Waldorf pulse 2 User Manual Download Page 1

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ANALOG SYNTHESIZER

CMY

Summary of Contents for pulse 2

Page 2: ... Use 10 Setup and Connection 11 Inventory 11 Setup 11 Connection 11 The USB Connection 13 Basic Operation 14 Switching on off 14 The Volume 14 Selecting Sounds 14 Editing Parameters 15 Editing Parameter Controls 15 Storing Sounds 16 Sound Parameter 18 Overview of Functions 18 The Oscillator Section OSC 1 3 19 The LFO Section 24 The Envelope Section ENV F and ENV A 26 The Arpeggiator Section ARP 28...

Page 3: ...n 47 Filter Introduction 52 Appendix 54 Updating the Firmware 54 Sending Receiving System Exclusive Data 55 Modulation Sources 56 Modulation Targets 57 Tips Tricks 58 Technical Data 60 MIDI Controller Numbers 61 Glossary 64 Declaration of Conformity 69 Product Warranty Support 72 ...

Page 4: ...ing with the Pulse 2 Your Waldorf team Hint Waldorf Music is not liable for any erroneous information contained in this manual The contents of this manual may be updated at any time without prior notice We made every effort to ensure the information herein is accurate and that the manual contains no contradictory information Waldorf Music extends no liabilities in regard to this manual other than ...

Page 5: ...sion 1 0 September 2013 w Please visit our website pulse2 waldorfmusic de Here you will find the latest firmware version as well as other downloads for the Pulse 2 We would like to thank Christian Bacaj Willie Eckl Joachim Flor Michael von Gar nier Karsten Dubsch Kurt Lu Wangard 吴海彬 and not to forget the Sound programmers Jürgen Driessen Christian Gritzner Till Kopper Dirk Krause Rob Lee Dr Ingo W...

Page 6: ...ulse 2 User Manual 6 Control Features and Connections Front Panel a Display b Selection Buttons c Selection Dial d Volume Dial e MIDI Input Indicator f Parameter Matrix g Parameter Matrix Buttons h Shift Button i Parameter Matrix Dials ...

Page 7: ...ulse 2 User Manual Connections A Stereo headphone jack B Audio line output left right only right mono C Audio line mono input 4 CV Gate outputs 5 MIDI Out jack 6 MIDI In jack 7 Locking slot 8 USB port 9 Power switch J Power supply socket ...

Page 8: ...highlighted in bold letters Symbols m Caution The comments that follow this symbol will help you avoiding errors and malfunctions w Info Additional information on a given topic Instruction Follow these guidelines to execute a desired function Example Real world examples to try out Highlighted Control Features and Parameters All of the Pulse 2 buttons controls and parameters are highlighted in bold...

Page 9: ...e the device ne ar heat sources such as radiators Do not expose the device to direct sunlight even if you have a suitable sunscreen Do not expose the device to extreme vibrations Power Supply Never use a different power cable than the one that came with the Pulse 2 Unplug the device when you are not using it for longer periods Never touch the plug with wet hands Always pull the plug when unpluggin...

Page 10: ...h or brush to clean the de vice Never use alcohol cleaning solutions or simi lar 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 war ranty extended by Waldorf Music Waldorf Music is not liable for damages due to incorrect use m Do...

Page 11: ... also use a suited headphone Last but not least you will mostly likely need a MIDI master keyboard You can also use a computer or hardware sequencer to make use of the Pulse 2 MIDI features To connect the devices 1 Turn all units off 2 Connect the Pulse 2 audio output 2 to your mixing console or your computer audio inter face Optionally connect a suited stereo headphone to the Pulse 2 s headphone ...

Page 12: ...ct reception of MIDI data send any MIDI event to the Pulse 2 the MIDI USB LED e will light up on any incoming MIDI mes sage If this is not the case please check the MIDI connection to the Pulse 2 as well as the Global MIDI configuration w If you do not choose to connect a mixing conso le you can patch the Pulse 2 output signals 2 di rectly to an amp or to an audio interface Use an input usually ca...

