pass filtered signal to one stereo side and route 50 i
158. nd additionally ring and frequency modulating the signal Please note that additional Suboscillators are available when using Alt1 and Alt2 see chapter Suboscillator on page 78 Sync Osc2 Sync off on Enables or disables oscillator synchronization When enabled Oscillator 2 acts as a slave that is controlled by Oscillator 3 the master Each time Oscillator 3 starts a new cycle it sends a trigger signal to Oscillator 2 forcing it to restart its waveform cycle too As a result interesting sound effects may be generated especially when both oscillators are operating at different pitch settings Using additional pitch modulation by envelopes LFO or pitchbend will bring further movement into sync sounds The following picture illustrates the principle of oscillator synchronization in a simplified way Waldorf Q User s Manual 76 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 Additional Controls on the Q Keyboard PitchMod 64 63 Sets the amount of pitch modulation for all oscillators Positi
159. nd the Digital Out jacks e Sub Out means that the selected Instrument plays over the Sub Out 1 jacks e Sub Out2 means that the selected Instrument plays over the Sub Out 2 jacks e FXI FX4 only available on Instruments 5 16 means that the selected Instrument is routed to the respective effect bus of Instrument 1 4 and therefore also plays back over the same physical output e aux means that the selected instrument is routed to the internal audio bus So you can use this Instrument to feed the vocoder or the 5FX For more information refer to the chapter Effects on page 104 and 110 H The Instruments 1 4 define the effects that are used in the selected Multi All other Instruments are played back without effects unless you route them to one of the effect busses FX1 FX4 If you do so these particular Instruments automatically use the same physical outputs that are set up in the respective Instrument 1 4 H If you have choose aux for an instrument you don t hear its audio signal on the physical outputs Rx Status Off Midi only Q Keyboard Local Loc Midi Status sets the send and receive status of the selected Instrument This means whether the Instrument can be played over the internal keyboard by MIDI or both e offmeans that the selected Instrument is disabled e Local means that the selected Instrument can only be played by the internal keyboard only Q Keyboard e Midi means that the selected I
160. nic toms kicks zaps etc Keytrack 200 197 Determines how much the cutoff frequency depends on the MIDI note number The reference note for Keytrack is E3 note number 64 For positive settings the cutoff frequency rises on notes above the reference note for negative settings the cutoff frequency falls up to higher notes and vice versa A setting of 700 corresponds to a 1 1 scale so e g when an octave is played on the keyboard the cutoff frequency changes for the same amount If you want to play the filter in a tempered scale e g for a solo sound with self oscillation set the value to 70096 On most bass sounds lower settings in the range 50 75 are optimal to keep the sound smooth at higher notes Type see chapter Filter Types on page 90 Selects the filter type Further information on the different filter types is given at the end of this chapter on page 90 Env 64 63 Determines the amount of influence the filter envelope has on the cutoff frequency For positive settings the filter cutoff frequency is increased by the modulation of the envelope for negative settings the cutoff frequency is decreased Use this parameter to change the timbre of the sound over 87 Waldorf Q User s Manual 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 usual
161. nstrument can only be played by MIDI e Loc Midi means that the selected Instrument can be played by the internal keyboard and by MIDI only Q Keyboard MH If all Instruments were set to off or Midi the Q Keyboard wouldn t send out any MIDI note messages from the internal keyboard To prevent this the Q automatically sends out MIDI note messages on the Global channel H Reasonably the Status Parameter of the Q Rack doesn t include Local and Loc Midi as it doesn t have a keyboard 41 Waldorf Q User s Manual Multi Mode Instrument settings Tx Status Off Direct Sequencer Seq Arp This parameter determines the data being transmitted via the Midi Out Port e With the setting off no Midi data will be transmitted e Direct will send all keyboard and controller data directly to the Midi Out e The setting Sequencer will transmit all data after passing through the step sequencer e The setting Seq Arp will transmit all data after passing through the step sequencer and the arpeggiator Fitzchhbnd Moduhesl 1 Enable Enable Pitchbend Pitchbnd Enable Disable Determines whether the chosen instrument transmits and receives pitchbend data Enable or not Disable Modwheel Enable Disable Determines whether the chosen instrument transmits and receives modwheel data Enable or not Disable Aftertcoh I Sustain 1 Enable Enable Aftertouch Aftertch Enable Disable Determines whether the chosen
162. nt panel shows the Envelopes section Attack Decay Sustain Release Attack Decay Sustain Release Time 1 Level 1 Time 2 Level 2 Time 3 Sustain Release Rel Level Picture 38 Envelope Section Before you make any edits to the envelopes you must select whether to edit the Filter and the Amplifier Envelope or Envelope 3 and 4 This is done by pressing the Select button on the right hand of the Envelopes section The two LED above the button indicate which envelopes are selected for editing If Filter Amp is selected you can edit the Filter Envelope and the Amplifier Envelope The four leftmost dials are assigned to the Filter Envelope the four rightmost dials are assigned to the Amplifier Envelope If Env3 4 is selected you can edit Envelope 3 and Envelope 4 The four leftmost dials are assigned to Envelope 3 the four rightmost dials are assigned to Envelope 4 Envelope Panel Controls Mode ADSR ADSIDS2R One Shot Loop S152 Loop All Switches between the various envelope types The following chapters explain the types in detail Waldorf Q User s M anual 122 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 e Key released gt 100 BP nnd
163. nto Filter 2 producing a Chorus effect that is panned to the other stereo side You might ask why you should use a Comb filter type to produce the Chorus instead of using the FX section of the Q Here are some reasons e The FX sections are still free for other purposes Also in Multi Mode the Comb filter works no matter on which Instrument you use it e The Comb filter works per voice rather than per Instrument This means that each voice has its own Chorus and therefore could generate a different Chorus effect You can easily 93 Waldorf Q User s Manual 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 e 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 ES To set up the Comb filter to produce a Flanger 1 Adjust the filter as described in the Chorus paragraph above 2 Turn up Resonance to create the typical Flanger sound 3 Eventually lower LFO Speed to create slow Flanger sweeps 4 Select either Comb or Comb to change the character of the Flanger Set up Cutoff Mod Source to Modwheel to change the Flanger effect manually Use the Filter Envelope with positive or negative amount to cr
164. nuous glide is performed only when notes are played legato Staccato played notes start on the exact pitch of their note e Glissando makes the normal Glissando effect in the same manner by changing the pitch in semitones e Fingered Gliss is similar to Glissando but generates a pitchchange only when notes are played coherent legato Glide Active off on Enables or disables the Glide effect 79 Waldorf Q User s Manual 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 The following picture of the Q s front panel shows the Mixer section Picture 18 Mixer Section Q Keyboard Mixer Panel Controls The most commonly used controls of the Mixer can be found on the front panel Selecting an Oscillator for the Mixer Level on the Q Rack Press one or more Oscillator Select buttons in the O scillator Section to select one or more Oscillators on the Q Rack for adjusting the M ixerlevel Balance Level 0 127 Volume of the selected O scillator s Balance F1 64 mid F2 63 Determines the ratio of the selected O scillator s signal that is sent to the inputs of Filter 1 and Filter 2 see routing picture If setto 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 th
165. o the ring and the ground You can use an adapter that routes a stereo 1 4 inch phono plug to two mono 1 4 inch phono jacks Control Pedal CV Inputs only Q Keyboard The Q features two inputs for control pedals or control voltages If a control pedal is used a potentiometer of 47KOhms or higher is recommended This covers almost any type of control pedal on the market It doesn t matter in which direction the control pedal works this can be adjusted in the Global menu later If CV is used make sure to match these specifications e Tip CV in internally connected to 5V by a 4K7 Resistor e Ring internally connected to 5V by a 4K7 Resistor e Input Voltage Range 0 to 5V It doesn t matter if the incoming CV is linear or logarithmic this can be adjusted in the Global menu as well as the initial offset and the overall gain Waldorf Q User s Manual 20 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 Pattern Memory Card Multi Bank X Sound Bank X Drum Map E 001 001 Picture 3 Memory Structure e 100 Multi programs Multi 001 100 Multi program stores information about how up to 16 Sound programs sound at once e 300 Sound programs Sound A001 C100 A Sound program stores in
166. ode e 16 Sound edit buffers Each buffer holds an edited Sound 31 Waldorf Q User s Manual Basic O peration Editing Parameters Pattern edit buffers This buffer hold the currently edited sequencer pattern H 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 A Note that all edit buffers are cleared when switching off the Q Use the Store function as soon as possible after finishing your edits Editing Panel Parameters Editing panel parameters is very easy and gives you instant access to the sound That s probably one of the reasons why you bought the Q The Q features a lot of buttons and controls on the front panel for direct editing The following picture of the Oscillator section shows a selection of most types LUZ Detune T Pulsewidth Pulsewidth Octave Detune Pitch Mod Sour Pulsewidth Active Glide Rate Pitch Mod Sou Picture 7 0 scillator Section Q Keyboard 13 To access a specific panel parameter l Locate the section that contains the desired parameter on the front panel For example if you want to change the waveform of O scillator 1 refer to the O scillators section 2 Ascan be seen
