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Waldorf M, User Manual

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Waldorf M User Manual Download Page 39

Sound Parameters 

 

39

 

M Manual 

  

VCF General display page 

r

 

The  VCF  Env  /  Mod1  /  Mod2/Reso  Mod  display 
pages  also  inform  you  about  the  current  made  mo-
dulations and the filter setting status. 

MOD1SCR 

Selects the modulation source for the filter cutoff modula-
tion. 

MOD1CTR 

Selects  the  sidechain  controller  that  is  used  to  scale  the 
output of the modulation source. A typical example is the 
Modulation  wheel  as  source  and  a  LFO  as  the  controller. 

This allows you to control the intensity of the LFO modula-
tion using the wheel. If no controller is selected, no modu-
lation  takes  place.  If  you  want  to  use  a  classic                 
source * destination behavior, set MOD1CTR to Max. 

MOD1AMT 

Determines the amount of modulation applied to the filter 
cutoff frequency. This parameter can be set to both positi-
ve and negative values. 

Mod2/Reson Mod Page 

Here you find more parameters regarding the filter modu-
lations. 

MOD2SCR 

Selects  a  second  modulation  source  for  the  filter  cutoff 
modulation. 

MOD2AMT 

Determines the amount of modulation applied to the filter 
cutoff modulation. This parameter can be set to both posi-
tive and negative values.

 

 

Summary of Contents for M

Page 1: ...User Manual ...

Page 2: ...und Programs 17 Editing Parameters 17 Storing Sound Programs 18 Sound Parameters 20 Global Voice Allocation 21 Wavetable Oscillator Section 22 Oscillator Mixer MIX Section 32 VCF Section 36 VCA Section 40 Glide Section 44 LFO Section 45 Envelopes Section 49 The Arpeggiator Section 56 About Modulation Assignments 58 The Multi Mode 60 The System Menus 65 Appendix 74 Updating the Firmware DSP Firmwar...

Page 3: ...lowing manual is in for a lot of fun while learning about and working with the Waldorf M And now have fun with your M Your Waldorf Team Hint Waldorf Music is not liable for any erroneous information contained in this quickstart manual The contents of this manual may be updated at any time without prior notice We made every effort to ensure the information herein is accurate and that the manual con...

Page 4: ...eller Jonathan Miller Pierre Nozet Miroslav Pindus Winfried Schuld Michael von Garnier Tim Waldmann Kurt Lu Wangard Haibin Wu and anyone we have forgotten Very special thanks to Andreas Busse for his ground breaking development work Beta test Jürgen Driessen Wolfram Franke Dr Georg Müller Anthony Rother Datapunk Winfried Schuld Holger Steinbrink Martin Stürtzer Phelios M contains sounds from New s...

Page 5: ...pe generator VCF and VCA ADSR envelopes and a free assignable loop able 4 points time level envelope LFOs 2 LFOs with different waveforms Arpeggiator with 16 preset patterns chord mode and the ability to synchronise to MIDI clock Sound storage 2048 Sound programs 128 Multi programs Polyphony 8 16 voices polyphony 16 voices available with the expansion board installed Multitimbrality 4 Parts 4 part...

Page 6: ...ol Features Connections Front Panel 1 Display Section with encoders 4 Mixer Section 7 VCA Glide Master Volume 2 Wavetable Oscillator Section 5 Analog Filter Section VCF 8 Arpeggiator Section 3 LFO Section 6 Envelopes Section 9 Single Multi Section ...

Page 7: ...el Connections 1 Power Supply Jack Power Switch 2 Headphones Output with Volume control 3 Stereo Audio Outputs L Mono R 4 Stereo Aux Outputs A D 5 MIDI Thru MIDI Out MIDI In jacks 6 USB 2 0 MIDI Port 7 SD Card Port 8 Kensington Compatible Receptacle ...