Page 13: ...er a USB port Apple iPad with iPad Camera Connection Kit The USB connection of the Pulse 2 allows transmitting and receiving MIDI data dumping of firmware updates to the Pulse 2 Sounds Global parameters backup and recall with suitable computer software w Make sure to use a computer USB port as well as a USB cable to avoid problems with data trans mission w Keep also in mind that we often offer new...

Page 14: ...dphone output 1 Selecting Sounds The Pulse 2 offers 500 sound programs Use the Selection dial b or the Selection buttons c to select these sounds Turning the dial clockwise or pres sing the right button increases the sound program num ber turning the dial counterclockwise or pressing the left button decreases it When you are at the end of the last sound program and turn the Selection dial further ...

Page 15: ...called Parameter Matrix f which has all im portant parameters silkscreened on the machine s front panel Changing the parameters is done with the six endless Parameter Matrix dials i Changing the edit level is done with the five Parameter Matrix buttons g This sounds more complex than it is With a simple example you will understand the structure of the Pulse 2 handling easily Would you like to chan...

Page 16: ...cter Use the six Parameter Matrix buttons to change the next six characters Use the right Selection button to switch to the next seven characters Here you can use the same con trols as for the first seven characters 4 Now you can select the category class of your sound It is strongly recommended to select an appropriate category class for your sound program This helps you finding your sound later ...

Page 17: ...the factory presets you can download them as a Standard MIDI File from our website w Use the Store function also if you want to copy sounds There is no need to edit a sound before storing it When receiving individual sounds through sysex transfer they must be store ma nually in the Pulse 2 ...

Page 18: ...s represent the audio signal flow Sound generation actually occurs within the Oscillators and and the Noise generator These pro duce various waves as for example square and sawtooth The Filter then shapes the sound by ampli fying boosting or attenuating dampening certain frequencies The Amplifier is located at the end of the signal chain It sets the overall volume of the si gnal and can add some s...

Page 19: ...he type of waveform to be generated by the Oscil lator w Keep in mind Some shapes are not available for all of the three oscillators The following shapes are currently available PWM only OSC 1 and OSC 2 selects the pulse waveform This waveform produces a hollow me tallic sound If the PWM waveform is selected the parameter Pulsewidth is used to change the pul sewidth of the waveform SQR only OSC 3 ...

Page 20: ...t APW oscillators at once UNIAPW P only OSC 1 creates an unison in polyphonic mode same as UNISON P by using a cluster of eight APW oscillators at once w Keep in mind If one of the Unison shapes is selected the Keytrack parameter controls the detuning of the poly pulse oscillators w If one of the Unison modes is selected as Shape you cannot use OSC 2 and OSC 3 Both oscilla tors are not accessible ...

Page 21: ...d for crossmodulation it does not mean that this square waveshape must be used as the source signal Because the crossmodulation is pu rely internal you can select another waveshape for Oscillator 1 or 3 if you so desire Please note that you can also modulate Oscillator 2 s pulse width at any time Additionally you can switch synchronization on and off independently EXT only OSC 3 switches off OSC 3...

Page 22: ...ends the signal toge ther with OSC 1 and OSC 2 to the regular oscilla tor mixer and further to the VCF and VCA Level 2 adds the signal of OSC 3 to the control voltage of the OSC level Hereby OSC 3 controls the amplitude of OSC 2 the OSC 3 level controls the modulation amount VCF adds the signal of OSC 3 to the control volta ge of the VCF This enables a frequency modula tion of the filter by OSC 3 ...

Page 23: ...n wave forms is selected as oscillator Shape a setting of Keytrack is not possible Instead this parameter lets you control the overall detune of the poly oscillators w Keep in mind When Para 8 or Para 4 is selected as oscillator Shape a setting of Keytrack is not possible Instead this parameter controls the fade process done by ENV A This is also valid for OSC 2 when Para 4 is selected Sync only f...