167. odified via the first value dial Then change its setting via the second value dial The card name can use up to 16 characters To confirm your changes press Shift Utility Waldorf Q User s Manual 148 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 In Multi Mode the Q can send and receive on all 16 MIDI Channels at once depending on the Instrument settings of the current Multi program When several Instruments are set to the same ranges it is possible to send up to 16 notes and aftertouch messages when one key is pressed However Pitchbend Modulation Wheel and Pedal messages are sent only once Please read the section Instrument Settings on page 42 for details Program Change Messages Q Sound and Multi programs can be selected by MIDI Program Change messages together with MIDI Bank Select messages As the Q contains 100 programs in each bank it recognizes the program numbers 1 100 on zero based MIDI senders this means 0 99 The Bank Select LSB message Controller 32 is used
168. of the selected Sound to not respond to keytrack 01 03 Keytrack 0 this parameter also has no effect on the pitch of the oscillators Volume 0 127 2 Uolume i2 es d Sets the maximum output volume of the selected Drum Map entry 135 Waldorf Q User s Manual 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 Press the Master section s Global button and select the respective pages with the Page Dial or by pressing the Global button again The menu parameters are changed with the corresponding knobs below the display Some parameters are only available for the Q Keyboard like pedal settings Global MIDI Channel Glb Chnl omni 1 16 Sets the basic send and receive channel for the Q This setting is valid for all Sound programs and for Instruments of a Multi program whose Channel parameter is set to global If omni is selected the Q sends on channel 1 and receives on all channels Please take special care when working in Multi Mode In Multi Mode the Q sends note data and controller information on the channels set in the Instrument Channel parameter when the Instrument Tx Status
169. only parameter that is common to all types of effects is the Mix parameter This parameter controls the volume ratio between the original signal and the effect output If set to 0 the dry signal is sent to the outputs only so that no effects can be heard Higher values will increase the effect signal At maximum setting the pure effect signal will be heard FX1 and FX2 Edit Menus Most parameters related to the Effects section are located in the display menu Press the Edit button of the desired effect unit to access these parameters Mix only Q Rack See Additional Controls on the Q Keyboard FX1 2 Type Bypass Chorus Flanger Phaser Delay Overdrive Five FX Vocoder Reverb Tap Delay 5 1 Delay 5 1 D CIk Sets the type of effect produced by the selected effect unit All further parameters depend on the selected effect type Waldorf Q User s M anual 98 Sound Parameters Effects FRI Tare Eurazz FRE Tore Delas H 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 The detuning is generated by an internal LFO that can be controlled in speed and depth The C
170. ould only consist of a simple unfiltered noise that you generate with the Q s noise generator For a spoken or sung voice you should add a sawtooth oscillator where the pitch determines the frequency of the speech To get a natural sounding spoken voice you should modulate the pitch of this oscillator with a slow sine LFO to simulate the emphasis Hint for working with the Vocoder Uu Building a Vocoder setup 1 Connect the audio input of the Q with a 1 4 inch mono or stereo plug In practice a Y cable is perfect for a stereo or dual mono signal input for the vocoder Please be sure to use a line signal If you want to use a microphone be sure to use a pre amplifier to generate a line signal 2 With the Input Gain parameter in the Global menu you can increase the sensitivity Please refer to the chapter Global Parameters on page 143 for more details 3 Select a sound program We recommend the use of sustained pad or string sound 4 Select the Vocoder as effect type for FX slot 1 or 2 Initialize the vocoder effect by holding down the Shift button and pressing the corresponding FX Edit button Waldorf Q User s Manual 110 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
171. outputs Sub Out 1 and Sub Out 2 too 3 Connect the power supply cable that came with the Q with the Power Supply jack 4 Plug the other side of the power supply cable into a suitable AC power outlet 5 TheQ should power up itself If not switch on the Q with the Power button 2 Waldorf Q User s M anual 18 A 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 Q with the MIDI Out jack of the keyboard Instead of this you can also connect the Q Rack to a MIDI computer system If you want to use a computer with a sequencer software connect your computers MIDI Out jack to the Q s MIDI In jack Q and the computers MIDI In jack to the Q s MIDI Out jack To check the correct reception of MIDI Data send any MIDI Events to the Q the Peek LED lights up on any incoming MIDI Message If this is not the case please check the MIDI connection to the Q Audio Connections The Q provides three analog stereo audio outputs that can be used individually All outputs are affected by the setting of the System Volume 1 control If you choose to send only one mono or stereo signal to your mixer use the Main Out jacks You can connect each output stereophonically or monophonically as follows p To connect an output stereophonically with two mono cables
172. parameters currently shown Five buttons labelled Global Utility Multi Undo Matrix Compare Xphorm Recall and Sound Store These buttons are used to call special parameter edit pages and to perform several utility functions A button labelled Shift that is used to activate alternative functions of knobs and buttons labelled in light blue color A button labelled Play OK Pressing this button will bring back the Q to Play mode where sounds can be selected A button labelled Multimode It is used to activate or deactivate the M ultimode A button labelled Peek Pressing this button allows you to check parameter values without changing them The Peek button also lights up on any incoming MIDI message Selecting Programs The Q offers four types of programs Multis Sounds Drum Maps and Patterns To switch between them you can either use the Page Dial 6 or the Number Buttons 7 Which type of program is changed depends on if the Q isin Single or Multi Mode Single Mode The Single Mode of the Q consists of four Instruments that can be played one after the other or at once This offers a fast way to switch between different sounds in a live situation or to create layered sounds in a studio session without deeper programming We will come to that later For now you only need to know The buttons Inst 1 Inst 4 are used to switch between these Instruments Each Instrument holds a Sound that can be selected in various
173. pered tuning is equally important the key being that the changes need to be nearly inaudible As all tuning requirements cannot be satisfied simultaneously with one HMT setting different HMT Modes can be selected Furthermore degrees of effect between 0 and 100 can be selected Practical experience has proven that when playing with other tempered instruments a degree of 70 sounds quite pleasing The following diagram shows the frequency positions with different HMT Mode settings 7096 50 096 Different degrees of effect are shown with the c major chord The setting of 0 is equivalent to tempered tuning A The Q offers a global HMT function in its Global Menu on page 138 The HMT Function can be activated or deactivated for each sound in the corresponding Oscillator Edit menu on page 78 Waldorf Q User s Manual 156 Tips amp Tricks Other Functions Tips amp 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 You can do that in the Modulation Matrix by setting the source to Env3 or Env4 the destination to O1Level O2Level or O3Level and setting up a positive amount If this blip should be noisy use F
174. po for all instruments in the selected Multi program It affects all step sequencers all arpeggiators and all LFO that are set to clocked Please read the chapter The Tempo on page 56 for further information H The Multi Tempo parameter is controlled by the Tempo dial on the front panel so it doesn t need to have an entry in the Multi parameter pages Waldorf Q User s Manual 46 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 The Step Sequencer in the Q offers all the classic features while giving you new features like polyphonic steps storing of patterns and so on It seems a little anachronistic to build a very limited sequencer into a synthesizer where today s music productions mostly base on big arrangements made in powerful software sequencers But exactly these limitations force you to work with what is there and give you results you wouldn t ever program with software sequencers So don t see the Q s Step Sequencer as a replacement but an addition to your music setup D Start Stop Grab Control Pattern 9 6 sepira
175. quency peaks or holes The result is a strongly colorized signal with a spacey character MH A Mix setting of 48 to 96 produces the strongest effect because both the unaffected signal and the processed signal are mixed together Speed 0 127 Sets the LFO speed of the Phaser effect Depth 0 127 Sets the modulation depth of the Phaser effect Center 0 127 Controls the basic delay length of the allpass filters Lower settings produce a high pitched Phaser effect while higher settings enable the Phaser to also cover deep frequencies Waldorf Q User s Manual 100 Sound Parameters Effects Spacing D 127 Controls the frequency relation of the allpass filters A setting of O produces a classic phaser while higher settings spread the frequencies of the allpass filters 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 Delay A Delay is an effect that produces echoes of the input signal To make this effect musically useful in a synthesizer the parameters to adjust the delay length are scaled in note values when Clocked is activated The Delay effect features its own Tempo control but can also synced to the Global Tempo if you like The Delay effect is fully stereophonic meaning that a signal that is routed to the left stereo position is fed into the lef
