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MicroWave II/XT Manual 2.01 (E)

1. ooo ooo o 8 Foreword 3 585 pepe AS aa BAERS BS cada Nd A 9 About this Manual ano a SG reir SA FPE A ORE byes OES qe 10 ss m CETT 10 Highlighted Control Features and Parameters 6er re re ms 10 General Safety Guidelines ria 11 Setup and Operation 5o bow Ne 13 Inventory nase at bra pere Me and ea a 13 SELUD ss Se acct Seti AR ARS AAA As 13 CONMECHIONS sun pea hei eet eae pause QU NEP Ed Le Swe oe 13 Analog MPU SEAN Na ee RW ep yaw Poke BER PES 14 QUICK Statt iu etw y verqex E WX ee eS EE EE 15 Operation uos Sens dar ae eds does ced dos ah o OY e Maa hoes A ang isi 23 Power Switching Sf eta rtl Pel aub ds a an Rad dust od 23 Powering Up 2 shoe aha gage AS a ASA AA 23 Switching off s ebore Baar A RA eed we 23 Adjusting the Master Volume dle en Dhaba ea ee EU ERN 23 Selecting Programs etnies ewe oh isl beh ha de He ie 23 Selecting Sound and Multi Mode v 5 2 poe v3 6h ht eb a et wea 24 Editing Parameters uo sue whe wt xe fies eee tae eames Geetha Eb aS 25 ECL Buners 2A es rte Sao Eo NUR totae uut cA ree cans Baste aft 27 The Compare Function dar ads HE 27 Recalling EQNS es o3 Posed ee s RAE a Rear 28 Storing Programs oa Stes ara DES eae a eure Ces ke eked UN 28 The Play Access PAGE wich ead A Ry garg ae ace RES 29 PAlTIC EUPCUO o ede tice ng er RES piu Us egere dix le Aix 29 Randomizing a Program ua Sev rb sce Boe A ple ep A qe e dde o Ead Nu 30 Initializing Programs cee RUNE eae eet A Adde 30 Editing Parameters o
2. Changing Sound Parameters via Controllers Every important parameter is assigned a controller number through which the parameter can be changed If a parameter is changed at the device then this change is sent along with the appropriate controller number via MIDI This is especially helpful when you want to record changes you made at the MicroWave II XT to a sequencer All controller messages are sent and received via the channel defined in the global parameters or if in Multi mode selected for the corresponding Instrument The appendix of this manual contains a table listing the controller numbers and the sound parameters they are assigned to Pitchbending The Pitchbend Range parameter of the oscillators lets you define to what extent a pitchbend message influences the pitch of the MicroWave II XT Pitchbend is also available as a modulation source Aftertouch and Poly Pressure Aftertouch and Poly Pressure are available as modulation sources in the Microwave II XT They can be used for any application where control change messages are accepted System Exclusive Data All parameters of the MicroWave II XT can be controlled by system exclusive data You can find a detailed description of the commands and data formats in the appendix User s Manual MicroWave Il e MicroWave XT 95 System Exclusive Data Transmission System exclusive data transmission lets you send and receive the contents of the MicroWave II XT s memory via MI
3. However we have not forgotten the past you can still find the original wavetables of the PPG Wave Computer Wavetables 001 008 of the PPG Wave 2 2 009 030 plus the first 8 wavetables and of the classic MicroWave 031 064 plus 001 030 in the MicroWave II XT ensuring that you can still create all famous sounds of those times 36 User s Manual MicroWave Il e MicroWave XT Sound Parameters Overview of Functions The Waldorf MicroWave II XT consists of numerous sound shaping components The following overview gives you an idea of how the individual components interact Y Y Y Y Y Y 1 ur LFO 1 LFO2 Filter Envelope Es Wave Envelope Free Envelope I FINA TULA v vIU A ln PS d gf PS a e IAE Musicos er e EA y A TAN Y Y Arpeggiator Trigger Modulation Matrix Modifiers lt T fixy I reise H i q Wave 2 Oscillator 2 Noise Generator M gt Audio signal __ Control signal Diagram 3 Block schematic diagram for single sounds As you can see the MicroWave II XT consists of two different types of components for sound generation and sound shaping Oscillators Waves Mixer Filter Amplifier Sound generation actually occurs within the Waves which are driven by the Oscillators They produce a waveform according to the selected wavetable The Mixer follows the Waves in the signal chain which is where the
4. Ctl SysEx Determines which type of data is sent from the MicroWave II XT via MIDI e f off is selected no data is sent e If Ctl only is selected only controller messages are sent Parameters without dedicated controller assignment are not sent at all e f SysEx is selected only system exclusive data is sent 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 f Ctl SysEx is selected both controller messages and system exclusive data is sent Par Control Receive off on Enables or disables the receiving of parameter control messages via MIDI These messages include controller and system exclusive data MIDI Clock Send off on Enables or disables the sending of MIDI clock This setting should be enabled in those cases where you want to use the MicroWave II XT s arpeggiator as master for controlling the tempo AN When MIDI Clock Send is enabled while the Microwave II XT s MIDI In and Out are connected to your sequencer you will probably get a MIDI loop A total hangup of your system may result Ensure to disable the MicroWave II XT s MIDI clock sending feature in such a case User s Manual MicroWave Il e MicroWave XT 93 Control W Control Z 0 120 These parameters are used to define modulation sources that are freely definable MIDI control
5. Determines how much distortion is applied Gain 0 127 Determines the output volume of the distortion Amp Type 0 127 Allows one to select the speaker simulation setting These settings are available Setting Type of Simulation Direct No speaker simulation Combo Simulation of a small speaker with small bandwidth Medium Simulation of a larger speaker with medium bandwidth Stack Simulation of an array of speakers with large bandwidth User s Manual MicroWave Il e MicroWave XT Amp Mod Effect Ame Mod The Amplitude Modulator can be used as a tremolo or as a low frequency ring modulator For use as a tremolo the dry signal the first number of the Mix parameter must be kept above 63 For use as a ring modulator the dry signal must be kept below 64 Speed 0 127 Oscillator speed of the amplitude modulator Spread 0 127 Amount of lag between the left and right channel Mix 127 0 0 127 Determines the volume ratio of the dry and wet signal Delay e Effect Time Delay time This parameter is displayed as a note type followed by a Beats Per Minute number So 1 4 74 means that the delay time is a quarter note at 74 BPM Feedback 0 127 Determines the amount of delayed signal being fed back into the delay Mix 127 0 0 127 Determines the volume ratio of the dry and wet signal Pan Delay e Effect The only difference between Delay and Pan Delay is that the delayed signal seems to bounce
6. micro A 7 SYNTHESIZER N UV SYNTHESIZER User s Manual MicroWave II MicroWave XT 7 Vielen Dank f r den Kauf dieses Waldorf Produktes Es zeichnet sich durch Zuverl ssigkeit 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 Garantie von 14 Tagen zur ckgesandt werden Defekte in Material und Verarbeitung des Produktes W hrend der Garan arte vollst ndig ausgef llt innerhalb Diese Garantie erstreckt sich auf alle f r den Zeitraum von 1 Jahr ab Kauf iezeit ersetzt oder repariert Waldorf Electronics das durch Waldorf Electronics oder ein autorisiertes Service Zentrum als defekt befundene Produ Arbeitsaufwand in Rechnung zu stellen t ohne dem Kunden Material oder 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 Electronics beh lt sich vor das eingesandte Produkt auf den neusten Stand der Technik zu
7. KeyFollow Same as Keytrack but with pitchbend and glide Keytrack MIDI note number Velocity MIDI note velocity Rel Velo MIDI note release velocity Pressure MIDI aftertouch Poly Prs MIDI polyphonic pressure PitchBend MIDI pitchbend signal Modwheel MIDI modulation wheel controller 1 Sust Ctr MIDI sustain pedal controller 64 Foot Ctr MIDI foot control controller 4 BreathCtr MIDI breath control controller 2 Control W Assignable MIDI Controller 1 Control X Assignable MIDI Controller 2 Control Y Assignable MIDI Controller 3 Control Z Assignable MIDI Controller 4 Ctr Delay Modifier Delay Modify 1 Modifier 1 result Modify 2 Modifier 2 result Modify 3 Modifier 3 result Modify 4 Modifier 4 result MIDIClock MIDI clock signal Minimum constant for minimum modulation equals 0 Maximum constant for maximum modulation equals 1 Table 3 Modulation sources Modifier Delay This function allows one to delay a freely definable modulation source for an adjustable period of time 80 User s Manual MicroWave Il e MicroWave XT Modifier Delay cub dmm gm IFilterEnu Control Delay Time 0 127 Determines the time for which the modulation signal is delayed Source see Table 3 Selects the modulation source whose signal is used as input for the delay line Modifier Units Modifier 1 4 Source 1 see Table 3 Selects the first source signal used for the calculation Table 2 shows all po
8. a parameter page via the page dial 3 You may want to decrease the value or set it to O after you have got some experience with the MicroWave II XT Contrast 0 127 Sets the display contrast 94 User s Manual MicroWave Il e MicroWave XT MIDI Control This chapter describes the options you have available to control the MicroWave II XT via MIDI Selecting Programs Calling Programs via Program Change All of the MicroWave II XT s Sound and Multi programs can be called via MIDI Program Change messages and MIDI Bank Select messages As the device contains 128 programs in each bank it recognizes program number 0 127 To select the bank you have to use a Bank Select message e Bank 0 contains Sound Programs A001 A128 Bank 1 contains Sound Programs B001 B128 When the MicroWave II XT is in Multi mode you have three options how Program Change and Bank Select messages work By means of the Global parameter PrgChange you can determine if a Sound program inside the current Multi Program is changed the whole Multi program is changed or if both methods are used in combination Influencing Sounds via MIDI Messages Controllers as Modulation Sources The controllers Modwheel and Breath Control are always used as modulation sources The freely definable Control X Z can also be used as a modulation source X Z stands for definable controller numbers 1 120 Use these controllers in the Modifiers and the Modulation Matrix
9. e If dual is selected every note uses two voices which can be detuned by the Detune parameter described below e If unisono is selected all voices are used divided to the notes played That means if you play just one note all 10 voices of the MicroWave II XT are used for this note If you play two notes 5 voices are used for each note and so on The Detune parameter is also active in this mode Detune 0 127 Determines the amount of oscillator detune when dual or unisono is selected in the Assign parameter The setting always represents the maximum detune range of all used voices E g in dual mode a value of 40 means a detune of 20 for the first voice and 20 for the second De Pan 0 127 If dual or unisono is selected the voices are spread in panorama according to this parameter Use 127 to get a full spread or 0 to get no spread at all If neither dual nor unisono is selected the setting of this parameter has no audible effect User s Manual MicroWave Il e MicroWave XT 65 Arpeggiator An arpeggiator is a device that splits an incoming MIDI chord into its single notes and repeats them rhythmically Different sequence modes can be defined for the arpeggiator to cover a wide range of applications In addition to the synthesis features the MicroWave II XT offers a separately programmable arpeggiator for every sound program The arpeggiator can be used independently or synced to MIDI clock It can play a wide range of different rhyt
10. 0 127 Modifier 3 Parameter 92 0 3 see List 3 12 Mod 1 Source 93 0 127 64 63 Mod 1 Amount 94 0 33 see List 3 13 Mod 1 Destination 95 0 3 see List 3 12 Mod 2 Source 96 0 127 64 63 Mod 2 Amount 97 0 33 see List 3 13 Mod 2 Destination 98 0 3 see List 3 12 Mod 3 Source 99 0 127 64 63 Mod 3 Amount 200 0 33 see List 3 13 Mod 3 Destination 201 0 3 see List 3 12 Mod 4 Source 202 0 127 64 63 Mod 4 Amount 203 0 33 see List 3 13 Mod 4 Destination 110 User s Manual MicroWave ll e MicroWave XT 3 11 Play Parameters KOK KK KK KK KK KK RK KK KK RK RK KK RK KK KK HH RK RK KK HH KK KK KK KK KK KK Value Index 0 100 5U0NPO NOM OM OM DM OS D D DN DW Q 0 100 Q0 NPO1 0 JoU5QuNPpo gt WWW y UY WwW Ww CO O 00 100 5Q0N OP O0 Bod ok aS aS aS aS aS aS O 00 100 5UQNO dd S0dda dada a a a a c FPOODINIADAHOBWNHE 00 0 YY YY 1 1O0 000000 F2 O o0 00 1 OY O1 iS QJ 9 IB O to 00 OY O1 4S WM Parameter Osc 1 Octave Osc 1 Semitone Osc 1 Detune Osc 1 Pitchbend Osc 1 Keytrack Osc 2 Octave Osc 2 Semitone Osc 2 Detune Osc 2 Pitchbend Osc 2 Keytrack Wavetable Wave 1 Startwave Wave 1 Phase Wave 1 Env Amount Wave 1 Velo Amount Wave 1 Keytrack Wave 2 Startwave Wave 2 Phase Wave 2 Env Amount Wave 2 Velo Amount Wave 2 Keytrack Mix Wave 1 Mix Wave 2 Mix Ringmod Mix Noise Aliasing Quantize Clipping Filter 1 Cutoff Filter Resonance Filter Type Filter Keytrack
11. 3 BB see above Location 6 NN see above Location 7 38 MDATA see 3 2 Multi data 39 66 IDATA see 3 3 nstrument 1 data 67 94 IDATA see 3 3 nstrument 42 data 95 122 IDATA see 3 3 nstrument 43 data 123 150 IDATA see 3 3 nstrument 4 data 151 178 IDATA see 3 3 nstrument 45 data 179 206 IDATA see 3 3 nstrument 6 data 207 234 IDATA see 3 3 nstrument 7 data 235 262 IDATA see 3 3 nstrument 8 data 263 XSUM BB NN DATA amp 7Fh Checksum 264 EOX F7h End of SysEx KOK KK KK RK RK KK RK KK RK KK KK KK RK RK RK HH HH HH HH HH HH KK KK KK KK KK 2 23 MULP KOK KK KK KK KK KK KK RK KK KK KK RK KK KK RK RK RK HH ck ckckckck ck KK KK KK KK ER MULP 20h Multi Parameter Change Upon reception of a valid Multi Parameter Change dump the specified parameter will change its value immediately according to the given value In Sound Mode all MULP messages will be ignored The location is given in one byte with following conventions LL Location 20h Multi Edit Buffer 01h 07h Multi Mode Instrument 1 8 buffer The Parameter index is given in one byte PP Parameter index See 3 2 for a detailed list of Multi parameters and indices or 3 3 for a detailed list of Instrument parameters and indices The actual Format is ndex Label Value Description 0 EXC FOh Marks Start of SysEx DW 3Eh Waldorf Electronics GmbH ID 2 DE OEh MicroWave II ID 3 DEV Device ID 4 DM 21h here MULP Sound Parameter change 5 LL see above Location 7 PP
12. 62 Wave 61 Wave 60 d gt m gt gt P 4 4 gt 4 gt 4 Wave 59 Wave 58 Wave 57 AAA V Wave 02 Wave 01 Wave 00 You will notice that the upper three entries in the wavetable consist of the classic analog type waveforms triangle pulse and sawtooth These three waves are identical in every wavetable You can always use these classic synthesizer waves independent of which wavetable is currently selected Both oscillators of a MicroWave II XT s voice use a common wavetable However each oscillator can play a different waveform inside the table E g oscillator 1 can play a sine wave from position 1 of the table while oscillator 2 is playing a sawtooth wave from position 63 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 E g an oscillator can start with an sine wave and blend over to a sawtooth wave after some time According to the wavetable used 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 e Each note on a 5 octave keyboard can access a different wave of the wavetable because such a keybo
13. 7 Briefly press the Store key 6 while holding the Shift key 1 again AN Whenever you store a program the selected memory location is overwritten Therefore any previously stored program under this location will be erased and there is no way to get it back So if you want to keep your factory presets you should dump them to a computer for external storage 28 User s Manual MicroWave Il e MicroWave XT 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 key before performing the last step you can discard the Store process at any time H Use the Store function also if you want to copy programs There is no need to edit a program before storing it The Play Access Page The Play Access page is a very exciting feature that gives you an easy accessible control over 4 freely definable Sound parameters To select these parameters please read the corresponding paragraph in the chapter Sound Parameters later on in this manual US This is how you access the parameters in the Play Access page 1 When in Play mode press the Play button again to call the Play Access page The display now shows Play Access EnuBHmtiFE De 2 Use the value dials 2 to change each parameter s value 3 Press the Play button 1i again to leave the Play Access page and return to the program select page You can also you turn the page dial 3
14. Electronics GmbH ID 2 DE OEh MicroWave II ID 3 DEV Device ID 4 DM 15h here DISD LCD dump 5 84 LCDDATA ASCII Upper and lower row of LCD 85 LEDDATA LEDs Bitmask 01 MIDI 02 Column 1 04 Column 2 08 Column 3 10 Column 4 20 Column 5 40 Play 86 XSUM 0 Checksum 87 EOX F7h End of SysEx KOK KK KK RK KK RK RK RK RK RK KK RK RK RK HH HH HH HH HH KK KK KK KK KK KK 2 63 DISP ROK KK KK RK RK RK RK RK RK RK KK RK KK HH HH HH OK HH HH KK KK KK kkkt DISP 25h LCD Parameter change A LCD Parameter Change is used to change a single character in the LCD of the the MicroWave II The full format of a DISP Dump is ndex Label Value Description 0 EXC FOh Marks Start of SysEx DW 3Eh Waldorf Electronics GmbH ID 2 DE OEh MicroWave II ID 3 DEV Device ID 4 DM 25h here DISP LCD Parameter change 9 LOC 0 79 Index of character in LCD 6 CHAR ASCII New character 7 XSUM LOC CHAR amp 7Fh Checksum 8 EOX F7h End of SysEx ck ck ck ck ck KK KK KK RK RK KK RK RK RK RK KK RK HH HH HH KK HH ck ck ck ck KK KK KK 2 64 DISL KOK KK KK KK RK KK RK KK KK KK RK RK RK RK RK HH HH kckckck ck ck KK KK KK KK KK DISL 45h LCD Recall Upon receprion of a Display Recall message the LCD and the LEDs will be updated in order to discard a possibly previously dumped LCD content The full format of a DISL Dump is Description 0 EXC FOh Marks Start of SysEx IDW 3Eh Waldorf Electronics GmbH ID 2 IDE OEh MicroWave II ID 3 DE
15. Filter Env Amount Filter Velo Amount Filter Cutoff Filter Type Filter 2 Keytrack Sound Volume Amp Envelope Velo Amount Amplifier Keytrack Effect Panning Pan Keytrack Glide on off Glide Type Arpeggiator on off hold Arp Tempo Arp Clock Arp Range Arp Pattern Arp Direction Arp Note Order Arp Velocity Allocation Assignment Filter Env Attack Filter Env Decay Filter Env Sustain Filter Env Release Amlifier Env Attack Amlifier Env Decay Amplifier Env Sustain Amplifier Env Release LFO1 Rate LFO1 Shape LFO1 Delay LFO1 Sync LFO1 Symmetry LFO1 Humanize LFO2 Rate LFO2 Shape LFO2 Delay LFO2 Sync LFO2 Symmetry LFO2 Humanize LFO2 Phase Osc 1 FM Amount Filter 1 Extra Glide Time Control W Control X Control Y NNPRPRPRPR Control Z KOK KK RK RK KK RK RK KK RK RK KK RK KK KK OK HH HH HH HH HH KK KK HH KK RK 3 12 Modulation Sources ee ee ee ee HH HH ee ee ee Index ODIDUTUBWNHEO ONSNAUBWNHO Modulation Source LFOl Modwheel LFOl Aftertouch Filter Envelope Amplifier Envelope Wave Envelope Free Envelope Key Follow Keytrack Velocity Release Velocity Aftertouch Poly Pressure Pitch Bend Modwheel Sustain Control Foot Control Breath Control Control W Control X Control Y Control Z Control Delay Modofier 1 Modofier 2 Modofier 3 Modofier 4 MIDI Clock minimum Maximum RK KK KK KK RK RK RK RK RK RK KK RK KK OK HH HH HH HH HH KK KK KK KK U ok 3 13 Modulatio
16. Pitch Bender Modwheel Breath Control Portamento Time Master Volume Panning Bank Select Sustain Pedal Start Stop Tw System Exclusive Song Pos Song Sel Tune Clock Commands Continue Local ON OFF All Notes Off Active Sense Reset X mE Note See MIDI Controller Assignments for more information X X p SF e X O X O O O X O O O X O X O 0 127 Le 2 exe X O X X X X X X X O X O X Mode 1 OMNI ON POLY Mode 2 OMNI ON MONO o Yes Mode 3 OMNI OFF POLY Mode 4 OMNI OFF MONO x No EG Konformitatserklarung Declaration of Conformity Fur das folgend bezeichnete Erzeugnis For the following named product Waldorf MicroWave II Synthesizer Waldorf MicroWave XT Synthesizer wird hiermit best tigt da es den Schutzanforderungen entspricht die in der Richtlinie 89 336 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 elektromagnetische Vertr glichkeit von Ger ten EMVG vom 30 August 1995 will be hereby declared that it conforms to the requirements of the Council Directive 89 336 FWG for radio frequency interference It also complies with the regulations about radio interference of electronic devices dated on August 30th 1995 Zur Beurteilung des Erzeugnisses hinsichtlich der elektromagnetischen Vertr
17. Rear Panel O a Prowse BN mamour BN sur our Ya DC 900mA Loft Stereo Right Mono Left Stereo Right Mono oe Y Y ue ibe ne eee ds o 0000 000 O Power supply socket DC 12V Sub Out Right Mono with cable clip Q MIDI In jack Main Out Left Stereo O MIDI Thru jack Main Out Right Mono O MIDI Out jack Sub Out Left Stereo User s Manual MicroWave Il e MicroWave XT Additional Controls and Connectors of the MicroWave XT DP The MicroWave XT features the same controls and connectors as the MicroWave II In addition it offers individual controls for the most parameters The items labeled on this page indicate special features that are available on the MicroWave XT only Front Panel 3 Main Volume rotary control for setting the overall volume Rear Panel m y S 16 Q5 LT he par 12V DC 900mA 9 Power main our Den S ES Ru Out re ee eee e SYNTHESIZER 3 Analog In jack for processing external audio signals 8 User s Manual MicroWave Il e MicroWave XT Foreword Thank you for purchasing the MicroWave II XT You now own a wavetable synthesizer featuring a wide range of unique sounds To ensure your instrument functions properly and enjoys a long life please read and heed the instructions in this manual Software development Stefan Stenzel
18. Sound Mode Edit Buffer 30 00 30 07 Multi Instrument Edit Buffers So the full format of a SNDD Dump is Index Label Value Description 0 EXC FOh Marks Start of SysEx 1 IDW 3Eh Waldorf Electronics GmbH 1D 2 IDE OEh MicroWave II ID 3 DEV Device ID IDM 00h here SNDR Sound request is BB see Text Location 6 NN see Text Location 7 XSUM BB NN amp 7Fh Checksum 8 EOX F7h End of SysEx Ck ck ck ck ck KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK ck ck KK ck ck ck ck ck ck KK KK KK 104 User s Manual MicroWave Il e MicroWave XT 2 12 SNDD KOK KK KK KK KK KK RK KK RK KK KK KK KK RK RK HH RK RK ck ck kck ck ck KK ckck KK KK KK SNDD 10h Sound Dump A sound dump is used to transfer sound data from and to the MicroWave II The location is given in two bytes with following conventions BB NN Location 00 00 00 7F Locations A001 A128 01 00 01 7F Locations B001 B128 10 00 All Sounds 20 00 Sound Mode Edit Buffer 30 00 30 07 Multi Instrument Edit Buffers So the full format of a SNDD Dump is Index Label Value Description 0 EXC FOh Marks Start of SysEx 1 IDW 3Eh Waldorf Electronics GmbH ID 2 IDE OEh MicroWave II ID 3 DEV Device ID 4 IDM 10h here SNDD Sound Dump 5 BB see above Location 6 NN see above Location 7 262 SDATA see 3 1 Sound data 263 XSUM BB NN SDATA amp 7Fh Checksum 264 EOX F7h End of SysEx 0 EXC FOh Marks Start of SysEx 1 IDW 3Eh Waldorf Electronics GmbH ID 2
19. The e or c in the the display after the program name is cleared All edits have been recalled and the program is back in its original 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 MicroWave II XT are available for this purpose US This is how you store a program 1 Press and hold the Shift key 2 Briefly press the Store key 3 Release the Shift key 4 The display shows a page where you can select the store type the source and the destination Store Rail 7 5 Use the second value dial to select the store type e f Sound is selected the current Sound program will be stored When used in Multi Mode the Sound program of the currently selected instrument will be stored e If Multi is selected the current Multi Program will be stored The Sound programs that built the Multi are not stored by this task You must do this separately or by using the All Edits option This setting is available in Multi mode only If All Edits is selected the MicroWave will store back all edit buffers into their original memory locations Use this setting to save all edited programs with a single task 6 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 This setting is not available if you choose All Edits for the store type
