User Manual Attack D-Pole PPG Wave 2.
Waldorf Edition Waldorf Music will not be liable for any erroneous information contained in this manual. The contents of this manual may be updated at any time without prior notice. We have made every effort to ensure that the information herein is accurate and that the manual contains no contradictory information. Waldorf accepts no liabilities in regard to this manual other than those required by local law.
Waldorf Edition Installation of the Waldorf Edition System Requirements for Windows In order to be able to use the Waldorf Edition, you will need at least: A PC with a Pentium IV or AMD Athlon 1 GHz processor or better, we recommend a fast CPU. 64 MB free RAM. Windows XP or newer. VST 2.4 compatible host application such as Steinberg Cubase or newer. This must be correctly installed on your computer. or AAX compatible host application such as Pro Tools 10.
Waldorf Edition System Requirements for Mac OS X In order to be able to use the Waldorf Edition, you will need at least: Mac with 1.5 GHz Intel processor or better. Mac OS X 10.6 or newer. 128 MB of free RAM. VST 2.4 compatible host application or a VST3 compatible host application such as Steinberg Cubase. This must be correctly installed on your computer. or An AudioUnit 2.0 compatible host application such as Apple Logic or GarageBand. This must be correctly installed on your computer.
Waldorf Edition Activation of the Waldorf Edition The Waldorf Edition uses a copy protection system based on the users email adress as well as a personalized serial number. Proceed as follows to activate the Waldorf Edition: 1. Start your host application. 2. Load one of the Waldorf Edition plug-ins, no matter what plug-in. 3. An input field occurs. In the upper field, please enter the email adress that was used for purchasing the Waldorf Edition.
Waldorf Edition Waldorf Attack Percussion Synthesizer Introduction The Waldorf Attack offers a straightforward sound structure that faithfully emulates a wide range of percussion sounds, from those of well-known classic drum or rhythm generators to new, unique drum sounds such as bass drums and snare drums over shakers as well as heavily modulating synth effects. In addition, the Attack offers ways to create amazing bass and lead sounds.
Waldorf Edition Content Attack Introduction ........................................................... 6 Using the Attack .................................................... 8 Audio Channels of the Attack .................... 8 Loading Banks and Kits ............................. 8 Storing Banks and Kits ............................... 8 Selection of a Kit ....................................... 9 Selection and Naming of Sounds............... 9 Playing the Attack Live ............................
Waldorf Edition Using the Attack You can play the Attack via MIDI like any other instrument, and record what you play on a MIDI track. To make sure, press a key on your MIDI keyboard. You should now hear a sound. If you don’t hear anything, determine first whether your host application receives MIDI data at all. If you notice considerable latency times (delay) when you play the Attack via MIDI, please read the chapter "Playing the Attack Live".
Waldorf Edition You can save complete banks or single kits. For information on saving, please read the corresponding manual section of your host application. When you save your song or project file, the following information is saved with it: The number of Attack modules used in the song. Which banks and kits were used. The changed settings of edited sounds are also stored. w However, if you wish to use the edited version of a program in another song, then you must save that kit manually before.
Waldorf Edition Playing the Attack Live If you notice considerable latency times (delay) when you play the Attack via MIDI, then the sound/audio card that you use and/or its driver is the source of the problem.
Waldorf Edition Recall Sound restores the sound to its original saved settings. Use this function if you’re not happy with the edited sound. Recall Kit restores the drum kit to its original saved settings. Use this function if you’re not happy with the edited drum kit. Functions of the Preset Menu The Preset menu in the upper left corner of the plug-in offers different entries with suggested default preferences for the various drum sounds and kits as well as two random functions.
Waldorf Edition 12. Channel 16 is reserved for controlling both delays with controllers. As an addendum to this manual, you’ll find a table showing all the controller assignments. w Example: You want to distort a snare drum on Sound 2 dynamically. Therefore, you create controller data on MIDI channel 2 (= Sound 2) for the Drive parameter (MIDI controller #39). At the same time you want to bring up ring modulation for a bass on Sound 16.
Waldorf Edition Polyphony of the Attack The Attack has up to 64 voices. The number of available voices depends on available processor power. The number of voices can easily be set on the plug-in user interface. All you have to do is use the mouse button to increase or decrease the value in the voice display. Keep in mind that each additional voice demands additional calculating power from your computer.