Page 24: ...e 2 is equip ped with two low frequency oscillators LFO that can be used for modulation purposes LFO 1 generates a periodic waveform with adjustable frequency and shape LFO 2 always creates a triangle wave and offers an additional delay function Speed LFO 1 and LFO 2 0 127 or 32 1 96 Determines the frequency of LFO 1 and LFO 2 At low values it might take several minutes exactly 4 minutes and 38 se...

Page 25: ...a given song tempo and all tempo changes are recognised too C SIN creates a sine wave C TRI creates a triangle wave C SAW creates a sawtooth wave C SQR creates a square wave C S H creates sample hold values Delay only LFO 2 OFF 0 127 Delay delays the start of LFO oscillation after an in coming MIDI note has been received w The amount delay before oscillation sets in de pends on the parameter setti...

Page 26: ... but it only glides when legato notes are triggered FNOFF is similar to FNGR but it glides back to the former played note when releasing the actual note The Envelope Section ENV F and ENV A The Pulse 2 envelopes allow you to manipulate sound parameters via rate or timed modulations The Pulse 2 offers two independent programmable envelopes with linear attack and exponential decay and release for ev...

Page 27: ... controls the speed Trigger SNG1 SNG2 RET 1 RET 2 RET 3 Five different types of triggers determine how and when an envelope is started With the setting of SNG 1 the first note starts the envelope All other notes do not restart while a note is sustained The release phase is not started until all keys are released SNG 2 works in the same way except that the envelope is started at the current value r...

Page 28: ...rpeggiator display parameter can be edited with the Selection buttons and the Selection dial Use the Selection buttons to select the desired para meter which can be edited with the Selection dial w The Step Editor parameters are different to edit Please read the corresponding manual section ARP Step Duration 12 1600 Sets the length of the step length in relation to ARP Clock ARP Swing 0 100 Determ...

Page 29: ...es can never exceed the maximum MIDI velocity 127 or mini mum MIDI velocity 0 In conjunction with SOFT you can create very lively arpeggios w A complete table of all available Accent Control sources same as Modulation Sources can be found in the Appendix Arpeggiator Step Editor To edit the single steps you need to press the ARP Mod button first In the display a horizontal line with double arrows i...

Page 30: ...et Pattern Length to 8 you cannot select step 9 or higher Event multiple step data This parameter can have a pronounced effect on the resulting arpeggio so you should read the following paragraphs carefully Event basically determines which note of the note list is played at a particular step If OFF is selected the Arpeggiator plays nothing at this step position If SOFT is selected the correspondig...

Page 31: ...isabled for this step If ON is selected the glide effect is enabled for this step This means that the previous note gli des to the note that has to be played at this parti cular position in the arpeggio The ARP Parameter of the Parameter Matrix Active OFF ON HOLD This parameter sets the way the Arpeggiator works If OFF is selected the arpeggiator is not active If ON is selected the arpeggiator is ...

Page 32: ... beats per minute If the Pulse 2 receives MIDI Clock data and the Clock parameter in Global mode is set to Auto or External this parameter has no function Clock 1 1 1 96 Sets the note value for the steps of the rhythm pattern in a range from whole notes to thirty second triplet notes Triplets and dotted notes are also available for every note value Pattern OFF P001 P500 Here you can copy the arpeg...

Page 33: ... is selected a maximum number of 16 notes will be played downwards according to their incoming order If ALT is selected a maximum number of 16 notes will be played upward and downwards The Pulse s 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 The TX Arp Notes as well as the TX Arp Clock par...

Page 34: ...g will passed through You can bring more movement into the sound by modu lating the cutoff frequency via the LFO the envelope or the Keytrack parameter of the filter At 100 Key tracking and maximum Resonance level the then self oscillating filter can be played in a tempered scale Resonance 0 127 Resonance is the emphasis around the corner frequency Use lower values to give more brilliance to a sou...

Page 35: ... in conjunction with cutoff frequency modulation By doing this you can e g fly in a sound starting at its high harmonics and then coming up to its full frequency range Keytrack 64 63 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 nega...

Page 36: ...te resting effects by setting one parameter to a posi tive and the other to a negative amount The Amplifier Section VCA To understand the operation of this unit it is important to know that the Amplifier Envelope ENV A is always acting as a modulation source for the volume This means that an audio signal can only pass through if the Amp Envelope is triggered and opened Drive 0 127 Determines the a...