176. r attenuating dampening certain frequencies The Amplifier and the Effects are located at the end of the signal chain They determine the overall volume of the signal and add some effects like chorus flanger delay reverb etc e LFO Envelopes Modifiers Modulation Matrix These modules are called Modulators The Modulators are designed to manipulate or modulate the sound generating components to add dynamics to sounds The Low frequency Oscillators LFO are designed for periodic or recurring modulations while 55 Waldorf Q User s Manual 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 Tempo 40 300 The Tempo control is one of the most important parameters in all operation modes of the Q It controls the tempo of the Step Sequencer the Arpeggiator some Effect types and the LFO where Clocked is activated In Multi Mode Tempo controls the overall tempo of the current Multi affecting all Sounds that are used in its Instruments These parameters are affected by Tempo e LFO 1 3 Speed when the respective Clocked parameter is activated e Effect type Delay when its Tempo parameter is set to Internal e The Arpeggiator e The Step Sequencer
177. r Edit Menu Step all chapters Data Envelopes Mode ADS1DS2R Envelope One Shot Envelope LoopS1S2 Envelope Loop All Envelope Sync Fade Clocked Phase Modulation Matrix Modifier Matrix all chapters Global Parameters Global Menu Global MIDI Channel Sysex ID Clock Controller Send Input Gain Mix In parameter Table 2 Suggested chapters for synthesizer cracks Waldorf Q User s Manual 14 Introduction General Safety Guidelines General Safety Guidelines A 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 Do not use the device in extremely dusty or dirty environments Make sure that adequate ventilation is available at all sides of the device Do not place the device near heat sources such as radiators Do not expose the device to direct sunlight Do not expose the device to extreme vibrations Power Supply The internal power supply of the Q has an automatic current switch It can be connected without any additional transformer to AC power outlets with currents from 100V to 240V AC If the available power outlet doesn t provide this current consult a qualified technician Never
178. re 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 e os_xx mid if it is newer than the one installed in your Q e boot xx mid if it is newer than the one installed in your Q e changelog txt load this one always because it explains the latest changes If you don t have Internet access please ask your local dealer for a disk copy If you ve downloaded both a newer OS and a newer BOOT file from the Internet please perform the steps below twice First send the OS file to the Q and if it was updated successfully send the BOOT file to it H The Q Keyboard and the Q Rack use the same operating system The Q doesn t use the same operating system as the Q Q Rack The Q Keyboard Rack also do not use the same operating system as the microQ microQ Keyboard To update the Q s system software 1 Load the respective Standard MIDI File into your sequencer Follow the instructions from your sequencer s manual 2 The MIDI file consists of one single track with several sysex messages in it Make sure that this track is assigned to the Q so that it can receive the data 3 Make sure that any Cycle or Loop mode is switched off Also make sure that any Metronome clicks and MIDI Clock are switched off 4 Start the sequencer to play the file and send the
179. released Afterwards the release phase is active This setting is only active as long as the Parameter Mode is set to Mono only Envelope 4 Otherwise the envelope behaves as being set to Normal 65 Waldorf Q User s Manual 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 He wasn t the first who came to that conclusion but he was the first in recreating them electronically and building them into a machine that could be used commercially What he implemented into his synthesizer were the still well known waveforms sawtooth square and triangle For sure this is only a minimal selection of the endless variety of waveforms but the Waldorf Q gives you exactly these waveforms at hand Plus other classic waveforms like pulse which is the father of the square waveform and the sine wave which is also part of each other waveform Now you probably know how these waveforms look and sound like but the following chapter gives you a small introduction into the deeper structure of these waveforms Let s start with
180. rent consumption Maximum power consumption Audio Outputs 3 x stereo Maximum level Dynamic range Frequency range Audio Inputs 1 x stereo Maximum level Dynamic range Frequency range Waldorf Q User s Manual AC 100 240V 1 2A 30W 10dBm 110dB OHz 24kHz 0dBm 86dB 5Hz 24kHz 158 Digital Out S PDIF RCA jack CV Inputs Switch Pedal 2 Switches Stereo Jack polarity programmable only Q Keyboard CV 1 0 5V 5V out at Ring Stereo Jack CV 2 0 5V 5V out at Ring Stereo Jack Dimensions and Weight Q Q Rack Width 987mm 483mm Height incl control rotaries 120mm 922mm Depth 350mm 220mm Total weight 8kg 3 1kg Parameter AE mono Aftertouch Multi A Hi Frq Vocoder FX A Lo Frq Vocoder FX AIt1 AIt2 Oscillator Amount ModMatrix M1F M8F M1S M8S Amp Mod Amplifier Amp Mod Source Amplifier Analysis Signal Voc Arp Accent Arp Arp Glide Arp Arp Mode Arp Arp Send Global Menu Arp Step Arp Arp Steplen Arp Arp Timing Arp Attack Envelope Attack Vocoder FX Balance Mixer Bands Vocoder FX Bandwidth Vocoder FX Bank Multi BendRg Oscillator BOOT Global Menu Btn 182 Multi Bypass FX Center Phaser FX Channel Multi Chor Dlay Five FX Clock Arpeggiator Clock Global Menu Clocked Delay FX Clocked LFO Cntr S V 5 1 Delay FX Contrast Global Menu Ct
181. requency range So you can i e process a full sounding String Pad to be emphasized on the Snare Drum or Hihat figure of a drum loop S Offset 64 63 Sets the relative offset of the lowest synthesis band compared to the lowest analysis band A setting of O means that the lowest synthesis band has the same frequency as the lowest analysisband 63 means that the lowest synthesis band has the same frequency as the highest analysis band Negative values mean that the lowest synthesis band is even below the analysis band Hi Offset 64 63 Sets the relative offset of the highest synthesis band compared to the highest analysis band When you set it to 64 it is tuned to the lowest analysis band All other synthesis bands are spread equally between these two bands XX When you set S Offset the low offset to 63 and Hi Offset to 64 the synthesis frequency bands are arranged vice versa compared to the analysis bands so you get a flipped Vocoder 111 Waldorf Q User s Manual 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 O results in an ideal Vocoder effect while you can remove resonance to make the vocoded signal less defined or add resonan
182. ress the Edit button of a desired section and scroll through the display menu via the page dial or by pressing the Edit button repeatedly The same procedure is also valid for all display menu parameters accessible via the Global Multi Matrix Xphorm or Sound buttons 4 Press the Peek button again The LED beside the button will go off indicating that peek mode has been terminated H If you don t check any parameters for a certain time the Peek mode will be terminated automatically Independent from the Peek function the Peek LED lights up on any incoming MIDI Message Comparing Edited Programs with Stored Programs The Compare function allows you to compare the currently edited program to its original stored version in the internal memory US To use the Compare function 1 Choose the program type to compare as follows e If you want to compare a Sound select the Play page or any of the Sound Edit menus e f you want to compare a Multi select the Multi page e If you want to compare a Sequencer Pattern select the Step Sequencer Edit menu e If you want to compare a Drum Map select the Drum Map Edit menu 2 Press Shift Compare 3 The display now shows a after the program number 35 Waldorf Q User s Manual Basic Operation Editing Parameters zounding ities You will hear the unedited version of your program when you play the Q Press the Shift Compare again The c in the display changes to e
183. rl W Z Global Menu Ctrl W Z Multi Ctr Send Recv Global Cutoff Delay FX Cutoff Filter Appendix Index Cutoff Overdrive FX Cutoff Mod Filter Damping Reverb FX Decay Envelope Decay Reverb FX Decay Vocoder FX Delay 5 1 Delay FX Delay 5 FX Delay Chorus FX Delay ML MR 5 1 FX Delay S1L R 5 1 FX Delay Tap Delay FX Depth 5 FX Depth Chorus FX Depth Flanger FX Depth Phaser FX Detune Multi Detune Oscillator Diffusion Reverb FX Direction Arpgeggiator Disp Time Global Menu Drive Filter Drive Overdrive FX Index Page Page Page Manua Parameter Mandal Parameter Manual 65 Engine Multi 43 Pan Filter 88 42 Env Filter 87 Pan Tap Delay FX 106 111 EQ HiBand Vocoder FX 112 Pan Mod Filter 89 111 EQ LoBnd Vocoder FX 112 Pan Mod Source Filter 89 74 EQ Middle Vocoder FX 112 Panning Multi 40 131 E Mid Leveli Vocoder 112 Pattern Arpeggiator 115 96 Fade LFO 130 Pattern Length Arp 118 96 Feedback 5 1 Delay FX 107 Pattern Length StepS 53 111 Feedback Delay FX 102 Pattern Reset Arp 118 118 Feedback Flanger FX 100 Pedal Global Menu 144 119 Feedback Phaser FX 101 Pitchbnd Multi 42 113 Feedback Tap Dly FX 106 Pitch Mod Oscillator 77 Feedback Ducking Tap Pitch Mod Source aar Delay FX 107 Oscillator uf 119 FM Filter 89 Polarity Delay FX 102
184. roduce a more realistic reverb effect 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 Lower settings connect the reverb more to the original signal while higher settings separate the effect signal to produce a more spatious sound Diffusion 0 127 Determines the consistency of different room materials Lower settings produce a cold strong reflection like a metal or tile wall Higher settings make a warm and thick reverb as if the signal were reflected by a uneven surface Settings above 100 change the room characteristic even further Size 3m 30m Determines the length of the longest room side in meters Lower settings simulate a normal room while higher settings simulate a big hall or church Shape 0 127 Changes the characteristic of the reverb In most effect units you can select different rooms and reverb types like plate or echo chamber The Shape parameter enables stepless changes of these reverb types Lower settings simulate a more natural reverb while higher settings simulate a plate reverb Dame irra ima Decay Q 127 Determines the length of the reverb reflections To simulate a big room choose higher Decay settings to simulate a smaller room choose lower settings Dampin