Waldorf Edition Key Combinations If you hold down the [Strg] key (on the PC) or [Command] key (on a Mac computer) when you click on a control, its value is automatically set to its default (e.g. Cutoff is set to 100%, Env to 0%). You can increase the resolution of a dial by holding down the [Shift] key on your computer keyboard when use the “linear knob mode”.
Waldorf Edition The User Interface of the Attack The user interface of the Attack is split into useful segments for easy access to different parameters. Though the Attack is primarily designed for creating drum and percussion sounds, the setup is reminiscent of a synthesiser offering subtractive synthesis. To the left you can see 24 Sound Select buttons in the form of a stylized keyboard positioned vertically. With these buttons you can select the sounds of a drum kit.
Waldorf Edition Triangle selects the triangular waveform. The triangle mainly consists of odd harmonics with very low magnitudes. It is perfect for nearly all drum and percussion sounds. The Sine waveform consists of the fundamental frequency only. It has no harmonics at all. With a sine wave you can create clean bass drums and snares. The sine wave is also perfect for FM. Pulse selects the pulse waveform.
Waldorf Edition w Pitch Env is one of the most important parameters in drum programming because it simulates the character of a real drum. -100%...100% Pitch Vel (Velocity) Determines the amount of influence the selected envelope has on the pitch, based on key velocity. This parameter works similarly to the Pitch Env parameter, with the difference that its intensity is velocity based. Use this feature to give a more expressive character to the sound.
Waldorf Edition The overall modulation applied to FM is calculated as the sum of both the FM Env and FM Vel parameters. Therefore you should always bear this total in mind, especially when FM does not behave as you expect. You can also create interesting effects by setting one parameter to a positive and the other to a negative amount. Mixer Section In the Mixer, you control the volumes of the two oscillators.
Waldorf Edition 0%...100% Rmod (Ring Modulation) Volume of the ring modulation between Oscillators 1 and 2. From a technical point of view, ring modulation is the multiplication of two oscillators’ signals. The result of this operation is a waveform that contains the sums and the differences of the source frequency components. Since ring modulation generates disharmonic components, it can be used to add metallic distorted sound characteristics. This is useful when generating crashes or cowbells.
Waldorf Edition and the frequencies above are called the stop band range. The Attack´s filter dampens frequencies in the stop band with a certain slope. The slope is 12dB per octave. This means that the level of a frequency that lies an octave above the cutoff point will be 12dB less than those frequencies of the signal that fall into the pass band. The following picture shows the basic principle of a low pass filter: )#*#+ !"#$%#&'( ,%-.
Waldorf Edition 12 dB Hi Pass Filter. This type is useful to thin out a sound’s bass frequencies. This may also give interesting results in conjunction with cutoff frequency modulation. By doing this you can "fly-in" a sound, starting with its high harmonics and then coming up to its full frequency range. You can cut the bass and mid range of high frequency drum sounds like hi-hats or crashes. 12 dB Band Pass Filter. This type removes frequencies both below and above the cutoff point.
Waldorf Edition 0%...100% Resonance Controls the emphasis of the frequencies around the cutoff point (exept the EQ filter types). Use lower values to give more brilliance to the sound. At higher values the sound acquires a typical filter character with a strong boost around the cutoff frequency. When the setting is raised to maximum, the filter starts to self-oscillate, generating a pure sine wave. This feature can be used to create typical solo sounds. -100%...
Waldorf Edition w 1/2. Bars to 1/64. syncs the triangle waveform of the LFO to dotted note values. 1/1t Bars to 1/64t syncs the triangle waveform of the LFO to third note values. With positive Mod Depth values the LFO starts at maximum amplitude, and inversely, with negative values it starts at minimum amplitude. S&H...1000 Hz Mod Speed The integrated Low Frequency Oscillator (LFO) creates a Triangle wave to modulate filter frequency. Mod Speed determines the frequency of the LFO.
Waldorf Edition higher velocities. This gives an aypical character suitable for effect sounds. The maximum volume is always set with the Volume parameter. 100%L...Center...100%R Pan (Panning) Determines the position in the stereo panorama. When the setting is to the left, the sound is panned far left; when the setting is to the right, it is panned far right. If you want to situate the sound in the middle of the stereo panorama, use the Center setting.