Page 8: ...ymbols s Caution The comments that follow this symbol will help you avoid errors and malfunctions r Info Additional information on a given topic Instruction Follow these guidelines to execute a desired function g Example Real world examples to try out Highlighted Control Features and Parameters All of the M s buttons controls and parameters are high lighted in bold letters throughout the manual Ex...

Page 9: ...ors Do not expose the device to direct sunlight Do not expose the device to extreme vibrations Power Supply Only use the power supply adapter that came with M Unplug the device when you are not using it for longer periods Never touch the plug with wet hands Always pull the plug when unplugging the device never the cable Operation Never place objects containing liquids on or near the device Place t...

Page 10: ...ice Never use alcohol cleaning solutions or similar chemi cals 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 Music Waldorf Music is not liable for damages due to incorrect use s This M unit is NOT suitable for...

Page 11: ...ct M s Main Out audio outputs to your mi xing console or your computer audio interface If you want to connect an output monophonically only use the L Mono jack of the output pair with a 1 4 inch mono plug Optionally connect the ste reo Headphones outputs to a suited headphone 3 If you want to use a computer connect M s USB 2 0 port with a USB cable to your computer Windows or macOS Thereafter M be...

Page 12: ...roduces a high level output signal Please take care that the connected playback device is sui table for the high level of an electronic instrument Never use the microphone or phono input of the connected amp The Rear Panel Connections M provides an analog stereo audio output 4 additional stereo aux outputs and a headphones output The main audio and headphones outputs are affected by the setting of...

Page 13: ...er cable The USB connection of M allows transmitting and receiving of MIDI data transmitting SD Card Slot r It is important to use a FAT or FAT32 file system formatted SD card Other file formats won t work r Please insert the SD Card upside i e with the contacts not visible to you Please insert the card with normal force to avoid any damage A connected SD card allows Updating M s firmware Importin...

Page 14: ...al Physical Security Users that operating with M in areas with public or shared access such as live gigs public studios or educational establishments can attach a Kensington compatible security lock to the slot on the rear panel of M ...

Page 15: ...e Headpho nes output The M Mode Pages M offers mode pages in addition to the panel parameters To enter a desired mode page just press the correspon ding mode button above the display The following mode pages are available ARP mode pages LFO 2x Low Frequency Oscillators mode pages ENV VCF VCA Wave and Free envelopes mode pages OSC Oscillators 1 and 2 mode pages WAVE Wavetable 1 and 2 generator mode...

Page 16: ...een two oscillator models Classic Microwave 1 and modern Microwave II XT Read more on page 32 The Display and the 4 Encoders The display gives you an overview of the actual Mode page parameter changes and delivers additional information The 4 endless dials below the display control the corres ponding parameter that is shown in the lower part of the display next to the dials The display representat...

Page 17: ...ess the appropriate parameters Depending on the type of parameters there are different ways to achieve this The controls on M s front panel offer direct access to the most important sound parameters The panel is di vided into several sections each containing knobs and dials associated with that section By adjusting the con trols on the panel you have instant access to the sound These parameters ar...

Page 18: ...ts the wave position of the current selected wavetable r If you are lost press the Recall button to restore all parameters of the original sound program g Want to start with a clean initialized sound By clicking Shift Init you can initialize the cur rent loaded sound Keep in mind that the current sound program is lost Storing Sound Programs After you have finished editing a sound program you must ...

Page 19: ...ow the sound name With the Bank Part buttons you can determine a desired bank 4 Finally press the OK button to store the sound program at the selected location After that press the Cancel button to leave the Sound Store display page 5 Press the Cancel button to discard the storing process at any time and return to the last selec ted display page s Whenever you save a program the selected memory lo...

Page 20: ...ng boosting or attenuating dampening certain frequencies The VCA amplifier are located at the end of the signal chain It determine the overall volume of the signal Modulators LFOs Envelopes These modules are called Modulators The Modulators are designed to manipula te or modulate the sound generating components to add dynamics to sounds The Low frequency Oscilla tors LFOs are designed for periodic...