20. This specifies segment 2 of the envelope as last segment in the sustain phase N Set Level 3 to 0 8 Specify the Release time via Time 3 9 Set Key Off Loop End to 3 This causes the envelope to stop after segment 3 User s Manual MicroWave Il e MicroWave XT 73 The following diagram shows how this example works A Level Key pressed 1 Key released lt gt lt gt Key On Loop End 2 Key Off Loop End 3 Level 1 127 1 Level 2 Time 3 Time Level 3 0 lt Time 1 Time 2 US This is how you setup an envelope that it works like a sawtooth LFO with different rates in the sustain and release phase 1 Set Key On Loop and Key Off Loop to on This causes both loops in the sustain and in the release phase to be activated 2 Set Level 1 and Time 1 to O This deactivates segment 1 because it can not be looped 3 Set Level 2 to 127 This defines the maximum value of the sawtooth s amplitude 4 Specify the rate of the sawtooth for the sustain phase via the Time 2 parameter 5 Set Key On Loop Start to 7 and Key On Loop End to 2 This will repeat segment 2 of the envelope as long as the key is pressed 6 Set Level 3 to 0 This defines the minimum setting of the sawtooth s amplitude 7 Set Time 3 to 0 This causes the envelope abruptly to minimum level after releasing the key and sets the minimum value of the sawtooth s amplitude in the release phase 8 Set Level 4 to 127 This defines the m
21. Waves output signals are mixed Pink noise can also be added to the mix The Filter then shapes the sound by amplifying boosting or attentuating dampening certain frequencies The Amplifier is located at the end of the signal chain It determines the overall volume and position of the signal within the stereo panorama Modulators LFOs Envelopes Modifiers Modulation Matrix The Modulators are designed to manipulate or modulate the sound generating components to add dynamics to sounds The Low frequency Oscillators LFOs are designed for periodic or recurring waveshapes and Envelopes for modulations that occur once within a given time frame These generators are assigned to parameters via 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 User s Manual MicroWave Il e MicroWave XT 37 Oscillators The oscillators are the first unit in the chain of the MicroWave II XT s sound generation In comparison to a classic analog synthesizer the oscillator s output signal itself is not used as a sound source It is the driving element for the wavetable synthesis Oscillator 1 ea Detune Eeustr G 18 S end Rande IIFM Arcuri Octave 4 4 Determines the octave setting of the oscillator The reference pitch for the oscillator is generated at MIDI note A3 note no 69 when Octave Semitone
22. amp H circuit is the extra parameter and appears on the Filter 1 2 page as S amp H Rate When the S amp H rate is set to maximum 127 the circuit passes the sound untouched 54 User s Manual MicroWave Il e MicroWave XT Filter 1 2 Cutoff Enu H If you like nice clean sounds the S amp H filters are definitely not for you Filter 2 The second filter is capable of performing a low pass or high pass The slope is always 6dB per octave there is no resonance parameter and therefore no self oscillation You can use Filter 2 in several ways Since its slope is more flat than those of Filter 1 the effect filtering has on the sound is very subtle Filter 2 Cutoff Filter 2 ls de LF Cutoff 0 127 Determines the cutoff frequency Note that you can also modulate the filter s cutoff frequency in the modulation matrix Type 6dB LP 6dB HP Selects the filter type Use the low pass setting 6dB LP to get a warm sound without cutting of too much of the higher frequencies Use the high pass setting 6dB HP to thin out the bass frequencies in order to get a cleaner and more precious sound 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 o
23. applied To avoid this you will have to activate the Limit parameter Please read this corresponding topic to get further information Use the basic waveforms to generate traditional analog synthesizer sounds Phase free 3 357 By means of this parameter you can define the startsample and as a result the phase of the generated wave Alternative to a fixed value you can use free to set the phase to a different random value each time a note is generated The setting is scaled in degrees EnvAmount 64 63 Determines the amount of influence the wave envelope has on the wavetable modulation EnvVelAmt 64 63 Determines the amount of influence the wave envelope has on the wavetable modulation based on key velocity In conjunction with EnvAmount you can create nice effects when you set one of the two parameters to a negative setting while the other one is setto a positive setting Keytrack 200 197 Determines the amount of wavetable modulation depending on the received MIDI note number Reference note for this parameter is E3 note number 64 For positive settings the modulation amount is increased for notes above to reference note for negative settings the amount is decreased A setting of 700 corresponds to a 1 1 scale This means that each note above or below the reference note plays a different wave E g when you set Startwave to 29 and Keytrack to 100 it means that E3 plays wave 29 F3 plays wave 30 F 3 plays
24. 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 Electronics 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 Stra e Street PLZ Wohnort ZIP Code City Land Country Telefon Telephone Telefax Facsimile Sonderausstattungen Custom features IS Seriennummer Serial number Kaufdatum Purchase date Name Ihres Handlers Name of your dealer Ort Ihres Handlers City of your dealer E QE RR TU E EU Wenn Sie Fragen zu Ihrem Waldorf Produkt haben gibt es vier M gli
25. 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 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 Electronics Support Department Neustra e 9 12 53498 Waldorf Germany Produkt Product mic O WEEKS SYNTHESIZER SYNTHESIZER Sonstige verwendete Ger te 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 Electronics will repair or replace the product without charge for materials or labor provided the product was first inspected and found faulty by Waldorf Electronics or an
26. from position 05 to 60 And what about hard timbre changes Now take a look at the classic waveforms on positions 61 63 As there are not any blank positions between these waves the resulting timbre changes are very hard What else can we do In addition to the described structure the MicroWave II XT can generate wavetables and their corresponding waves via mathematical calculations Such wavetables are called algorithmic wavetables The speciality about these wavetables is that they don t need any real waves to generate interesting timbre changes E g the calculation scheme for an algorithmic wavetable can be as follows Take a pulse wave for position 00 and remove the last samples for every step so that a single sample remains on position 60 The result is a wavetable with pulse waves of different pulsewidth The different base algorithms for such wavetables are synchronisation pulse width modulation FM waveshaping Summary You should keep the following sentence in mind because it describes the essentials of the wavetable synthesis A wavetable is a table of pointers to up to 64 waves in between you can move randomly User s Manual MicroWave Il e MicroWave XT 35 Creating own Wavetables Sooner or later you want to create your own wavetables and waves The user interface of the MicroWave II XT is not effective for doing such complex things Therefore we refer to corresponding computer software products N
27. from the left channel to the right and back again User s Manual MicroWave Il e MicroWave XT 61 Mod Delay LP Effect Effect Flo Dela The modulated delay is a delay type effect where the delay time is modulated by a low frequency oscillator The speed of the oscillator and the amount of change caused by the oscillator are parameters of this effect Time Delay time This parameter is displayed as a note type followed by a Beats Per Minute number So 1 4 74 means that the delay time is a quarter note at 74 BPM Speed 0 127 The speed of the modulating oscillator Depth 0 127 Amount of change in the delay time caused by the oscillator 62 User s Manual MicroWave Il e MicroWave XT Portamento and Glissando The term portamento describes the continuous gliding from one note to the next like strings or some brass instruments e g trombone can do A glissando is a similar effect with one difference The pitch does not change continuously but in note steps On acoustic instruments a glissando can be performed e g on a piano when you play very fast over a wide key range The MicroWave II XT offers some different effect types that can be trimmed for each situation The term glide is used for all different types of effect in common Glide Roh ive on Active off on Enables or disables the glide effect Type porta glissando fingered f gliss Determines the effect type Porta selects a norm
28. function can be used e g for converting a bipolar modulation source to a unipolar one like opening the filter via Pitchbend independent of the bending direction Returns the minimum value of either Source 1 or Source 2 Returns the maximum value of either Source 1 or Source 2 The lag processor creates a linear ramp from its current value which is initially minimum to the value of Source 1 Then the ramp is stopped until Source 1 changes again The ramp time is specified by Parameter This function is useful when you want to apply a definable modulation over a specified time e g Modwheel controlled ramp for oszillator sweeps Level 4 E Source 1 l Parameter Lag processor function Time Performs a low pass filter function on Source 1 The filter frequency is determined by Parameter s value Use this function to smooth a signal Level A Source 1 f Filter function Time Performs a differential function on Source 1 The result of this function represents the speed of value change in the selected source Parameter has no function here This function is useful to detect if a source signal has changed e g the Modwheel was turned Level 4 Source 1 Differential function Time 0 127 Defines a value for modifier functions that require a constant parameter See the Type parameter described above for further details User s Manual MicroWave Il e MicroWave XT 83 Modulation
29. parameter must be set to 7 There are also many lead sounds with an interval e g a quart 5 semitones When making ring modulated sounds try to use 11 for the setting The semitone setting also becomes very important when oscillator synchronisation is enabled Then Oscillator 1 determines the pitch of the generated sound Oscillator 2 determines the colour Try to use a random semitone setting while Octave is at 2 Detune 64 63 Fine tunes the oscillator in increments of 128ths of a semitone The audible result of detuning oscillators is a flanging Use a positive setting for one oscillator and an equivalent negative setting for the other A low value of 7 results in a slow and soft flange effect Mid ranged settings of 5 are optimal for pads and other fat sounding programs High values of 12 or above will give a strong detune that can be used for accordeons or effect sounds Keytrack 100 200 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 positive 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 correspondes 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 or oscillator synchronisation
30. see above Parameter index 8 XX see 3 2 3 3 New Parameter value 9 EOX E7h End of SysEx KOK KK KK KK KK RK KK RK KK RK KK RK RK RK RK HH KK KK ck ckckck ck ck KK KK KK KK KK 2 31 WAVR KOK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK KK ckck KK KK KK KK KK KK KK KK WAVR 02h Wave Request Upon reception of a valid wave request the MW2 will dump the selected Wave The location is given in two bytes with following conventions HH LL Location ROM Waves 000 127 ROM Waves 128 255 ROM Waves 256 299 User Waves 1000 1023 User Waves 1024 10151 User Waves 1152 1249 So the full format of a WAVR Request is Index Label Value Description 0 EXC FOh Marks Start of SysEx 1 DW 3Eh Waldorf Electronics GmbH ID 2 DE OEh MicroWave II ID 3 DEV Device ID DM 02h here WAVR Wave request 5 HH see Text Location 6 LL see Text Location 7 XSUM HH LL amp 7Fh Checksum 8 EOX F7h End of SysEx Ck KK KK KK RK RK RK RK RK KK RK KK KK RK KK KK KK ck ck ck ck KK KK KK ck ck KK KK KK 2 32 WAVD ee ee ee ee ee HH HH ckck HH ckckckck HH HH HH U ok WAVD 12h Wave Dump A wave dump is used to transfer wave data from and to the MicroWave II The location is given in two bytes with following conventions HH LL Location ROM Waves 000 127 ROM Waves 128 255 ROM Waves 256 299 User Waves 1000 1023 RES User Waves 1024 10151 09 00 09 61 User Waves 1152 1249 So the full format of a WAVD Dump is Index Label Value Desc
31. specific parameters act on the MicroWave II XT s behaviour At first we like to play along with the filter 1 Switch back to sound program A001 Unisono WMF 2 Press the second parameter select key This is the same key that is used for the Recall function but in this case it is used without the Shift key The display changes to show the parameter page for Filter 1 16 User s Manual MicroWave Il e MicroWave XT 3 Use the first value dial to change the cutoff frequency of the filter Play some notes to hear the effect Reduce the value to get a darker sound Also change the resonance setting The sound gets a narrow character the more you turn up the control Rise the setting to its maximum value You will notice that an additional tone is generated This is the self oscillation of the filter 4 After playing around a little turn the cutoff down to 70 and the resonance to 20 This should give you a good starting point for the next step 5 Turn the Page Dial clockwise to select the next parameter page The display shows Enua Amour Ems Uelocite Aroni T 6 Press a note on your keyboard and hold it down for a few seconds You may notice that the sound starts very bright but then gets darker more and more This is the effect of the Filter Envelope that modulates the cutoff frequency The modulation depth is controlled here by the Cutoff Env Amount parameter N Turn its setting down to 0 and look what happ
32. that builds the instrument Clock 1 1 1 32 Determines the note value for whole notes to thirty second notes The basis is a 4 4 beat Triplets e g 1 87 and dotted notes e g 1 16 are available for every value Range 1 10 Determines the range of the single notes in octaves User s Manual MicroWave Il e MicroWave XT 89 Pattern off user 1 15 Determines whether an rhythm pattern is played and which one e If off is selected the arpeggiator playes its notes in regular steps specified by the Clock parameter e If user is selected the arpeggiator uses the free programmable pattern defined in the Arpeggiator User Pattern page of the sound program The instrument itself does not provide a user pattern Additionally the arpeggiator features 15 preset rhythm patterns These are numbered from 1 through 15 See diagram 4 in chapter Sound Parameters to get detailed information about patterns 8 p 8 p Direction up down alternate random Determines the sequence of generated notes according to pitch e If up is selected the arpeggio starts at the lowest note and sweeps up through the notes until it reaches the highest note It then starts at the bottom again e If down is selected the arpeggio starts at the highest note and sweeps down through the notes until it reaches the lowest note It then starts at the top again If alternate is selected the arpeggio starts at the lowest note and sweeps up through th
33. the Instruments The next step is to select Sound programs for each instrument of the Multi 1 Press the Multi key to call the Multi Instrument parameter pages The display now shows the first page of the Multi parameters Laolume You can set the overall volume for the Multi program here For now leave it at its default value 2 Use the Page Dial 3 to select the Sound 1 page 3 Select a Sound program for Instrument 1 via the second value dial In our example we select Program A018 Play some notes on the keyboard to listen to the sound 20 User s Manual MicroWave Il e MicroWave XT 4 We are now selecting a Sound program for Instrument 2 You can switch between the Instruments via the fouth value dial Turn the dial one step clockwise The display shows Sound Unisono RIF inzt 2 5 Select Sound program B003 for the second Instrument To change the Bank from A to B use the first value dial Cop Kees 6 To play Instrument 2 ensure that your master keyboard or sequencer is sending on MIDI channel 2 Play some notes on the keyboard You don t hear anything Don t worry everything went well but you have to activate the Instrument before it works as expected As default only Instrument 1 is active after initializing Activating the Instrument Each Instrument has a Status parameter where you can turn it on or off This enables you to activate only those Instruments that you really need
34. then coming up to its full frequency range Sine Waveshaper with 12dB Low Pass The Sin x gt LP Type consists of a sine waveshaper followed by a 12dB low pass filter with resonance The sine waveshaper usually adds some harmonics and intermodulation frequencies to the signal 12dB Low pass Wave Shaper This new filter type consists of two components the first being a normal 12dB low pass filter as described in the user manual The second component is a wave shaper much like the sine wave shaping filter Sin x gt LP also described in the manual The difference between the sine wave shaper and this new shaper is that the shaping wave is no longer a sine wave but a wave from the wavetable used by the sound User s Manual MicroWave Il e MicroWave XT 53 The extra parameter Wave on the Filter 1 2 page is used to select the desired shaping wave from the sound s wavetable e g a triangle wave Filter 1 2 DCutotff Era BHmountiEmns iielol laus Dee i 25 triangle H For a nice gritty sound try a square wave as shaping wave Nice for organ grinders 12 dB parallel Low pass and Band pass Filters This filter type consist of two filters parallel to each other The first filter being of the low pass type and the second of the band pass type As with the new wave shaping filter the 12 dB low pass filter can be adjusted the usual way as described in the user manual The band pass filter s cutoff frequency is the same as the cuto
35. used to feed in 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 User s Manual MicroWave Il e MicroWave XT Quick Start This chapter gives you a quick introduction into the MicroWave II XT and its features It is written for those people that want to get a quick success without reading tons of manual stuff Although the MicroWave II XT is a very complex device with many capabilities its basic operation is quite easy to understand But there are also more complicated things that make it necessary to take a deeper look into this manual from time to time Basic Setup 1 Press the Power button 5 to switch on the MicroWave II XT The display will show a startup message which disappears after a few seconds 2 When you want to switch off the power press and hold the Power button 5 again The display now shows a countdown from 10 to 0 When 0 is reached the MicroWave is switched off If you release the Power button before nothing will happen This is just a precaution to prevent data loss by accidently hitting the button 3 Before you can start playing the MicroWave II XT you have to ensure that its MIDI receive channel is set properly When you power up for the very first time channel 1 is selected To change the setting press the Utility button The display now shows Charre al multi Use the first value d
36. 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 Amplifier Envelope This envelope is designed to control the sound volume but can also be used for other modulations The following parameters determine the envelope s response Amplifier Env 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 User s Manual MicroWave Il e MicroWave XT 71 Wave Envelope The MicroWave II XT s wave envelope features a multi segment characteristic with 8 separately adjustable times and levels H Multi segment envelopes are extremely flexible modulation sources Their structure is made of grouped time level parameters that allows one to generate an almost free modulation amount over several time segments The following diagram illustrates the structure of a multi segment envelope Level Key pressed Key released Levels Time Timeg ime Time 1 me 2 ma Time 4 UT T
37. 0 127 0 127 Volume 4 16 112 48 48 Transpose 5 0 127 64 63 Detune 6 0 1 Main Out Sub Out Output 3 0 1 off on Status 8 0 127 left64 center right63 Panning 9 0 2 off on inverse Pan Mod 0 reserved 1 reserved 2 1127 1 5127 Lowest Velocity 3 1 127 1 127 Highest Velocity 4 0 127 0 127 Lowest Key 5 0 127 0 127 Highest Key 6 0 2 off on hold Sound Arp Arpeggiator Active 7 0 15 1 1 17 32 Arpeggiator Clock 8 1 10 120 Arpeggiator Range 9 0 16 off user 1 15 Arpeggiator Pattern 20 0 3 up down alt random Arpeggiator Direct 21 0 3 note n rev played p rev Arp Note Order 22 0 1 root note last note Arpeggiator Velocity 23 0 1 off on Arpeggiator Reset on Pattern Start 24 0 18 off Chl 16 Inst global Arpegg Notes out 25 reserved 26 reserved 27 reserved OK KK KK KK RK RK RK RK RK RK RK KK OK RK KK KK KK KK KK KK KK ckck KR KK KK KK 3 4 WDATA Wave Data KKK KKK KKK KKK KK KKK KKK KKK KKK KKK KKK KK KKK KKK KKK KKK KKK KK KKK A Wave consists of 128 eight Bit samples but only the first 64 of them are stored transmitted the second half is same as first except the values are negated and the order is reversed Wave 64 n Wave 63 n for n 0 63 Not that samples are not two s complement format to get a signed byte the most significant bit must be flipped signed char s Wave n 0x80 Index Range Value Parameter 0 0 15 00h F0h Sample 1 most significant nibble 1 0 15 00h 0Fh Sample 1 least sig
38. 1 Use the Page dial 3 to select the Sound 2 page Charre 2 Change the Status setting to on Now the Instrument is active and you can listen to it when playing on the keyboard Building a layered Sound Another exciting feature the Multi mode offeres is the capability to layer sounds Such a layered sound consists of two or more Sound programs that are used in combination 1 Select Instrument 3 and activate it as described above 2 Choose a Sound program for the Instrument e g A008 chaOSC 3 As expected you can play the Sound program A008 on MIDI channel 3 But this is not what we want to do here In this case we want to combine it with Instrument 2 which is already setup 4 The only thing you have to do is to change the MIDI receive channel of Instrument 3 in the Sound 2 page Use the first value dial to set it to 2 Dhannel q Both Instruments 2 and 3 now receive on MIDI channel 2 and therefore two Sound programs are played when you use this MIDI channel You can layer more Instruments if you want User s Manual MicroWave Il e MicroWave XT 21 Using an Instrument Arpeggiator One of the outstanding features of the MicroWave II XT is its arpeggiator In addition to the arpeggiator that can be used in a Sound program each Instrument has an arpeggiator too That makes it possible to use arpeggios in a Multi program without editing any Sound program You can even use the arpeggiator on Sound programs that norma
39. 1 127 0 15 1 10 0 16 0 3 0 3 0 0 0 15 0 15 0 15 0 15 0 15 0 0 2 0 127 0 127 0 127 0 127 0 127 0 127 0 2 0 127 0 127 0 127 0 127 0 2 0 127 0 127 0 127 0 127 Geala t 64 63 200 197 off on left 64 center right 63 200 197 off on porta gliss fporta fglide exp linear Os 127 off on hold extern 50 300BpM 1 15 1 32 1 10 off user 1 15 up down alt random note n rev played p rev root note last note off on Poly Mono normal dual unisono 0 127 0 127 0 127 05 127 0 4 5427 0 127 normal single retrigger 0 127 0 127 0 127 04 127 normal single retrigger 0 127 0 127 0 127 04127 Filter Resonance Filter Type Filter eytrack Filter Envelope Amount Filter Envelope Velocity Amount Filter Extra Filter 2 Cutoff Filter 2 Typ Filter 2 Keytrack Effect Type still Subject to change Amplifier Volume Amplifier Envelope Velocity Amount Amplifier Keytrack Effect Parameter 1 Chorus Effect Parameter 2 Panning Panning Keytrack Effect Parameter 43 Glide Active Glide Type Glide Mode Glide Time Arpeggiator Active Arpeggiator Tempo Arpeggiator Clock Arpeggiator Range Arpeggiator Pattern Arpeggiator Direction Arpeggiator Note Order Arpeggiator Velocity Arpeggiator Reset on Pattern Start Arpeggiator User Pattern Length Arpeggiator User Pattern Pos 1 4 Arpeggiator User Pattern Pos 5 8 Arpeggiator Us
40. 127 Determines the oscillator speed of the chorus effect Depth 05 4127 Determines the amount of the chorus Mix 127 0 0 127 Determines the volume ratio of the dry and wet signal 58 User s Manual MicroWave Il e MicroWave XT Flanger 1 Effect Speed 0 127 Determines the oscillator speed of the flanger effect Depth 0 127 Determines the amount of flanging Mix 127 0 0 127 Determines the volume ratio of the dry and wet signal Flanger 2 Effect Feedback 188 Speed 05 127 Determines the oscillator speed of the flanger effect Feedback 0 127 Determines the amount of feedback Mix 127 0 0 127 Determines the volume ratio of the dry and wet signal AutoWahLP Effect The AutoWahLP is basically a low pass filter of which the cutoff is determined by the signal s strength Sense 0 127 Controls the filter s sensitivity according to the signal s strength Cutoff Qs 127 The minimal cutoff frequency of the filter Resonance 0 127 Filter resonance User s Manual MicroWave Il e MicroWave XT 59 AutoWahBP Effect Uutoff Aa The AutoWahBP is basically a band pass filter of which the cutoff is determined by the signal s strength Sense 0 127 Controls the filter s sensitivity according to the signal s strength Cutoff 0 2127 The minimal cutoff frequency of the filter Resonance 0 127 Filter resonance Overdrive Effect Drive 0 127