185. rts the output sum of the whole instrument Therefore the resulting effect is different as soon as you play more than one note and you should think about what fits better to a particular sound program l e the Overdrive effect works great on Organ or E Piano sounds Drive 0 127 Controls the amount of distortion the effect produces Low values create no or only slight distortion while high values create heavier distortion Post Gain 0 127 Controls the output level of the distorted signal Waldorf Q User s Manual 102 Sound Parameters Effects Cutoff 0 127 Duborff pud Dampens the high frequency output of the Overdrive effect H 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 The quality of Five FX is the same as if you use an individual effect only its parameter set is reduced The effects and their order is as follows e Sample amp Hold is a sample rate reduction effect e Overdrive is the same as the above mentioned effect e Ring Mod allows to ring modulate the effect input signal with another signal e Chor Dlay is a combination of a Chorus and a Delay effect H You
186. s When A t7 or Alt2 are selected the knobs Pulsewidth and PWM serve for selecting the startpoint of the waves Furthermore the modulation sources 01 PW and 02PW are active subject to which Oscillator is set to Alt In the Oscillator Edit Menu you additionally have Suboscillators at your disposal please read also Suboscillators in the chapter Oscillator Edit Menu on page 78 about this Please note that the Wavetables are only available for Oscillators 1 and 2 The Pulse shape can be used to create unusual synthesizer sounds and oboe like sounds The Saw shape can be used for basses leads brass and string sounds The Tri shape can be used for flute sounds or soft pads The Sine shape can be used to produce basses and electric organ sounds The Sine shape is also perfectly suited for ring modulation or as FM Source Alt1 are perfect for very vivid sounds The tips shown in this place of course are only recommendations The variety of tones of all Waveforms in the Q are nearly inexhaustible Pulsewidth 0 127 Sets the pulse width of the Pulse waveform The value 0 is equivalent to a pulse ratio of lt 1 the value 127 is equivalent to 50 You determine the startpoint of the wavetable at Alt1 or Alt2 with the Pulsewidth knob at which 0 selects the first of 128 Waveforms If you select any waveform other Waldorf Q User s Manual 74 Sound Parameters Oscillators than Pulse Alt or Alt2 this parameter does not have any
187. s 150 Sustain Pedal Messages no 150 Sostenuto Pedal Messages nn 150 Footswitches sess 150 POC aS ete ee ertt sese LR 151 All Notes Off Message 151 All Sound Off Message 151 Reset All Controllers Message 151 Influencing Editing Sounds over MIDI 151 Controllers as Modulation Sources 151 Changing Sound Parameters with Controllers 151 Changing Sound Parameters with SysEx Data 151 System Exclusive Data Transmission 152 Sending System Exclusive Data 152 Receiving System Exclusive Data 153 Other Functions i c indt eacus 154 Updating the System Software 154 The HMT Function cesssssseesesssseeennnnen 156 Tips amp Tricks cete t terre tees 157 Appendi Kn nas ecrire ean nee 158 Technical Data rette est eee ee ees 158 re qe S 159 Midi Signalflow diagram 160 Glossary bt o ep reteciblet ete Mau 161 Controller Numbers sseeeeeee 165 MIDI Implementation Chart 169 CE Declaratia sx east aa 170 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 d
188. s Filter Type PPG LP Lowpass The PPG LP is a resonance lowpass filter with a slope rate of 24dB per octave Its characteristics were modeled after the legendary PPG Wave synthesizer and its integrated SSM 2044 chip The resonance of the SSM 2044 had a very special tonal character which has not been implemented in this way in any other filter circuit or IC If you have the chance to directly compare the original with the Q you will find the resonance or Emphasis as it s called in the PPG of both to be nearly identical H When using the PPG LP Filter type Filter FM isn t possible The cause is that the original filter circuit also didn t have FM 24dB Band Pass and 12dB Band Pass The band pass filters 24dB BP and 12dB BP remove frequencies both below and above the cutoff point As a result the sound character gets narrow Use these filter types for programming effect and percussion like sounds Waldorf Q User s Manual 90 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 Use the 24dB slope if you want to create sounds with a typical a
189. s are played Sustain Pedal Messages can also be used with the Sust Ctr modulation source Sostenuto Pedal Messages The Q receives Sostenuto Pedal Messages Controller 65 and evaluates them as follows if a value greater or equal than 64 is received the Key Pressed envelope phases of the currently playing voices of the respective MIDI channel are played Voices that are played afterwards are not affected by the Sostenuto Pedal message If a value smaller than 64 is received the Key Off envelope phases of the affected voices are played Footswitches The Footswitches send value O off and 127 on on the controller numbers they are set to in the Global menu There is no dedicated MIDI Footswitch Message so the reception of the MIDI Messages they originally generated depends on the settings of the parameters of the current Sound Waldorf Q User s Manual 150 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 When the Q receives an All Notes Off Message it forces the envelopes of all sounding voices to go into their rel
190. s per second 48kHz Five modules of the Q s sound generation offer FM the three oscillators and the two filters When you browse the list of available sources for this type of modulation you will almost only find those sources that make sense to modulate the destination with sample speed This includes the oscillators the audio input noise the LFO the envelopes and so on You won t find sources like modwheel or velocity because their values change incredibly slowly compared to an oscillator playing at a pitch of i e 10kHz The following table shows all available FM Sources FM Sources Table 3 FM Sources Audio Input Right Signal 57 Waldorf Q User s Manual 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 gt 5kHz Most of the modulations in the Q are performed at this speed level The following table lists all pre routed Fast Modulation destinations Pre routed Modulation destinations Description Oscillator PitchMod Oscillator 1 PWM Oscillator 2 PWM Oscillator 3 PWM Filter 1 CutoffMod Filter 1 Env Filter 1 Velo Filter 1 PanMod Filter 2 CutoffMod Filter 2 Env Filter 2 Velo Filter 2 PanMod Amplifier AmpMod Amplifier Volume Table 4 Pre routed Modulation destinations In addition to the pre routed Fast Modulation destinations the Q offers eight slots for individual
191. s represent the 16 available instruments A small cursor below the corresponding segment indicates the chosen instrument With the red dial you can switch between Level Mode and VU Mode Level Mode In Level Mode the settings for all 16 instruments can be quickly edited The left display knob selects the desired parameter The right display knob changes the value You can easily compare values for all 16 instruments at the same time The following parameters are available Vol shows the actual volume of the instruments in Multimode Here the volume can be changed infinitely variable from 0 to 127 e FXI shows the FX1 Mix Level of the Multi Instruments It can be changed infinitely variable from 0 to 127 e FX2 shows the FX2 Mix Level of the Multi Instruments It can be changed infinitely variable from O to 127 VU Mode The VU Mode graphically shows all incoming Midi signals and current signal volume as a bargraph like on a signal analyzer This allows you to check which instruments are receiving Midi messages 45 Waldorf Q User s Manual 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 e PAN sets the panorama position infinitely variable from 0 to 127 e ENG sets the Engine parameter as described above PLY MUT SOL Multi Tempo 40 300 Multi Teppo 122 Multi Tempo sets the global tem
192. s you release a note itis removed from the arpeggio rhythm Vice versa as soon as you add another note to the existing chord itis inserted into the arpeggio W hen you release all notes the Arpeggiator stops fOneShotis selected the Arpeggiator splits up all played notes and plays back an arpeggio The actual length of this arpeggio is set by the Pattern Length parameter After the arpeggio rhythm was played once it is stopped automatically unless you hit a new chord This mode is especially useful in a live performance where you might have to synchronize yourself to e g a drummer Just hit a new chord on each new bar If Hold is selected the Arpeggiator splits up all played notes and generates a continuous arpeggio even when the chord is released This gives you two ways of entering a chord 113 Waldorf Q User s M anual Sound Parameters Arpeggiator e Press all keys of the chord simultaneously This is the standard way as you would do with the other Arpeggiator Modes too or e 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 This setting allows you to create arpeggios in the sequence of played notes You can even hit the same note several times and it wil
193. sed to start an envelope VCA VCA is the acronym for voltage controlled amplifier A VCA is a component that influences the volume level of a sound via a control voltage This is often generated by an envelope or an LFO Waldorf Q User s Manual Appendix Glossary VCF VCF is the acronym for voltage controlled filter It is a filter component that allows you to manipulate the filter parameters via control voltages Waldorf Q User s Manual 164 Volume 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 Ctrl Controller Range Controller Name or Value Range Sound Parameter 0 1 2 3 4 5 6 7 8 9 10 11 12 0 9 Arp Range 1 10 octaves 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 0 5 OsctShape pulse saw triangle sine alt 1 alt2 Osc 1 Shape pulse saw triangle sine alt 1 alt 2 165 Waldorf Q User s Manual Appendix Controller Numbers Ctrl Controller Range Controller Name or Value Range 32 33 34 35 36 97 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 Sound Parameter 0 9 Glide Mode__ see Glide Mode Waldorf Q User s Manual 166 Appendix Controller Numbers Ctrl Controller Range Controller
194. ser s Manual 152 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 e 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 e Check out the parameter SysEx ID Data transmission will only be executed successfully if the sender and receiver setting coincide After activating the dump command at the sender device the Q will receive data and store these in its memory If a single Sound Multi Drum Map Pattern or Arrangement dump is received they are temporarily stored in the respective edit buffers If you want to keep these edits you have to store them Otherwise they are lost when you switch the Q off Receiving sound dumps from the Waldorf microQ The Q is able to receive a sound dump from the microQ via MIDI According to that please refer to the chapter System Exclusive Data Transmission in this or the microQ manual 153 Waldorf Q User s Manual 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 softwa
