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Foreword Foreword Hint Thank you for purchasing the Waldorf Largo. You now own a synthesizer with real Waldorf DNA featuring a wide range of unique sounds of high quality. Waldorf Music GmbH 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.
Foreword We would like to thank Largo Development Team Software: Wolfram Franke, Stefan Stenzel 64 Bit and AAX Porting: Thomas Rehaag Design: Axel Hartmann Manual: Holger Steinbrink Betatest/ Sounddesign: Wolfram Franke, André Geisler, Boele Gerkes, Daniel Gill, Achim Gratz, Dajan Izzo, Till Kopper, Dirk Krause, Rob Lee, Jay de Miceli, Niels Moseley, Markus Moser, Dr. Georg Müller, Kai Niggemann, Don Petersen, Holger Steinbrink, Dr. Stefan Trippler Largo Version: 1.5.
Content Overview of Functions ................................................... 14 The Head-up Section ..................................................... 14 The File Menu ................................................................ 14 The Edit Menu ............................................................... 15 Sound Selection ............................................................. 16 The Sound Browser ........................................................
Content The Comb Filter Types ................................................... 76 Envelope Types in the Largo .......................................... 81 FM Sources .................................................................... 84 Modulation Sources ....................................................... 84 Modulation Destinations ............................................... 85 Tips & Tricks ..................................................................
Overview Overview User Interface a Head-up section c Module parameter section b Main parameter section d Virtual Keyboard and Part parameter Largo User´s Manual 6
Introduction + Introduction About this Manual Instruction – Follow these guidelines to execute a desired function. [ Example – Real-world examples to try out. This manual was written to help you to become familiar with the Largo synthesizer. It will also aid experienced users with routine tasks. Highlighted Control Features and Parameters To avoid confusion, the terminology in this manual is based on the Largo parameter names.
Installation Installation Installation under Windows Installation from CD-ROM: System Requirements for Windows 1. Start your computer and launch your operating system. Insert the Largo CD-ROM into your DVD/CD-ROM drive. If you have enabled the Autostart function in Windows, the Installer will start automatically and you can proceed with Step 5 below.
Installation 2. Double click on the archive file to extraxt it. • 3. Double click on the Largo Installer icon. This launches a special installation program. or 4. Follow the on-screen instructions. w An AudioUnit 2.0 compatible host application such as Apple Logic or GarageBand. This must be correctly installed on your computer. • After installing Largo you will have to activate the program on your computer. Please refer to the chapter “Activation of Largor”.
Installation 3. Double click on the Largo Installer icon to load the installation software. Follow the instructions on the screen. w Activation of Largo Largo uses a software based copy protection called eLicenser. Largo can only run with an activated license. After installing Largo you will have to activate the program on your computer Please refer to the chapter “Activation of Largo”. m Installation of a Downloaded Installer File: 1.
Installation m 3. Enter the 32 digit activation code that was included in your Largo package. Confirm it and follow the instructions. 4. You can download your final activation as software license (SeL) or directly to a connected optional eLicenser USB Key (e.g. Steinberg Key). w w w If you want to upgrade your operating system software or exchange any hardware system component make sure to transfer your soft eLicense to an optional eLicenser USB Key before.
Basic Operation Basic Operation General Operation Worth Knowing about Parts Largo has been optimized for a screen resolution of at least 1024x768 pixels. If your resolution is smaller, you either have to scroll your window. Largo offers a sound structure with four parts. All four parts are always saved for each sound program. For each bank, 128 sound programs are saved. The four parts can be controlled either together via MIDI channel 5 or separately via MIDI channels 1, 2, 3 or 4 (Multi sets to Part).
Basic Operation Control Elements Switches Using Largo’s controls is simple. There are some different types of control elements: Switches are represented by “LEDs”. If a function is active, its “LED” will be lit red and all others within the function block will be dark. To activate a function, click on its “LED”.