Waldorf Edition Sync Syncs the delay time to the tempo of the host application (assuming that it is capable of sending needed timing information to the Attack). When you click on the (delay-) Sync button, a pop-up menu will appear to select the different settings. Off allows no synchronisation. Time can be set in milliseconds. 2 Bars to 1/64 syncs the delay time in musical note values. 1/2. Bars to 1/64. syncs the delay time in dotted note values.
Waldorf Edition Envelopes The envelopes create a control signal that varies with time. They are used, for example, to modulate the filter settings or the level of a sound within a given period of time. The envelopes are structured identically, and offer Attack, Decay, Shape and Release. Attack and Decay can also be graphically edited. If you press a key, the envelope is started. The envelope parameter has the following functions: Attack defines the period of time for the envelope to rise to its maximum.
Waldorf Edition Programming Drum Sounds To understand how to create drum sounds, you should know a little about how the classic drum machines worked. The following sections give some insights how particular sounds were built and information how to achieve similar results on the Waldorf Attack. Roland TR-808 Bass Drum On the Roland TR-808, this sound was made by one filter with a high resonance setting, triggered by a short impulse.
Waldorf Edition Simmons SDS-5 Bass Drum The Simmons SDS-5 bass drum consists of an oscillator and a noise generator, both routed into a low pass filter and an amplifier. An envelope controls the oscillator pitch, the filter cutoff, and the amplifier volume. The envelope has a decay shape that is in-between exponential and linear. The oscillator plays a triangle wave whose pitch is controlled by a "Tune" control and a "Bend" parameter that controls the influence of the amp envelope to oscillator pitch.
Waldorf Edition Roland TR-909 Snare Drum The TR-909 Snare Drum was made with two oscillators and two filters for noise. The two oscillators started in phase but were slightly detuned, and one of the oscillators was modulated a bit by a pitch envelope. The "Tune" parameter controlled the basic pitch of the two oscillators.
Waldorf Edition harmonics. How Roland did it is something only they and maybe a handful of people know. If you happen to be one of these people, let us know! If you want a sound of this type from the Attack, use the representative sound from the library instead of trying to simulate it on your own. Look at the parameters and try to find out why it sounds quite close.
Waldorf Edition The simplest method is to use the built-in samples of the Attack. However, those are provided just in case you don't have time to "synthesize" a good-sounding hi-hat. If you like a really "vintage" sound, use a high pass filtered noise. This gives the very archaic hi-hat sound that was used by many drum machine companies for years. One of the last examples of this sound was the good old Roland CR-78. If you want more sophisticated results, use FM.
Waldorf Edition Shakers and Maracas Both are made with noise, either unfiltered or used to frequency modulate Oscillator 1 in order to create strong colorization. A high pass filter can be applied to remove some low end. The difference between shakers and maracas from the synthesist's viewpoint is that a shaker has a longer attack and decay phase than maracas. Of course the sound depends a great deal on how you play, so don't forget to set up velocity-based changes to the amplifier.
Waldorf Edition Osc 1 PEnv Select 16 76 Filter Mod Depth 45 105 Osc 1 FM 17 77 Output 46 106 Osc 1 FM Env 18 78 Amp Volume 47 107 Osc 1 FM EnvVel 19 79 Amp Velocity 48 108 Osc 1 FMEnv Select 20 80 Pan 49 109 Osc 2 Shape 21 81 Delay Mix 50 110 Osc 2 Pitch 22 82 XOR Group 51 111 Osc 2 PitchEnv 23 83 Env 1 Attack 52 112 Osc 2 PEnvVel 24 84 Env 1 Decay 53 113 Osc 2 PEnv Select 25 85 Env 1 Shape 54 114 Crack Speed 26 86 Env 1 Release 55 115 Crack
Waldorf Edition PPG Wave 2.V Wavetable Synthesizer Introduction Thank you for your purchase of the Waldorf PPG Wave 2.V software synthesizer. The PPG Wave 2.V is the software version of the legendary PPG Wave 2.3 synthesizer, which was released in 1983. The PPG Wave 2.V combines the unique Wavetable synthesis sound of the original synthesizer with the advantages of a software Plug-In.
Waldorf Edition nobody really wants to use this “feature”. There are many more factors, that are responsible for the typical PPG sound and we are proud to say that we have found them all and reproduced them in our Wave 2.V. Differences to the Original PPG Wave 2.3 From today’s viewpoint, some functions in the original PPG Wave 2.3 are not up-todate.