Page 21: ...ut when you play legato only the first note that was played triggers the envelopes All later notes use these enve lopes but sound in the pitch you ve played V STEAL Voice Stealing Determines the behaviour of the sound engine when the maximum available voices are reached M Late Mono Latest When maximum number of voices is reached the latest note will be cut when a new note is triggered M Early Mono...

Page 22: ...table sweeps The results can be dramatic much more so than anything any sample playback based system could ever produce This principle offers powerful capabilities To give some examples The Wave Envelope can modulate the position within the wavetable Each note on a keyboard can access a different wave of a wavetable An LFO can modulate the position within the wave table You can create subtle to dr...

Page 23: ...he corresponding oscillator This helps you to find the basic waveform where all modulati ons start from g The Wavetables are the real power of your M 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 lis ten to the wavetables Start with an initializ...

Page 24: ...e tunes the oscillator in increments of 64ths of a semi tone The audible result of detuning oscillators is a flan ging Use a positive setting for one oscillator and an equi valent negative setting for the other A low value of 1 results in a slow and soft flange effect Mid ranged settings of 5 are optimal for pads and other fat sounding pro grams High values of 12 or above will give a strong detune...

Page 25: ...meters Osc 1 2 Tune Pages Here you find all parameters regarding oscillator tuning Oscillator 1 Tune display page r The display also informs you about the current selected wavetables their Wave positions and the oscillator s tuning status OCTAVE Same functionality as for the corresponding panel parame ter SEMITONE Same functionality as for the corresponding panel parame ter DETUNE Same functionali...

Page 26: ...odulation wheel as source and a LFO as the controller This allows you to control the intensity of the LFO modula tion using the wheel If no controller is selected no modu lation takes place If you want to use a classic source destination behavior set MOD1CTR to Max MOD1AMT Modulator 1 Amount Determines the amount of modulation applied to the cor responding oscillator pitch This parameter can be se...

Page 27: ...messages That means whene ver a modulation is applied to oscillator 1 it is also applied to oscillator 2 When disabled each oscillator uses its own individual modulation settings Osc Sync Glide Page Here you find parameters regarding the oscillator syn chronisation and glide functions Oscillator 1 2 Sync Glide display page HSYNC Hard Sync only in Modern mode Enables or disables oscillator synchron...

Page 28: ...MIDI note number 60 C3 OSCMODE Same functionality as for the Mode button on the panel This settings is stored in a Sound program Read more on page 32 ASICBUG only in Classic mode The ASIC mixing bug is a special setting of the Waldorf M which allows it to reproduce this former issue and use this for special sound design intentionally Originally this is a numeric overflow bug in the Microwave I ES2...

Page 29: ...ters Wave Page Here you find all parameters regarding the wavetables Wave 1 Wave display page r The display also informs you about the current selected wavetables their Wave positions and the oscillator s tuning status WT Wavetable Same functionality as for the corresponding panel parame ter WAVE Same functionality as for the corresponding panel parame ter PHASE By means of this parameter you can ...

Page 30: ...nction with EnvAmt 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 KTRACK Keytracking Determines the amount of wavetable modulation depen ding on the received MIDI note number Reference note for this parameter is C3 note number 60 For positive settings the modulation amount is increased for notes above to ref...

Page 31: ...ination behavior set MOD1CTR to Max MOD1AMT Determines the amount of modulation applied to the cor responding wavetable modulation This parameter can be set to both positive and negative values MOD2SCR Selects a second modulation source for the wavetable modulation of the corresponding oscillator MOD2AMT Determines the amount of modulation applied to the cor responding wavetable modulation This pa...

Page 32: ...ble for the Modern Microwave II XT mode There is one restriction regarding the use of the Modern Oscillator mode in Multi mode Only the first Part can use the Modern mode Oscillator Mixer MIX Section In the Oscillator Mixer section you control the volumes of both oscillators and the Noise generator If an oscillator volume dial is turned fully counterclockwise no signal is passed r It is possible t...