Sound Parameter 4. The Sound Selection is for selecting sound programs. Sound Parameter 5. The Information Display shows parameter information. In addition, MIDI controller allocations and the current numerical value of the parameter are displayed. Overview of Functions The Waldorf Largo consists of numerous sound-shaping components. The following pages describe all parameters in detail. Additional information can be found in the Appendix on page 57. 6.
Sound Parameter • Save All Programs up to this Program saves all sounds from sound program 1 to the current sound program as single sounds. • Save All Programs up to this Program as Audio Unit Preset (only Mac) saves all sounds from sound program 1 to the current sound program as single AudioUnit presets. The Edit Menu Left click on the Edit menu button to open a pop-down menu with the following parameters: • Copy Program copies the current sound program into the clipboard.
Sound Parameter w The Sound Browser Please note that some host applications as Steinberg Cubase 4 or newer use an additional sound data managment. It offers you an alternative way to load and save sounds. Please refer to the corresponding chapter in the manual of your host application. Largo offers a comprehensive window for selecting, searching and managing sound programs.
Sound Parameter • • • show „Programs“ only, show „Banks“ only or show „AudioUnit Setting“ (Mac only). • File Browser search field – here you can type in any name or search strings to find desired sounds, banks etc. Search results will be shown in the File Browser window. Click on the cross to reset the search field. Click selects a Program. Selected Programs are highlighted with a filled background in a different colour. • 2nd Click renames a Program. • Double-Click switches to that Program.
Sound Parameter • Paste – pastes the copied Programs into the currently selected Programs. If there are less Programs selected, the remaining Programs are pasted into the following Programs. • Init – initializes the selected Programs. • Select All – selects all Programs in the Program Table. • Sort By Name/Category Ascending/Descending – sorts the selected Programs according to the chosen function.
Sound Parameter programs, such as a plain text editor (no rich text editor since that one understands drag & drop of files), e.g. TextEdit [Mac] or Notepad [Windows]. on your operating system version. Those folder names appear in [brackets]): Presets Location on a Mac computer: File Browser Local Library: /Library/Audio/Presets/Waldorf/Largo/ The File Browser shows file and folder (directory) hierarchies of certain folders in a tree view similar to the Finder [Mac] or Explorer [Windows].
Sound Parameter files can. Note that this doesn't change the name of the Sound in that file, it only changes the name of the file on disk. If a name already exists, the file is not renamed. Working with the File Browser The view is divided into three columns. The first column shows the file or folder name, the second the last modification date and the third the category for a Program File. Folders have a small disclosure triangle to their left to reveal or hide their content.
Sound Parameter • Add... – shows a file select dialog to select files that are copied into the selected folder or the enclosing folder if a file is selected. • Rename... – renames a file or folder if possible. The root folders cannot be renamed but all subfolders and files can. Note that this doesn't change the name of the Sound in that file, it only changes the name of the file on disk. If a name already exists, the file is not renamed.
Sound Parameter moves the selected files or folders to the highlighted folder. Note: the files and folders are *moved*, so they are *removed* from their original location and created at their new location. If you don't want that, use the copy command below. • Copy – Holding Option [Mac] or Alt [Windows] during the drop operation copies the selected files or folders to the new location. • Load – Drag of selected files to the Program Table loads them into Largo RAM starting at the highlighted location.
Sound Parameter “waveform”, because it doesn’t necessarily set only one waveform, but sets a specific oscillator model that could produce a number of waveforms depending on other settings. A good example for this behaviour is the Pulse shape. However, the term “waveform” is used interchangeably throughout the manual. The following shapes are currently available: !"#$% &'()*(+#%,!"#$%,-*./01 • • 2(3/44/0 5)*(67#% 2*6% Pulse selects the pulse waveform.
Sound Parameter pitch modulation is applied. In this case, the oscillator’s frequency will be the same as set in the global Master Tune parameter (usually 440 Hz). [ The Sine shape can be used to produce basses and electric organ sounds. [ The Sine shape is also perfectly suited for ring [ Set Octave to 16’ for bass sounds. modulation or as FM Source. [ Set Octave to 8’ if you are creating typical keyboard [ The wavetables are perfect for very vivid sounds. sounds.