41. 127 3 357 64 63 64 63 200 197 0 off 1 on 0 off 1 on 0 127 64 63 0 27 64 63 0 127 64 63 0 127 64 63 0 normal 1 single 2 retrigger 0 off 1 on 2 hold 1 10 Octaves 1 1 1 32 O external 1 127 50 300BPM 0 up 1 down 2 alternate 3 random 102 User s Manual MicroWave Il e MicroWave XT 107 108 hb c Oo O amp Q M 120 121 123 ooooooopo PNE 427 127 A27 127 427 Arp Arp Arp Arp Arp LFO LFO LFO LFO LFO LFO LFO All Reset All Controllers All Pattern Note Order Velocity Reset Pattern Length Sync Symmetry Humanize Sync Symmetry Humanize DD PN DN FP FP FB Phase Sound Off notes off off l user 2 16 Pattern 1 15 by note 1 note rev 2 as played reversed root note 1 last note off 1 on 16 Hoo wo o O off 1 on 3 Clock 64 63 0 127 O off 1 on 3 Clock 64 63 0 127 0 free 1 127 3 357 User s Manual MicroWave Il e MicroWave XT 103 System Exclusive Data Format Waldorf MicroWave II XT System Exclusive Specifications Software release 2 01 See http www waldorf gmbh de waldorf microwave2 doc sysex doc 1 General ck kk ck ck ck ck ck ck KKK KKK KKK KK KKK KKK KKK KK KKK AH KH AH KK AH ck KKK kk AH ck ko KKK KKK Sys Ex dumps and requests will always be in the following form FOh IDW DEV IDM LOC Datas CHKSUM F7h wher
42. 127 ASC ame 4 rnd S amp H LFO 1 Shape 244 32 127 ASC ame 5 61 0 127 075127 LFO 1 Delay 245 32 127 ASC ame 6 62 0 3 off on on Clock LFO 1 Sync 246 32 127 ASC ame 7 63 0 127 64 63 LFO 1 Symmetry 247 32 127 ASC ame 8 64 0 127 0 127 LFO 1 Humanize 248 32 127 ASC ame 9 65 reserved 249 32 127 ASC ame 10 66 0 127 0 127 250 32 127 ASC ame 11 or Notation LFO 2 Rate 251 32 127 ASC ame 12 67 0 5 sin tri sqr saw 252 32 127 ASC ame 13 rnd S amp H LFO 2 Shape 253 32 127 ASC ame 14 68 0 127 0 127 LFO 2 Delay 254 32 127 ASC ame 15 69 0 3 off on on Clock LFO 2 Sync 255 32 127 ASC ame 16 70 0 2 64 63 LFO 2 Symmetry ck kk ck ck ck ck ck ck ck KKK KKK ck ck ck KKK ck ck ck KKK KKK KKK KH KH KH TH KKK KKK KK KKK k ko qa 0 127 05 127 LFO 2 Humanize 72 0 127 free 3 357 LFO 2 Phase 73 reserved 74 0 3 see List 3 12 Modifier Delay Src 75 0 127 0 127 Modifier Delay Time 76 0 3 see List 3 12 Modifier 1 Source 77 0 3 see List 3 12 Modifier 1 Source 2 78 0 15 see List 3 14 Modifier 1 Type 79 0 127 0 2 1227 Modifier 1 Parameter 80 0 3 see List 3 12 Modifier 2 Source 81 0 3 see List 3 12 Modifier 2 Source 2 82 0 15 see List 3 14 Modifier 2 Type 83 0 127 0 127 Modifier 2 Parameter 84 0 3 see List 3 12 Modifier 3 Source 85 0 3 see List 3 12 Modifier 3 Source 2 86 0 15 see List 3 14 Modifier 3 Type 87 0 127 0 127 Modifier 3 Parameter 88 0 3 see List 3 12 Modifier 3 Source 89 0 3 see List 3 12 Modifier 3 Source 2 90 0 15 see List 3 14 Modifier 3 Type 91 0 127
43. 2 127 127 127 12 7 127 127 127 127 127 4127 127 63 127 127 127 63 127 127 127 127 127 127 127 127 127 127 127 4123 i5 127 Wave 1 Wave 2 Level Level RingMod Level Noise Level Filter 1 Cutoff Filter 1 Keytrack Filter 1 Env Amou Filter 1 Env Velo Filter 1 Type Amp Keytrack Filter 1 Resonanc Amp Volume Amp Env Velocity Filter 2 Cutoff Filter 2 Type Filter 2 Keytrack Sustain Switch Glide on off Wavetable Wave 1 Startwave Wave Wave Wave Wave Wave Wave Wave Wave Wave Wave Wave Wave NO NN NO NY NY NY FPF KF KF n Phase Env Amnt Env Vel Amnt Keytrack Limit Startwave Phase Env Amnt Env Vel Amnt Keytrack Limit Link ime 1 evel 1 ime 2 evel 2 ime 3 evel 3 Releas nt city e im Releas Level Trigger Arp Active Arp Range Arp Clock Arp Tempo Arp Direction 0 127 0 127 0 127 0 127 0 127 200 197 64 63 64 63 0 24dB LP 1 12dB LP 2 24dB BP 3 12dB BP 4 12dB HP 5 Sin X gt LP 200 197 0 127 0 127 64 63 0 127 0 6dB LP 1 6dB HP 200 197 0 127 04 127 Wavetable 001 128 00 60 61 triangle 62 square 63 saw 0 free 1 127 3 357 64 63 64 63 200 197 O off 1 on 00 60 61 triangle 62 square 63 saw 0 free 1
44. 218 0 33 see List 3 13 Mod 9 Destination 43 0 7 1 8 Wave Key On Loop 219 0 3 see List 3 12 Mod 10 Source Start 220 0 127 64 63 Mod 10 Amount 44 0 7 1 8 Wave Key On Loop End 221 0 33 see List 3 13 Mod 10 Destination 45 0 off on Wave Key Off Loop 222 0 3 see List 3 12 Mod 11 Source 46 0 7 14 8 Wave Key Off Loop 223 0 127 64 63 Mod 11 Amount Start 224 0 33 see List 3 13 Mod 11 Destination 47 0 7 1279 Wave Key Off Loop 225 0 3 see List 3 12 Mod 12 Source End 226 0 127 64 63 Mod 12 Amount 48 reserved 227 0 33 see List 3 13 Mod 12 Destination 49 0 127 0 127 Free Env Time 1 228 0 3 see List 3 12 Mod 13 Source 50 0 127 64 63 Free Env Level 1 229 0 127 64 63 Mod 13 Amount 51 0 127 0 127 Free Env Time 2 230 0 33 see List 3 13 Mod 13 Destination 52 0 127 64 63 Free Env Level 2 231 0 3 see List 3 12 Mod 14 Source 53 0 127 0 4127 Free Env Time 3 232 0 127 64 63 Mod 14 Amount 54 0 127 64 63 Free Env Level 3 233 0 33 see List 3 13 Mod 14 Destination 55 0 127 0 127 Free Env Release 234 0 3 see List 3 12 Mod 15 Source Time 235 0 127 64 63 Mod 15 Amount 56 0 127 64 63 Free Env Release 236 0 33 see List 3 13 Mod 15 Destination Level 237 0 3 see List 3 12 Mod 16 Source 57 0 2 normal single 238 0 127 64 63 Mod 16 Amount retrigger Free Env Trigger 239 0 33 see List 3 13 Mod 16 Destination 58 reserved 240 32 127 ASC ame 1 59 0 127 0 127 241 32 127 ASC ame 2 or Notation LFO 1 Rate 242 32 127 ASC ame 3 60 0 5 sin tri sqr saw 243 32
45. 38 PulSync 3 054 Wavetrip2 007 Saw Sweep 023 PercOrgan 039 SinSync 1 055 Wavetrip3 008 MellowSaw 024 ClipSweep 040 SinSync 2 056 Wavetrip4 009 Feedback 025 ResoHarms 041 SinSync 3 057 MaleVoice 010 Add Harm 026 2 Echoes 042 PWM Pulse 058 Low Piano 011 Reso 3 HP 027 Formant 2 043 PWM Saw 059 ResoSweep 012 Wind Syn 028 FmntVocal 044 Fuzz Wave 060 Xmas Bell 013 High Harm 029 MicroSync 045 Distorted 061 FM Piano 014 Clipper 030 Micro PWM 046 HeavyFuzz 062 Fat Organ 015 Organ Syn 031 Glassy 047 Fuzz Sync 063 Vibes 016 SquareSaw 032 Square HP 048 K Strong1 064 Chorus 2 Table 1 Wavetable overview The wavetables 065 128 contain no factory presets The locations 065 096 are reserved for future use Memory locations 097 128 are User Wavetables H Although the selected wavetable is used for both waves it is only displayed in the currently explained parameter page The Wavetables are the real power of the MicroWave II XT To make sure that you have access to all this power you should make yourself familiar with the sound and the characteristic of each wavetable The best way to do so is to set up a kind of test sound to listen to the wavetables Start with an initialized sound and turn down the mix level of Oscillator 2 In the Mod Matrix setup a modulation that uses the ModWheel to modulate 42 User s Manual MicroWave Il e MicroWave XT Wave1Pos and set the amount to 62 the setting of 62 instead of 63 prevents that you
46. DI dump Sending System Exclusive Data When you activate the send functions the MicroWave II XT sends the contents of its memory to the MIDI Out jack Using a sequencer you can record and archive this data US This is how you activate the dump function 1 Press and hold the Shift key 2 Briefly press the Utility key 9 3 Release the Shift key 4 The display shows a page where you can select the dump type Dump 5 Use the page dial 3 to select the desired dump function If Sound is selected the current Sound program will be sent When used in Multi mode the Sound 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 Multi mode If Arrangement is selected the current Multi program with all its used Sound programs is sent Use this function to dump all settings of a Multi This function is only available in Multi mode If All Sounds is selected all Sound programs of the MicroWave II XT are sent If All Multis is selected all Multi programs of the MicroWave II XT are sent If All Wavetables amp Waves is selected all Wavetables amp Waves are dumped If Global Parameters is selected all Global parameters are dumped If Everything is selected all previous mentioned dumps are sent sequentially 6 Briefly press the Utility key 9 while holding
47. Glide Type Glide Mode LFO1 Rate LFO1 Shape LFO2 Rate LFO2 Delay LFO2 Shape Filter Env Trigger LFOl Delay Amp Env Trigger Bank Select Osc 1 Octave Osc 1 Semitone Osc 1 Detune Osc 1 Pitchbend Scale Osc 1 Keytrack Osc 2 Octave Osc 2 Semitone Osc 2 Detune Osc 2 Sync Osc 2 Pitchbend Scale Osc 2 Keytrack Osc 2 Link Value Range 127 127 127 127 127 left 64 center right 63 coos 9 O off 1 on 427 427 427 127 427 127 127 27 ooooocoococ o portamento 1 fingered port glissando 3 fingered gliss o WS exp l linear 127 sin l tri 2 square 3 saw 4 random S amp H 127 off l retrigger 2 127 1 126 sin 1 tri 2 square 3 saw 4 random S amp H No ooguo o 0 normal 1 single 2 retrigger 0 off l retrigger 2 127 1 126 0 normal 1 single 2 retrigger 0 Bank A 1 Bank B 4 4 12 12 64 63 0 120 semitones 121 harmonic 122 global 100 200 4 4 12 412 64 63 O off Lron 0 120 semitones 121 harmonic 122 global 100 200 O off 1 on User s Manual MicroWave Il e MicroWave XT 101 45 46 47 48 50 51 52 53 54 55 56 27 58 60 61 62 64 65 70 74 72 73 74 75 76 TI 78 79 80 81 82 83 85 86 87 88 89 90 91 92 93 102 103 104 105 106 ooo opere ooooooopo Ooooooooocooooococ ooocooooococ oooocgc 127 127 127 127 127 1
48. IDE OEh MicroWave II ID 3 DEV Device ID IDM 10h here SNDD Sound Dump 5 BB see above Location 6 NN see above Location 7 65542 SDATA 256 see 3 1 256 times Sound data from A001 to B128 65543 XSUM BB NN SDATA amp 7Fh Checksum 65544 EOX F7h End of SysEx Ck Ck ck ck ck kk KK RK RK RK RK RK KA KA KA KA KA KA KARA KA ck ck ck ck ck ck ck ck KK KK 2 13 SNDP Ck ck ck KK KK RK KK RK RK KA KA KA KA AAA KARA AAA AAA ck ck ck ck ck ckck ck kck ok SNDP 20h Sound Parameter Change Upon reception of a valid Sound Parameter Change dump the specified parameter will change its value immediately according to the given value The location is given in one byte with following conventions LL Location 00h Sound Mode Edit Buffer or 00h 07h Multi Mode Instrument 1 8 sound buffer The Parameter index is given in two bytes HH PP Parameter index 00h 00 7Fh Parameters with indices 0 to 127 01h 00 7Fh Parameters with indices 0 to 127 See 3 1 for a detailed list of parameters and indices So the actual Format is Index Label Value Description 0 EXC FOh Marks Start of SysEx 1 DW 3Eh Waldorf Electronics GmbH ID 2 DE OEh MicroWave II ID 3 DEV Device ID 4 DM 20h here SNDP Sound Parameter change 5 LL see above Location 6 HH see above Parameter index high bit 7 PP see above Parameter index 8 XX see 3 1 New Parameter value 9 EOX F7h End of SysEx Note that the checksum is omitted here KKK KKK KKK KKK KKK KKK KKK K
49. KK KH KH TH TH TH TH TH KH AH KH AH KH AH KH AH AH FH ko ck kk ko A ko A KKK 2 21 MULR KOK KK KK KK KK KK RK kckckckckckckckckckckckckckckckckckckckckck kckckckckckckckckck KK KK KK U MULR 11h Multi Request Upon reception of a valid multi request the MW2 will dump the selected Multi s The location is given in two bytes with following conventions BB NN Location 00 00 00 7F Locations 001 128 10 00 All Multis 20 00 Edit Buffer So the full format of a MULR Dump is Index Label Value Description 0 EXC FOh Marks Start of SysEx 1 IDW 3Eh Waldorf Electronics GmbH ID 2 IDE OEh MicroWave II ID 3 DEV Device ID 4 IDM 01h here MULR Multi request 5 BB see Text Location 6 NN see Text Location 7 XSUM BB NN amp 7Fh Checksum 8 EOX F7h End of SysEx Ck Ck ck ck ck RK KK RK RK RK RK KK KK KK KK RK RK HH HH KK HH ck ck ck ck ck ck KK ER 2 22 MULD KOK KK RK KK KK KK RK KK RK RK RK RK RK RK RK HH HH HH HH HH KK KK KK KK ER MULD 21h Multi Dump A multi dump is used to transfer multi data from and to the MicroWave II The location is given in two bytes with following conventions BB NN Location Locations 001 128 10 00 All Multis 20 00 Edit Buffer User s Manual MicroWave Il e MicroWave XT 105 So the full format of a MULD Dump is Description 0 EXC FOh Marks Start of SysEx a IDW 3Eh Waldorf Electronics GmbH ID 2 IDE OEh MicroWave II ID 3 DEV Device ID 4 IDM 11h here MULD Multi Dump
50. Manual MicroWave Il e MicroWave XT 3 Data Formats 3 1 SDATA Sound Data KOK KK KK KK KK KK RK RK KK RK KK KK RK HH HH HH HH HH HH KK KK ckckckckck ok Note All Parameters marked as set to 0 for future compatibility reserved should be Parameter 00 10 Oi wd N O0 OB Ww 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 Ww on w o Oi am am am aS aS aS aS aS aS aS O 00 100 QN Hm oO sauna ana a H2 O0 00 10 UO QN D OY N 16 112 4 4 52 76 12 12 0 127 64 64 reserved 0 122 0 120 harmonic global 0 76 100 200 0 127 0 127 reserved reserved reserved reserved 16 112 4 4 52 76 I2L 12 0 127 64 64 reserved 0 1 off on 0 122 0 120 hm gl 0 76 100 200 0 1 off on reserved reserved reserved reserved reserved 0 127 0 127 0 63 0 60 tri sqr saw 0 127 free 3 257 0 127 64 64 0 127 64 64 0 127 200 197 0 off on reserved reserved reserved reserved 0 63 0 60 tri sqr saw 0 127 free 3 257 0 127 64 64 0 127 64 64 0 127 200 197 0 1 off on 0 1 off on reserved reserved reserved reserved 0 127 0 127 0 127 0 127 0 127 054127 0 127 0 127 0 127 0 127 reserved 0 5 off 1 5 0 5 off 1 5 0 saturate overfl reserved 0 off on 0 82 see List 3 11 0 82 see List 3 11 0 82 see List 3 11 0 82 see List 3 11 0 127 0 127 Sound Form
51. 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 MicroWave II XT offers 16 independent modulation assignments each with individual settings of source destination and amount Mod 1 16 Source see Table 3 Defines the modulation source See Table 3 for the list of available sources 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 For the so called unipolar modulation sources the resulting amplitude lies within the range of 0 1 if Amount is positive or 0 1 if Amount is negative These sources are Filter Envelope Amplifier Envelope Wave Envelope all MIDI controllers including Modwheel Foot control etc Velocity Release Velocity Aftertouch Polyphonic Pressure and MIDI clock For the so called bipolar modulation sources the resulting amplitude lies within the range of 1 0 1 These sources are Free Envelope both LFOs Keytrack Keyfollow and Pitchbend For the modulation sources Keytrack and Keyfollow a value of 56 represents 100 of the scale 84 User s Manual MicroWave Il e MicroWave XT Destination see Table 5 Defines the modulation destination The table below shows all possible
52. MicroWave II XT the unique sound character which makes it different from all other synthesizers and samplers The principle of wavetable synthesis is not new the PPG synthesizer Wavecomputer 360 Wave 2 Wave 2 2 and Wave 2 3 and also the Waldorf MicroWave the first one and Waldorf Wave use this concept The MicroWave II XT contains some enhancements to wavetable synthesis which improve the sonic quality in a remarkable way An introduction to wavetable synthesis needs some attention because its operation principle is different to other sound generating systems Nevertheless you should spend a little time in understanding the basics You will gain more than the effort it takes A Please note that you cannot create your own wavetables or waves with the MicroWave II XT itself To do so you need a wavetable editor a special computer program that allows you to create and edit wavetables and waves Please ask your local dealer for such an editor software 32 User s Manual MicroWave Il e MicroWave XT Overview To illustrate the principle of wavetable synthesis we start with an overview that is correct in a scientific way A wavetable is a table consisting of 64 waveforms Each waveform is classified by its own very special sound character Some wavetables contain waveforms with a similar sound character in between others include waves with extremely different timbres The following diagram shows a part of a wavetable Wave 63 Wave
53. Modulation Time fesi fi f2 1 5 fres2 fi f2 3 5 V V Wave 2 f2 2 5 1 octave 4 semitones Noise 0 127 Volume of the noise generator The noise generator produces pink noise and features no other controls Noise is a fundamental source for any kind of analog type percussion Also wind and other sound effects can be created by using the noise generator External 0 127 Volume of the external audio input Analog In User s Manual MicroWave II e MicroWave XT 47 Play Access The Play Access page is a very exciting feature that gives you an easy accessible control over 4 freely definable Sound parameters This can be extremly useful in adapting a sound very quickly as well as having easy realtime control in performance situations In fact the Play Access function consists of two parts Defining the parameters for the Play Access page Accessing the previously defined parameters Defining the parameters Play Access Par El Are Dir Par 1 Par 4 sound parameters Use the value dials to select the desired parameters Turning the dials will scroll the view through a list of the most important single sound parameters that are available on the MicroWave II XT Some parameter names are abbreviated to fit in the display area E g AE Attack stands for the Amplifier Envelope Attack parameter The following table shows an overview of the used abbreviations Abbreviation Description Abbreviation Descript
54. Niels A Moseley Hardware development Thomas Kircher Design Axel Hartmann Manual Oliver Rockstedt Revision Date 12 01 98 We would like to thank Stefan Stenzel for his occasional help on developing process Thomas Kircher for the idea of using an external power supply Axel Hartmann for the blue colour Wolfgang D ren for sound program A009 and Produktionsleiter Schneider for being so cool We would also like to thank Erna Moormann Beate Walkowiak Claudia Nahring Martin Neideck Philipp Dahlhausen Birger Degen Michael Haydn Dr Georg Miller Drew Neumann Holger Tsching Steinbrink Gunther Gr fe Kurt Lu Wangard H P Bonni Bonnenberg Frank Miller Hubertus Hubi Weller Sigi Barishi Pierra Evi Mognol Mike Caroll Sabine Schneider Achim Flor Martin Herbst Alex Sauff Geoff Farr and anyone we have forgotten Very special thanks to Wolfram Franke for the thanks Waldorf Electronics is not liable if this manual contains erroneous information 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 that the manual contains no contradictory information Waldorf extends no guarantees 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 express written consent Waldorf Electronics GmbH Neustra e 12 D 53498 Waldorf Ge
55. PEeutrack 88 188 5 A given parameter s value range is indicated from low to high with the two values shown in italic letters separated by three dots Example Semitone 12 12 10 User s Manual MicroWave Il e MicroWave XT 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 Power Supply Operation 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 Ensure adequate ventilation is available at all sides of the device especially when you mount it in a rack 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 Use only the included AC adapter Plug the adapter only into wall sockets that are properly grounded Make sure the available power supply has the required rating indicated on the adapter If you have any doubts consult a qualified electrician Never install a different plug If the included cable is not equipped with a suitable plug for your local sockets take it to a qualified electrician Unplug the device when you are not usin
56. RRE ar CE quen 80 MOTO Units ostro dona en ra RR LR ORA RU p ROLE ORO RRA 81 Modulation Mattbc o ue eux e ESSI Xr y Era S 84 Program NANG RM m 85 MUN MOU nase ae AGS e AAA 86 Multi parameters 2e vedere puedes ee eqs eae eas 86 Instrument parameter s Cane Sos Fui e a a Sos e Bd pace pk ue Pha AU ATE 87 Selecting an instrument for editing sve rre em 87 A TRO R EIU Raa 87 TUNE eric a ve eet Rue ER ur ac perdo antea I e dete ur ur dn 88 RANEE m P CEP 88 ATDOBOIJIOR Sa GR oi teen che gute ai ae Deere 89 Global Parameters iovis zr ie ug 92 MIDI Control e edd AA AN ER EFE 95 Selecting PESTO au sea re E ee NR ORAE da ed 95 Calling Programs via Program Change 0 00 00 ec eee eee 95 Influencing Sounds via MIDI Messages 5 05 6c nen 95 Controllers as Modulation Sources 2 2 run ss m en 95 Changing Sound Parameters via Controllers ooo ooo o 95 Pitchbending s see mre ee SSG te IE ED erae TGS eee qm 95 Aftertouch and Poly Pressure u cura Ie ar ER EPA E ew PATE 95 System Exclusive Data ong ice hha he a t C Ed bene 95 System Exclusive Data Transmission v i nd Aas a er X po OE Een 96 Sending System Exclusive Data see e rere eH Pe ees 96 Receiving System Exclusive Data x ares ern 97 Other Functions c vu y REX a S RAE AGI AU RAYS 98 Updating the System Software igo be CONS fay ae Gs eee 98 Converting MicroWave Sounds 2 ar nina 99 APPO ee meu et eee eee MON a Oe NS 100 Technical Data 428424 2 sek tr ow Ge
57. The Controller number which defines the element to be influenced It can be between 0 and 120 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 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 Cutof
58. These individual timbre changes that were different from anything else known at that time made up the typical wave sound The first synthesizers built in the early 80s that used this technique were the PPG 340 380 Wave Computer and the PPG 360 Wave Computer Both models yet without analog filters Wolfgang Duren responsible for the distribution of the PPG synthesizers at that time was able to convince Palm to set up analog filters after the oscillators on the follow up models PPG Wave 2 and PPG Wave 2 2 The result was synthesizers that wrote history and influenced the sound of a whole generation In the late 80s PPG discontinued their work and therefore the production of the Wave but in the meantime Wolfgang D ren now manager at Waldorf Electronics initiated the rebirth of the Wave s technology Based on an extensive cooperation contract with Wolfgang Palm the Waldorf MicroWave became the official successor of Wave technology in 1989 The MicroWave was one of the most influental synthesizers of the late 80s and the 90s right up to today You can find it on almost any important music production from disco through pop and rock to experimental music However the availability of this great synthesizer was not as immediate as was needed so it was decided in 1995 to further enhance it and to only use those electronic parts that we knew were available This led to the idea of developing digital filters and we think we ve done a pretty good job
59. Try to use values in the range 0 75 or even negative settings for one oscillator while leaving the second at 700 Keytrack Pitchbend Range 0 120 harmonic global Determines the intensity of the pitchbend via MIDI Pitchbend messages in semitones e f harmonic is selected the pitchbend is performed in steps of the harmonic and the subharmonic scale Please refer to the description for Oscillator 1 to get further information e If global is selected the setting in the global parameter BendRange is used Sync off on Enables or disables oscillator synchronisation When enabled oscillator 2 acts as a slave that is controlled by oscillator 1 the master Each time oscillator 1 starts a new period it sends a trigger signal to oscillator 2 forcing it to restart the wave signal 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 LFOs or pitchbend will bring further movement into sync sounds The following diagram illustrates the principle of oscillator synchronisation in a simplified way User s Manual MicroWave Il e MicroWave XT Level Oscillator 1 Level Time Oscillator 2 in Sync Link off on Allows the same modulation settings for both oscillators to be used When enabled oscillator 2 uses the modulation parameters of oscillator 1 for all modu
60. V Device ID 4 IDM 45h here DISL LCD Recall 5 XSUM 0 Checksum 6 EOX F7h End of SysEx Ck KK KK KK RK RK KK RK RK RK RK KK RK RK HH HH HH HH HH ck ck ck ck KK KK KK 2 71 RMTP KOK KK KK KK KK KK RK RK KK RK RK KK KK RK KK KK KK ckck KK KK KK KK KK KK KK KK KK RMTP 26h Remote Control Parameter Change The remote control Parameter change is used to remotely control the encoders and buttons of the MicroWave II Operation might still introduce bugs The Element to move is coded in one byte UU Element 00 Encoder 1 left 01 Encoder 2 02 Encoder 3 03 Encoder 4 04 Encoder 5 big red one 05 Play Shift button 06 Soundpar 1 Store button 07 Soundpar 2 Recall button 08 Soundpar 3 Compare button 09 Multipar Undo button OA Global Utility button OB Power button MM Encoder Button 00 encoder left turn 64 released 01 encoder left turn 63 pressed 2 63 encoder left by MM pressed 64 no encoder move pressed 65 encoder right by one pressed 66 127 encoder right by MM pressed The full format of a RMTP Dump is ndex Label Value Description 0 EXC FOh Marks Start of SysEx IDW 3Eh Waldorf Electronics GmbH ID 2 IDE OEh MicroWave II ID 3 DEV Device ID 4 IDM 26h here RMTP 5 UU see text Element 6 MM see text Simulated movement 7 XSUM UU MM amp 7Fh Checksum 8 EOX F7h End of SysEx Ck KK ck ck KK KK KK KK KK KK KK KK KK KK KK KK KK KK ckck ckck ck ck ck ck ckck ck ck ckck ck ck ck kck ok 108 User s