Page 33: ...ng Mod only in Modern Microwave Mode r Press the Mode button to switch between the two oscillator models Classic Microwave 1 and Modern Microwave II XT For more information regarding the Microwave modes please refer to page 31 Determines the volume of the ring modulation between both Wave oscillators From a technical point of view ring modulation is the multiplication of the waves signals The resu...

Page 34: ...play for all 3 mix pages also informs you about the current level status for all sound generati on sources Levels Page Here you find all parameters regarding the mixer levels OSC1LEV Oscillator 1 Level Same functionality as for the corresponding panel parame ter OSC2LEV Oscillator 2 Level Same functionality as for the corresponding panel parame ter NOISELEV Noise Level Same functionality as for th...

Page 35: ...l modulation O2MODA Determines the amount of modulation applied to the oscil lator 2 level This parameter can be set to both positive and negative values NSEMODS Selects the modulation source for the noise generator level modulation NSEMODA Determines the amount of modulation applied to the noise generator level This parameter can be set to both positive and negative values RMMODS Selects the modu...

Page 36: ...al The VCF Section Panel Parameters Cutoff Determines the cutoff frequency for the low pass filter All frequencies above the cutoff frequency are damped You can bring more movement into the sound by modulating the cutoff frequency via the LFOs the VCF Envelope or the Keytrack parameter At a value of 50 and a Resonance value of 80 the filter oscillates with 1046 5 Hz which is equal to note C6 Tunin...

Page 37: ...ey velocity This para meter works similarly to the Env Amt parameter with the difference that its strengh is velocity based Use this fea ture 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 Keytrack Determines how much the cutoff frequency depends on the MIDI note number...

Page 38: ...Page Here you find all parameters regarding the filter settings VCF General display page CUTOFF Same functionality as for the Cutoff panel parameter RESO Same functionality as for the Resonance panel parameter ENVAMT Same functionality as for the corresponding Env Amt panel parameter ENVVELO Same functionality as for the corresponding Velocity panel parameter KTRACK Same functionality as for the K...

Page 39: ... to control the intensity of the LFO modula tion using the wheel If no controller is selected no modu lation takes place If you want to use a classic source destination behavior set MOD1CTR to Max MOD1AMT Determines the amount of modulation applied to the filter cutoff frequency This parameter can be set to both positi ve and negative values Mod2 Reson Mod Page Here you find more parameters regard...

Page 40: ...CA Section M offers an a true stereo analog VCA with panning option The VCA Section Panel Parameters Env Amt Determines the amount of influence the VCA envelope has on the volume For positive settings the volume is increa sed by the modulation of the envelope for negative set tings the volume is decreased Sounds with a hard attack usually have a positive envelope amount that makes the start phase ...

Page 41: ...y used setting which gives a piano like character For negative settings the volume falls up to higher velocities This gives an untypical character suitable for effect sounds As the Amplifier always works in conjunction with the VCA Envelope this parameter actually determines the envelope velocity amount r You need use the VCA envelope by setting its enve lope amount or velocity parameters differen...

Page 42: ...ay dial once To give further movement to the sound set this parameter to a basic value and apply some modulation to it e g via a LFO PANMODS Selects the modulation source for the panning modulation PANMODA Determines the amount of modulation applied to panning This parameter can be set to positive and negative values Env Page Here you find all parameters regarding the VCA envelope modulations ENVA...

Page 43: ... Selects the sidechain controller that is used to scale the output of the modulation source A typical example is the Modulation wheel as source and a LFO as the controller This allows you to control the intensity of the LFO modula tion using the wheel If no controller is selected no modu lation takes place If you want to use a classic source destination behavior set MOD1CTR to Max MOD1AMT Determin...