Sound Parameter Semitone -12...+12 [ High values of ±12 or above will give a strong detune that can be used for accordions or effect sounds. Sets the pitch of the oscillator in semitone steps. The standard setting for this parameter is 0, but there are cases where different values are interesting as well. Bend Range [ Organ sounds often include a fifth, therefore one Determines the intensity of the pitchbend via MIDI Pitchbend messages in semitones for the selected oscillator.
Sound Parameter FM Source see table „FM Sources“ [ If you want to bias FM over the keyboard so that higher notes aren’t modulated as strongly as lower notes, use the Modulation Matrix and apply Keytrack to the respective oscillator FM with a negative amount. Selects the source for the frequency modulation of the selected oscillator. [ You can create nice E-Piano sounds when you use a high pitched oscillator as FM Source and set its Keytrack to a value between 000% and +050%.
Sound Parameter [ To create a Bass sound, use a decaying Envelope as [ A pulse width of around 30% can be used for epiano or fat bass sounds. Wave Source with negative Wave Amount and a Pulsewidth of around 80…127. This results in a fat attack phase, especially when only one oscillator is used for the Bass. [ A pulse width of around 10% is interesting for Clavinet sounds.
Sound Parameter Brilliance 0...127 Phase Determines the startphase of an oscillator. free results in free-running oscillators as in analog synthesizers, 0..360° determines the phase in degree the oscillator waveform starts with. Determines the brilliance of the ocillator models Saw, Pulse and all Wavetables. The models Saw and Pulse don ́t play simple waveforms as a sampler. It is based on exact emulations of analog components with digital algorithms.
Sound Parameter Level -.1%','(.%&3%4)$*.+%&$'#(()*&+ 0...127 Available for Oscillator 1 and 2 only. Sub Oscillator Level determines the volume of the Suboscillator creating a Square Waveform. A setting of 0 corresponds to no volume. Please note that the loudness of the Suboscillator also depends on the volume of the main oscillator Sync (only for Osc 2) !"#$%&$'#(()*&+ off / on $,-'./%*&%*"#$%&$'#(()*&+ +.$0(*$%#-%*"#$%1)2. [ Use Sync for Lead or Solo sounds.
Sound Parameter [ [ w Osc Balance To create a common pitch vibrato that is controlled by the modwheel, set Osc Pitch Mod Source to LFO1*MW with Osc Pitch Mod Amount set to around +20. Determines the ratio of the selected Oscillator’s signal that is sent to the inputs of Filter 1 and Filter 2. If set to F1 64, the signal is sent to Filter 1 only. Higher values will increase the amount of signal that feeds Filter 2 and decrease the amount of signal that feeds Filter 1.
Sound Parameter can be used to add metallic distorted sound characteristics. This is useful e.g. when generating synth percussion. Please note that in a complex waveform all harmonic components behave like interacting sine waves, resulting in a wide spectral range of the ring modulated sound. The following pictures show the results of two ringmodulated sine waves: [ For an E-Piano sound, you might apply Ring Modulation when one high pitched oscillator’s Keytrack is lowered to i.e. 50%.
Sound Parameter beaches and other sound effects can be created by using the noise generator. Noise Balance F1 64...mid...F2 63 Determines how loud the noise signal is sent to the inputs of Filter 1 and Filter 2. If set to F1 64, the signal is sent to Filter 1 only. Higher values will increase the amount of signal that feeds Filter 2 and decrease the amount of signal that feeds Filter 1. If set to mid, both filters will receive the same signal level. If set to F2 63, the signal is sent to Filter 2 only.
Sound Parameter signal flow from a parallel to a serial filter configuration and vice versa. parallel routing of two filters, each filtering the input signals independently. This is how the Routing section works in detail: • • • After passing the panning units, both signals are summed up again and sent to the Amplifier and Effect section. The Oscillator section uses two separate outputs – one connected to the input of Filter 1, the other connected to the input of Filter 2. Each sound source, i.e.