61. XT comes complete with e the MicroWave II or MicroWave XT e 12V 1000mA DC adapter e warranty card 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 registration card This is the only way we can keep you informed of upgrades and updates Other available services are listed on the warranty card Setup Place the MicroWave II XT on a clean even surface If you choose to take the device on the road we suggest you mount it in a 19 rack The MicroWave II XT takes up 89mm equivalent to 2 rack spaces Connections In order to get started with your MicroWave II XT you will need an AC wall socket a MIDI keyboard a mixing console an amp and an audio monitor such as a speaker cabinet You can also use a computer or sequencer rather than a MIDI keyboard MIDI Ou MII AI eJ MicroWave Power MIDI Keyboard Main Out Main Out adapter Left Stereo Right Mono Line Line Te B CL ove eiiiiilIiiii coo Out mE SHEHHE 0 7 DOOGDODOGODO ss mg Wie d EREMO Url Mixer Amp Diagram 1 Connections User s Manual MicroWave Il e MicroWave XT 13 Follow these steps to connect the devices e Turn all uni
62. accidentally access the analog waveforms explained below Now you can use the Modulation Wheel to sweep through the whole selected wavetable Change the Wavetable parameter to see how the different wavetables sound You will notice that they cover an extremely wide range of interesting spectral timbres including analog FM like bell type or vocal Startwave 00 60 triangle square sawtooth Determines the start point of the wavetable that is used when the sound starts As an alternative to the waves of the currently selected wavetable you can select the basic waveforms triangle square with 50 duty cycle or sawtooth When you want to create a sound with a wave sweep you should roughly set the Startwave parameter onto the desired wave before you apply any modulations to the corresponding Wave module This helps you to find the basic waveform where all modulations start from Note that you can apply unipolar and bipolar modulation sources to the Wave module as with any other module For example set the Startwave parameter to 29 which is almost the middle of the wavetable and apply a slow running LFO to the Wave module to sweep through the whole wavetable except the three waveforms triangle square or sawtooth Try it with one of the PWM wavetables H The basic waveforms triangle pulse and sawtooth correspond to entry 61 63 of each wavetable Please notice that these waveforms are also used when an appropriate wave modulation is
63. ach voice is detuned and therefore how fat the sound becomes User s Manual MicroWave Il e MicroWave XT 17 3 Set the Assign parameter back to unisono if not already done 4 Change the Detune parameter and listen to the effect The detuning of the voices oscillators cause an audible sweep that is dependent on the parameter s value The higher the setting the stronger the sweep 5 Set the Assign parameter to normal again We will need this setting for the next steps The heart of the MicroWave II XT are its wavetables They build the sound source from which everything derives In this step we are going to change the sound program s wavetable 1 First call the first parameter page for Wave 1 To do so press the first parameter select key then use the Page Dial 3 to select the page The display must look like this Stantugase Phase Havetable e I free BEE Pul Sorc 2 Change the wavetable via the third value dial and play some notes You may notice that the sound changes dramatically when moving from one wavetable to the next Try to check out the following wavetables 014 Clipper 021 Robotic 028 FmntVocal 054 Wavetrip2 and 060 Xmas Bell 3 After checking out the different wavetables set the parameter back to the original wavetable 036 PulSync 1 The next feature we want to explore is the ring modulation It is useful to add non harmonic components to the sound that gives it a metallic character 1 U
64. al portamento effect with all notes gliding continously from one to the next Similar to that gliss selects the normal glissando effect with all notes gliding in semitone steps When fingered or f gliss is selected the portamento or glissando is only applied on legato played notes and so the first note played is not influenced This feature is useful especially for solo sounds when it is often undesireable to slide into the beginning Mode exp linear Selects whether the pitch is changed in an exponential or linear style On classic analog synthesizer the exponential style was used mainly since it could be easily created with analog circuits The inear setting produces a more accurate gliding with better audible results The following diagram illustrates the difference between the two modes Pitch 4 Pitch Time Time exponential linear Time 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 User s Manual MicroWave Il e MicroWave XT 63 Trigger The Trigger parameters define how the various envelopes are started In addition you can activate special dual and unisono modes to stack the MicroWave II XT s voices mager FilterErwifne Env llave Eru Free En normal single normal Iretridder Trigge
65. ally this is how MIDI 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 116 User s Manual MicroWave Il e M
66. alog 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 The ROM area of the MicroWave II XT consists of 64 wavetables and the RAM area contains an additional 32 wavetables which can be manipulated over MIDI via appropriate computer software A wavetable is a table made up of 64 columns Each column represents one wave that can be either located in the ROM or RAM area of the MicroWave II XT or calculated by an algorithm after selecting the wavetable For the purpose of using a wavetable inside a sound program it doesn t matter what source the wavetable comes from A wavetable itself contains no wave data but is in fact a collection of up to 64 pointer entries referencing up to 64 waves Not all columns of the wavetable have to contain entries When one or several sequential columns contain no pointer the MicroWave II XT calculates the waves for these locations automatically The algorithm producing these imaginary waves uses an interpolation scheme that crossfades the real ones E g when a wavetable cointains entries in column 1 and 5 the positions 2 to 4 are generated based on interpolation between the existing waves in column 1 and 5 A Please keep the terms wavetable and wave in mind Don t bring them into confusion Introduction Wavetable synthesis gives the
67. ame dihian Unison WR First select the character to be modified via the first value dial Then change its setting via the second value dial User s Manual MicroWave Il e MicroWave XT 85 Multi Mode Multi parameters The Multi parameters consist of settings which are common to all instruments in a multi program Volume Tempo ee Control Wibcontrol Control alz Name Position Character H H Mulia Multi Volume 0 127 Determines the master volume for the multi program Arpeggiator Tempo extern 50 300 This setting allows one to define a master tempo for all instruments in the multi program If extern is selected the tempo is determined by MIDI clock Control W Control Z 0 120 global These parameters are used to define modulation sources that are freely definable MIDI controllers Each value represents a MIDI controller number that is used when you assign its parameter as modulation source in the Modifiers or the Modulation Matrix If global is selected the corresponding settings made in the global parameter section are used Name Use this page to set the multi program s name First select the character to be modified via the first value dial Then change its setting via the second value dial 86 User s Manual MicroWave Il e MicroWave XT Instrument parameters The Instrument parameters consist of individual settings for each Instrument in a multi program Selecting an instrument f
68. and Detune is set to 0 and Keytrack is 100 In this case the oscillator s frequency will be the same as set in the global Tune parameter normally 440Hz Set this parameter to O if you are creating a typical keyboard sound set it to 7 for bass sounds If you are programming strings or other high pitched sound set Octave to 1 The following table shows the relationship between the Octave setting and its corresponding register value a common measurement based on the length of organ pipes Setting Register 4 128ft 3 64ft 2 32ft 1 16ft 0 8ft 1 4ft 2 2ft 3 1ft 4 1 2ft Semitone 12 12 Determines the pitch of the oscillator in semitone steps The standard setting for this parameter is O but there are cases where different values are required Most organ sounds include a quint therefore one oscillator s semitone parameter must be set to 7 There are also many lead sounds with an interval e g a quart 5 semitones When making ring modulated sounds try to use 11 for the setting Detune 64 63 Fine tunes the oscillator in increments of 128ths of a semitone The audible result of detuning oscillators is a flanging Use a positive setting for one oscillator and an equivalent negative setting for the other A low value of 7 results in a slow and soft flange effect Mid ranged settings of 5 are optimal for pads and other fat sounding programs High values of 12 or above will give a strong detune that can be
69. ard has 61 keys 3 less than the number of wavetable items Different waves can be played depending on key velocity An LFO can modulate the position inside the wavetable Depending on the wavetable you can create subtle to drastic sound changes e 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 These are just a few examples of the capabilities the MicroWave II XT s wavetable synthesis offers In the following paragraphs we move deeper into the subject and by the way we get a little more specific User s Manual MicroWave Il e MicroWave XT 33 Wave A wave is the digitally stored image of a single wave cycle From this point of view a wave is identical to a sample that is looped exactly after one cycle The difference to a sampler or ROM sample player is that all waves have the same length and they are played at the same pitch A typical wave looks like this Pr Y T The diagram shows the symmetry of the waveform which is mirrored in its middle In fact most waves in the MicroWave II XT are made up in this way so that only the first half of the cycle is stored in memory The MicroWave II XT calculates the missing part on its own At this point we see one extension to the classic PPG systems and the first MicroWave The MicroWave II XT can also store whole wave cycles This feature becomes interesti
70. at like any usual edits you have to store your modified program to make the changes permanent User s Manual MicroWave Il e MicroWave XT 49 Filter Once the audio signal leaves the mixer it is sent to the filters The MicroWave II XT has two independent filter units each with its own individual settings Both filters are routed in series The filters are components that have significant influence on the MicroWave II XT s sound characteristics The filter type most commonly used in synthesizers is a low pass filter This 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 MicroWave II XT s filter dampens frequencies in the stop band with a certain slope The slope is selectable between 12dB and 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 signal that fall into the pass band The following diagram shows the basic principle of a low pass filter Level 12dB Oct Cutoff Frequency To give you an idea of the extent of damping consider this A reduction of 24dB reduces the original level by approx 94 The damping factor two octaves above the cutoff point reduces the original level by more than 99 which in most cases mean
71. at Version currently 1 Format 0 is unpublished Osc Octave in Steps of 12 Osc Semitone Osc Detune Osc Pitch Bend Range Osc Keytrack Osc FM Amount Osc 2 Octave in Steps of 12 Osc 2 Semitone Osc 2 Detune Osc 2 Sync Osc 2 Pitch Bend Range Osc 2 Keytrack Osc 2 Link Wavetable Wave 1 Startwave Wave 1 Start Phase Wave 1 Envelope Amount Wave 1 Envelope Velocity Amount Wave 1 Keytrack Wave 1 Limit Wave 2 Startwave Wave 2 Start Phase Wave 2 Envelope Amount Wave 2 Envelope Velocity Amount Wave 2 Keytrack Wave 2 Limit Wave 2 Link Mix Wave 1 Mix Wave 2 Mix Ringmod Mix Noise Mix Ext XT only Aliasing Time Quantization Clipping Accuracy Play Parameter 1 Play Parameter 2 Play Parameter 3 Play Parameter 4 Filter 1 Cutoff 63 64 65 66 67 68 69 70 TE 72 73 74 79 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 00 01 02 03 04 05 06 07 08 NAUBWMN MH 20 21 22 23 24 25 26 27 28 reserved reserved reserved reserved reserved reserved reserved reserved reserved reserved 054127 see List 3 15 200 197 64 63 64 63 Context Sens 0 127 6dB LP 6dB HP 200 197 MW II 0 9 MW XT 0 127 0 9 0 127 0 127 0 127 0 127 0 127 0 0 127 0 7 0 127 0 127 0 127 0 127 0 0 127 0 127 0 127 0 127 0 0 3 0 0 127 0 2
72. at should be different each time you play it If retrigger is selected the LFO starts its cycle after receiving a note This is also known as key sync feature This setting is useful when the LFO must always start at a fixed value e g when creating an alert sound e If 1 126 is selected the LFO is works like in retrigger mode but is delayed with the specified amount This setting is useful e g for solo sounds with a vibrato or tremolo that is only applied on long notes Sync off on Clock Selects if the LFO is synchronised If off is selected the LFO runs completely independent If on is selected all LFOs of the MicroWave s voices used by the sound program behave as one If Clock is selected the LFO is synchronised to an incoming MIDI Clock signal 76 User s Manual MicroWave Il e MicroWave XT Symmetry 64 63 Adjusts the relationship between the rising and the falling edge of the signal When set to 0 the generated waveshape is symmetrical When set to positive values the positive cycle becomes longer and the negative cycle becomes shorter and vice versa Use this parameter to change to pulsewidth of the square signal When using it on a triangle waveshape you can get a sawtooth wave with a soft rising or falling slope The following diagram illustrates this effect Level 4 Level 4 Level 4 Time Time Time Symmetry 0 Symmetry 40 Symmetry 40 Humanize off 1 127 Allows one to add a random va
73. ator uses the free programmable pattern defined in the Arpeggiator User Pattern page Additionally the arpeggiator features 15 preset rhythm patterns These are numbered from 1 through 15 Here is an overview of the arpeggiator preset patterns Pattern i 28 4 5 7 G 9 10 I 12 18 14 15 16 1 e e oo eee oo 2 e e oo e e e 3 e e e 0 e e oo 4 e e e e eve e 5 e e o oo e e o 6 oo e oo oo O oo 7 e o e e oo e e e 8 e e e e e oo e 9 e e eee e 000 10 o oo oo o 11 oo oo oo oo 12 oo oo e o oo e 13 O e o e oo e 14 e e e e e 15 e e e e e e Diagram 4 Arpeggiator patterns User s Manual MicroWave Il e MicroWave XT 67 Direction up down alternate random Determines the sequence of generated notes according to pitch If up is selected the arpeggio starts at the lowest note and sweeps up through the notes until it reaches the highest note It then starts at the bottom again e If down is selected the arpeggio starts at the highest note and sweeps down through the notes until it reaches the lowest note It then starts at the top again If alternate is selected the arpeggio starts at the lowest note and sweeps up through the notes until it reaches the highest note It then starts to sweep back down e If random is selected the arpeggio plays any of the notes in a random order NoteOrder by note note rev as played reversed Determi
74. avetable modulation depending on the received MIDI note number Reference note for this parameter is E3 note number 64 For positive settings the modulation amount is increased for notes above to reference note for negative settings the amount is decreased A setting of 700 corresponds to a 1 1 scale This means that each note above or below the reference note plays a different wave E g when you set Startwave to 29 and Keytrack to 100 it means that E3 plays wave 29 F3 plays wave 30 F 3 plays wave 31 and so on Limit off on This setting prevents if enabled accessing the analog type waveforms triangle square and sawtooth in any case of modulation When disabled the full modulation amount will be calculated and applied so that the whole wavetable will be used for tone generation User s Manual MicroWave Il e MicroWave XT 45 Quality The quality parameters control the input stage of the Mixer They determine the amount of Aliasing and Time Quantization applied to the sound as well as the type of distortion generated when the signal raises the clipping level Quality Timeluaent lAccuracu Clipping otf i otf I zat urate Aliasing off 1 5 Aliasing is a digital side effect that is audible as soon as a wave has harmonics higher than half the sampling frequency Usually aliasing is reduced to a minimum by some magical mathematics but here you can override this and listen to aliasing distortion just like in the
75. aximum value of the sawtooth s amplitude in the release phase 9 Specify the rate of the sawtooth for the release phase via the Time 4 parameter 10 Set Key Off Loop Start to 3 and Key Off Loop End to 4 This will repeat segment 4 of the envelope in the release phase The following diagram shows how this example works A Level Key pressed 1 Key released gt lt 1 1 1 1 1 1 Key On Loop Start 1 Key Off Loop Start 3 Key On Loop End 2 Key Off Loop End 4 2 Y Level 2 127 Level 4 127 _ _K Time 2 Time 4 1 Time Time 1 0 Time 3 0 Level 1 0 Level 32 0 74 User s Manual MicroWave Il e MicroWave XT Free Envelope In addition to the previously described envelopes the MicroWave II XT offers a Free Envelope which can be used for modulation purposes This envelope also features a multi segment structure It consists of 4 segments and has no loop functionality The first 3 segments always belong to the sustain phase the last one always belongs to the release phase The main difference to the other envelopes is that the Free Envelope features bipolar levels Therefore it can generate modulation amounts in the range 1 0 1 Free Env 1 Free Env 2 Time 1 3 0 127 Determines the time for the individual segment to reach its end level Level 1 3 64 63 End level that the corresponding segment finally reaches Release 0 127 Determines the length of th
76. ay occur and there is no way to make it work again 6 After a few seconds the message disappears The MicroWave II XT is now ready to work again H If something goes wrong with updating the MicroWave II XT displays an error message If such a thing 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 98 User s Manual MicroWave Il e MicroWave XT Converting MicroWave Sounds The MicroWave II XT can also use Sound and Multi programs made for the first MicroWave It has a built in converting feature to import these programs via MIDI dump Currently only the conversion of single sound programs is supported The MicroWave II XT identifies such data by its model ID defined in the Sysex header Although conversion takes place automatically there are some points you should keep in mind A converted program may not sound exactly the same as played in an original MicroWave Since the first MicroWave uses analog circuits which may differ from device to device its impossible to make programs sound exactly the same The MicroWave II XT uses a Modulation Matrix with 16 slots Theoretically it is possible that an old program uses more modulation assignments so that some entries would get lost Actually there is only a little chance to get into trouble e The Filter Envelope of the MicroWave II XT has no delay parameter Whe
77. bank or 2 Multi Mode Startup Sound Number MIDI Channel Program Change Mode Device ID DEV Bend Range Controller Controller Controller Controller Main Volume NKx Transpose Master Tune Display Timeout LCD Contrast Startup Multi Number Arpeggiator Note out Channel MIDI Clock output Parameter send Parameter receive Input Gain XT only KOK KK KK KK KK KA KA KA KA KA KA KA KA HH AAA RK RK AAA ck ck KK KK KK KK KK User s Manual MicroWave Il e MicroWave XT 113 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 arised 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
78. ble below the types of effects are shown together with the availability for the two types of Microwave MicroWave Il MicroWave XT Chorus Chorus Flanger 1 Flanger 1 Flanger 2 Flanger 2 AutoWahLP AutoWahLP AutoWahBP AutoWahBP Overdrive Overdrive Amp Mod Amp Mod Delay Pan Delay Mod Delay All the effect parameters are available on the Effect page which is located between the Amplifier and Pan page The first parameter on the Effect page is always the effect type parameter The other three parameters change according to the type of effect which has been selected Some Words about Effects It is very difficult to describe effects such as chorus and flanger Therefore the description of the exact timbre changes induced by the effects has been omitted As it would serve no purpose to clutter the manual with subjective obscurity Just have a play with the effects The Mix Parameter Most of the effects have a mix parameter This parameter determines the volume ratio between the original signal and the effect output To further stress the fact that this is a ratio the mix parameter is display as two numbers The first number is the original or dry signal amount The second number is the effect s output amount or wet signal amount The two numbers are separated by a colon see chorus display example Chorus Below the display of the Microwave is shown with the Chorus effect selected Zu Derth Mix B4B Bri27 Speed 0
79. 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 Tuning is scaled in semitone steps When Keytrack is set to 100 the filter can be played in a tempered scale Resonance 0 127 Filter resonance parameter Determines the amplification of the frequencies around the cutoff point Use lower values in the range 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 and a loss in the other range When the setting is raised to values above 773 the filter starts to self oscillate generating a pure sine wave This feature can be used to create solo sounds like the traditional moog lead or analog style effects and percussion like electronic toms kicks zaps etc Type see Table Selects the filter type Further information on the different filter types is given at the end of this chapter 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 100 corresponds to a 1 1 scale so e g when an octave is played on the keyboar
80. chkeiten uns zu kontaktieren 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 zuverlassig 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 gmbh de 49 0 2636 976499 Waldorf Electronics Neustra e 9 12 53498 Waldorf Germany 49 0 2636 976464 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 Contents Control Features and Connections 0 c cece cece eee enn 7 Additional Controls and Connectors of the MicroWave XT
81. d icu You can also switch between Sound and Multi mode when you are not in Play mode e g when editing in a parameter page To do so you have to turn the third value dial 2 also labeled Sound Multi while holding down the Shift key 24 User s Manual MicroWave II e MicroWave XT Editing Parameters In order to change or edit a sound or multi in the MicroWave II XT you must access the appropriate parameters These parameters are arranged in various pages The front panel shows the headlines for each parameter page Sound Multi Global 0sc l Filter 1 Filter Env Volume MIDI 0sc 2 Filter 2 Volume Env Tempo Wave Env Controls Control Wave 1 Amplifier moin Mato Volume Wave 2 Pan LFO 1 Instrument Quoliy Glide p Sound ie f Modifiers Tune Tune Mix Trigger Mod Matrix Range Play Access Arpeggiator Arpeggiator System Undo Utility Diagram 2 Parameter pages The picture shows five page groups divided into the sections Sound Multi Instrument and Global Each group has a select key 6 0 and an activation LED below The Sound parameters refer to a Sound program If you are in Sound 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 The Multi parameters refer to a Multi program They determine the common setting for all instruments in the Multi program Obviously you can access thes
82. d 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 100 On most bass sounds lower settings in the range 60 75 are optimal to keep the sound smooth at higher notes User s Manual MicroWave Il e MicroWave XT 51 Cutoff Env Amount 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 time Sounds with a hard attack usually have a positive envelope amount that makes the start phase bright and then closes the filter to get a darker sustain phase On the other side string sounds usually use a negative envelope amount that gives a slow and dark attack before the cutoff rises in the sustain phase Env Velocity Amount 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 Cutoff Env Amount parameter with the difference that its strengh 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 diagram illustrates