Page 44: ...formed e g on a piano when you play very fast over a wide key range The Glide Panel Parameters Active Button Enables or disables the glide effect Rate 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 sou...

Page 45: ...ng LFO The current rate is also displayed in Hertz in the upper right corner of the LFO waveform re presentation in the display Shape Determines the type of waveshape to be generated by the corresponding LFO Sine Triangle Pulse Random S H Sample Hold S H is a sampled value of the opposite LFO E g the S H shape of LFO1 samples LFO2 and vice versa More variations can be achieved by means of the SYMM...

Page 46: ...to change the pulsewidth of the LFO square shape When using it on a triangle waveshape you can get a sawtooth wave with a soft rising or falling slope HUMANZE Adds a random variation to the corresponding LFO speed at each cycle 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 so...

Page 47: ...ed with only one LFO DELAY Determines the start of the LFO EG see next parameters ATTACK Determines the attack of the simple useful AD envelope to control the LFO 1 level A setting of 0 gives instantaneous attack after the Delay time has passed 127 ist the longest Attack time requiring several minutes to fade in the LFO completely DECAY Adjusts the decay time of the LFO envelope 0 does not introdu...

Page 48: ...ans that LFO2 is not a voice LFO anymore LFO2 is staying back in its place as a voice LFO This global LFO is actually a third synth level LFO which in addition could be synced to MIDI clock see next options MIDISYNC If set to on the global LFO is synchronised to an incoming MIDI Clock signal MSYNCTO If set to on the Rate value of the global LFO can be set in musical notation The range goes from 1 ...

Page 49: ...il the key is released The envelope then descends to zero at the rate deter mined by the Release parameter g 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 envelope consists of se veral single segments that can be divided into a sus...

Page 50: ...signal to go from zero to maximum level Decay for VCF VCA Envelopes Determines the decay rate or amount of time it takes for a signal to reach the Sustain level Sustain for VCF VCA Envelopes Determines the sustain level that is held until a note ends Release for VCF VCA Envelopes Once the note has ended the release phase begins During this phase the envelope fades to zero at the rate deter mined b...

Page 51: ...es The Wave envelope offers 8 Level paramneters the Free envelope offers 4 Level parameters The Envelope Display Parameters Press the ENV button above the display to show the Envelope display pages The current selected Env pa ge is shown in the upper right corner of the display e g WAVE ENV General Use the Sound System en coder to scroll through the display pages WAVE Envelope Points 1 2 display p...

Page 52: ...ter Delay Page only for VCF envelope Here you find all parameters regarding the VCF envelope delay settings DELAY Delays the start of the VCF envelope by the selected value after a note trigger happens DLYMODS Selects the modulation source for the delay parameter modulation of the VCF envelope DLYMODA Determines the amount of modulation applied to the VCF envelope delay This parameter can be set t...

Page 53: ...and Release phases SUSMODS Selects the modulation source for the corresponding sustain level modulation SUSMODA Determines the amount of modulation applied to the cor responding sustain level This parameter can be set to both positive and negative values RELMODS Selects the modulation source for the corresponding relea se time modulation RELMODA Determines the amount of modulation applied to the c...

Page 54: ...odulation applied to the cor responding level point This parameter can be set to both positive and negative values Wave Env Loop Page for WAVE envelope Here you find the parameters regarding the Wave envelo pe loop settings K OFF PT Key Off Point Defines the border between the key on and the release portion of the wave envelope Tis point is the last segment of the key on portion If there is no loo...

Page 55: ...e If you use the same level for release as for sustain and the release time is set to 0 it will be loop always if both LOOP options are active REL LOOP Defines if a loop on the release phase is active or not The loop on release phase runs always between 1 and 3 sustain point as on the note active phases but it also will pass through release phase if Release Time 0 ENV Tweaks Display Page This disp...