195. sis signal therefore is filtered by as many bandpass filters as the analysis signal was so that each analysis filter finds its synthesis filter counterpart This technique was already developed in World War II but the plan was to use it to encrypt speech when transmitted by radio rather than using it to create musically useful sounds However this shouldn t disturb you and you should feed a Vocoder with speech drum loops or any other collection of external audio material you like The results will always be complex and interesting sometimes near to the original signal and sometimes far away Experiment and have fun For the Vocoder you always need two signals a signal that is analyzed and another signal that is used to be processed by the synthesis filters The analyzed signal always comes from a different source either the external input or one of the internal routing busses The synthesis signal is the current sound but if you like to use a different synthesis signal set up the N E Select parameter in the Mixer Edit menu to feed the filters with e g the External In or one of the internal routing busses It might even be interesting if both the analysis and synthesis signal come from the same source especially when you set the synthesis band offsets to other values than 00 Then a low analysis band might deliver the envelope for a high synthesis band and vice versa To restore the original signal as good as possible the synthesis signal sh
196. source The sound will get more metallic and sometimes even drift out of tune especially if Oscillator 2 is used as FM Source for Oscillator 3 and Sync is activated To avoid unusable detune use a triangular or sine waveform for the FM Source If you want to bias the FM over the keyboard so that higher notes aren t modulated as strong as lower notes use the Standard Modulation Matrix and apply Keytrack to the respective oscillator FM with a negative amount To change the amount of FM dynamically use the Fast Modulation Matrix or Standard Modulation Matrix to apply an Envelope or an LFO to the respective oscillator FM with positive amount FM Source see Table FM Sources on page 57 Selects the source for the frequency modulation You can create nice E Piano sounds when you use a high pitched oscillator as FM Source and set its Keytrack to a value between 000 and 050 Very interesting is the use of Noise as FM Source on a high pitched oscillator playing a sine or triangle waveform With low FM amount the oscillator starts to sound dirty or airy while higher amounts create a coloured noise similar to a filter with high resonance The nice thing is that the filters are then still free for other purposes Shape Pulse Saw Tri Sine Alt1 AIt2 Sets the type of waveform to be generated by the Oscillator The parameter is called Shape instead of waveform because it doesn t necessarily set only one waveform but sets a sp
197. st instruments A You should only change this setting if you really know what you re doing You will have to adjust all your other instruments too Don t forget to set it back again Transpose 12 12 Allows to set a global pitch transpose for the keyboard and the tone generation Transpose shifts the keyboard by the number of semitones and therefore shifts the MIDI note messages that are sent Also incoming MIDI notes are shifted by the number of semitones Clock Internal Send Auto Auto Thru Please read the chapter The Tempo on page 56 for deep information about the Clock parameter HMT Tune Mode tempered HMT tonal HMT 3 5 HMT 3 5ref HMT 3 5 7 Import Tune HMode HMT derth lempered HGGH HMT tunes the Q dynamically to fit the music being performed This leads to a warmer more pleasant sound with clean highs and precise bass sounds For deeper information about HMT please refer to the chapter The HMT function on page 156 The HMT function in the Q offers the following settings Tempered is the normal default tuning used in most electronic instruments HMT is not active e HMT tonal tunes keys to different degrees of scaled tuning and delivers a key signature character When playing mostly white keys c major will be the main focus and tuning will be scaled to that chord An A major chord that is played immediately after material in C major and is therefore subject to C major scaled tuning will be
198. t c E manour M susour ME sus our2 o0 0000000 B EOD EE Picture 2 Rear Panel Q Keyboard Power supply socket 100 240V AC Control Pedal CV In jacks for connecting foot controllers or analog control voltages only Q Keyboard Stereo External In jack for feeding external audio signals into the Mixer section Main Out jacks Deliver a stereo line level output signal for connection to a mixing desk or amplifier Sub Out 1 jacks Deliver a stereo line level output signal for connection to a mixing desk or amplifier Sub Out 2 jacks Deliver a stereo line level output signal for connection to a mixing desk or amplifier Waldorf Q User s Manual o o o o Digital Out jack S PDIF type coaxial output for connection to a digital mixing desk DAT recorder or hard disk recording system Signal is similar to the Main Out jacks Switch Pedal jack stereo for connecting one or two footswitch controllers MIDI In jack Used to receive MIDI data from an external device MIDI Thru jack Echoes MIDI data received at the MIDI In MIDI Out jack Used to transmit MIDI data to an external device Card slot Holds a card of type Q Card 256 or higher located at the front of the Q Rack Contents FOrEWOTG ee 5 Development oan at e aA E eene 5 We would like to thank esee 5 Control Features and Connections 6 Front Panel Q Keyboard ssssssseeseees 6 Front
199. t or right delay line and vice versa depending on the setting of Auto Pan An important feature of the Q s Delay effect is that the Delay length can be changed without clicks or pitch changes This allows you to experiment with different Delay lengths without getting annoying side effects in the output signal Clocked off on Dlocked DEF If Clocked is set to on the delay length is adjusted in note values If it set to off the delay length is adjusted in milliseconds Tempo internal Length 1 4ms 1 48s 1 128 8 4 Sets the length of the Delay tap in milliseconds or note values depending of the Clocked setting A t behind the number means a triplet note value while a behind it means a dotted note MH If the adjusted length is longer than the maximum length of the Delay effect the Delay length is halved automatically Tempo internal 42 300 Sets the tempo in BPM Beats per minute that is used as basis for the delay length This parameter only appears if Clocked is set to on When set to internal the Tempo is synced to the Global Tempo which in turn is generated by the Q itself or evaluated from incoming MIDI Clock See the chapter The Tempo for details 101 Waldorf Q User s Manual Sound Parameters Effects 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
200. t the manual contains no contradictory information Waldorf extends no liabilities in regard to this manual other than those required by local law This manual or any portion of it may not be reproduced in any form without the manufacturer s written consent Waldorf M usic AG Schloss Ahrenthal D 53489 Sinzig Germany 5 Waldorf Q User s Manual Control Features and Connections Front Panel Q Keyboard Control Features and Connections Front Panel Q Keyboard oo o6 Oo OG L ddd liebe JE s Picture 1 Front Panel Q Keyboard System Volume rotary Controls the overall volume LFO Section Contains all the knobs and buttons associated with the LFOs Oscillators Section Contains all the knobs and buttons associated with the oscillators Mixer Section Contains all the knobs and buttons associated with the mixer Routing Section Contains the Filter Routing Control Master Section with display page dial value dials Instrument Select and function buttons Envelopes Sequencer and Program Select Section Contains all knobs and buttons Waldorf Q User s Manual oo QG associated with the envelopes the step sequencer and program selection Filter Section Contains all knobs and buttons associated with the filters Amplifier Section Contains all knobs associated with the amplifier FX Section Contains all knobs and buttons associated with
201. t you set up here The following arpeggio shows an example of the effect when the notes C1 E1 and G1 are pressed i gt te E1 E1 G1 C1 E1 C1 G1 C1 G1 CI E1 C1 G1 G1 El G1 Table 14 Arp Step example Arp Timing Timing u Eu Su SE Su SE M Moves the playback time of a step forward or backward Forward means here that a step is played later while backward means that it is played earlier The overall strength of this parameter is set by T Factor If T Factor is set to 0 Arp Timing has no effect on the rhythm at all If T Factor is set to maximum Arp Timing can move the step by a maximum of half the clock division This means that it can move the step by 1 32 forward or backward when clock is set to 1 16 e moves the step forward or backward at random It might also be played without being moved e Values pointing to the left and move the step backward so that it is played earlier means that the step is moved by a third means that it is moved by two third and means that it is moved fully e Ifa vertical line 1 is shown the step isn t moved at all It is played at the standard clock position e Values pointing to the right move the step forward so that it is played later means that the step is moved by a third means that it is moved by two third and means that it is moved fully Waldorf Q User s Manual 120 Sound Parameters Arpeggiator Arp Steplen f
202. taneously shown in the right display corner Additionally a blinking cursor marks the position of the chosen tap As you will see all values are shown in the lower display line You can switch between the volume and panorama page with the red dial a ie Tae 1 Lianlume 22a Volume 0 7 Determines the volume of the choosen delay tap A switches the corresponding step off Tap 1 Fans left Lie EIL OEIL I Panorama left center right Determines the panorama or stereo spread of the choosen delay step In the lower display line you can change all panorama settings to center I left or r right Waldorf Q User s Manual 106 Sound Parameters Effects 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 H The Surround Delay Types are only available on the FX2 unit Along side current wide spread use of stereo recording technology multiple channel recording techniques have recently established themselves particularly in film audio Thanks to the rise of DVD consumer expectations of audio in general have increased Music only recordings done as surround productions are not unusual anymore For this reason the effects in the Q have been expanded to include two Surround Delays The term 5 1 means that 6 channels w