83. dawn of the first digital musical instruments like the PPG Wave or the first MicroWave Use a setting other than off for sounds that expressionally should have a digital character TimeQuant off 1 5 With a wave 64 harmonics including the fundamental frequency can be represented and a clever interpolation algorithm makes sure only these 64 harmonics are generated even at low pitches However sometimes one might wish to add additional harshness at the lower end just like the first MicroWave did and this is what Time Quantization is for The wave interpolation is overridden in five steps to get this extra fizziness Note that pitch accuracy is a bit diminished when using a value other than off The audible result of Time Quantization is a very sharp sound character when playing at low pitches Use this e g for sawtooth based sounds Accuracy off on If disabled voices are detuned very slightly to give more vivid sound especially when playing chords or sounds with long release If enabled the tuning is done as accurate as possible Clipping saturate overflow Selects the type of distortion that is applied when the signal raises the clipping level Clipping is always generated when the sum of all mixer input volumes i e Wave 1 Wave 2 Noise and Ringmodulation exceeds 128 e f saturate is selected for this parameter the signal will be limited to the maximum level This is the kind of distortion classic analog circuits will g
84. dependently from LFO 1 If enabled the frequency of the generated signal is determined by LFO 1 The Phase parameter defines the angle in degrees from which LFO 2 s signal is phase shifted to LFO 1 The use of this function only makes sense when using a regular waveshape like sine triangle sawtooth or square User s Manual MicroWave Il e MicroWave XT Level 4 LFO1 LFO 2 Time User s Manual MicroWave Il e MicroWave XT 79 Modifiers and Modulation Matrix The 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 modulation matrix described in the next chapter Also you can use it again as source for another modifying process In addition a separate delay line can be used to process a modulation source The following table shows an overview of all modulation sources available on the MicroWave II XT Setting Description off Modulation off LFO1 LFO 1 signal LFO1 Modw LFO 1 signal multiplied with Modwheel LFO1 Prs LFO 1 signal multiplied with Aftertouch LFO2 LFO 2 signal FilterEnv Filter Envelope signal Ampl Env Amplifier Envelope signal Wave Env Wave Envelope signal Free Env Free Envelope signal
85. e h Hex IDW Waldorf MIDI ID 3Eh IDE Equipment ID OEh for MicroWave II DEV Device number 00h to 7Eh 7Fh broadcast IDM Message ID LOC Location Data whatever data bytes 00h to 7Fh CHKSUM Sum of all databytes truncated to 7 bits The addition is done in 8 bit format the result is masked to 7 bits 00h to 7Fh A checksum of 7Fh is always accepted as valid MPORTANT the MIDI status bytes as well as the ID s are not used for computing the checksum f there are no data bytes in the message simple request the checksum will always be 00h KOK KK KK RK KK RK RK RK KK KK KK KA KA HH HH HH HH HH ck ck KK KK KK KK U 1 1 Message IDs IDM KKK KKK KKK KKK KKK KKK KKK KK KKK KKK KK KK KKK AH KK AH KH AH TH KKK KKK KKK KKK Message IDs IDM are organized in a matrix where the row defines the data type and the column identifies the type of dump The data type is coded in the four least significant bits of the IDM Following data types are currently defined Label Value Description SNDx x0h Sound data type MULx x1h Multi data type WAVx x2h Wave data type WCTx x3h Wave control table data type GLBx x4h Global Parameters DISx x5h Display RMTx x6h Remote control The dump type is coded in the upper three bits of IDM note that bit seven cannot be used Following dump types are currently defined Label Value Description XXXR Oxh Request xxxD 1xh Dump XxxP 2xh Parameter Change XXXS 3xh Stor
86. e A common application for a trigger is when it is used 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 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 Volume The term describes a sound s output level Wave A wave is the digitally stored image of a single wave cycle From this point of view a wave is identical to a sample that is looped exactly after one cycle The difference to a sampler or ROM sample player is that all waves have the same length and they are played at the same pitch Wavetable A wavetable consists of pointers to waves which are stored separately In a wavetable a number of these pointers are combined each pointing at one of the waves A wavetable can contain less pointers then available positions In this case the missing entries are filled automatically with interpolated waveforms which are generated out the existing ones 118 User s Manual MicroWave Il e MicroWave XT MIDI Implementation Chart Date 11 06 97 Model Waldorf MicroWave II MIDI Implementation Chart Version 1 300 Changed 1 16 1 16 Default X Messages X O Altered Fo RR RRR x oA EZ True Voice kkkkkkkkkkkk 0 127 Note ON a EE NE ae Note OFF Key s Ch s
87. e parameters only when the MicroWave II XT is in Multi mode The Instrument parameters also refer to a Multi program They determine the individual setting of each instrument in the Multi program Again you have to be in Multi mode to access these parameters The Global parameters provide the basic settings of the MicroWave II XT valid for all programs This is how you access a specific parameter 1 Locate the page group on the front panel and press the corresponding select key amp 9 below 2 The display changes to a set of 4 parameters from the first page of the selected group For example if you press the leftmost select button 0 the parameters for Oscillator 1 will be shown ctaus 1lSemitone teh RefQect 1 1 27 3t T1885 units of the MicroWave II XT e g the oscillators have several parameter pages which are indexed by a page number User s Manual MicroWave Il e MicroWave XT 25 When single mode is selected you can only play and edit sound programs If you try to access a Multi mode parameter you will get an error message in the upper right corner Plau Sound RABO Multi Mode nob Unisono WF Sound H If you did some editing before the MicroWave II XT was last powered on the display may show a different page than the first after pressing the select key This is an important feature The MicroWave II XT memorizes the last selected page to speed up editing When you re enter the pa
88. e command xxxL 4xh Recall Command xXxxC 5xh Compare command Not all combinations of dump types and data types are currently supported only those given below Request xxxR Ox Dump xxxD 1x Parameter Change xxxP 2x Store xxxS 3x Recall xxxL 4x Compare xxxC 5x Data Type 00 10 20 SNDx x0 Sound 011 MULX x1 Multi 02 12 WAVx x2 Wave 03 13 WCTx x3 Wavetable 04 14 GLBx x4 Global Parameters 05 15 25 45 DISx x5 Display 26 RMTx x6 Button Dial remote Label Value Description SNDR 00h Sound Request SNDD Oh Sound Dump SNDP 20h Sound Parameter Change MULR 01h Multi Request MULD 1h Multi Dump WAVR 02h Wave Request WAVD 2h Wave Dump WCTR 03h Wave Control Table Request WCTD 3h Wave Control Table Dump GLBR 4h Global Parameter Request GLBD 4h Global Parameter Dump DISR 05h Display Request DISD 5h Display Dump DISP 25h Display Parameter Change DISL 45h Display Recall RMTD 26h Remote Dump KOK KK KK KK KA KA KA KA KA KA KA KA KK KK KK KK KK KK ckck KK KK ckck KK KA KK KK KK 2 Details 2 11 SNDR KOK KK KK KK KK KK RK KK KK KK KK KK KK KK KK KKK KKK KK KK KK KK KK KK KKK KKK SNDR 00h Sound Request Upon reception of a valid sound request the MW2 will dump the selected Sound s The location is given in two bytes with following conventions BB NN Location 00 00 00 7F Locations A001 A128 01 00 01 7F Locations B001 B128 10 00 All Sounds 20 00
89. e illustrates the harmonic and the subharmonic scale for the note C3 Harmonic scale C3 C4 G4 C5 E5 G5 A 5 C6 Subharmonic scale C3 C2 F1 C1 G 0 FO DO CO Please note that all notes use a pure tuning e If global is selected the setting in the global parameter BendRange is used FM Amount 0 127 Sets the amount that oscillator 2 modulates the frequency of oscillator 1 The sound will get more metallic and sometimes even drift out of tune especially if oscillator 2 is synced to oscillator 1 To avoid unusable detune use a triangular or sine like wave for oscillator 2 Oscillator 2 Osc 2 1 dE hbend Range 21 Sunc aff Octave 4 4 Determines the octave setting of the oscillator The reference pitch for the oscillator is generated at MIDI note A3 note no 69 when Octave Semitone and Detune is set to 0 and Keytrack is 700 In this case the oscillator s frequency will be the same as set in the global Tune parameter normally 440Hz Set this parameter to O if you are creating a typical keyboard sound set it to 7 for bass sounds If you are programming strings or other high pitched sound set Octave to 1 User s Manual MicroWave Il e MicroWave XT 39 Semitone 12 12 Determines the pitch of the oscillator in semitone steps The standard setting for this parameter is O but there are cases where different values are required Most organ sounds include a quint therefore one oscillator s semitone
90. e notes until it reaches the highest note It then starts to sweep back down e If random is selected the arpeggio plays any of the notes in a random order NoteOrder by note note rev as played reversed Determines the sequence of generated notes according to note order e If by note is selected the arpeggio sequence is sorted by the MIDI note number This is the standard mode used by most arpeggiators If note rev is selected the arpeggio sequence is sorted in the exactly reversed order to the by mode setting e If as played is selected the arpeggio is generated in the order of the incoming notes In combination with the user programmable pattern this feature offers a small but effective step sequencer e If reversed is selected the arpeggio is generated in the reverse order of the incoming notes To understand the difference of the individual settings it is nessessary to step input the notes of the chord as described in the chapter Arpeggiator of the sound parameters Velocity root note last note Determines how the velocity values of the generated notes are calculated f root note is selected every generated note inherits its velocity from its base note E g if the base chord for the arpeggio contains an E with a certain velocity all generated E notes also have this velocity value independent of their octave setting e f last note is selected every generated note has the same velocity as the last incomi
91. e release phase when the key is released The envelope then descends to the R Level R Level 64 63 Last level that is reached when the release phase ends User s Manual MicroWave Il e MicroWave XT 75 Low frequency Oscillators LFOs In addition to the main oscillators the MicroWave II XT is equipped with two low frequency oscillators which can be used for modulation purposes Each LFO generates a periodic waveform with adjustable frequency and shape LFO 1 LFO1 1 LFO 1 2 Rate 0 127 128 Bars 1 64 Determines the frequency of the generated signal If Syne is set to Clock the value is shown in musical notation The basis is a 4 4 beat Triplets e g 1 87 and dotted notes e g 1 16 are available for some values Shape sine triangle square sawtooth random S amp H Determines the type of waveshape to be generated Sample amp Hold samples a random value and holds it until the next LFO cycle begins If Rate has a value of 0 then a random value is generated for each new incoming MIDI note More variations can be achieved by means of the Symmetry parameter Please read the corresponding paragraph later on in this chapter Delay off retrigger 1 126 Determines the start of the LFO cycle after an incoming MIDI note If off is selected the LFO runs completely free which means its cycle is not synchronised to the note start Use this setting e g when modulating the filter cutoff of a sound th
92. enerate If overflow is selected distortion is proceeded in the same way as a numerical overflow in a digital system The polarity of the signal s part above the maximum level will be negated Time Time Level 4 Level 4 min min saturate overflow 46 User s Manual MicroWave Il e MicroWave XT Mixer Adr In the mixer you control the volumes of both waves and the noise generator An optional ring modulation extends the tonal range of the MicroWave II XT Mixer Weve 1 dae 2 Eingmod 113 Se El Mix 2 External Wave 1 0 127 Volume of Wave 1 Wave 2 0 127 Volume of Wave 2 Ringmod 0 127 Volume of the ring modulation between Wave 1 and 2 From a technical point of view ring modulation is the multiplication of the waves 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 The following diagram illustrates what happens when two sine waves are ring modulated Please note that in a complex waveform all harmonic component behave like interacting sine waves resulting in a wide spectral range of the ring modulated sound The following diagram illustrates the ring modulation of two sine waves Level Wave 1 fi 1 j Ring
93. enerates 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 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 prescri
94. ens The sound starts in its dark state and no cutoff change can be heard 8 Now set the value to a negative value e g 10 and press any note again The sound then starts much darker than before and gets a little more brilliant after a while you may raise the cutoff setting to get better results 9 After playing around recall the original sound to get prepared for the next step As the sound name Unisono already says it is programmed in unisono mode a special feature of the MicroWave II XT that allows to use all voices for a single note This makes the sound very fat To show the difference to a normal sound we are now going to turn the unisono mode off 1 Use the Page Dial to go to the Trigger 2 page The page name is displayed in the upper right corner when turning the dial The display shows 2 Play some notes then switch the Assign parameter to normal and listen what happens The sound loses much of its power and fatness Also the volume goes down This needs a little bit of explanation In normal mode each note is played by one voice of the MicroWave II XT This is fine for all situations when you want to play several notes e g in a chord In unisono mode all voices are always used even for a single note When you play two notes at a time each one gets the half of the available voices Use this mode especially for monophic lines The Detune parameter is also very important in unisono mode It determines how much e
95. ent each time you play it If retrigger is selected the LFO starts its cycle after receiving a note This is also known as key sync feature This setting is useful when the LFO must always start at a fixed value e g when creating an alert sound e If 1 126 is selected the LFO is works like in retrigger mode but is delayed with the specified amount This setting is useful e g for solo sounds with a vibrato or tremolo that is only applied on long notes Sync off on Selects if the LFO is synchronised If off is selected the LFO runs completely independent If on is selected all LFOs of the MicroWave s voices used by the sound program behave as one Symmetry 64 63 Adjusts the relationship between the rising and the falling edge of the signal When set to 0 the generated waveshape is symmetrical When set to positive values the positive cycle becomes longer and the negative cycle becomes shorter and vice versa Use this parameter to change to pulsewidth of the square signal When using it on a triangle waveshape you can get a sawtooth wave with a soft rising or falling slope Please refer to the description of LFO 1 to get further information Humanize off 1 127 Allows one to add a random variation to the LFO speed When disabled the LFO remains at its initial speed preset by the Rate parameter Please refer to the description of LFO 1 to get further information Phase off 2 180 If disabled LFO 2 operates in
96. envelope with ADSR characteristic A wave envelope with 8 different times and levels multi segment envelope An additional free multi segment envelope with 3 different times and levels and a release time and release level H 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 diagram illustrates the structure of an ADSR envelope Depth Key pressed Key released i005 las i Sustain Time Attack Decay Release 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 Filter Envelope This envelope is designed to control the filter but can also be used for other modulations The following parameters determine the envelope s response Filter Env 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 70 User s Manual MicroWave Il e MicroWave XT Sustain 0 127 Determines the sustain level
97. er Pattern Pos 9 12 Arpeggiator User Pattern Pos 13 16 Allocation Mode Assignment Detune De Pan Filter Env Attack Filter Env Decay Filter Env Sustain Filter Env Release Filter Env Trigger Amplifier Env Attack Amplifier Env Decay Amplifier Env Sust Amplifier Env Rel Amp Env Trigger Wave Env Time 1 Wave Env Level 1 Wave Env Time 2 Wave Env Level 2 User s Manual MicroWave Il e MicroWave XT 109 29 0 127 0 127 Wave Env Time 3 204 0 3 see List 3 12 Mod 5 Source 30 0 127 05127 Wave Env Level 3 205 0 127 64 63 Mod 5 Amount 31 0 127 0 127 Wave Env Time 4 206 0 33 see List 3 13 Mod 5 Destination 32 0 127 0 127 Wave Env Level 4 207 0 3 see List 3 12 Mod 6 Source 33 0 127 07 127 Wave Env Time 5 208 0 127 64 63 Mod 6 Amount 34 0 127 055127 Wave Env Level 5 209 0 33 see List 3 13 Mod 6 Destination 35 0 127 0 e A Wave Env Time 6 210 03 see List 3 12 Mod 7 Source 36 0 127 0 127 Wave Env Level 6 211 0 127 64 63 Mod 7 Amount 37 0 127 0 127 Wave Env Time 7 212 0 33 see List 3 13 Mod 7 Destination 38 0 127 05 127 Wave Env Level 7 213 0 3 see List 3 12 Mod 8 Source 39 0 127 0 127 Wave Env Time 8 214 0 127 64 63 Mod 8 Amount 40 0 127 0s 12 Wave Env Level 8 215 0 33 see List 3 13 Mod 8 Destination 41 0 2 normal single 216 0 3 see List 3 12 Mod 9 Source retrigger Wave Env Trigger 217 0 127 64 63 Mod 9 Amount 42 0 off on Wave Key On Loop
98. evertheless we would like give you a short introduction into the basics of creating wavetables The biggest part of the MicroWave II XT s wavetables contain between 8 and 16 waves some of them consist of fewer some have more As you can see you don t need to fill all positions of a wavetable with waves to get interesting sweeps Take your wavetable editor and look into some of the ROM wavetables E g wavetable 01 is made up of very few waves while wavetable 28 contains a lot of them When you want to create a wavetable that simply fades from a pulse wave to a sawtooth waveform you need exactly two waves The first one a pulse wave on position 00 and the second one a sawtooth wave on position 60 Look into the ROM waves Consider these waves as a big collection for your own wavetables E g you will find a sawtooth a pulse a triangle and a sine wave already there So you can construct a whole new wavetable out of the ROM waves History At the end of 1970 Wolfgang Palm the founder of PPG had the idea of recreating the sound and behaviour of analog circuitries through a digital representation of oscillator waveforms with different filter settings He then stored these waveforms sequentially into a so called wavetable and added features to scan through this wavetable by envelope LFO and the like The result was a sound that changed its timbre without using any kind of analog filtering or other processing like FM or ring modulation
99. f 100 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 H If you don t want to use Filter 2 select the low pass and set the cutoff frequency to 127 User s Manual MicroWave Il e MicroWave XT 55 Volume and Pan This unit is the last part in the MicroWave II XT s signal routing Its purpose is to set the volume and the pan position of the sound After that the signal passes the D A converter and can be taken from the audio jacks on the rear panel To understand the operation of this unit it is important to know that the Amplifier Envelope is always acting as a modulation source for the volume This means that an audio signal can only pass through if the Amplifier Envelope is triggered and opened Finally a chorus or a ensemble effect can be added to enhance the sound Volume Ampiner Uodlume Ileloritea IE Jack Effect pra 40 AR Chorus Volume 0 127 Determines the master volume of the sound program Velocity 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
100. f Frequency The 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 User s Manual MicroWave Il e MicroWave XT 115 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 throughpass
101. f or on You can also stop the arpeggiator by performing the panic function or sending an All Notes Off message from your sequencer 66 User s Manual MicroWave Il e MicroWave XT Tempo extern 50 300 Sets the arpeggiator s basic tempo Can be defined manually in BPM beats per minute or via MIDI clock if extern is selected H The arpeggiator can be used as a master as well as a slave via the MIDI clock When you use the arpeggiator as the master set its speed via the Tempo parameter Set the global parameter MIDI Clock Send to on This enables the sending of MIDI clock signal via the MicroWave II XT s MIDI out jack When you use the arpeggiator as a slave an external device e g sequencer determines the tempo of the arpeggiator Set the Tempo parameter to external as described above Here too notes and MIDI clock information can be used to control other devices In this mode the MIDI Song Position Pointer is also recognized Clock 1 1 1 32 Determines the note value for whole notes to thirty second notes The basis is a 4 4 beat Triplets e g 1 8T and dotted notes e g 1 16 are available for every value Range 1 10 Determines the range of the single notes in octaves Pattern off user 1 15 Determines whether an rhythm pattern is played and which one e If off is selected the arpeggiator playes its notes in regular steps specified by the Clock parameter e If user is selected the arpeggi
102. 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 diagram illustrates this functionality Volume A Volume 4 Volume A Maximum volume Maximum volume Maximum volume Key velocity 1 127 Key velocity 127 Key velocity 1 Key velocity 64 Key velocity 64 Key velocity 1 Key velocity 127 Time Time Time Velocity parameter 0 Velocity parameter 63 Velocity parameter 64 Keytrack 200 197 Determines how much the volume depends on the MIDI note number The reference note for Keytrack is E3 note number 64 For positive settings the volume increases on notes above the reference note for negative settings the volume decreases up to higher notes and vice versa This setting can be useful to adjust a sound s volume over the whole keyboard range Especially when extensive filtering is used the sound can be louder on the lower or the upper part of the keyboard On the other side you can apply this effect intentionally e g for effect sounds 56 User s Manual MicroWave Il e MicroWave XT Effect off Chorus Ensemble Enables and selects the type of effect that is used for the sound program You can choose between a chorus and an ensemble effect The chorus consists of two short delays where delay time is modulated wit
103. ff frequency of the low pass filter cutoff setting except for the extra parameter BP Offset which adds to the band pass filter s cutoff frequency The band pass filter s resonance is equal to that of the low pass filter Filter 1 2 DCutoff Ens BHmountiEmns lelo BP Offset EAE 14 To select a low pass band pass with the latter set to one octave above the other do the following 1 Go to the Filter 1 1 page and select the Dual L BP filter type 2 Then go to the Filter 1 2 page The third parameter should now read BP Offset Change this setting so that it reads 72 Because the BP offset is in semitones the band pass filter s cutoff frequency is now an octave above the low pass filter s cutoff frequency 12 dB Low pass Filter with Frequency Modulation The FM filter type is a 12dB low pass filter where the cutoff frequency can be modulated by the output of oscillator 2 The filter may be setup exactly like a normal low pass filter as described in the user manual The modulation amount Osc2 FM is the extra parameter and can be found on the Filter 1 2 page Filter 1 2 DCutotff Era BHmountiEns iielol Sample and hold 12dB Low pass Filter The S amp H filter has a sample and hold S amp H circuit with adjustable rate in front of the 12 dB low pass filter The S amp H circuit effectively lowers the sampling rate so that the harmonics are reflected to another frequency producing a harsh sound The rate of the S
104. g it for longer periods Never touch the plug with wet hands Always pull the plug when unplugging the device never the cable 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 User s Manual MicroWave Il e MicroWave XT 11 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 Use only a dry soft cloth or brush to clean the device Never use alcohol cleaning solutions or similar chemicals They will damage the surface of the chassis Proper Use This device is designed exclusively to produce low frequency audio signals for the purpose of generating sound Any other use is prohibited and voids the warranty extended by Waldorf Electronics GmbH Waldorf Electronics GmbH is not liable for damages due to incorrect use 12 User s Manual MicroWave Il e MicroWave XT Setup and Operation Inventory The Waldorf MicroWave II