Waldorf Edition Content PPG Wave 2.V Introduction .........................................................34 Using the PPG Wave 2.V.....................................36 Audio Channels of the PPG Wave 2.V .... 37 Selecting and Playing Programs .............. 37 Storing Banks and Programs .................... 38 Copying, inserting and comparing ......... 38 MIDI Functions ....................................... 39 Controlling through RemoteSL ................ 39 PPG Wave 2.V Polyphony ....................
Waldorf Edition Using the PPG Wave 2.V If you click on the keys of the built-in keyboard, you will hear the corresponding notes. If you don’t want to exclusively play the PPG Wave 2.V from the integrated screen keyboard, make sure that your host application receives MIDI data that you generate with your external MIDI Master keyboard. Now you can play PPG Wave 2.V via MIDI, like any other instrument and record what you play on a MIDI Track. To make sure, press a key on your MIDI keyboard.
Waldorf Edition Select the desired Sound Program by clicking on a menu entry. Storing Banks and Programs In the PPG Wave 2.V, you can save both single Sound Programs or a complete Sound Bank. An exception is the AudioUnit version of the PPG Wave 2.V on the OS X version. There you can only save complete Sound Banks. You can save complete banks or single programs. For information on saving, please read the corresponding manual section of your host application.
Waldorf Edition An edited and the original sound can at any time be compared with the Compare function (CMPR). If you press the CMPR button, it lights up in red, indicating that Compare is active, and the sound changes back to its original settings. Pressing CMPR again, brings back the edited version. If you hold down [Shift] while you press the CMPR button, the Sound will immediately set back to its original settings and the edited version is abandoned.
Waldorf Edition RemoteSL Control Page 1 Encoder 1 Encoder 2 Encoder 3 Encoder 4 Encoder 5 Encoder 6 Encoder 7 Encoder 8 Pot 1 Pot 2 Pot 3 Pot 4 Pot 5 Pot 6 Pot 7 Pot 8 Slider 1 Slider 2 Slider 3 Slider 4 Slider 5 Slider 6 Slider 7 Slider 8 User Manual PPG Wave 2.
Waldorf Edition RemoteSL Control Page 2 Encoder 1 Encoder 2 Encoder 3 Encoder 4 Encoder 5 Encoder 6 Encoder 7 Encoder 8 Pot 1 Pot 2 Pot 3 Pot 4 Pot 5 Pot 6 Pot 7 Pot 8 Slider 1 Slider 2 Slider 3 Slider 4 Slider 5 Slider 6 Slider 7 Slider 8 User Manual PPG Wave 2.
Waldorf Edition RemoteSL Control Page 3 Encoder 1 Encoder 2 Encoder 3 Encoder 4 Encoder 5 Encoder 6 Encoder 7 Encoder 8 Pot 1 Pot 2 Pot 3 Pot 4 Pot 5 Pot 6 Pot 7 Pot 8 Slider 1 Slider 2 Slider 3 Slider 4 Slider 5 Slider 6 Slider 7 Slider 8 w PPG Wave 2.
Waldorf Edition The User Interface Panel By and large, the PPG Wave 2.V user interface panel corresponds to that of the original PPG Wave 2.3. But why are not all parameters displayed in the form of faders, although this would easily be possible within such a digital environment? The reasons for this lies in the fact, that the character of a synth is not only rooted in its sound but also in its access methods. That is why the analog user interface panel of the PPG Wave 2.
Waldorf Edition Buttons: A mouse click on a button activates a function. The DIGI button can for instance be used to open the DIGITAL menu. Except for the KEYB. button, buttons light up in red when they have been used. Button states are not saved with Programs. Value Selectors: Position the mouse pointer on the value, hold down the mouse button and drag up or down.
Waldorf Edition The Program Menu In the PPG Wave 2.V, you can simultaneously create up to eight different sounds. This function is generally called Multi Mode. Which of the eight sounds you play, depends on the MIDI Send channel that you use in your host application. You can use the Program menu to select sounds for the eight MIDI channels. To select the desired Sound Program for a channel, click on its sound name and select a Program in the appearing pop-up menu.
Waldorf Edition The Analog User Interface The analog user interface offers direct access to the dials on the PPG Wave 2.V. The Pitch Bend and Modulation wheels can be controlled both from within the Plug-In and from your Master keyboard. Same as on the original PPG Wave 2.3, the setting of the Modulation wheel is stored separately for each Sound Program. This lets you save a sound with preset modulations. The analog user interface is automatically active when you start the Plug-In.