203. ter 88 Velo Amplifier 96 Volume Amplifier 96 Volume Multi 40 Volume Tap Delay FX 106 VU Mode Multimixer 45 X Xphorm Mode 63 Waldorf Q User s Manual Appendix MIDI Signalflow Diagram MIDI Signalflow Diagram Off Local Loc Midi KA y Off Midi nimimm mmm mni Mute Il Solo MIDI signalflow diagram Waldorf Q User s Manual 160 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 Aliasing Aliasing is an audible side effect arising in digital systems as soon as a signal contains harmonics higher than half the sampling frequency Amount Describes to which extent a modulation influences a given parameter Amplifier An amplifier is a component that influences the volume level of a sound via a control signal This control signal is often generated by an envelope or an LFO Arpeggiator An arpeggiator is a device that splits an incoming MIDI chord into its single notes and repeats them rhythmically Most arpeggiators feature different sequence modes to cover a wide range of applications Typical controls for an arpeggiator are the octave range the direction the speed and the clock which means t
204. that the air starts to vibrate This vibration is almost completely symmetrical resulting in a hollow timbre Waldorf Q User s Manual 68 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 The following picture shows several pulse waves with different pulse widths 5096 Pulse Square Wave i 1 3 5 7 9 11 13 15 33 Pulse 3 5 7 9 11 13 15 25 Pulse j 13 5 7 9 11 13 15 lt 1 Pulse Impulse Tete Ji 1 3 5 7 9 1113 15 Picture 13 Additive components of Pulse wave with different pulse widths The first thing you probably note is that the lower part of the wave gets closer to the center This is because the energy of the wider pulse is higher than the one of the narrower pulse If this wouldn t be compensated in the waveform the overall signal would have an unwanted DC offset As you could read in the previous chapter the harmonic content of a 50 pulse wave is a special case It has a very symmetrical harmonic content while all other pulse widths create peaks or holes at certain frequencies Another special case
205. the Effects Arpeggiator Section Contains all knobs and buttons associated with the arpeggiator Power button with standby LED Controller Section with pitchbend wheel modulation wheel and two assignable buttons Keyboard Section Frontpanel Q Rack Control Features and Connections Frontpanel Q Rack cios iin MEO mut 7 uo 34 5 MO Xphorm Rl 2 Frontpanel Q Rack System Volume rotary Controls the overall volume LFO Section Contains all the knobs and buttons associated with the LFOs Oscillators Section Contains all the knobs and buttons associated with the oscillators Mixer Section Contains all the knobs and buttons associated with the mixer Routing Section Contains the Filter Routing Control Master Section with display page dial value dials Instrument Select and function buttons Envelopes Sequencer and Program Select Section Contains all knobs and buttons associated with the envelopes the step sequencer and program selection Filter Section Contains all knobs and buttons associated with the filters Amplifier Section Contains all knobs associated with the amplifier FX Section Contains all knobs and buttons associated with the Effects Arpeggiator Section Contains all knobs and buttons associated with the arpeggiator Waldorf Q User s Manual Control Features and Connections Rear Panel Rear Panel re
206. the Pattern Sound Multi Button will flash e By pressing one of the numerical buttons you can select the last digit of the program no E g if program no A001 was selected before you can switch from A001 to A010 by pressing the corresponding numerical button e To select the second digit of the program number i e to switch programs in steps of 10 hold down the Shift button while pressing a numerical button E g if program no A074 was selected before you can switch between A014 A024 A034 A004 by pressing the corresponding numerical button e To terminate the Bank Hold function press the Pattern Sound Multi button again The LED besides the button will light up again instead of flashing H Please note that you can also use the page dial to select programs at any time i e even when Bank Hold is activated Switching Banks As described before the Q s sound program memory consists of several banks named A to C Each of these banks contains 100 Sounds giving you a total of 300 sounds The bank D contains 20 Drum Maps There is also a Bank X that is used to access Sounds and Multis on Memory Cards The card bank E is used for Drum Maps Please refer to the section Selecting Programs on Memory Cards below to get further information how many programs of each type are stored on a Memory Card US To switch between program banks 1 Press and hold the Pattern Sound Multi Button 7 2 Use the 4 leftmost num
207. the most basic one The Sine Wave The Sine Wave is the purest tone that can be generated It consists only of one harmonic the fundamental and has no overtones The following picture shows the sine wave and its frequency representation Amplitude Magnitude Time Frequenc 1 4 8 12 7 Harmonics The Sine Wave There is no acoustic music instrument that generates a pure sine wave the only instrument that comes close to it is the pitch fork Therefore the sine wave sounds a little artificial to the ear However the sine wave can be an interesting oscillator waveform to emphasize a certain harmonic while other oscillators are playing more complex waveforms or as fm source for frequency modulation The sine wave is the most basic building block of each waveform Any waveform can be broken down to several or many sine waves that are arranged with different frequencies and magnitudes These sine waves are called partials In most waveforms the partial with the lowest frequency is dominant meaning that this partial is used by the ear to determine the pitch of the tone This partial is called fundamental All other partials are called overtones So the second partial is the first overtone Cyclic waveforms such as the waveforms in the Q only feature sine waves in integer frequency ratios to the fundamental like double frequency triple frequency and so on Those partials are called harmonics because their frequency is a harmonic multiple
208. the sounds that use the Modulation Wheel or Pressure as source because their changes would still be used in the sound On the other hand when you know what you are doing you can create additional changes by setting up those modulation connections Xphorm Sound Bank and Number A X 001 100 In the second page you can select the sound that is used as Xphorm destination Based on the switch parameters of the original sound it might happen that the Xphorm destination sound sounds different If you like that keep it if not select a different sound or change one of the sounds so that it uses the same switch parameter settings e Usethe left display dial to select Bank A X from which the Sound program is taken e Use the right display dial to select the Sound program 001 100 63 Waldorf Q User s Manual 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 Mono Controls if the Sound can be played polyphonically or monophonically e Poly means that each note triggers its own voice or voices like on a piano e Mono means that only the last played note sounds All other notes are stored in an internal list but aren t played As soon as you release the note that is currently played the second last note is pl
209. these corrective measures do not produce satisfactory results please contact the local retailer authorised to distributed this type of product The statements above apply ONLY to products distributed in the USA CANADA The digital section of this apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus set out in the radio interference regulation of the Canadian Department of Communications Le present appareil numerique n emet pas de briut radioelectriques depassant les limites apllicables aux appareils numeriques de la Classe B prescrites dans la reglement sur le brouillage radioelectrique edicte par le Ministre Des Communications du Canada This only applies to products distributed in the USA Ceci ne s applique qu aux produits distribu s dans Canada Other Standards Rest of World This product complies with the radio frequency interference requirements of the Council Directive 89 336 EC Cet appareil est conforme aux prescriptions de la directive communautaire 89 336 EC Dette apparat overholder det gaeldenda EF direktiv vedrerendareadiostej Diese Ger te entsprechen der EG Richtlinie 89 336 EC Ce Waldorf Merchandise Dance amp Techno Construction Soundset for microQ and Q 300 Sounds 2 Drum M aps and 30 Multis for your electronic music production CD ROM with bonus tools Euro 60 00 b SFT DANG sechno N Fa a Waldorf Coffee Mug Class
210. 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 In polyphonic chords Note 1 to 8 can be used to edit the existing notes MH With this function you easily can insert notes subsequent into a step or change existing chords without being in need of making new additions with the keyboard This especially makes sense when working with the Q Rack Transpose With this function you can transpose infinitely variable existing notes up or down The notes are transposed as long as you re turning the encoder Pattern Length az pem Pattern Length 1 32 Sets the length of the sequence pattern A sequence pattern can have a maximum number of 32 steps When you set Pattern Length to a value smaller than 32 you can still edit the steps that are outside this range but you won t hear them when the Step Sequencer is running Transpose Mode Off On 1 Octave Used to activate or deactivate the transpose of the pattern when Grab Control is off or no step is selected e Offmeans that the sequence isn t transposed The keyboard acts as usual e Onmeans that the sequence is transposed relatively to the Transpose Key setting The keyboard is used to set the transpose offset with last note priority as soon as the Step Sequencer is running e