Page 37: ...Determines the overall volume of the sound program Velocity 64 63 Specifies how much volume will be affected by key board 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 positi ve settings the volume rises with higher velocities This is the mos...

Page 38: ...ion and amount The Modulation Matrix Mod Matrix is the key of the power of each Waldorf synthesizer so start expe rimenting with it right now w A complete table of all available sources and targets can be found in the Appendix Hold the Shift button and press the Mod button to access the Modulation Matrix menu All modulation parameters can be edited with the Selection button and the Selection dial ...

Page 39: ...election buttons to select the desired parameter which can be edited with the Selection dial Bend Upwards 0 36 Determines the intensity of the pitchbend via MIDI Pitchbend messages in semitones for the selected oscil lator when it will be moved upwards Bend Down 0 36 Determines the intensity of the pitchbend via MIDI Pitchbend messages in semitones for the selected oscil lator when it will be move...

Page 40: ...e value specified here is the reference pitch for MIDI note A3 The default setting is 440Hz which is commonly used by most instruments m 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 24 24 Allows a global pitch transposition for the tone genera tor Incoming MIDI notes are s...

Page 41: ...setting that works in almost all situations INTERN means that the Pulse doesn t react on incoming MIDI Clock nor does it send MIDI Clock The Pulse 2 only syncs to its own tempo base that is set by ARP Tempo EXTERN means that the Pulse 2 syncs to in coming MIDI clock only TX Arp Clock OFF ON Determines whether Arpeggiator tempo is sent out as MIDI clock data over USB MIDI and MIDI TX Arp Notes OFF ...

Page 42: ...ou send Sound para meter changes by tweaking parameters on the front panel The Sound parameter is sent out as Controller but can t be received as long as you don t change Control X to another MIDI Conti nuous Controller message Device ID 0 126 Defines the device identification number for system exclusive data transmission System Exclusive data contains no MIDI channel infor mation so this ID is us...

Page 43: ...re ampflifier Low signal level instruments should be amplified by a special pre amplifier before they are routed to the Pulse 2 External In P1 Legacy OFF ON Activates the controller assignment of the former Pulse 1 model w By default Pulse 2 do not map MIDI controllers from 32 to 43 which are reserved by MIDI With P1 Legacy mode you can use them as they we re used on original Pulse LCD Contrast 0 ...

Page 44: ...63 Determines a fixed value which will be added to the control voltage Gate Mode HIGH LOW Setting of the polarity of Gate Out HIGH is 3 3 V high with active trigger LOW is 0 V low with active trigger w A value will be triggered when the ENV A enve lope is also triggered When a retrigger mode is set Gate will be set to inactive for nearly one milli second to trigger a new impulse within the receive...

Page 45: ...llows you to compare the currently edited sound to its original stored version in the internal memory Using Compare Sound several times this function swaps from edited E to compared C sound Dump Sound When you activate the Dump Sound function the Pulse 2 sends the actual sound via USB MIDI and MIDI out port to a connected computer or sequencer Using a sequencer software or a special sound editor p...

Page 46: ... tuning problems Therefore we recommend that you re calibrate it from time to time On demand the Pulse 2 executes this function automatically w The Pulse 2 will generate high volume output during calibration so turn volume down as well as the volume of your speakers or alternatively disconnect the audio output Information This functions displays the actual installed firmware version as well as the...

Page 47: ...ted into his synthesizer were the still well known waveforms sawtooth and square For sure this is only a minimal selection of the endless variety of waveforms but the Waldorf Pulse 2 gives you exactly these waveforms at hand Now you probably know how these waveforms look and sound but the following chapter gives you a short introduction into the deeper structure of these wave forms The Sawtooth Wa...

Page 48: ... The lips are moved by the air to a certain extent and abruptly move back to their original position The Square Wave The Square Wave is a pulse waveform with 50 pulse width This means that the positive part of the waveform has the same length as the negative part The pulse waveform can have other pulse widths as you will read later For now we ll talk about the square wave as a unique waveform The ...