Waldorf Edition (MODWHEEL). If it is fully turned down, no modulation takes place. Same as on the original PPG Wave synth, the Modulation wheel setting is saved with each Program. Make sure that TOUCH>MOD in the MODULATION menu is set to OFF, otherwise the LFO will only modulate the signal if Aftertouch data is generated at the same time. The LFO can also be synchronized to the Song tempo of your host application.
Waldorf Edition The PPG Wave 2.V has two ADSR and one AD Envelope with positive or negative deflection, which can also be edited graphically. Find additional information in the section “Graphical Editor (Graph)” in this manual. The illustration below explains the structure of a classic ADSR Envelope: &'0"1 4'(506'++'7 4'(56'*'#+'7 899: ,-+"#./ !""#$% w &'$#( )'*'#+' 2.3' The original PPG had an especially interesting feature, which can of course always be found in the Plug-In.
Waldorf Edition If ENV3>OSC or ENV3>SUB in the TUNE menu are active, Envelope 3 modulates the pitch of the corresponding oscillator. ENV 3 ATT either controls a negative (when turned counter clockwise) or a positive (when turned clockwise) Envelope deflection. If SUB-WAVES in the DIGITAL menu is set to ENV3, then Envelope 3 modulates the sub oscillator waveform. In this case, only the positive deflection form of ENV 3 ATT can be used.
Waldorf Edition )#*#+ 0#1.&2&'# !"#$%#&'( ,%-.// 0...63 Waves-Oscillator (WAVES-OSC) Waves-Oscillator controls the starting point of the Wavetable selected in the DIGITAL menu. If you want to create a sound that travels through the Wavetable, then you should at least roughly set the starting point in the desired Wavetable area. Keep in mind, that the last four Waves 60 to 63 are the same in all Wavetables, so that unwanted “jumps” can occur during the pass.
Waldorf Edition that the Envelope intensity can only use the positive deflection form, same as on the original PPG Wave. 0...63 ENV 2 VCA This controls the influence of ADSR Envelope 2 on the sound level. The higher you set this value, the louder the sound. 0...63 ENV 1 WAVES This controls ADSR Envelope 1’s impact on the modulation of the oscillator’s Waves. Try this: 1. Set WAVES-OSC to zero. 2. Set ENV1 WAVES to a value smaller than 60.
Waldorf Edition can e.g. use this function to assign different effects or EQ settings to Sounds in Program mode. DIGITAL Menu (DIGI) The Digital menu lets you access the Wavetable parameters, their modulation, Sound Layering and the Arpeggiator. To open the Digital menu, press the DIGI button on the Plug-In panel. The button lights up in red. Pressing it again lets you switch back to the analog user interface. The next sections describe the individual functions in detail. 0...
Waldorf Edition OFF switches the Sub oscillator off. The Wave oscillator will sound twice as loud to compensate for the difference in volume. OFFSET is the preferred setting. In this mode, the value to which WAVESSUB is set, is added to the value set for WAVES-OSC. If you e.g.set WAVESOSC to 20 and WAVES-SUB to 10, the oscillator will play Wave 20, while the sub oscillator will play Wave 30. Offset can also be used in connection with the possible Wave oscillator modulations.
Waldorf Edition ON, OFF BEND>WAVES This parameter lets you use Pitch Bend to perform a Wave scan. As Pitch Bend normally snaps to a center setting, it is advisable to also set the Wave oscillator into a center setting. This lets you create a bipolar modulation, i.e. one that reaches out to both sides. Again, make sure to set WAVES-OSC to 29, as otherwise the maximum deflection of the pitch bent four analog waveforms of the Wavetable are also read out.
Waldorf Edition UP, DOWN, ALT, RND, MOVING ARP MODE This parameter is used to determine the succession of created notes depending on their pitch. If this is set to UP, the Arpeggio starts with the lowest note and then plays upwards to the highest note. Then it starts over again with the lowest note. If this is set to DOWN, the Arpeggio starts with the highest note and then plays downwards to the lowest note. Then it starts over again with the highest note.
Waldorf Edition The setting 0 CENTS does not create a detuning effect, which can cause the signal to be out of phase. The setting 3 CENTS detunes the sub oscillator by 3 cent. The setting 6 CENTS detunes the sub oscillator by 6 cent. The setting 9 CENTS detunes the sub oscillator by 9 cent. The setting 12 CENTS detunes the sub oscillator by 12 cent. The setting 7SEMI detunes the sub oscillator by 7 7 semitones (a Fifth) upwards.