211. to cover a wide range of applications In addition to the synthesis features the Q offers a deeply programmable Arpeggiator for every sound program It can play a wide range of different rhythm patterns including accents and different timings and allows creating sophisticated custom rhythm patterns The Arpeggiator uses a so called note list that can store up to 16 notes This list is set up depending on the Arpeggiator parameter settings For example when Sort Order is set to Num Lo gt Hi the listis rearranged so that the lowest note is placed at the first position the second lowest note at the next and so on See the individual parameter descriptions if and how a parameter alters the list Arpeggiator Panel Controls The most commonly used controls of the Arpeggiator can be found on the front panel DI Hold Edit One Shot On Select Picture 36 Arpeggiator Section Q Keyboard The basic tempo of the Arpeggiator is set by the global Tempo control that also controls the Step Sequencer and the behaviour of the LFO and Envelopes This allows you to change all tempo related aspects of the sound with one single turn of the Tempo control Mode Off On One Shot Hold This parameter sets the way the Arpeggiator works e If Offis selected the Arpeggiator is not active e If Onis selected the Arpeggiator is active When you press a note or a chord on the keyboard or via MIDI itis split up and repeated rhythmically As soon a
212. tor and filter models is not possible because they are representations of analog circuits Xphorming between different effect types is not possible as well because what is the middle between a chorus and a distortion A Chortion Or a Distorus Not to forget that they are also made of different models What about two models running at a time and blending between them Firstly this would lower the polyphony drastically But secondly it is not the same as xphorm Xphorm changes the parameter from one set to another while blending would leave both parameter sets where they are but would lower the volume of the first module while it would raise the volume of the second module An example two Low Pass filters one with a low cutoff and another one with a high cutoff setting Xphorm would open the filter gradually while blending would make the volume of the low cutoff part lower while it would raise the volume of the high cutoff part It wouldn t create any cutoff values in between Xphorm Edit Menu The Xphorm menu features two parameters to setup the Xphorm function Xphorm Mode off Modwheel Pressure This parameter sets the source that controls the Xphorm interpolation e off means that Xphorm is deactivated e Modwheel means that the Modulation Wheel is used to control the Xphorm interpolation e Pressure means that monophonic Aftertouch is used to control the Xphorm interpolation H Please make sure that you don t use any modulations in
213. track data to the Q 5 The Q will display a message that informs that update is in progress Eeceiuingd Urcate HHHEHHEHEH The progress line in the lower part of the display will show the amount of data already received 6 After the file was received correctly the Q burns the update into its FLASH memory This is shown by the following display Updating Suztem A Do not under any circumstances turn off the Q when this step is in progress A total loss of data may occur and there is no way to make it work again Waldorf Q User s Manual 154 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 the file wasn t transmitted completely to the Q or played back too slowly Try to download the file If this message appears from the Internet again H New functions in future OS will be documented in PDF files which are available at our ftp server ftp ftp waldorf gmbh de pub waldorf q Erasing internal data flash memory Holding the Multi button during power up erases all data flash memory All programs will be set to initial settings
214. trix 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 Basically the Modulation Matrix is split in two kinds Fast Modulation Matrix M1F M8F These slots feature a high internal update rate intended to be used for modulations that require to be calculated very fast Standard Modulation Matrix M1S M8S These slots are calculated at normal speed that is still fast enough for the most modulation purposes e g when dealing with the modulation wheel or velocity The Standard Modulation Matrix slots offer an extended set of modulation sources and destinations compared to the Fast Modulation Matrix H For deep information about the modulation speed and tables of the various available sources and destinations read the chapter Modulation Speed Levels on page 57 Matrix Edit Menu All parameters related to the Modulation Matrix are located in the Matrix Edit Menu Press the Master section s Matrix button and select the respective pages M1F M8F or M1S M8S with the Page Dial Source see Tables Fast Modulation Sources and Standard Modulation Sources Defines the modulat
215. u want to use the full keyboard range Pattern off 001 100 Each Instrument can point to one Sequencer Pattern in memory The Pattern is played back as soon as you hit Start Stop ES To selecta Sequencer Pattern for an Instrument e Usethe right display dial to select the Sequencer Pattern 001 100 Fat tern S81 i Eisgbeatz ATH ES To switch the Sequencer Pattern off e Turn the right display dial all the way to the left until the display reads Seq Pattern OFF When you set up several Instruments to use different Sequencer Patterns you can build up complex multi track patterns that i e play back a whole rhythm section In combination with the LowKey and HiKey parameters you can even set up zones of the keyboard to transpose these Sequencer Patterns while other zones can be played as usual Ctrl W Ctrl Z 0 120 These parameters are used to define arbitrary MIDI Continuous Controllers as modulation sources for the Sounds in the active Multi 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 The highest possible Controller number is 120 because all higher numbers are reserved for non real time purposes If global is selected the corresponding settings for Ctrl W Z made in the global parameter section are used Waldorf Q User s Manual 44
216. udible filtered character use the 12dB slope if you want to get softer results Level Resonance i Frequency Cutoff Picture 29 High Pass Filter Type 24dB Notch and 12dB Notch The notch filters 24db Notch and 12dB Notch are the opposites to the band pass types They dampen frequencies around the cutoff point Frequencies below or above the cutoff point are passed through Use these filter types for programming effect sounds 91 Waldorf Q User s Manual 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 Comb and Comb The Comb filter types differ from the other filter types greatly because they actually don t damp any part of the signal but add a delayed version of the input signal to the output But what is a Comb filter A Comb filter is basically a very short delay that can be controlled in length and feedback The delay time is so short that you can t hear its individual taps but a colorization of the original signal created by peaks or holes in the frequency spectrum The frequency of the colorization is set by the delay length which is controlled i
217. uency Oscillator Panel Controls The following picture of the Q s front panel shows the LFO section Picture 44 LFO Panel Controls Q Keyboard The most commonly used controls of the LFO can be found on the front panel Selecting a LFO on the Q Rack Press one or more LFO Select buttons to select one or more LFO on the Q Rack to be edited with the Panel Controls Shape Sine Triangle Square Saw Random S amp H Sets the type of waveform generated by the respective LFO The following picture shows the available he i v Par Sine Triangle Square Sawtooth Random S amp H Picture 45 LFO Shapes e The Sine shape is best suited for oscillator FM or pan modulations e The Triangle shape is perfect for smooth pitch filter or volume modulations The Square shape can be interesting for hard pan modulations or special effects Waldorf Q User s M anual 128 Sound Parameters Low Frequency Oscillators LFO e 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 e The Random shape generates random values and glides to them linearly e S amp H Sample amp 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 Speed 0 127 or 256 bars 1 96 Determines the frequency of the LFO signal On low values it might take sev
218. umber 099 in the current bank Entering 00 will call up Program number 100 in the current bank ES To selecta Program with the N umber Buttons 1 2 Make sure that the Play LED is lit If not press Play If you are in Single Mode Multimode LED is off press one of the Instrument buttons Inst 1 Inst 4 to select an Instrument that holds the Sound or Pattern The LED above the button lights up and the display content will change to show the current Sound for this Instrument Press the Pattern Sound Multi Button 7 until the LED of the Program type you want to select lights up Enter a two digit number with the number buttons The display shows the Program number in the top right corner and the name of the selected Program name may be different depending on the factory set in your Q Single M ode 1 T Multi Mode Inzt i Multi g l Abfahrt T MH Drum M aps are located at number 01 to 20 of bank D You can t select higher a program number for this program type 27 Waldorf Q User s M anual 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 ES To use the Bank Hold function e Press Shift Pattern Sound Multi 7 The corresponding LED next to
219. unction 24 System Volume essssssseeeee 24 DeimoPlayback emn 24 The Master Section ssis isise essiri iui sekeri 25 Selecting Programs ssseseeee 25 Selecting Programs with the Page Dial 26 Contents Rear Panel Selecting Programs with the Number Buttons 26 Bank Hold eiit per S 28 Switching Banks neneensennnnn 28 Selecting Programs on Memory Cards 28 Category Search eenneneennennnenn 29 Instruments and Sounds sess 30 Switching between Instruments 30 Creating Sound Layers with Instruments 30 Replacing Sounds in Layers sssssss 30 Editing Sounds in Layers 31 Deactivating Sound Layers sssusse 31 Editing Parameters sss 31 EditB ffers Besten 31 Editing Panel Parameters ssssssse 32 Editing Alternative Panel Parameters 33 Control and Button Types ssssessese 33 Editing Display Menu Parameters 34 Viewing Parameters without Change Peek 35 Comparing Edited Programs 35 Recalling Edited Programs 36 Storing Programs i beso en 36 Multi Mode cid ro cra x cnin 38 Selecting an Instrument for editing 38 Instrument Settings pesait eesriie 39 Mult Settings cere e eA 8 45 Step Sequencer