105. g the sequence determined by Direction and Note Order If the setting is enabled the arpeggiator only plays the number of chord notes that correspond to the pattern length Then it starts with the first chord note at its basic octave again The result is similar to pressing the chord again each time the pattern restarts If no pattern is selected this parameter has no function Length 1 16 Determines the length of the user programmable rhythm pattern 68 User s Manual MicroWave Il e MicroWave XT Position 1 pattern length Trigger off on These two parameters are used to define the user programmable rhythm pattern Before entering the pattern you must set its length via the Length parameter Use the Position parameter to select the position of the pattern you want to edit Then use the Trigger parameter to define the state of the selected position All active positions are marked with a kt in the display all inactive positions show a Note that you can also create triplet rhythms by setting the pattern length to 3 6 or 12 and selecting a triplet value for the Clock parameter Arpeggiator User Pattern Di User s Manual MicroWave Il e MicroWave XT 69 Envelopes The MicroWave II XT s envelopes allow you to manipulate sound parameters via rate or timed modulations The MicroWave II XT offers four independent programmable envelopes for every sound program A filter envelope with ADSR characteristic A volume
106. ge group you will find yourself where you had left it last time 3 Use the page dial 3 to scroll through the page group Ad Turning the dial clockwise selects the next page turning it counterclockwise selects the previous page 4 Use the value dials to adjust the corresponding parameters in the display 9 Sound Multi Instrument 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 nessessary 5 When you have finished all your edits you should save the program Please read the next topic for further information 6 Press the Play key AD to return to the Play mode Play Shift 26 User s Manual MicroWave Il e MicroWave XT Edit Buffers Whenever you edit a Sound or Multi program on the MicroWave II XT 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 MicroWave II XT has 8 separate edit buffers so you can edit up to 8 programs simultaneously without storing them The display shows an e after the program name for every program that is actual
107. glichkeit wurden folgende 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 Erklarung wird verantwortlich fur den Hersteller abgegeben This declaration has been given responsibly by the manufacturer Waldorf Electronics GmbH NeustraBe 12 D 53498 Waldorf Waldorf 09 01 98 i L Ihe Wolfgang D ren Gesch ftsf hrer Wolfgang D ren Managing Director FCC Information U S A 1 IMPORTANT NOTICE DO NOT MODIFY THIS UNIT This product when installed as indicated in the instructions contained in this Manual meets FCC requirements Modifications not expressly approved by Waldorf may void your authority granted by the FCC to use this product 2 IMPORTANT When connecting this product to accessories and or another product use only high quality shielded cables Cable s supplied with this product MUST be used Follow all installation instructions 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 g
108. gnificant ni upper half ndex 1 least significant ni upper half ndex 1 most significant ni ower half ndex 1 least significant ni ower half ndex 2 most significant ni upper half ndex 2 least significant ni upper half ndex 2 most significant ni ower half ndex 2 least significant ni ower half ndex 64 most significant ni upper half significant ni upper half ndex 64 most significant ni ower half significant ni ower half ndex 64 least ndex 64 least If the bb bb bb bb bb bb bb bb bb bb bb square e e e e e e e e e e e 3 6 GDATA Global Parameters Ck ck ck ck ck KK KK KK KK KK RK KK RK RK RK RK HH HH HH ck ckckck ck ck ck ck ck ck ck ck KK KK Note Global Parameters are very unordered Parameter DC 000 10 UO ONSNAUBWNHO o 20 21 22 23 24 25 26 27 28 29 30 31 Range Value reserved 0 2 A B Multi 0 127 1 128 1 17 omni 1 16 0 2 sound multi combined 0 126 0 126 0 121 0 120 harmonic 0 120 0 120 0 120 0 120 0 120 0 120 0 120 0 120 0 127 04 127 reserved reserved 52 76 12 12 54 74 430Hz 450Hz 0 127 0 127 0 127 0 127 reserved reserved reserved reserved 0 127 1 41128 0 16 off Ch1 16 0 1 off on 0 3 off Ctl SysEx Ctl SysEx 0 1 off on 0 3 1 4 reserved reserved reserved reserved Startup Sound
109. h a sine wave of about 0 5 Hz It spreads the stereo image of the program by giving it a wide sounding character Ensemble is similar except it has more delays and higher modulation frequencies This effect is useful in combination with strings or other pad sounds Pan ud Pannind lkesutrack left SE Panning left 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 e g via an LFO or the Keytrack parameter Keytrack 200 197 Determines how much the pan position depends on the MIDI note number The reference note for Keytrack is E3 note number 64 For positive settings the panning moves to the right on notes above the reference note for negative settings the panning moves to the left up to higher notes and vice versa This feature enables you to give a typical piano like panning where lower notes are on the left side and higher notes on the right To achieve this set the Panning parameter to center and Keytrack to 197 User s Manual MicroWave Il e MicroWave XT 57 Effects The Microwave Il and Microwave XT have the ability to change the timbre of a sound by way of effects processing In the ta
110. he oscillator plays the wave referenced by the wavetable When position 01 is selected the oscillator plays a wave which is calculated by the MicroWave II XT without being stored in memory directly The shape of this wave is interpolated between the shapes of the previous and the next existing wave both mixed with different amplitude settings In the given example a wave with an amplitude relation of 5096 to 5096 from the waves on position 00 and 02 would be the result When position 02 is selected the MicroWave II XT plays a real wave again the one referenced by the table position Position 03 and 04 work similarly to position 01 Again the waves to be played are calculated by the MicroWave In this case the gap is bigger because two positions in the wavetable are empty As a result a wave mix of 2 3 to 1 3 i e approx 66 to 3396 is generated for wave position 03 As you can see the previous existing wave is more weighted here At position 04 the calculation works vice versa i e 1 3 of wave 02 amplitude and 2 3 of wave 05 amplitude On position 05 a stored wave is played again If the oscillator would move up and down between positions 02 and 05 a continious change of the timbre would be noticed It is a little bit oversized to call this continuous when not more than 4 positions are available but imagine no further wave pointers are stored between position 05 and 60 Then you will get a very smooth timbre change by moving
111. hm patterns including a user programmable The arpeggiator uses an internal buffer that can store up to 20 notes The buffer is cleared each time a new chord is played There are two ways of entering a chord Press all keys of the chord simultaniously Press and hold the first key of the chord While holding this key enter the other keys sequentially After playing all keys release the first key again 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 Direction parameter This setting allows you to create arpeggios in the sequence of played notes A When you use the sound as part of a multi program you can either use the sound s arpeggiator described here or the dedicated arpeggiator of the multi program s instrument Use the instrument parameter Arpeggiator Active to select which one to use As a default the sound s arpeggiator is not activated and therefore no arpeggio will be generated when turning on the arpeggiator here Arpeggiator 1 Rare Arpeggiator 2 Arpeggiator 3 Lenath AS Arpeggiator User Pattern Trigger cn Active off on hold Enables or disables the arpeggiator or activates the hold mode When hold is activated incoming MIDI chords generate continuous arpeggios even when the chord is released The MicroWave II XT will continue to do so until you play a new chord or this parameter is set back to of
112. ial 2 below the display to change the MIDI receive channel Sound Mode In Sound mode the MicroWave II XT can play one sound at a time You can select between 256 Sound programs which are organised in two banks A001 B128 and B001 B128 Selecting Sound Programs 1 Press the Play button to return to the program select page The display now shows the program number and the name of the currently selected program Plas Sound Basi i Unisono HMHF Play some notes on your MIDI keyboard and listen to the sound 2 If you want to adjust the MicroWave II XT s volume use the rightmost value dial labeled Main Vol 3 Use the Page Dial 3 to select other sound programs Turning the dial clockwise increases the program number turning the dial counterclockwise decreases it Editing Sound Parameters via Play Access Now it is time to do some edits on a sound program The easiest way for editing sound parameters is using the so called Play Access page User s Manual MicroWave Il e MicroWave XT 15 1 First switch back to program A001 Unisono WMF 2 Press the Play button MM again to access this page The display then shows 4 sound parameters that by adjusted directly via the corresponding value dials Reso IFi 3 Use the value dials to change the sound parameters and listen to the effect on the generated sound Actually you can define the parameter set in this page on your own This is described later in the manua
113. icroWave XT Modulation A modulation influences or changes a sound shaping component via a modulation source Modulation sources include envelopes LFOs 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 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 begin
114. ime5 Times As shown in the diagram the envelope consists of several single segments Also the figure can be divided into a sustain and a release phase The crossover point between these two phases can be determined by selecting the corresponding segment number The envelope is started by pressing a key It ascends to the Level 1 value at the rate determined by the Time 1 parameter In the next time segment Time 2 the amplitude moves to the Level 2 value The same procedure is processed for the following segments until the end of the sustain phase is reached In the shown example Level 6 is the last value of the sustain phase The amplitude remains at this value until the key is released The envelope then moves on to process the remaining segments until it finally ends with its last value Level 8 In fact you can reduce the number of processed segments to get things easier Additionally you can repeat specific segments by installing loops in the sustain phase as well as in the release phase Wave Env 1 4 Wave Env 5 Kea On Loor tart Lo End WAVE Envu Kes OFF Loor artiLoor End Time 1 8 0 127 Determines the time for the individual segment to reach its end level 72 User s Manual MicroWave Il e MicroWave XT Level 1 8 0 127 End level that the corresponding segment finally reaches Key On Loop off on Selects whether a loop is performed in the envelope s sustain phase or not Loop Start 1 8 Defines the starti
115. imited to special computer software Also a checksum of 127 is always accepted as valid User s Manual MicroWave Il e MicroWave XT 97 Other Functions Updating the System Software The MicroWave II XT has an service friendly feature that makes it possible to update the system software without changing any parts All software updates come in the form of a standard MIDI file that can be read by every sequencer The fastest way to get this file is by downloading it from our web site at http www waldorf gmbh de waldorf microwave2 system html If you don t have Internet access please ask your local dealer for a disk copy US This is how you update the MicroWave II XT s system software 1 Load the standard MIDI file with the system software into your sequencer Follow the instructions from your sequencer s manual The MIDI file consists of one single track with several sysex messages within Make sure that this track is assigned to the MicroWave II XT so that it can receive the data Start the sequencer to play the file and send the track data to the MicroWave II XT The MicroWave II XT will display a message that informs that update is in progress Eeceiuing Sustem Urdate Wait until the operation is completed If updating was successful the MicroWave II XT will show the following message AN Do not under any circumstances turn off the MicroWave II XT when this step is in progress A total loss of data m
116. ing signal corressponding to some specific conditions E g in 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 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 Essenti
117. ion Oscl Oscillator 1 Oct Octave Osc2 Oscillator 2 Semi Semitone w1 Wave 1 Det Detune w2 Wave 2 Bend Pitchbend Range Mix Mixer Keyt Keytrk Keytrack Fl Filter 1 StartW Startwave F2 Filter 2 EnvAmt Envelope Amount Amp Amplifier VelAmt Velocity Amount Arp Arpeggiator Ring Ring Modulation FE Filter Envelope Reso Resonance AE Amplifier Envelope Vol Volume Pan Panning Patt Pattern Dir Direction Velo Velocity Alloc Allocation Sust Sustain Shpe Shape Dlay Delay Sync Synchronisation Sym Symmetry Hum Humanize Phas Phase Table 2 Play Access abbreviations User s Manual MicroWave Il e MicroWave XT Here are some examples of useful parameter sets for the Play Access page Example 1 Far 1 Far 2 Par Pa Fi CutoffiFi Rezo F1 EnvamtiFe Dec Example 2 Example 3 Example 4 H Please note that the Play Access setting is stored in the sound program like the other sound parameters Therefore you must save your program even if you only changed the Play Access definitions By handling them as part of a sound you will get the chance of having different settings for each program Accessing the previously defined parameters US This is how you access the selected parameters in the Play Access page 1 Press the Play button twice to switch back to performance mode and call the Play Access page The display now shows Degas 2 You can now use the value dials to change each parameter s value H Please note th
118. l Comparing edited and original Program You may always check your modifications against the original version of the program Though you can decide whether editing is going the right way or not 1 Press the Compare key 8 while holding the Shift key 1 2 The MicroWave II XT now uses the original parameter values as they were set before editing was applied The display also shows these values Play some notes to listed to the unedited sound 3 Press the Compare key 8 while holding the Shift key again This brings you back to the edited sound program Recalling Edits If you don t like the changed sound program you can void the edits at any time and return to the original To do so press the Recall key while holding the Shift key M Storing Programs After editing the program you have to store it to keep the changes permanent 1 Press the Store key while holding the Shift key D The display now shows nd HE Abi 7 2 Use the rightmost value dial to select a memory location for the edited sound You can also leave the setting as it is In this case you re going to overwrite the original sound program Don t do it here we will need it further on in this tour 3 Press the Store key while holding the Shift key again Your program is now permanently memorized Doing further Edits We are now moving deeper into the sound editing capabilities of the MicroWave II XT In the next steps we will show you how
119. lation matrix settings and pitchbend messages That means whenever a modulation is applied to oscillator 1 it is also applied to oscillator 2 When disabled each oscillator uses its own individual modulation settings User s Manual MicroWave Il e MicroWave XT 41 Waves The waves are the sound sources of the MicroWave II XT They are driven by the oscillators output signal and define the basic spectrum of the generated sound Please refer to the corresponding topic of this manual to get further information about the wavetable synthesis Wave 1 Wave 1 1 ccopant Wave 1 2 H Although the Wavetable parameter is the third entry in the Wave 1 1 page it will be explained as the first parameter of these pages This is because the wavetable defines the basic character of the complete sound The selected wavetable is used for both wave generators although it is only displayed in the Wave 1 1 page Wavetable 001 128 The Wavetable parameter selects the wavetable for both waves 1 and 2 Each wavetable has a number and a name The following table shows an overview of all available wavetables and their names 001 Resonant 017 Formant 1 033 SawSync 1 049 KeStrong2 002 Resonant 2 018 Polated 034 SawSync 2 050 K Strong3 003 MalletSyn 019 Transient 035 SawSync 3 051 1 2 3 4 5 004 Sqr Sweep 020 ElectricP 036 PulSync 1 052 19 twenty 005 Bellish 021 Robotic 037 PulSync 2 053 Wavetrip1 006 Pul Sweep 022 StrongHrm 0
120. lease notice that these waveforms are also used when an appropriate wave modulation is applied To avoid this you will have to activate the Limit parameter Please read this corresponding topic to get further information Use the basic waveforms to generate traditional analog synthesizer sounds Phase free 3 357 By means of this parameter you can define the startsample and as a result the phase of the generated wave Alternative to a fixed value you can use free to set the phase to a different random value each time a note is generated The setting is scaled in degrees Link off on Allows the use of the same modulation settings for both waves When enabled wave 2 uses the modulation parameters of wave 1 for all Modulation Matrix settings EnvAmount EnvVelAmt and Keytrack That means whenever a modulation is applied to wave 1 it is also used for wave 2 When disabled each wave uses its own individual modulation settings EnvAmount 64 63 Determines the amount of influence the wave envelope has on the wavetable modulation 44 User s Manual MicroWave Il e MicroWave XT EnvVelAmt 64 63 Determines the amount of influence the wave envelope has on the wavetable modulation based on key velocity In conjunction with EnvAmount you can create nice effects when you set one of the two parameters to a negative setting while the other one is set to a positive setting Keytrack 200 197 Determines the amount of w
121. lers Each value represents a MIDI controller number that is used when you assign its parameter as modulation source in the Modifiers or the Modulation Matrix The settings made here are only valid for Sound programs because each Multi program has its own set of Control W Control Z parameters ISS Example You want to control the LFO1 speed via MIDI controller 49 To do so set Control W to 49 first Then setup an entry in the Modulation Matrix of your sound program with Control W as source and LFO1 Rate as destination and apply an suitable amount In the same way you can use Control X Control Z for further assignments Main Volume 0 127 Adjusts the master volume of all MicroWave II XT s programs on both outputs This setting is also accessible from the Play page Input Gain 1 4 Sensitivity of the external audio input Analog In Master Tuning 430 450 Hz Determines the MicroWave II XT s overall pitch The value specified here is the reference pitch for MIDI note A3 The default setting is 440Hz which is commonly used by most 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 one to set a global pitch transpose for all programs of the MicroWave II XT Display timeout 0 127 Determines how long the page names are displayed in the upper right corner when calling
122. lly don t use arpeggios 1 Select the Arpeggiator 1 page via the Page dial 2 Select Instrument 2 via the fourth value dial The display now shows Farce B1 3 To activate the arpeggiator change the Active parameter to on 4 Now press and hold some keys on the keyboard Make sure that is sends on MIDI channel 2 first 5 You will notice that the sound changes every 2 seconds This time period is determined mainly by two parameters the Clock setting in the currently selected page and the Multi Arpeggiator Tempo in the Tempo page Change the Clock setting to 1 8 and listen what happens The arpeggio gets faster 6 Play along with the other arpeggiator parameters and listen to the results That s okay for now You have seen the basic things but there is a lot of stuff left The best approach to the MicroWave II XT is learning by doing and so should you 22 User s Manual MicroWave Il e MicroWave XT Operation Power Switching The MicroWave II XT is equipped with a software based power control which means it is initially in standby mode when you supply the device via the AC adapter Powering up Press the Power button 5 to switch on the MicroWave II XT The Standby LED will go out First the version number of the MicroWave II XT s operating software will appear in the display Waldorf Microwave AT Version 2 8 compiled Thu Mar 13 12 31 36 MET 1397 After several seconds the display will change
123. ly in an edit buffer Edit Stat cdd Plau Sound Abele Mods IMain lal Unisono LMP Sour is Note that all edit buffers are cleared when switching off the MicroWave II XT Use the Store function as soon as possible after finishing your edits The Compare Function The Compare function allows you to compare the currently edited sound to its original stored in the internal memory US This is how you use the Compare function 1 Press and hold the Shift key 2 Briefly press the Compare key 8 3 Release the Shift key 4 The display now shows a c after the program name C Stati ee Plau Sound Abbie Mode IMain lol Unisono LMF Sound 18 You will now hear the unedited version of your program when you play your MIDI keyboard 5 Briefly press the Compare key 8 while holding the Shift key again 6 The c in the display changes to e again The edited version of the program is now active again H Please note that no parameters can be edited when the Compare function is active 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 User s Manual MicroWave Il e MicroWave XT 27 Recalling Edits You can void edits at any time and return to the original program US This is how you recall an edited program 1 Press and hold the Shift key 2 Briefly press the Recall key 3 Release the Shift key 4
124. meter will be changed The parameter currently edited is shown in the upper right corner of the display for a short period of time Plas Sound RE I Hode Cubo Al Unisono WF Sound If the parameter is already shown in the display only the value change will be displayed In the envelope section you can select the active parameter set via the Env Select button When holding the Shift key 4d while turning a dial the display changes to the page that contains the edited parameter Instead of the Shift key you can also use the Sync key in the lower left of the panel Buttons The MicroWave XT features three additional buttons Sync Glide and Env Select The Sync key enables or disables the synchronisation of oscillator 2 Its state is not shown in the display but via a dedicated LED next to the key Also when holding this key while turning a dial the corresponding parameter page is called into the display as described above The Glide button enables or disabled the glide function It also uses a dedicated LED to show the glide state The Env Select key selects one of four parameter groups for the envelope dials The currently selected group is indicated by a LED The parameters for each group are printed on the XT panel User s Manual MicroWave Il e MicroWave XT 31 About Wavetable Synthesis Basics The sound generation of the MicroWave II XT is based on wavetable synthesis This type of synthesis combines an
125. n Destinations KKK KKK KKK KKK KKK KKK KKK KK KEK KK KKK KKK KKK AH KK AH KH AH TH KKK KKK KKK KKK Index 00 JAN RARO o JAS WNRO Modulation Destination Pitch Osc 1 Pitch Osc 2 Pitch Wave 1 Pos Wave 2 Pos Mix Wave 1 Mix Wave 2 Mix Ringmod Mix Noise Filter 1 Cutoff Filter 1 Resonance Filter 2 Cutoff Volume Panning Filter Env Attack Filter Env Decay Filter Env Sustain Filter Env Release Amlifier Env Attack Amlifier Env Decay Amplifier Env Sustain Amplifier Env Release Wave Envelope Times Wave Envelope Levels Free Envelope Times Free Envelope Levels LFOl Rate LFOl Level LFO2 Rate LFO2 Level Mod 1 Amount Mod 2 Amount Mod 3 Amount Mod 4 Amount OK KK KK KK RK KK RK RK RK KK KA KA HH HH HH HH HH HH KK KK KK KK ER User s Manual MicroWave Il e MicroWave XT 111 3 14 Modifiers ee ee ee ee ee HH HH HH HH HH HH HH HH HH ee Index Operand Operation 0 Addition 1 Subtraction 2 i Multiplication 3 Division 4 XOR Bitwise exclusive or 5 OR Bitwise inclusive or 6 AND Bitwise and 7 S amp H Sample amp Hold 8 Ramp 9 Switch 10 Abs value 11 Min value 12 Max value 13 Lag processor 14 Control filter 15 Differentiator KOK KK KK RK RK KK RK RK KK KK RK RK RK HH HH HH HH HH ck ck KK KK ckckckckckok 3 15 Filter 1 Types KOK KK KK RK RK RK RK RK RK RK RK RK KK KK OK HH KK ck ck ck ck KK KK KK KK KK Index Filter Type 0 24 dB Lowpass 1 2 dB Lowpass 2 24 dB Band