Waldorf Edition SUB: The Pitch Bend wheel is used to only change the pitch of the sub oscillator. The main oscillator’s pitch remains unchanged. w This parameter can also be found on the MODULATION menu. 400...499 TOTAL TUNE This parameter changes the overall tuning of the PPG Wave 2.V. The value refers to the reference pitch for MIDI note A3. The standard setting for this is 440 Hz, which is used by most acoustic and electric instruments.
Waldorf Edition 0%...233% KEY>WAVES This parameter allows you to play different Waves of a Wavetable with different notes. If this is set to 100%, each key on the keyboard triggers a different Wave. The C1 key triggers the waveform, that you have selected with WAVES-OSC or WAVESSUB, while higher keys trigger lower waveforms. This reversed direction was used on purpose, as most Wave sets start out with dull waveforms and become increasingly brighter with higher waveform numbers.
Waldorf Edition w To complete the picture, this parameter can also be found in the DIGITAL menu section. ON, OFF MOD>FILTER This parameter lets you use the LFO as a modulation source for the filter frequency. Please keep in mind that the LFO modulation intensity can only be set with the Modulation wheel. Thus, no modulation will take place, if the Modulation wheel is all the way down. The setting of the Modulation wheel is stored with each Program, same as on the original PPG Wave.
Waldorf Edition SUB: The Pitch Bend wheel is used to only change the pitch of the sub oscillator. The main oscillator’s pitch remains unchanged. w This parameter can also be found on the TUNING menu. ON, OFF BEND>FILTER If this parameter is set On, you can control the filter frequency with the Pitch Bend wheel. Please keep in mind that the Pitch Bend wheel is a bipolar modulation source. It can produce both positive and negative values.
Waldorf Edition The AD Envelope 3 only has two parameters: ATTACK and DECAY. ADSR Envelope 1 and 2 are structured identically. ATTACK, DECAY and RELEASE are time-dependent parameters, which is why they can only be moved horizontally. SUSTAIN represents a sustained level, which therefore can only be moved vertically. The Filter Response graph controls both Cutoff and Emphasis. The filter frequency can be set in horizontal direction, the Resonance is set in vertical direction.
Waldorf Edition ENV1 RELEASE 21 SEMITONE 6 53 ENV2 ATTACK 22 SEMITONE 7 54 ENV2 DECAY 23 SEMITONE 8 55 ENV2 SUSTAIN 24 KEY>WAVES 56 ENV2 RELEASE 25 KEY>FILTER 57 VCF-CUTOFF 74 KEY>LOUDNESS 58 VCF-EMPHASIS 71 VEL>FILTER 59 WAVES-OSC 26 VEL>LOUDNESS 60 WAVES-SUB 27 MOD>WAVES 61 ENV1>VCF 28 MOD>FILTER 62 ENV2>LOUDNESS 29 MOD>LOUDNESS 63 ENV1>WAVES 30 TOUCH>WAVES 70 LFO SYNC 31 TOUCH>FILTER 72 TRUE PPG 33 TOUCH>LOUDNESS 73 OUT 3-4 34 TOUCH>MOD 75 WAVET
Waldorf Edition D-Pole Filter Modul Introduction The Waldorf D-Pole is based on the filter algorithm used in the Waldorf Microwave II. This filter algorithm makes D-Pole behave and sound like an analog filter. In other words, although D-Pole is a piece of software that runs on your computer, you will hardly ever get the idea that it is in fact a digital filter. You can of course use D-Pole to achieve effects that analog filters cannot create.
Waldorf Edition Content D-Pole Introduction .........................................................63 Using the D-Pole..................................................65 Audio Routing of the D-Pole ................... 65 Selecting Programs.................................. 65 Storing Banks and Programs .................... 65 MIDI Functions ....................................... 66 Controlling through RemoteSL ................ 66 Control Elements.................................................
Waldorf Edition Using the D-Pole The D-Pole should be used as a so-called Insert Effect. Using this routing, the input signal will be replaced fully by the processed signal, which is what you generally want when using a filter effect. You can also use the D-Pole as a sum effect. Don’t use the D-Pole as a Send Effect unless you want to achieve a certain result. A Send Effect doesn’t replace the input signal with the processed signal, it only mixes the processed signal onto the input signal.