Page 56: ... s basic tempo in BPM beats per minute or via MIDI clock if the MIDI Clock Mode option in the Sys tem Settings is set to Ext or Auto an incoming MIDI Clock signal is necessary r Based on the Speed setting the ARP button flashes rhythmically once per quarter of as 4 4 bar Pattern Determines whether an internal rhythm pattern is played and which one The Arpeggiator Display Parameters Press the ARP b...

Page 57: ...If One Shot is selected the arpeggiator splits up all played notes and plays back one arpeggio After the ar peggio rhythm is played once it is stopped automati cally unless you hit a new chord This mode is especial ly useful in a live performance where you might have to synchronize yourself Just hit a chord at each new bar If Hold is selected the arpeggiator splits up all played notes and generate...

Page 58: ...n Assignments A modulation can be described as a signal generating unit s influence upon a sound parameter The terms used in this context are Source and Destination There is no Modulation matrix as in our other Waldorf synthesizers We made a conscious decision to set up the modulation facilities directly on the corresponding display page i e in the respective sections as Oscillators VCF or VCA Thi...

Page 59: ...dulation inputs Modulation assignment with Source control and amount Sidechain modulation input called MOD CTR Allows you to cross modulate two modulation modules This way you can control the effect of the source by using different mod control sources Regular modulation input called MOD SRC Works as straightforward as you would expect The Modulation Amount MOD AMT can be set to both positive and n...

Page 60: ... Press the Single Multi encoder to enter the Multi mode The LED near to the dial lits in white If you want to return to single mode press the dial again Use the Single Multi encoder to select the desired Multi arrangement Press Recall to load it Use the Bank Part buttons to switch between the 4 multi parts The current part number is shown in the upper left ordner of the display e g Part 3 Press Sh...

Page 61: ...he current Part ENABLE Determines whether the current Part is disabled or enab led P BANK Selects the bank from which the sound program is taken P SOUND Selects the Part s sound program Pan Out Page Here you find all parameters regarding volume and pan ning settings P VOL Determines the volume for the current Part r The overall volume is set with the Master Volume dial The attenuation chain is Ins...

Page 62: ...notes with a key number higher or equal to the selected value are passed through Set this parameter to C 2 if you want to use the full keyboard range K LIM H Counterpart to the K LIM L parameter Only notes with a key number lower or equal to the selected value are pas sed through Set this parameter to C7 if you want to use the full keyboard range V LIM L This parameter allows you to limit the velo...

Page 63: ...l for simultaneous controlling of VCF parameters in a layered Arrangement Voice Allocator Page Here you find all parameters regarding the voice allocation settings Here are some global rules for the voice allocation 1 The Parts have a voice priority from 1 to 4 according to their numbers E g by allocating voices Part 1 has a higher priority than Part 2 part 2 a higher priority than part 3 and so o...

Page 64: ...e same way as sound programs r The part related sound patches are NOT stored together with the Multi Arrangement The sound of one particular part in the Arrangement is effectively a link to the certain chosen sound from a certain chosen sound bank That means if a sound patch or a soundbank will be replaced a arrangement will sound incorrectly Please take this into account when changing existed sou...

Page 65: ...the dial again r In system menu mode the ARP and LFO buttons are used to switch between System Settings and System Operations r Use the dials below the display to navigate through the current display page For example when on Set tings 1 System page use dial 1 to select the desired option With dial 2 change the value setting to you needs Press the Save button to store your seetings The Settings Men...

Page 66: ...nge 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 Allows to set a global pitch transpose for all programs of the M Stereo Width Reduces the stereo with from maximum 64 to mono if desired Master Volume Sets the basic master volume of all M programs for all outputs Settings 2 3 MIDI 1 2 Pages Here ...

Page 67: ...ller layout list for M CControls Receive Here you can determine if MIDI Control Change MIDI CC data is received If off ist selected all incoming MIDI CC data will be ignored MIDI Clock Mode Determines how M reacts to incoming MIDI Clock messa ges Int means that M doesn t react to incoming MIDI Clock M only syncs to its own tempo base that is set by the Speed dial or the BPM parameter which can fou...