220. und program of the currently selected instrument will be sent If Multi is selected the current Multi program will be sent The Sound programs that made up the Multi are not sent This function is only available in Multimode If Pattern is selected the current Pattern will be sent When used in Multimode the Pattern of the currently selected instrument will be sent If Arrangement is selected the current Multi program with all its used Sound and Pattern programs is sent Use this function to dump all settings of a Multi This function is only available in Multimode If Drums is selected the current Drum Map will be sent When used in Multimode the Drum Map of the currently selected instrument will be sent This function is only available when a Drum Map is selected If Global Data is selected all Global parameters are sent If all Sounds is selected all Sound programs of the Q are sent If all Multis is selected all Multi programs of the Q are sent If all Drum Maps is selected all Drum Maps of the Q are sent If all Patterns is selected all Patterns of the Q are sent If BOOT 1 x is selected the Q s BOOT is sent If OS X XX is selected the Q s OS is sent If All is selected all Sounds Multis Drum Maps Patterns and the Global parameters are sent 3 Press Shift Utility again to activate the dump MH Depending on the selected type the dump may take some time The Q cannot be played during this time Waldorf Q U
221. uring your performance Or in a studio session you can try out several Sounds by switching the Instruments back and forth This is also interesting when working with MIDI In Single Mode only the active Instrument or Sound Layer responds to MIDI ES To select one instrument e Press one of the Instrument buttons Inst 1 Inst 4 The LED above the button lights up and the display content will change to show the settings for this Instrument e You can now play the Sound of this Instrument H There s no way to store the settings of the four Instruments permanently except when you create a real Multi in Multi Mode So see the Instruments as temporary scratch pads Creating Sound Layers with Instruments Beside the feature to select the four Instruments in sequence you can select two or more Instruments at once to create Sound Layers This is very handy and allows you to build up big sounds without any deeper programming as you would have to do in Multi Mode However if you are very happy with a Sound Layer you should think about building a Multi with the same settings to store it permanently ES To create a Sound Layer by selecting several Instruments at once 1 Setup the Instruments to hold the Sounds that you would like to play 2 Press and hold one of the Instrument buttons Inst 1 Inst 4 The LED above the button lights up and the display content will change 3 Press additional Instrument buttons briefly The Instru
222. urve exp 2 exp 1 linear log 1 log 2 Dune Sets the curve that is used for aftertouch when played on the keyboard It changes the aftertouch behaviour of the internal tone generation and the outgoing MIDI Aftertouch messages It doesn t affect incoming MIDI Aftertouch messages 141 Waldorf Q User s Manual Global Parameters Global Menu The various curves are identical to the ones shown under On Velocity Curve A 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 Off switch CI toggle CI switch Op toggle Op Determines the way Switch Pedal 1 is evaluated by the Q Off means that the Switch Pedal is deactivated switch Cl is for a Switch Pedal that is closed when pressed and open when not pressed The Q then generates a Control value of 127 when the Switch Pedal is pressed and a value of 0 when the Switch Pedal is released toggle Cl is for a Switch Pedal that is closed when pressed and open when not pressed The Q then generates a Control value of 127 on the first press and a value of 0 on the next press and so on switch Op is for a Switch Pedal that is open when pressed and closed when not pressed The Q then generates a Control value of 127 when the Switch Pedal is pressed and a value of 0 when the Switch Pedal is released toggle Cl is for a Switch Pedal that is open when pressed an
223. ustain 2 Attack Level Sustain i Time Attack Decay gt Decay 2 Release gt Picture 40 ADS1DS2R Envelope Attack 0 127 Determines the attack rate or amount of time it takes for a signal to go from zero to Attack level Attack Level 0 127 Controls the level where the Attack phase ends and the Decay phase starts Decay 0 127 Determines the decay rate or amount of time it takes for a signal to reach the Sustain level Sustain 0 127 As soon as the Sustain level is reached the envelope proceeds with the second Decay Sustain pair as explained below Decay 2 0 127 Determines the decay rate or amount of time it takes for a signal to reach the Sustain 2 level Sustain 2 0 127 Determines the level which is held until a note ends Release 0 127 Once the note is released the release phase begins During this phase the envelope fades to zero at the rate determined by the Release value Waldorf Q User s Manual 124 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 ver
224. usten Stand der Technik zu bringen wenn dies erforderlich sein sollte Diese Garantie deckt keine Defekte ab die durch unsachgem e Behandlung oder Eingriffe von unautorisierten Personen verursacht wurden und ist beschr nkt auf die Behebung von Defekten die w hrend der normalen Nutzung durch Material oder Verarbeitungsfehler aufgetreten sind Bitte schicken Sie die Garantiekarte vollst ndig ausgef llt zusammen mit einer Kopie der Kaufrechnung zur ck um die Produktgarantie in Anspruch nehmen zu k nnen Waldorf Music AG Support Department Schloss Ahrenthal 53489 Sinzig Germany Produkt Product Keyboard Rack SYNTHESIZER Sonstige verwendete Gerate Other used equipment Produktgarantie Product Warranty 7 Thank you for choosing this Waldorf product It is a dependable device and is designed to last However the potential for defects in material or workmanship cannot be eradicated completely This is why we provide an extended warranty for you To ensure your unit has full warranty coverage mail the receipt and the fully completed warranty card back within 14 days of purchase This warranty covers all defects in material and workmanship for a period of one year from the date of original purchase During this time Waldorf Music AG will repair or replace the product without charge for materials or labor provided the product was first inspected and found faulty by Waldorf Musi
225. ve amounts will raise the pitch when positive modulation is applied e g by pressing aftertouch on the keyboard Negative amounts will lower the pitch when positive modulation is applied PitchMod Source see Table Fast Modulation Sources on page 58 Selects the source of the pitch modulation for all oscillators A common source for pitch modulation is an LFO whose strength is controlled by the modwheel or aftertouch To create a common pitch vibrato that is controlled by the modwheel set PitchMod Source to LFOT MW with PitchMod set to around 20 To create a sound whose pitch glides in set PitchMod Source to a decaying Envelope with PitchMod set to around 25 H If you want to modulate the pitch of individual oscillators you can do so with the Fast Modulation Matrix or Standard Modulation Matrix that can be accessed through the Matrix menu See the respective section on page 131 for details 77 Waldorf Q User s Manual 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 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 The reference note for Keytrack is E3 note number 64 For pos
226. ways 25 Waldorf Q User s M anual 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 For a deep explanation of the Multi Mode read the chapter Multi Mode on page 38 In Multi Mode you can select Programs of any type depending on the setting of the Pattern Sound Multi Button Selecting Programs with the Page Dial With the Page Dial you can select Multis in Multi Mode and Sounds in Single Mode The setting of the Pattern Sound Multi Button 7 is not relevant ES To select a Program with the Page Dial 6 1 Make sure that the Play LED is lit If not press Play 6 2 Ifyou are in Single Mode Multimode LED is off press one of the Instrument buttons Inst 1 Inst 4 to select an Instrument that holds the Sound or Pattern The LED above the button lights up and the display content will change to show the current Sound for this Instrument 3 Use the Page Dial to select an appropriate Program Turning the dial clockwise increases the Program number turning the dial counterclockwise decre
227. y percussive attack or with a Gate effect Level Key pressed or hit shortly gt 100 Men je Sustain Time Attack gt Decay gt Release gt Picture 41 One Shot Envelope Attack 0 127 Determines the attack rate or amount of time it takes for a signal to go from zero to maximum level Decay 0 127 Determines the decay rate or amount of time it takes for a signal to reach the Sustain level Sustain 0 127 Sets a breakpoint level between the Decay and the Release rate Release 0 127 The Release phase fades the envelope to zero after the Sustain level was reached 125 Waldorf Q User s Manual Sound Parameters Envelopes Loop 182 The Loop S152 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 Level g Key pressed Je Key released gt 10096 Attack Level Sustain 2 Sustain Time Attack Decay gt Decay 2 Release gt Picture 42 Loop S1S2 Envelope Attack 0 127 Determines the attack rate or amount of time it takes for a signal to go from zero to Attack
228. yphony of sixteen voices since the Q has 16 analog filters If both filters are set to analog type polyphony of this sound is further reduced to eight voices only However these restrictions do not apply to sounds which use the conventional filters The Cutoff and Resonance parameter have the same function as in the other lowpass filter types FM is not available for the analog filter types If analog filters seem to be out of tune especially audible with high resonance settings execute the Tune Filters function in Utility Menu MH When the Analog Filter type is selected the Drive parameter is automatically set to the analog drive which is located behind the analog filter You should try the following functions with the analog filter type Experiment with the Cutoff Resonance and Filter Env parameters to become a feeling for the analog filter type set up filter modulations with the Cutoff Mod or the Mod Matrix use an external input signal to feed the analog filter H 16 analog filters are available so to make use of the increased Q polyphony we recommend to use a mixture of analog digital sounds in multimode 95 Waldorf Q User s Manual 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 itis important to know that the Amplifier Envelope is always acting

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