Waldorf Edition Importing VST or AudioUnit Presets into the corresponding plug-in format (Macintosh only) VST and AudioUnit use different formats to save the plug-in data. If you had created a program in a VST host and want to use it in an AudioUnit host (or vice versa), please proceed as follows: Save the program in the original host as a single Preset or Program. In VST hosts, those files typically have the suffix „fxp“, in AudioUnit hosts they are called „aupreset“.
Waldorf Edition Control Elements Using D-Pole’s controls is simple. There are two types: dials and switches. Dials To set a value, click on the dial, hold down the mouse button and drag around the dial in a circle w The greater the radius, the finer the value resolution. Switches In D-Pole switches are represented by “LEDs”. If a function is active, its “LED” will be lit and all others within the function block will be dark.
Waldorf Edition Quick Start When you have set up D-Pole as a Channel, Insert or Master effect, read the following section to find out what you can do with it. We recommend that you use a drum loop and try out the methods described in this section to get an idea of how D-Pole works and sounds. Load the audio file and start playback. D-Pole should be set to neutral settings, thus set Cutoff to its highest value, Resonance to 0, Panning to Centre etc.
Waldorf Edition Turn the Ring Mod dial to a value of 100. Use the Osc Frequency dial to change the oscillator frequency. Note how the audio material is shifted within the frequency range. By using the Routing switch you determine whether ring modulation takes place before the signal passes the filter, or afterwards. If you have made a dynamic filter setting with a high resonance value, check out using ring modulation after the filter.
Waldorf Edition Activate the Reset switch to the right of D-Pole’s LFO block and wait for ca. 2 seconds, then your start host application again. The LFO will now run with a time signature of 4/4 and in sync to the rhythm. One way to use this feature in a piece of music is to leave a two second pause, if you want the LFO to be in sync with the beat.
Waldorf Edition How a filter works What is a filter? In general a filter is used to dampen certain parts of the frequency range of an audio signal. If you send recorded audio through a filter, certain parts of the original signal are removed. Depending on the filter type used, it might be the high or the low frequencies, both, or the medium frequencies that are removed from the original signal.
Waldorf Edition Feedback A good filter has a built-in feedback feature. This allows you to feed the filtered signal back into the filter circuitry. As a result the frequency range around the cutoff frequency will be emphasized. Depending on the settings, the emphasis can be so strong that the filter itself starts to oscillate. Extreme settings can cause the filter to carry on oscillating, even when there is no input signal anymore. This behavior is called self-oscillation.
Waldorf Edition The Controls in Detail The Filter block D-Pole’s Filter block covers the frequency range between DC and frequencies higher than 17000 Hz. It offers Resonance until selfoscillation, different filter types and a selectable Slope. Here’s a description of its parameters: 0 Hz... > 17000 Hz Cutoff Cutoff controls the Cutoff frequency of the filter. Turn Cutoff to the left to lower the Cutoff frequency. Turn Cutoff to the right to increase the Cutoff frequency.
Waldorf Edition 12dB, 24dB Slope This determines the filter slope and can be set to 12 dB or 24 dB per octave: Click on an “LED” or its name to select the desired value : 12dB: The filter works with a Slope setting of 12dB per octave. This means that a Low Pass filter dampens signal parts one octave above the Cutoff frequency by 12 dB, signal parts two octaves above the Cutoff frequency by 24 dB, and so on. 24dB: The filter works with a Slope setting of 24 dB per octave.
Waldorf Edition When used as a Channel effect: If you use D-Pole as a Channel effect, it is fed with a monophonic input signal. You can use the Panning dial to position this monophonic signal anywhere in the stereo spectrum. Turn the Panning dial to the left to position the filter output signal on the left side of the stereo spectrum. Turn the Panning dial to the right to position the filter output signal on the right side of the stereo spectrum.
Waldorf Edition sound, not unlike that of the first samplers that were released in the beginning of the 80s. If you set the Sample Rate dial to half of the originally used sample rate (e.g. to 22050 if the original sample rate was 44100 Hz), only every other sample is being selected and held. A setting of 1 Hz means that only one sample is being selected per second and held for one second. This will of course not sound like much, apart from the occasional crackle in your loudspeaker.