126. n an imported program uses a delay setting other than 0 for this envelope the MicroWave II XT will setup the Modifier Delay unit to handle this situation The converted sound will reside in the current edit buffer so it needs to be stored manually User s Manual MicroWave Il e MicroWave XT 99 Appendix Technical Data Power Supply Nominal voltage Maximum current consumption Maximum power consumption Audio Outputs Maximum level Signal to noise ratio Frequency range Dimensions and Weight Width Height Depth w control features Total weight DC 12V 1A 12W OdBm 90dB 5Hz 20kHz 483mm 89mm 220mm 3 1kg 100 User s Manual MicroWave Il e MicroWave XT MIDI Controller Assignments Contr OC i NY P 10 12 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 No Range o O 0 oooooc oooooooc opos oooooc 127 127 127 127 124 127 127 127 127 127 127 AZ 127 127 127 127 124 124 24 127 s121 pl 7 8 24 127 al 121 127 1 Parameter Modulation wheel Breath control Foot controller Glide Time Channel Volume Panning Chorus Filter Env Attack Filter Env Decay Filter Env Sustain Filter Env Release Amp Env Attack Amp Env Decay Amp Env Sustain Amp Env Release
127. n the Micro Wave XT s esee ov eee REOR TROU na 31 About Wavetable Synthesis 0 cece cece reece renee teense oros 32 Sound Parameleis 243 necu Set einlesen 37 Overview of Puncttbns ina ds Dacos ed ogni ele Re 37 Oscillators M Tr 38 Oscillator T sau satt Dane heer ir een dA 38 Oscilator 2 ur Soke Oise Wc denen Bh ance Nae are Se cer piu eie e 39 Waves da dd 42 Wave T un zn Aura St AA Aa 42 WAVE 2 see as ada a ad Ra epa Debe hen os 44 Qualy sl O BR Di Dun 46 MIXET 23 od ee ae ee NA 47 Play ACCESS Um 48 Filter vus x conu Seat ne ee ae ei E Da hee beet eL ee eS 50 Eile ra een Paneer eet 51 A ei nr 52 di ea ae ee ne end ar et er ee Bea EUN 55 Volume and Pan 22 244242 22422282 2 daa eje las na 56 Vollmer ar re Se LEN 56 Pan in Baar ee e a a ads see A 57 sr e a erm 58 Portamento and Glissando 22222244 sez9 ds rail lie 63 TIGR OR ud cae dr a s eR REP bagi Se C Yer eI e reete sea etos she das 64 AFDOSBIGUOF aston sien b va rae tal een 66 ENVASES quedo en e AO o E lee 70 Filter Envelopes Eus ace pa 222 A REP wind EP eed A 70 User s Manual MicroWave Il e MicroWave XT Amplitier Envelope Lira oe Oe u 71 Wave Envelope carrier ge nee en 72 MS ern aus co een een o 75 Low frequency Oscillators LEOS ann un ta m mme meme 76 LEO Tus s iuo ra AAA dad 76 LEONE i cheated SE rre we qeu aate guns up 77 Modifiers and Modulation Matrix 0 5 5 DESI SIC Re etr sce dee qua e Pos 80 Modifi r Delay as du ng aes Deere TE
128. nes the sequence of generated notes according to note order e f by note is selected the arpeggio sequence is sorted by the MIDI note number This is the standard mode used by most arpeggiators e If note rev is selected the arpeggio sequence is sorted in the exactly reversed order to the by note setting e If as played is selected the arpeggio is generated in the order of the incoming notes In combination with the user programmable pattern this feature offers a small but effective step sequencer e f reversed is selected the arpeggio is generated in the reverse order of the incoming notes To understand the difference of the individual settings it is nessessary to step input the notes of the chord as described at the beginning of this chapter Velocity root note last note Determines how the velocity values of the generated notes are calculated f root note is selected every generated note inherits its velocity from its base note E g if the base chord for the arpeggio contains an E with a certain velocity all generated E notes also have this velocity value independent of their octave setting e f last note is selected every generated note has the same velocity as the last incoming note Reset on Pattern Start off on Selects if the arpeggiator is reset each time the rhythm pattern starts again If the setting is disabled the arpeggiator plays all chord notes from the first to the last and over again regardin
129. net ee Wak ag See Ber S aeg 100 MIDI Controller AssIShImieblte curia A Ren 101 System Exclusive Data Format 3 2 u 20 20 nem te Ra 104 Glossa ee ot ue ah tae e a dr Sot tee hie Late a a DE Beh 114 MIDI Implementation Chart 5 se ee a 119 Diagrams Diagram 1 Connections Serena a 13 Diaeram 2 Parameter pages orrors AS 25 Diagram 3 Block schematic diagram for single sounds LL 37 Diagram 4 Arpeggiator patterns access rr ee 67 Tables Table 1 Wavetable overview u Ba ae 42 Table 2 Play Access abbreviations ar anders ae e EROR S 48 Table 3 Modulation sources ls use SE ne I Nada atus 80 Table 4 Modifier functions re A ARA a ne 81 Table 5 Modulation destinations 2 9 os astu x IR ds ba 85 6 User s Manual MicroWave Il e MicroWave XT Control Features and Connections Front Panel ME TS O Standby Swaldorf i 7 p t S D MIDI status LED Select key for sound parameters Display Alternate function Compare 3 Page dial for selecting sounds and parameter pages 9 Select key for multi instrument parameters Alternate function Undo 4 Parameter pages 9 Select key for global parameters 5 Power switch with Standby LED Alternate function Utility amp Select key for sound parameters AD Play button for selecting the play Alternate function Store mode Select key for sound parameters A MUCUS ea Alternate function Recall 2 Value dials for adjusting parameters
130. ng in all those cases where analog type waveforms with different pulse width or additive created waveforms with different phase shifts of the harmonics should be generated These sophisticated timbres were especially not realizable with the first generation wavetable synthesizers Wavetable In fact a wavetable does not consist of waves but of pointers to them The MicroWave II XT stores wavetables and waves separately numbered from 001 096 for the wavetables and 100 600 for the waves In a wavetable up to 64 of these pointers are combined each pointing at one of the 500 waves The term up to 64 means that a wavetable can contain even less pointers In this case the missing entries are filled automatically by the MicroWave II XT as soon as the wavetable is selected At least 5 pointers must be present in every wavetable one at the first position and 4 at the last Three of the four positions represent as already described above the classic synthesizer waveforms triangle pulse and sawtooth E g the wavetable shown below contains pointers to waves at positions 00 02 05 60 plus the three classic waves at positions 61 63 We will ignore these three last ones for now Wave 63 Wave 62 Wave 61 Wave 60 Wave 05 Wave 04 Wave 03 Wave 02 Wave 01 Wave 00 User s Manual MicroWave Il e MicroWave XT Now imagine an oscillator sweeping through these wavetable to play one of the waves When position 00 is selected t
131. ng note 90 User s Manual MicroWave Il e MicroWave XT Reset on Pattern Start off on Selects if the arpeggiator is reset each time the rhythm pattern starts again If the setting is disabled the arpeggiator plays all chord notes from the first to the last and over again regarding the sequence determined by Direction and Note Order If the setting is enabled the arpeggiator only plays the number of chord notes that correspond to the pattern length Then it starts with the first chord note at its basic octave again The result is similar to pressing the chord again each time the pattern restarts User s Manual MicroWave Il e MicroWave XT 91 Global Parameters Global parameters are settings that influence the MicroWave II XT s general response These are determined separately from the programs and stored in a special memory location Global parameters are stored automatically when you modify them so you are not required to save them separately Ma Channel IFralhande iz multi Mare Parameter Control Send i DLitSysk ee MIDI Clock zes Control bBMicontrol nl Y Conbrol paa ni Mid i BLZ Volume Hain Uno dupe WT Volume Tune Sysiem Channel omni 1 16 Sets the basic send and receive channel for the MicroWave II XT 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 MicroWave II XT sends on channel 1 and receive
132. ng point for the sustain loop if Key On Loop is enabled Loop End 1 8 Defines the ending point for the sustain loop if Key On Loop is enabled It further determines the end of the sustain phase and the beginning of the release phase Note that this feature is also valid when Key On Loop is disabled Key Off Loop off on Selects whether a loop is performed in the envelope s release phase or not Loop Start 1 8 Defines the starting point for the release loop if Key Off Loop is enabled Loop End 1 8 Defines the ending point for the release loop if Key Off Loop is enabled It further determines the last segment of the whole envelope No segment beyond the selected number will be used Note that this feature is also valid when Key Off Loop is disabled AN The loop points are numbered from 1 to 8 Each number represents the end of the corresponding segment e g no 3 means the point of Level 3 after Time 3 As you can see the first loop point is at the end of segment 1 Therefore segment 1 can not be looped The following examples illustrate the use of the Wave Envelope US This is how you setup an classic ADSR like envelope 1 Set Key On Loop and Key Off Loop to off This ensures that no loops are performed Set Level 1 to 127 Specify the Attack time via the Time 1 parameter Specity the Decay time via Time 2 Use Level 2 to setup the Sustain level Or ED me COS 2 Set Key On Loop Start to 7 and Key On Loop End to 2
133. nificant nibble 2 0 15 00h F0h Sample 2 most significant nibble 3 0 15 00h 0Fh Sample 2 least significant nibble 4 0 15 00h FOh Sample 3 most significant nibble 5 0 15 00h 0Fh Sample 3 least significant nibble Er 12 0 15 00h FOh Sample 64 most significant nibble 127 0 15 00h 0Fh Sample 64 least significant nibble Ck KK KK RK RK RK RK RK KK RK RK KK KK RK RK KK KK ck ck KK KK ck ck ck ck ck ck ck ck KK KK KK 112 User s Manual MicroWave Il e MicroWave XT 3 5 WCTDATA Wave Control table Data KOK KK KK KK KK KK KK RK RK RK KK KK RK RK HH HH HH ck ckckckck ck KK KK KK KK KK A Wave control table consists of 64 entries that indicate a wave for the specific position index is not valid the position will be filled with a spectral interpolation of the neighbour waves The last three Waves will always be triangle and sawtooth and the first index must be valid Valid indices are currently 0 200 1000 1249 Index Range Value 0 0 15 0000h 1 0 15 0000h 2 0 15 0000h 3 0 15 0000h 4 0 15 0000h 5 0 15 0000h 6 0 15 0000h 7 0 15 0000h Leek 252 0 15 0000h 253 0 15 0000h 254 0 15 0000h 255 0 15 0000h KOK KK KK KK KK KA KA KA kckckckckckckckckckckckckckckckckckckckckckckckckckck ck ck ck KK KK KK KK 0F00 00F0 000F F000 0F00 00F0 000F F000 OF00 00F0 000F for ROM Waves 0 to 299 for User Waves 1000 to 1249 Parameter ndex 1 most si
134. ntrol Table data from and to the MicroWave II The location is given in two bytes with following conventions HH LL Location Note that only Wavetables 96 to 128 are User Wavetables an attempt to overwrite a wavetable outside this range will fail The full format of a WAVD Dump is ndex Label Value Description 0 EXC FOh Marks Start of SysEx DW 3Eh Waldorf Electronics GmbH ID 2 DE OEh MicroWave II ID 3 DEV Device ID 4 DM 13h here WCTD Wavetable Dump 5 HH see above Location 6 LL see above Location 7 262 WCTDATA see 3 5 Wave control table 263 XSUM HH LL WCTDATA amp 7Fh Checksum 264 EOX F7h End of SysEx KOK ck ck KK KK KK KK RK RK RK RK RK RK kckckckckckckckckckckckckckckckckck ck ck ck ck ck ck KK KK KK 2 51 GLBR KOK KK KK RK KK KK RK RK RK RK RK RK KK RK RK HH HH kckckck HH KK KK KK KK ER WCTR 04h Global Parameter Request Upon reception of a valid Global Parameter request the MW2 will dump the Global Parameters No location is given The full format of a GLBR Request is ndex Label Value Description 0 EXC FOh Marks Start of SysEx IDW 3Eh Waldorf Electronics GmbH ID 2 IDE OEh MicroWave II ID 3 DEV Device ID 4 IDM 04h here GLBR Global Parameter request 7 XSUM 0 Checksum 8 EOX F7h End of SysEx Ck KK KK RK KK KK RK RK RK RK RK RK RK RK RK HH HH HH HH HH HH ck ck KK KK KK 2 52 GLBD ROK KK KK KK RK RK RK RK KK RK KK KK HH HH HH HH HH HH KK KK KK KK KK GLBD 14h Global Paramete
135. nvelope of its own voice e If single is selected the envelopes of all voices act as one The envelope is started when the first note is played The sustain phase is held until the last note is released Then the Key off phase is performed e f retrigger is selected the envelope acts as in single mode except that each note triggers the envelope again from its current value 64 User s Manual MicroWave Il e MicroWave XT Free Env normal single retrigger Determines the way of triggering the Free Envelope e If normal is selected every note triggers the envelope of its own voice e If single is selected the envelopes of all voices act as one The envelope is started when the first note is played The sustain phase is held until the last note is released Then the release phase is performed e f retrigger is selected the envelope acts as in single mode except that each note triggers the envelope again from its current value Mode Poly Mono Selects whether the sound can be played polyphonic or monophonic Use the Poly setting for normal applications when you where to play chords e If Mono is selected the MicroWave II XT playes only the last incoming note Use this mode for solo sounds especially in combination with the Glide effect Assign normal dual unisono Defines who the sound s voices are assigned to the played notes e If normal is selected every played note uses one of the MicroWave II XT s voices
136. octave range the direction the speed and the clock which means the 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 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 114 User s Manual MicroWave Il e MicroWave XT 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
137. on of Source 1 and Source 2 Returns the binary and operation of Source 1 and Source 2 Samples and holds the value of Source 1 in regular intervals determined by the value of Parameter You can use this function to create rhythmcally modulations based on a definable source Level Source 1 Parameter lt I S amp H function gt Time Creates a linear ramp from minimum to maximum The ramp is triggered each time Source 1 has a positive transition The rise time is specified by Parameter You can use this e g to get an additional sawtooth source from an LFO while another waveform is selected Level Source 1 Parameter lt gt Sea a Ramp function Time Returns maximum if the value of Source 1 is above the value of Parameter Otherwise minimum is returned Use this function to trigger an action depending on a source signal s value E g applying ring modulation when notes are played with maximum velocity You can use this also to create a pulse signal out of an LFO where Parameter determines the pulse width Level 4 Source 1 Parameter t max Switch function Time 82 User s Manual MicroWave Il e MicroWave XT abs value min value max value lag proc filter diff Parameter Returns the value of Source 1 without its sign Negative values are converted to their corresponding positive amounts Parameter has no function here This
138. or editing Before you apply any edits to an Instrument s parameter you have to select the Instrument to which the edits belong Use the rightmost value dial 2 to switch between the Instruments Instrument Select e g 1 The instrument no is always displayed when a parameter page with Instrument relating settings is selected This is also valid when editing a sound program in Multi Mode because the sound program belongs to an Instrument The no is not displayed while editing Multi or Global parameters When editing an Instrument s Sound program you can also switch among the Instruments by turning the rightmost value dial 2 when the Shift key is hold Sound Sound 1 Unisono WMF Sound 2 Sound 3 Bank A B Selects the bank from which the sound program is taken Sound 001 128 Selects the instrument s sound program Channel global omni 1 16 Determines the MIDI receive channel for the instrument e If omni is selected the Instrument receives on all channels e If global is selected the MIDI channel defined in the global parameters is used Volume 0 127 Determines the master volume for the instrument Status off on Determines whether the instrument is disabled or enabled User s Manual MicroWave Il e MicroWave XT 87 Panning left 64 center right 63 Determines the position of the instrument within the stereo panorama The value range extends from left 64 which means far lef
139. pass 3 2 dB Bandpass 4 2 dB Highpass 5 Sine Waveshaper followed by 2 dB Lowpass 6 2 db Lowpass followed by Waveshaper 7 Dual 12 dB Low Bandpass parallel 8 2 db Lowpass FM Filter 9 2 db Lowpass with S amp H KOK KK KK KK KK KK RK KK RK KK RK RK KK RK HH HH kck HH HH HH KK ckck KK KK KK 3 2 MDATA Multi Data KOK KK KK KK KK KK RK KK KK c kckckckckckckckckckckckckckckckckckckck kckckckck ck KK ckck KK KK U Index Range Value Parameter 0 0 127 0 127 Multi Volume 1 0 121 0 120 global Control W 2 0 121 0 120 global Control X 3 0 121 0 120 global Control Y 4 0 121 0 120 global Control Z 3 1 127 ext 50 300BpM Arpeggiator Tempo 6 reserved 7 reserved 8 reserved 9 reserved 0 reserved 1 reserved 2 reserved 3 reserved 4 reserved 5 reserved 6 32 127 ASC ame 1 7 32 127 ASC ame 2 8 32 127 ASC ame 3 9 32 127 ASC ame 4 20 32 127 ASC ame 5 21 32 127 ASC ame 6 22 32 127 ASC ame 7 23 32 127 ASC ame 8 24 32 127 ASC ame 9 25 32 127 ASC ame 10 26 32 127 ASC ame 11 DT 32 127 ASC ame 12 28 32 127 ASC ame 13 29 32 127 ASC ame 14 30 32 127 ASC ame 15 31 32 127 ASC ame 16 KOK KK KK KK KK KK RK KK KK RK RK KK RK RK RK HH ck ck kck HH KK HH KK KK KK KK KK 3 3 IDATA Instrument Data KOK KK KK KK KK KK KK RK KK KK KK KK KK RK KK KK KK KK KK KK ckck KK ckckckck KK KK KK Index Range Value Parameter 0 0 1 A B Sound Bank 1 0 127 1 128 Sound Number 2 0 17 global omni 1 16 MIDI Channel 3
140. program 1 Select the Filter Envelope page You must use the third selection key 8 to do this The display shows 2 Play some notes on the keyboard and decrease the Decay parameter You will notice that the sound gets darker more quickly now 3 Increase the Attack parameter The effect you get is that the sound now starts dark and gets more brilliant Finally it falls down to its dark state again To change the whole sound to a short and percussive hit we have to use the Volume Envelope 1 Select the Volume Envelope page It is the next page after the Filter Envelope so just turn the page dial one step clockwise The display shows 2 Decrease the setting of the Decay parameter The whole sound gets shorter and shorter At very low settings you will just hear a kind of click Multi Mode In Multi mode you can combine up to 8 sounds Each sound in a Multi program is called an Instrument because it has some additional settings that belong to the Multi and therefore are not stored in the Sound program itself The are two main reasons for using a Multi program 1 Using the MicroWave II XT with a sequencer In that case you want to use several Sound programs at once each assigned to a different MIDI channel 2 Building layered sounds By doing this you can get interesting combinations e g a chord sound that fades into a string pad Of course you can use both methods in combination Selecting Multi Mode The firs
141. r 2 Made Assign Detune De Pan Pola lunizono mas 116 FilterEnv normal single retrigger Determines the way of triggering the Filter Envelope e If normal is selected every note triggers the envelope of its own voice e If single is selected the envelopes of all voices act as one The envelope is started when the first note is played The sustain phase is held until the last note is released Then the release phase is performed e f retrigger is selected the envelope acts as in single mode except that each note triggers the envelope again from its current value Amp Env normal single retrigger Determines the way of triggering the Amplifier Envelope e If normal is selected every note triggers the envelope of its own voice e If single is selected the envelopes of all voices act as one The envelope is started when the first note is played The sustain phase is held until the last note is released Then the release phase is performed This setting is only valid if Mode is set to Mono Otherwise the envelope works as if normal is selected e f retrigger is selected the envelope acts as in single mode except that each note triggers the envelope again from its current value This setting is only valid if Mode is set to Mono Otherwise the envelope works as if normal is selected Wave Env normal single retrigger Determines the way of triggering the Wave Envelope e If normal is selected every note triggers the e
142. r Dump A Global Parameter dump is used to transfer Global Parameter date from and to the MicroWave II The full format of a GLBD Dump is ndex Label Value Description 0 EXC FOh Marks Start of SysEx IDW 3Eh Waldorf Electronics GmbH ID 2 IDE OEh MicroWave II ID 3 DEV Device ID 4 IDM 14h here GLBD Global Parameter Dump 5 36 GDATA see 3 6 Global Parameter Data 37 XSUM GDATA amp 7Fh Checksum 38 EOX F7h End of SysEx KOK KK KK RK KK KK RK RK KK RK RK RK KK RK RK HH HH HH ck ck ckckckck KK KK KK ER 2 61 DISR KOK KK KK KK KK KK KK KK KK KK KK KK KK RK RK HH KK RK HH HH ck ck KK KK KK KK KK DISR 05h Display Request Upon reception of a valid Display Request request the MW2 will dump the contents of the LCD No location is given The full format of a DISR Request is Index Label Value Description 0 EXC FOh Marks Start of SysEx 1 IDW 3Eh Waldorf Electronics GmbH ID 2 IDE OEh MicroWave II ID 3 DEV Device ID 4 IDM 05h here DISR LCD request 7 XSUM 0 Checksum 8 EOX F7h End of SysEx KOK KK KK RK RERE RREA kkk Aik kkk kkk kk kkk HH HH KK KK ckck ck kckok User s Manual MicroWave Il e MicroWave XT 107 2 62 DISD KKEKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKKEK DISR 15h Display Dump A Display Dump message is used to transfer LCD contents from and to the MicroWave II The full format of a DISD Request is ndex Label Value Description 0 EXC FOh Marks Start of SysEx DW 3Eh Waldorf
143. riation to the LFO speed When disabled the LFO remains at its initial speed preset by the Rate parameter Low settings add a human touch to the sound high settings are useful when creating effect sounds with an irregular character e g a wind sound where the filter frequency is modulated by an LFO The following diagram shows the effect of the Humanize setting Level 4 Level 4 Time Time Humanize off Humanize 127 LFO 2 The second LFO offers the same functionality as the first one In addition it can be linked with LFO 1 LFO 2 1 Share triangle LFO 2 2 Symmetry Humanize 27 GES Rate 0 127 Determines the frequency of the generated signal User s Manual MicroWave Il e MicroWave XT 77 Shape sine triangle square sawtooth random S amp H Determines the type of waveshape to be generated Sample amp Hold samples a random value and holds it until the next LFO cycle begins If Rate has a value of 0 then a random value is generated for each new incoming MIDI note More variations can be achieved by means of the Symmetry parameter Please read the corresponding paragraph later on in this chapter Delay off retrigger 1 126 Determines the start of the LFO cycle after an incoming MIDI note e If off is selected the LFO runs completely free which means its cycle is not synchronised to the note start Use this setting e g when modulating the filter cutoff of a sound that should be differ
144. ription 0 EXC FOh Marks Start of SysEx 1 DW 3Eh Waldorf Electronics GmbH ID 2 DE OEh MicroWave II ID 3 DEV Device ID 4 DM 12h here WAVD Wave Dump 5 HH see above Location 6 LL see above Location 7 134 WDATA see 3 4 Wave data 135 XSUM HH LL WDATA amp 7Fh Checksum 136 EOX F7h End of SysEx KOK KK KK KK KK RK RK KK KK KK KK KK KK KK KK KK KK HH KK KK KK KK KK KK KK U ok 106 User s Manual MicroWave Il e MicroWave XT 2 41 WCTR KOK KK KK KK KK RK KK RK KK RK RK KK RK RK RK HH ck ck KK ckckckck ck ck KK KK KK KK KK WCTR 03h Wave Control Table Request Upon reception of a valid wave control table request the MW2 will dump the selected Table The location is given in two bytes with following conventions HH LL Location Note that some Wavetables are generated algorithmically and have no control table an attempt to request such a table will fail The full format of a WCTR Request is ndex Label Value Description 0 EXC FOh Marks Start of SysEx DW 3Eh Waldorf Electronics GmbH ID 2 DE OEh MicroWave II ID 3 DEV Device ID 4 DM 03h here WCTR Wavetable request 5 HH see Text Location 6 LL see Text Location 7 XSUM HH LL amp 7Fh Checksum 8 EOX F7h End of SysEx KOK KK KK KK KK KK RK KK RK RK RK RK RK HH HH HH HH HH HH KK KK KK KK U ok 2 42 WCTD KKK KKK KKK KKK KKK KKK KKK KKK KKK KKK RAR K KKK KKK KKK KK KKK WAVD 13h Wave ControlDump A Control Table dump is used to transfer Wavetable Co