Page 68: ...e of the incoming MIDI velocity for the Sound programs By selec ting one of the 10 curves the dynamic velocity will adapt on that r You can find some diagrams of the available velocity curves in the Appendix of this manual CC Controller A D W Z These parameters are used to define modulation sources that are freely definable MIDI controllers Each value re presents a MIDI controller number that is u...

Page 69: ...2 each second wave will be skipped half of the first 128 waves read and stored into internal Wal dorf M user wavetable slot Setting is 4 each fourth wave will be read i e 3 skip ped a quarter of the 256 waves read and stored into internal Waldorf M user wavetable slot If a user wavetable contains fewer than 64 waves it will be read out according to the WT Loading Skip setting rules and all waves i...

Page 70: ...your settings on start so no need to retune the VCFs after fine tuning anymore Please also remember about thermal drift so at the start with cold VCFs they will be tuned higher on about 2 semi tones The best results could be achieved when you will tune the unit after ca 15 20 minutes of warming up The best way is to make VCF fine tuned on this screen against C5 1042 5 Hz 20C is using software tune...

Page 71: ...will be immediately overwrite the current selected sound program Send Current Multi SYSEX Sends the currently loaded Multi program as MIDI SysEx dump by using the USB or DIN MIDI port Save Current Bank to SD Saves the currently loaded sound bank in the accordingly named file at the root directory of a connected SD Card e g soundbank0010 for soundbank 10 Load Current Bank from SD Loads the currentl...

Page 72: ... wtslotXX where XX stands for numbers from 00 to 31 according to the slots in the Waldorf M System Service Page Here you find further system options AutoTune VCFs The analog filters of M can be improperly tuned due to the temperature drift If there is some big detune between the voices you should perform this Auto tune option It is strongly recommended to do this 15 20 minutes after switching on t...

Page 73: ...ank from the files on a connected SD Card Use this option for factory restore creating internal storage files in combination with the next action If some appropriately named file will not be found in the root directory of the SD Card during the recovery process M just creates this sound bank or multi bank in the internal flash populated with defaults Format internal flash Completely erase all cont...

Page 74: ...to its FLASH memory Wait until the operation is completed If updating was successful the M will perform a system reset and start by pressing the OK button again Sometimes a dedicated update of the internal DSP firmwa re could be necessary To update M s DSP EXP firmware Copy the dfu file onto the top level of a suitable SD card Insert the SD card into M s card slot Press the Sound System encoder to...

Page 75: ...got corrupted during download please try downloading it again My device isn t recognized via USB Make sure that your device is connected to your com puter directly and not through a hub Use the computer s rear USB not front USB connection Disconnect all other USB devices from your computer which aren t needed at the moment Change the USB cable or try from a different computer On macOS Click on Abo...

Page 76: ...his device has unbalanced outputs We recommend using it with unbalanced cables Does my device send audio via its USB connec tion No This device only sends and receives MIDI via USB Transferring audio or files isn t possible ...

Page 77: ...while oscillator 2 is playing a sawtooth wave from position 63 The main difference of wavetable synthesis in comparison with other sound generation principles is the ability to not only to play one waveform per oscillator but also to step through the wavetable via different modulations thereby creating wavetable sweeps The results can be dramatic much more so than anything any sample playback base...

Page 78: ...ilar to a low pass filter so that they can be conve niently controlled by an envelope If Attack is 0 and Decay set to a medium value you get a percussive sound if you turn up the attack you get a soft sounding start You can also use an LFO to modulate the wavetable positi on and depending on the selected LFO Shape you might get a wave scanning that goes back and forth triangle only into one direct...

Page 79: ...Appendix 79 M Manual Velocity Curve Maps M offers 10 different velocity curve maps which are dis played on the following pages Linear and Linear Velocity Curves Exponential and C F Velocity Curves ...