Page 49: ...e changed in real time This is done by changing the width of the upper and lower portion of the waveform cycle These portions are called pulses hence the name pulse width The width of the first pulse is used to distinguish between different pulse waves and it is measured in percent The following picture shows several pulse waves with different pulse widths 0 12 3 415 657812 3 9 2 5 1 0 12 3 2 5 1 ...

Page 50: ... pulse creates a spectrum that has all harmonics with equal magnitudes In a digital syn thesizer infinitely necessarily means one sample The pulse wave is an artificial wave which means that it doesn t occur in nature It was built into synthesizers because it can create a lot of different timbres with a minimum of technical effort However certain pulse widths sound very close to the timbres of aco...

Page 51: ...r This means that the third harmonic s magnitude is a ninth the fifth harmonic is a twenty fifth and so on The following illustration shows the harmonic content Additive components of the Triangle wave The reason why the triangle wave is so popular in clas sic synthesizers It could act as a suboscillator wave to emphasize certain frequencies or to frequency modulate other oscillators 0 12 3 415 65...

Page 52: ...cutoff frequency Frequencies below this threshold are hardly affected The frequency below the cutoff point is called the pass band range the frequenci es above are called the stop band range The Pulse 2 s filter dampens frequencies in the stop band with a certain slope The following picture shows the basic principle of a low pass filter The Pulse 2 s filter also features a resonance parameter Reso...

Page 53: ...asics 53 Pulse 2 User Manual If the resonance is raised to a great extent then the filter will begin to self oscillate i e the filter generates an audible sine wave even when it does not receive an incoming signal 0 1 2 ...

Page 54: ...ons from your sequencer s manual Keep in mind that your sequencer should be able to playback MIDI sysex data The MIDI file consists of one single track with several sysex messages in it Make su re that this track is assigned to the Pulse 2 so that it can receive the data Make sure that any Cycle or Loop mode is switched off Also make sure that any Me tronome clicks and MIDI Clock are swit ched off...

Page 55: ...he edit buffer might be cleared or over ridden depending on the type of dump that is sent to the Pulse 2 Check out the parameter Device ID Data trans mission will only be executed successfully if if the sender and receiver settings match As soon as the dump from the sending device is acti vated the Pulse 2 will receive data and store these in its memory If a single sound dump is received it is tem...

Page 56: ...KEYTRACK but with consideration of portamento and pitchbend PITCHBEND MIDI pitchbend signal MODWHEEL MIDI modulation wheel CC 1 PRESSURE MIDI channel pressure BREATH CT MIDI breath control CC 2 CONTROL X assignable MIDI controller X V RELEASE Velocity Release M ACCU Sums up several modulations M PRODUCT All assigned values will be multi plied M DELAY Modulation Delay M SMOOTH Value is lowpass filt...

Page 57: ...Drive intensity GLIDE RATE Glide rate ENVF RATES Intensity of filter envelope ENVA RATES Intensity of amplifier envelope UNISON DET Detune of the Unison voices PARA FADE 1 Fade out of amplifier envelope in Para 8 mode PARA FADE 2 Fade out of amplifier envelope in Para 4 mode ARP SWING Swing parameter oft he arpeggia tor CV OUT CV output value M ACCU Sums up several modulations M PRODUCT All assign...

Page 58: ... produces interesting stereo effects especially at high LFO frequencies The Pulse 2 output signal is not interrupted when you change programs Try exploiting this feature by using MIDI program change messages to line up a series of different sounds Change the relative pitches of the oscillators at musical intervals Thirds mediant fifths domi nant and sevenths subtonic are suitable for this applicat...

Page 59: ...sitive and the other negative This generates frequency fluctua tions that oscillate at the same speed throughout the range of the keyboard Experiment with diffe rent Amount values by alternating low and high notes Modulations are processed in sequence so if you assigned e g this LFO1 63 M MAX M MAX 20 OSC1 PITCH LFO2 63 M MAX M MAX 20 OSC2 PITCH The Effect will be that OSC1 will be modulated by LF...