Sound Parameter • When a comb type is selected, the frequencies near the cutoff frequency are emphasized (comb+) or attenuated (comb-). Determines the amount of saturation that is added to the signal. If set to 0, no saturation will be added or, in other words, the signal will remain clean. Lower values will add some harmonics to the signal, resulting in a warm character. Increasing the value will bring in more and more distortion, suitable for harder lead sounds and effects.
Sound Parameter changes to a sine wave. This drive type is very effective in combination with amplitude modulation, ring modulation or noise. • Fuzz distorts nearly every input signal to a square wave. Use this drive type for outlandish effects. • Pickup 1 simulates an electrostatic pickup. Use amplitude modulations for more absorbing sound effects. • character; use the 12dB slope if you want to get softer results. • BP 24dB / BP 12dB Band Pass remove frequencies both below and above the cutoff point.
Sound Parameter differences when you change the Resonance because of phase changes. Anyway, the effect isn’t that spectacular. • w w Env Amount Determines the amount of influence the filter envelope has on the cutoff frequency. For positive settings, the filter cutoff frequency is increased by the modulation of the envelope, for negative settings, the cutoff frequency is decreased. Use this parameter to change the timbre of the sound over time.
Sound Parameter w amount, and vice versa. A setting of +100% corresponds to a 1:1 scale, so e.g. when an octave is played on a keyboard the cutoff frequency changes by the same amount. If you want to play the filter in a tempered scale, e.g. for a solo sound with self-oscillation, set the value to +100%. On most bass sounds lower settings in the range +50…+75% are optimal to keep the sound smooth at higher notes. Env Velocity -64...
Sound Parameter the keyboard. Negative amounts will decrease the cutoff frequency when positive modulation is applied. Bass Boost This button activates the typical Waldorf bass emphasis which is located between filter and amplifier. 0...127 Level Controls the volume of the corresponding filter output. This is very useful when unwanted distortions occur. Pan The Amplifier Section Level left 64...center...right 63 see table „ModulationSources“ Velocity Selects the source of the panorama modulation.
Sound Parameter commonly used setting, which gives a piano-like character. With negative settings, the volume decreases at higher velocities. This gives an atypical character suitable for effect sounds. As the Amplifier always works in conjunction with the Amplifier Envelope, this parameter actually determines the envelope velocity amount. The following picture illustrates this functionality: %&'(&' The controls for e.g.
Sound Parameter throughout all music styles. Please note that Glide affects the pitch of all oscillators. Unisono Voices Controls how many voices are triggered when a note is played. 0...127 Time Determines the glide time. Low values will give a short glide time in a range of milliseconds that gives a special character to the sound. High values will result in a long glide time of up to several seconds which can be useful for solo and effect sounds.
Sound Parameter Unisono Detune list but aren’t played. As soon as you release the note that is currently played, the second last note is played and so on. When you play legato, only the first note that was played triggers the envelopes. All later notes use these envelopes, but sound in the pitch you’ve played. This mode is for sustained sounds like typical 70’s solo sounds. 0...127 Controls the detuning of the Unison voices.
Sound Parameter Voices The LFOs 1...256 Largo offers up to 256 voices. The number of available voices depends on the available processor power. Control Mode Determines the mouse control for editing knobs in Largo: • Auto uses the settings of your host application. Please refer to the corresponding manual of your host application. • Circular lets the knob control behave like a real knob.
Sound Parameter !/*& .%/$*01& • S&H (Sample & Hold) samples a random value and holds it until the next value is generated. If Speed is set to 0, a random value is generated on each new note. • Step is only available for LFO3 and offers an user definable step shape for rhythmical modulation. !"#$%& Start Phase !$23,,34 )$*+,- !'( free, 0°…360 • The Sine shape is best suited for oscillator FM or pan modulations. • The Triangle shape is perfect for smooth pitch, filter or volume modulations.