Page 80: ...FO 2 LFO 2 signal AmpEnv Amplifier Envelope signal Flt Env Filter Envelope signal WavEnv Wave Envelope signal Free Env Free Envelope signal LFO1Env Envelope of LFO1 Sus Pdl MIDI Sustain pedal CC 64 Vol Ctr MIDI Volume Controller CC 7 Pan Ctr MIDI Foot Controller CC 10 BrthCtr MIDI Breath Controller CC 2 FootCtr MIDI Foot Controller CC 4 ExprCtr MIDI Expression pedal CC 11 Ctr A D Assignable Contro...

Page 81: ...Oscilla tor 1 2 Osc1 Osc2 Mix Level of Oscillator 1 2 Noise Mix Level of Noise generator Ring Mod Mix Level of Ring modulator VCF Cutoff Filter Cutoff frequency VCF Resonance Filter Cutoff resonance Pan Mod Stereo panning VCA VCA Level LFO1 Rate of LFO1 VCF Env Delay Delay of VCF Envelope VCF Attack VCF Attack time VCF Decay VCF Decay time VCF Sustain VCF Sustain level VCF Release VCF Release time...

Page 82: ...lease of EG2 VCA 24 25 LFO1 Rate LFO1 Shape 26 28 LFO2 Rate LFO2 Shape 33 34 35 OSC1 Octave OSC1 Semitone OSC1 Detune 38 39 40 OSC2 Octave OSC2 Semitone OSC2 Detune 41 OSC2 Sync to the OSC1 45 46 47 48 OSC1 Level OSC2 Level Ringmod Level Noise Level 50 56 VCF Cutoff VCF Resonance 51 52 53 VCF Keytrack VCF EG Amount VCF EG Velocity 57 Master Volume VCA Volume in Single Mode 58 59 VCA EG Amount VCA ...

Page 83: ...al Data Power Supply Supply Voltage Input 100 240 V AC 50 60 Hz Nominal Voltage Output 12 V DC Maximum current consumption 1 8 A max Dimensions and Weight Width 440 mm Depth 305 mm Height including knobs 85 mm Total weight 5 7 kg ...

Page 84: ...repeats them rhythmically Most arpeggiators feature different sequence modes to cover a wide range of applications Typical controls for an arpeggiator are the octave range the direction the speed and the clock which means 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 e...

Page 85: ...e frame so that the sound is chan ged in some manner For instance an envelope that modu lates 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 a...

Page 86: ... advance It made it possible to link any MIDI equipped device with another through simple uni form connections Essentially this is how MIDI works One sender is connec ted to one or several receivers For instance if you want to use a computer to play the Iridium then the computer is the sender and the Iridium acts as the receiver With a few exceptions the majority of MIDI devices are equipped with ...

Page 87: ...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 messa ges are similar in function to control change messages they are a distinct type of message The reason for this distinction is that the resolut...

Page 88: ... are able to address Exclusive in this context means that this data pertains to only one device type or model Every device has unique system exclusive data The most common applications for SysEx data inclu de transfer of entire memories and complete control of a device via a computer Trigger A trigger is a signal that activates events Trigger signals are very diverse For instance a MIDI note or an...

Page 89: ... should think of these as a sequence of up to up to 64 single waves This can be played back in a static way or played through dynamically which results in their typically interesting sound transformations If the waves do not differ much then the wavetable will probably sound smooth and pleasant If they have a completely different structure then this will result in wild spectral changes ...

Page 90: ...f you have any questions about your Waldorf product feel free to contact us We re here to help a Use the support form at our website 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 support waldorfmusic com b Send us a letter It will take a bit longer but it is just as dependable as a...

Page 91: ...Waldorf Music GmbH Lilienthal Straße 7 D 53424 Remagen 2021 Waldorf Music GmbH All rights reserved www waldorfmusic com ...

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