Waldorf Edition w Please note that a slight temporal synchronization sets in, when the oscillator waveforms Triangle and Saw are used. Pre, Post Routing Routing determines, whether ring modulation sets in before (“Pre”) or after (“Post”) the filter. Click on an “LED”, to make the desired setting. Pre: Ring modulation sets in before the filter. Before it reaches the filter, the audio signal is routed from the Sample Rate reduction output to the oscillator for ring modulation.
Waldorf Edition -100%...100% Feedback This parameter controls feedback strength of the Delay. Turn the Feedback dial to the right to get a strong positive feedback. Turn the Feedback dial to the left to get a strong negative feedback. Turn the Feedback dial to a middle position to reduce feedback. If it is set to 0%, Delay does not have a feedback. -100%...+100% Damping Damping controls the filtering of the Delay Feedback.
Waldorf Edition Turn the Tempo dial to the left to set a slow tempo. If you set Tempo to 0, LFO Speed and Delay Time are untarnished. Turn the Tempo dial to the right to set a fast tempo. Changing the tempo with this dial has no immediate effect on the LFO Speed or Delay Time settings. The Tempo setting works like a Quantize value for these parameters. As soon as you directly change the LFO Speed or Delay Time settings, you will find that only even multiples of the Tempo value can be set.
Waldorf Edition The LFO block D-Pole’s LFO has a maximum frequency of more than 7000 Hz. It can modulate the filter and the signal’s stereo position. Its three different waveforms can be synced to the audio signal. 0 Hz...>7000 Hz Speed This controls the LFO speed. Additionally you can select a pop-up menu with often used measure units. Turn the Speed dial to the left to get a slowly oscillating LFO.If you turn the dial to the extreme left, the LFO will stop to oscillate.
Waldorf Edition Turn the Cutoff Mod dial to a middle position to decrease Cutoff Modulation. At a setting of 0% the LFO stops to modulate the filter cutoff. Turn the Cutoff Mod dial to the right to get a positive Cutoff Modulation, i.e. if the LFO rises, Cutoff is increased and vice versa. -100%...+100% Pan Mod Pan Mod controls the degree to which the stereo position is modulated by the LFO Turn the Pan Mod dial to the left to get a reversed modulation of the stereo position, i.e.
Waldorf Edition As an alternative, activate two filters and spread the drum loop onto two different channels, each feeding one filter. This way, the filter on the channel that is currently silent gets the chance to reset its LFO. Tips & Tricks D-Pole’s filter has the capability to self-oscillate, but it needs any short signal as a trigger. Set Resonance to 100 and send a short audio signal to D-Pole. The filter will now oscillate with the selected cutoff frequency until you lower resonance.
Waldorf Edition EnvDecay Slope Type Osc Shape Osc Routing Delay Cross LFO Shape LFO Reset Bypass 15 41 54 71 73 88 87 86 85 Filter Env. Decay Osc 2 Sync Filter 1 Type Wave 1 Startwave Wave 1 Env.
Waldorf Edition Glossary Aftertouch The majority of contemporary keyboards are capable of generating aftertouch messages. On this type of keyboard, when you press harder on a key you are already holding down, a MIDI aftertouch message is generated. This feature makes sounds even more expressive (e.g. through vibrato). Aliasing Aliasing is an audible side effect arising in digital systems as soon as a signal contains harmonics higher than half the sampling frequency.
Waldorf Edition ted when you use the corresponding dials, and can be recorded in your sequencer program. You can also graphically create MIDI controller data in the respective Editor of your program. (Please read the manual of your host application for more information). A list of all available MIDI controllers and their functions can be found at the end of this manual. Cutoff See Filter Cutoff Frequency.
Waldorf Edition defined minimum level. In the field of analog synthesis, a Gate is a control signal, which can have both states: active inactive. The keyboard of such a synth can be used as an example: When you press a key, the keyboard sends two different signals: CV and Gate. The control voltage (CV, see above) defines the pitch of the pressed key. The Gate-signal is active for as long as you hold down the key. If you let go of it, Gate immediately becomes inactive.
Waldorf Edition MIDI Clock The MIDI Clock message determines the tempo of a piece of music. It serves to synchronize processes based on time. Modulation A modulation influences or changes a sound-shaping component via a modulation source. Modulation sources include envelopes, LFOs or MIDI messages. The modulation destination is a 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.
Waldorf Edition 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 a trigger. The events a trigger can initiate are also very diverse. A common application for a trigger is its use 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.