Page 60: ...a Power Supply Nominal Voltage DC 12 V Supply Voltage 100 240 V Maximum current consumption 400 mA Maximum power consumption 6 W Dimension and Weight Width 304 mm Depth 132 mm Height including knobs 54 mm Total weight excluding power supply 1 5 kg ...

Page 61: ...27 LFO 2 DELAY 0 127 29 0 127 ENVF TRIGGER 0 127 31 0 127 ENVA TRIGGER 0 127 35 0 127 OSC1 PULSEWIDTH 0 127 36 0 127 OSC2 SEMITONE 0 127 37 0 127 OSC2 DETUNE 0 127 38 0 127 OSC2 SHAPE 0 127 39 0 127 OSC2 PULSEWIDTH 0 127 40 0 127 OSC2 KEYTRACK 0 127 41 0 127 OSC3 SYNC 0 127 42 0 127 OSC3 SEMITONE 0 127 43 0 127 OSC3 DETUNE 0 127 44 0 127 OSC3 SHAPE 0 127 45 0 127 OSC1 LEVEL 0 127 46 0 127 OSC2 LEV...

Page 62: ...27 ACCENT CONTROL 0 127 90 0 127 MOD5 SOURCE 0 127 91 0 127 MOD5 AMOUNT 0 127 92 0 127 MOD5 TARGET 0 127 93 0 127 MOD6 SOURCE 0 127 94 0 127 MOD6 AMOUNT 0 127 95 0 127 MOD6 TARGET 0 127 96 0 127 MOD7 SOURCE 0 127 97 0 127 MOD7 AMOUNT 0 127 98 0 127 MOD7 TARGET 0 127 99 0 127 MOD8 SOURCE 0 127 100 0 127 MOD8 AMOUNT 0 127 101 0 127 MOD8 TARGET 0 127 102 0 127 UNISON DETUNES 0 127 103 0 127 OSC1 ENVA...

Page 63: ...116 0 127 MOD3 TARGET 0 127 117 0 127 MOD4 SOURCE 0 127 118 0 127 MOD4 AMOUNT 0 127 119 0 127 MOD4 TARGET 0 127 120 All Sound Off Immediate silence 121 Reset All Controllers Resets all controllers 123 All Notes Off Releases all voices ...

Page 64: ...over a wide range of applications Typical controls for an ar peggiator 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 envelope from its starting point to the point where it reaches its highest value ...

Page 65: ...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 ...

Page 66: ...types of electronic musical instruments by diffe rent manufacturers could interact At the time a com munications standard for heterogeneous devices did not exist so MIDI was a significant advance It made it possible to link all devices with one another through simple uniform connections Essentially this is how MIDI works One sender is con nected to one or several receivers For instance if you want...

Page 67: ...Note off These are the most important MIDI messages It sets 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 bet ween 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...

Page 68: ...un 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 ...

Page 69: ...hereby declared that the following named product Waldorf Pulse 2 Gerätetyp Device type Synthesizer Gerätenummer Device number 4260126380301 in Übereinstimmung mit den Richtlinien conforms to the requirements 2004 108 EG und 2006 95 EG in Verkehr gebracht wurde Für die Konformitätserklä rung wurde nachstehende Norm angewandt The following standards have been used to declare conformity EN 55013 Hepp...

Page 70: ... EN 55013 2001 A1 2003 EN 55020 Ton und Fernseh Rundfunkempfänger und verwandte Geräte der Unterhaltungselektronik Störfestigkeitseigenschaften Grenzwerte und Prüfverfahren IEC CISPR 20 2002 A1 2002 Deutsche Fassung EN 55020 2002 A1 2003 EN 61000 3 2 Elektromagnetische Verträglichkeit EMV Teil 3 2 Grenz werte Grenzwerte für Oberschwingungsströme Geräte Eingangsstrom 16 A je Leiter IEC 61000 3 2 20...

Page 71: ...minated 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 Utilize 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 30...

Page 72: ... 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 Music 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 pers...

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