145. rmany User s Manual MicroWave Il e MicroWave XT About this Manual This manual was written to help you become familiar with the Waldorf MicroWave II XT It will also help experienced users with routine tasks To avoid confusion the terminology in this manual is based on the MicroWave II XT parameter names You will find a glossary at the end of the manual it explains the various terms used herein We also used a uniform set of symbols to alert you to topics of particular interest or significance Important terms are highlighted in bold letters Symbols A Caution The comments that follow this symbol will help you avoid errors and malfunctions US Instructions Follow these guidelines to execute a desired function H Info Additional information on a given topic MT Paragraphs marked with this symbol refer to the additional functions of the MicroWave XT Highlighted Control Features and Parameters All of the MicroWave II XT s keys pots and parameters are highlighted in bold letters throughout the manual Also every control element has an unique position no which refers to the diagrams at the beginning of this manual The connectors on the rear panel are referenced by position no We suggest you make a copy of this page to have it at hand when necessary Example Press the Play key The MicroWave II XT s diverse modes and parameter pages are illustrated in a depiction of the display uum Detune
146. rogram Initializing Programs The MicroWave II XT provides a special function for setting all parameters of a Sound or Multi program to initial values You can use it to create a program from the scratch ES This is how you initialize a program 1 Press and hold the Shift key 2 Briefly press the Utility key 3 Release the Shift key 4 The display shows a page where you can select some utility functions Most of them are dump functions Turn the page dial 3 clockwise until the display shows Init Sound init Sound ABEL Linizonao WF 7 confirm with 5hift ULilite gt If you are in Multi mode there is a corresponding function to init a Multi program You can select it by turning the page dial 8 one step clockwise again AN Init Multi 3 confirm with 5hift ULilite gt 5 Briefly press the Utility key while holding the Shift key again The selected program is now initialized H When you initialize a program all action takes place inside an edit buffer Therefore no data will be lost until you store the program 30 User s Manual MicroWave Il e MicroWave XT Editing Parameters on the MicroWave XT Lip In addition to the sound editing capabilities of the MicroWave II XT the XT features individual control elements for most parameters This extended user interface offers you a comfortable way of sound programming Dials When turning a dial on the MicroWave XT panel the corresponding sound para
147. s immediately 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 amplifing 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 User s Manual MicroWave Il e MicroWave XT 117 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 divers
148. s on all channels 92 User s Manual MicroWave Il e MicroWave XT PrgChange sound multi combined Determines the way MIDI Program Change messages are processed e f sound is selected program changes are used to select Sound programs for the Instrument that receives on the corresponding MIDI channel e If multi is selected the whole Multi program is switched by program changes that are received on the basic channel set above e If combined is selected Instrument programs can be changed by using the Instrument s channel the Multi can be changed by using the basic channel BendRange 0 120 harmonic Determines the intensity of the pitchbend via MIDI Pitchbend messages in semitones If harmonic is selected the pitchbend is performed in steps of the harmonic and subharmonic scale Please refer to the chapter Oscillator to get further information about the harmonic scale This setting is valid for all programs whose oscillator Pitchbend Range parameter is set to global Device ID 0 126 Defines the device identification number for system exclusive data transmission Transmission will only be executed successfully if the sender and receiver setting coincide Device ID 127 is a so called broadcast ID that addresses all connected MicroWave II XTs The MicroWave II XT can receive this from other devices but cannot send it itself This function is limited to special computer software Par Control Send off Ctl only SysEx
149. s this portion of the signal is no longer audible The MicroWave II XT s filter also features a resonance parameter Resonance in this context means that a narrow frequency band around the cutoff point is emphasised The following diagram shows the effect of the resonance parameter on the filter s frequency curve Level Resonance Cutoff Frequency 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 50 User s Manual MicroWave Il e MicroWave XT Filter 1 Filter 1 gives you the most flexibility by offering low pass high pass and band pass types In addition there is an sine waveshaping filter with an 12dB low pass following You can select the slope between 12dB and 24dB per octave for the low pass and band pass Further types might be added in the future PUSTILA Tape Re whrack zddB LP X RE DCutotff Era BHmountiEmns iielocitzs Arik Cutoff 0 127 Determines the cutoff frequency for the low pass and high pass filter types and the mid frequency for the band pass type When a low pass is selected via the Type parameter all frequencies above the cutoff frequency are damped When high pass is selected all frequencies below the cutoff frequency are damped In a band pass only frequencies near the cutoff setting will be passed through You can bring more movement into the sound
150. se the page dial to select the Mixer page The display now shows Lise 127 2 As you can see the Ringmod parameter is already set to its maximum value This is the reason why the basic sound character is so hard Turn it down and play some notes The sound gets much softer 3 To understand what the ring modulation does you should listen at its pure signal Turn the level of Wave 1 down to O and raise Ringmod to 127 again Play some notes and listen to the result As you have seen in the mixer page the level of Wave 2 is down at 0 which means that the whole sound is made upon one wave We are now going to use the second wave too 1 Initially turn the levels of Wave 1 and Ringmod down to 0 to get a better impression what s going on 2 Raise the value for the Wave 2 parameter and play some notes You will notice a total different fall down sound 3 Mix in Wave 1 again Now both sound components are audible Try to find a good balance for the levels The two waves are driven by two independent oscillators that means they can have different pitch setting Try out the following 18 User s Manual MicroWave Il e MicroWave XT 1 Use the page dial to select the Ose 2 1 page The display now shows Oc tana 2 Change the Octave setting and play some notes Check out 2 as a value The last thing we want to do in our little tour is to work with the envelopes They determine the time characteristic of the sound
151. settings for this parameter Setting Description Pitch Osc1 Pit FM Amount Osc2 Pit Wavel Pos Wave2 Pos Wavel Mix Wave2 Mix Ringmod Noise Mix Cutoff Resonance Filter 2 Volume Panning FE Attack FE Decay FE Sustain FE Release AE Attack AE Decay AE Sustain AE Release WE Times WE Levels Free EnvT Free Env L LFO1 Rate LFO1 Level LFO2 Rate LFO2 Level M1 Amount M2 Amount M3 Amount M4 Amount Global pitch off all oscillators Oscillator 1 pitch Amount of frequency modulation Oscillator 2 pitch Wave 1 startposition Wave 2 startposition Mixer input level Wave 1 Mixer input level Wave 2 Mixer ringmodulation level Mixer noise level Filter 1 cutoff frequency Filter 1 resonance Filter 2 cutoff frequency Amplifier master volume Amplifier pan position Filter Envelope attack Filter Envelope decay Filter Envelope sustain Filter Envelope release Amplifier Envelope attack Amplifier Envelope decay Amplifier Envelope sustain Amplifier Envelope release All Wave Envelope times All Wave Envelope levels All Free Envelope times All Free Envelope levels LFO 1 rate LFO 1 level LFO 2 rate LFO 2 level Amount of modulation assignment 1 Amount of modulation assignment 2 Amount of modulation assignment 3 Amount of modulation assignment 4 Table 5 Modulation destinations Program Name This page is designed to name the Sound program You can use up to 16 characters for this purpose N
152. so there is no separation into preset and user programs User s Manual MicroWave Il e MicroWave XT 23 ES This is how you select a program 1 Use the Page Dial to select the appropriated program Turning the dial clockwise increases the program number turning the dial counterclockwise decreases it 2 The display shows the program type Sound or Multi the program number and the name of the selected program name may be different depending on the soundset loaded Plas Sound ABE i Mode ilnizono WF i Sound Selecting Sound and Multi Mode As mentioned before the MicroWave II XT can operate in Sound or Multi mode When the MicroWave II XT is first powered up Sound mode is selected US This is how you select the Multi mode 1 Turn the third value dial 2 labeled Mode clockwise 2 The display now shows the program number and the name of the selected Multi program name may be different depending on the soundset loaded Plau Multi Gi i Mode Main Hol MIDI Multi Multi lu When Multi mode is selected you can play and edit the multi programs and the single sounds each program is based upon US This is how you switch back to Sound mode 1 Turn the third value dial 2 labeled Mode counterclockwise 2 The display shows the program number and the name of the selected Sound program again name may be different depending on the soundset loaded Plas Sound ABE i Mode Main L iinizono LnF Soun
153. ssible settings Source 2 see Table 3 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 Type see Table 4 Determines which kind of operation will be performed on the selected input sources The following types are available Setting Description Addition Subtraction Multiplication Division XOR Exclusive OR function OR OR function AND AND function S amp H Sample amp Hold Ramp Triggered ramp Switch Switch abs value Absolute value min value Minimum value max value Maximum value lag proc Ramp function filter Low pass filter diff Differential function Table 4 Modifier functions The result of a modifier operation always lies within the range 1 0 1 When it is assigned to a parameter in the Modulation Matrix it is scaled to the range of the selected parameter User s Manual MicroWave Il e MicroWave XT 81 The following paragraph describes the function and the result of each modifier function in detail XOR OR AND S amp H Ramp Switch Returns the sum of Source 1 and Source 2 Returns the difference of Source 1 and Source 2 Returns the product of Source 1 and Source 2 Returns the quotient of Source 1 and Source 2 Returns the binary exclusive or operation of Source 1 and Source 2 Returns the binary or operati
154. t over the center position to right 63 which means far right PanMod off normal inverse This setting decides whether panning modulation is applied or not When set to off no panning modulation is done at all When set to normal panning modulation is applied as defined in the single program that is used for the instrument When set to inverse panning modulation is done as before but the modulation signal is negated and as a result the stereo sides are exchanged Output Main Out Sub Out Selects the audio output on which the instrument s signal will appear Main routes the instrument to the main outputs Main Out Left Stereo and Main Out Right Mono 6 Sub routes it to the sub outputs Sub Out Left Stereo and Sub Out Right Mono Q Tune Te Transrosel 12 Transpose 48 48 Allows one to transpose the instrument in steps of a semitone Detune 64 63 Fine tunes the instrument in increments of 64ths of a semitone Range Range 1 Range 2 Lowest Velocity 1 127 This parameter 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 Highest Velocity 144127 Counterpart to the Lowest Velocity parameter Only notes with a velocity lower or equal to the selected value are passed through Set this parameter to 127 if you want to t
155. t thing we have to do is to switch from Sound to Multi mode 1 Press the Play button to return to the program select page The display now shows the program number and the name of the currently selected program User s Manual MicroWave Il e MicroWave XT 19 2 Turn the third value dial clockwise The Mode setting changes to Multi The display now looks like this Plas Multi Gal I Mode Filii i 3 Use the Page Dial 3 to select other Multi programs Turning the dial clockwise increases the program number turning the dial counterclockwise decreases it Initializing a Multi Program The best method to create a new Multi program is to initialize an unused program and adjust the disired parameters 1 Use the Page Dial 3 to select an unused program location e g no 100 2 Press the Utility key while holding the Shift key 3 Turn the Page Dial clockwise until the display shows the Multi Init page init Multi confirm with 4 Press the Utility key while holding the Shift key again Your program is now permanently initialized The display shows The initialization causes the Multi s parameters to be set to default values Each Instrument is assigned to Sound program A001 and its MIDI receive channel is set to the same value as the Instrument no E g Instrument no 5 is set to receive on MIDI channel 5 This default setting is optimal for sequencer setups Selecting Sound Programs for
156. tes 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 vedrarendareadiostaj Diese Ger te entsprechen der EG Richtlinie 89 336 EC Ce Waldorf Electronics 1998 e Printed in Germany Waldorf Electronics GmbH Neustra e 12 e D 53498 Waldorf e Germany http www waldorf gmbh de CE
157. the Shift key again See appendix for detailed information on system exclusive specifications H Depending on the selected type the dump may take some time The MicroWave II XT cannot be played during this time 96 User s Manual MicroWave Il e MicroWave XT Receiving System Exclusive Data You are not required to activate a special receive mode at the MicroWave in order to receive system exclusive data via MIDI The transmission is activated via a Dump Request command originating at the device that is sending the messages However there are a few things you should check prior to the transmission Check out the parameter Device ID Data transmission will only be executed successfully if the sender and receiver setting coincide Make sure none of the MicroWave II XT s programs are in Edit mode All edit buffers are cleared via data transmission and therefore all edits that were not stored prior to the dump will be irretrievably lost After activating the dump command at the sender device the MicroWave II XT will receive data and store these in its memory H When the MicroWave II XT receives a Sysex dump with the device ID 127 it will always accept the dump regardless of the setting of its Device ID parameter Device ID 127 is a so called Broadcast ID that addresses all connected MicroWave II XTs The MicroWave II XT can receive this from other devices but it cannot send a Broadcast ID to other devices This function is l
158. the functionality of this parameter Cutoff Frequency Env Velocity Amount Cutoff Time H The overall modulation applied to the filter s cutoff frequency is calculated as the sum of both parameters Cutoff Env Amount and Env Velocity Amount 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 Filter Types This paragraph describes the MicroWave II XT s different filter types Most types are based on traditional low pass high pass or band pass structures The following diagram illustrates the frequency plots of these types Level 4 Level i Resonance Resonance gt gt Cutoff Frequency Cutoff Frequency gt Frequency Low pass High pass Band pass 52 User s Manual MicroWave Il e MicroWave XT The filter types have the following display designations Setting Filter Type 24dB LP 24dB low pass 12dB LP 12dB low pass 24dB BP 24dB band pass 12dB BP 12dB band pass 12dB HP 12dB high pass Sin x gt LP Sine waveshaper followed by a 12dB low pass WaveShapr 12dB low pass filter with wave shaper Dual L BP Parallel 12dB lowpass bandpass filters FM Filter 12dB low pass filter with frequency modulation S amp H L12dB Sample and hold in front of 12dB low pass filter When some of the above t
159. to select another program directly When the MicroWave II XT is in Multi mode the Play Access page always corresponds to the Sound program of the currently selected Instrument H Please note that like any usual edits you have to store your modified programs to make the changes permanent Panic Function The Panic function sends and executes an All Notes Off command It is used to terminate stuck notes To activate this function briefly press the Power button 5 Note that using Panic will also stop the arpeggiator playing when running in Hold mode Panic will immediately set all envelopes to their release phases When holding the button a bit longer all sound is suppressed and the release phases are overridden User s Manual MicroWave Il e MicroWave XT 29 Randomizing a Program This functions initializes all parameters of a Sound Program with random values US This is how you randomize a program 1 Press and hold the Shift key 2 Briefly press the Utility key 3 Release the Shift key 4 The display shows a page where you can select some utility functions Most of them are dump functions Turn the page dial 3 clockwise until the display shows Randomize 5 Briefly press the Utility key while holding the Shift key again The selected program is now randomized H When you randomize a program all action takes place inside an edit buffer Therefore no data will be lost until you store the p
160. to show the sound program the MicroWave II XT is now ready to be played Switching off The MicroWave II XT has a special shutdown feature that prevents data loss by accidently pressing the power button When you want to switch off the power press and hold the Power button 5 again The display now shows a countdown message from 10 to 0 LDzwuitchind mazelf off Ele Main Hol ilnizono WF Sound is After counting down to 0 the MicroWave II XT will switch If you release the Power button before the shutdown process is cancelled Adjusting the Master Volume r You can use the rightmost value dial 2 to adjust the MicroWave II XT s master volume via the Main Vol parameter This setting is global and therefore valid for all programs The MicroWave XT has a dedicated Main Volume rotary control 3 that can be used to setup the overall volume Unlike the other dials this control is made of a potentiometer Adjusting the volume directly affects the global Main Vol parameter Selecting Programs The MicroWave II XT has an internal memory which is is divided into two different types of locations e 256 Sound programs Program A001 B128 In a Sound program the MicroWave II XT can play one sound at a time e 128 Multi programs Program 001 128 In a Multi program the MicroWave II XT can play up to 8 Sounds Instruments simultaneously each with individual settings All memory locations are freely programmable
161. ts off e Connect the MicroWave II XT s main audio outputs Main Out Left Stereo and Main Out Right Mono 6 to your mixing console Optionally connect the two auxilliary audio outputs Sub Out Left Stereo and Sub Out Right Mono 9 too Connect your keyboards MIDI Out jack to the Microwave II XT s MIDI In jack Connect the included adapter to the MicroWave II XT s Power Supply socket and fix the wire with the cable clip beside the socket Insert the adapter plug in a suitable wall outlet First switch on the connected MIDI keyboard an then the mixing console and amp If you do not choose to connect a mixing console you can patch the MicroWave II XT s output signals directly to an amp Use an input usually called Aux or Tape input If you do not want to send a stereo signal use the Main Out Right Mono output If you do not insert a plug into Main Out Left Stereo then the mono master signal is routed via the right output Before connecting and disconnecting the MicroWave II XT 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 MicroWave II XT produces a high level output signal see technical data 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 Analog Input WP The MicroWave XT provides an Analog In jack that can be
162. urn velocity switching off 88 User s Manual MicroWave Il e MicroWave XT Lowest Key 0 127 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 O if you want to use the full keyboard range Highest Key 0 5127 Counterpart to the Lowest Key parameter Only notes with a key number lower or equal to the selected value are passed through Set this parameter to 127 if you want to use the full keyboard range Arpeggiator Every Instrument in a Multi mode program is capable of using its own arpeggiator The settings made in this section override the settings defined in the Instrument s Sound program All Instruments will use the tempo setting defined in the Multi Arpeggiator Tempo parameter because it makes no sense to use different settings for each Instrument Alternatively you can use the original settings of the Sound program by using the corresponding option in the Active parameter Arpeggiator 1 Arpeggiator 2 AIDEBBISIOES on Fatiern Start root note Active off on hold Sound Arp Enables or disables the arpeggiator or activates the hold mode When hold is activated incoming MIDI chords generate continuous arpeggios even when the chord is released If Sound Arp is selected the arpeggiator uses the settings defined in the Sound program
163. used for accordeons or effect sounds 38 User s Manual MicroWave Il e MicroWave XT Keytrack 100 200 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 positive 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 100 correspondes 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 or oscillator synchronisation Try to use values in the range 0 75 or even negative settings for one oscillator while leaving the second at 100 Keytrack Pitchbend Range 0 120 harmonic global Determines the intensity of the pitchbend via MIDI Pitchbend messages in semitones e f harmonic is selected the pitchbend is performed in steps of the harmonic and the subharmonic scale The harmonic scale is used when pitch is bended upwards and built upon multiples of the base pitch If the base pitch e g is 1000Hz the harmonic scale consists of 2000Hz 3000Hz 4000Hz 5000Hz and so on The subharmonic scale is used when pitch is bended downwards and built upon divisions of the base pitch If the base pitch e g is 1000Hz the subharmonic scale consists of 500Hz 333 3Hz 250Hz 200Hz 166 7Hz and so on The following exampl
164. wave 31 and so on User s Manual MicroWave Il e MicroWave XT 43 Limit off on This setting prevents if enabled accessing the analog type waveforms triangle square and sawtooth in any case of modulation When disabled the full modulation amount will be calculated and applied so that the whole wavetable will be used for tone generation Wave 2 Wave 2 1 AVENUE Enunmaunt Emnullelibmtiikseutroack 4 15 8058 5 Startwave 00 60 triangle square sawtooth Determines the start point of the wavetable that is used when the sound starts As an alternative to the waves of the currently selected wavetable you can select the basic waveforms triangle square with 50 duty cycle or sawtooth When you want to create a sound with a wave sweep you should roughly set the Startwave parameter onto the desired wave before you apply any modulations to the corresponding Wave module This helps you to find the basic waveform where all modulations start from Note that you can apply unipolar and bipolar modulation sources to the Wave module as with any other module For example set the Startwave parameter to 29 which is almost the middle of the wavetable and apply a slow running LFO to the Wave module to sweep through the whole wavetable except the three waveforms triangle square or sawtooth Try it with one of the PWM wavetables H The basic waveforms triangle pulse and sawtooth correspond to entry 61 63 of each wavetable P
165. ypes are selected an extra parameter appears on the Filter 1 2 page Exactly what this parameter is for depends on the type of filter selected The extra parameter is therefore described together with every new filter type Modulation of the Extra Parameter The extra parameter of the filter types described below may be selected in the modulation matrix and is designated as FT Extra An abbreviation of Filter 1 Extra Parameter A Do not mistake FM Amount for filter FM amount The filter FM amount is the F1 Extra modulation destination whenever the FM filter is selected on the Filter 1 1 page The FM Amount destination in the modulation matrix is for oscillator FM 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 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 12db High Pass The high pass filter 12dB HP is 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

MicroWave II/XT Manual 2.01 (E)

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