Sound Parameter When the LFO Clock parameter is set to On, you can adjust the Speed in musical values. The lowest possible value is 1280 bars, meaning that a complete LFO cycle would need 1280 bars. Keytrack Determines how much the speed of the LFO depends on MIDI note number. The reference note for Keytrack is E3, note number 64. For positive settings, the LFO speeds up on notes above the reference note, for negative settings the LFO slows down when higher notes are played and vice versa.
Sound Parameter Fade The Envelopes -64…+63 Controls the speed with which the LFO is faded in or out. With this parameter you can create slowly rising or falling modulations that might create interest when routed to pitch or volume. Contour (LFO 3 only) The Largo envelopes allow you to manipulate sound parameters via rate or timed modulations. The Largo offers four independent programmable envelopes for every sound program: 0...
Sound Parameter w w Once the note has ended, the release phase begins. During this phase, the envelope fades to zero at the rate determined by the Release value. A detailled introduction of the envelopes can be found in the Appendix of this manual. Trigger The ADSR Envelope • Multi means that every Note starts the filter envelope of its own voice. • Single means that the envelopes of all voices of a selected program behave like a single envelope.
Sound Parameter The Modulation Matrix The Additional Envelope Parameter Attack Level A modulation can be described as a signalgenerating unit’s influence upon a sound parameter. The terms used in this context are "Source" (Src) and "Destination" (Dest). The Largo offers 16 independent modulation assignments (slots) each with individual settings of source, destination and amount.
Sound Parameter multiplication of the source signal and this parameter, the resulting amplitude depends on the type of modulation source you select: • • two source signals or a source signal and a constant parameter. You can use up to four independent modifier units. The result of each operation is not directly audible, but is used as input source for the Modulation Matrix. Moreover, you can use it as source for yet another modifying process.
Sound Parameter see table Op (Operation) Determines which kind of operation will be performed on the selected input sources. The following types are available: Setting Description + Addition Subtraction * Multiplication XOR Exclusive OR function OR OR function AND AND function Min Minimum value Max Maximum value • - Returns the difference of Source A and Source B. • * Returns the product of Source A and Source B. • AND Returns the binary „and“ operation of Source A and Source B.
Sound Parameter The Arpeggiator An Arpeggiator is a device that splits an incoming MIDI chord into its single notes and repeats them rhythmically. Different sequence modes can be defined for the Arpeggiator to cover a wide range of applications. In addition to the synthesis features, the Largo offers a deeply programmable Arpeggiator for every sound program.
Sound Parameter • The Length pop-down menu offers a range of usefull musical values. Press and hold the first key of the chord. While holding this key, enter the other keys sequentially. After playing all keys, you can release the first key. This method is practical for playing difficult chords. It allows you to create arpeggios in the sequence of played notes. You can even hit the same note several times and it will appear in the note list accordingly.
Sound Parameter notes with velocities 64, 120 and 96, the note list will be sorted to 64, 96 and 120. • to the highest octave. Then the arpeggio is repeated. Vel Hi>Lo is the opposite of Vel Lo>Hi. The above notes would be sorted as 120, 96 and 64. Vel Mode • If Each Note is selected, each note of the arpeggio is played back with the velocity that you originally played. • If First Note is selected, the first note you played sets the velocity for all arpeggio steps.
Sound Parameter Octave Range 1...10 Determines the range of the single notes in octaves. When it is set to 1 Oct, the note list will be played back in the same octave as originally entered Greater values mean that the note list is repeated in higher or lower octaves. The octave in which the arpeggio starts is determined by the Direction parameter. If you play notes that span more than one octave, they are still kept in the note list and played back before the note list is transposed.
Sound Parameter Pattern Reset off / on Pat. Step Note When all steps of an arpeggio pattern are played back, the pattern is repeated from the beginning so that the arpeggio is looped. With Pattern Reset, you can decide if the note list is also restarted from the beginning when the rhythm pattern is reset.
Sound Parameter • • User gives you the ability to create your own custom rhythm pattern. This pattern is stored in in the sound. See the section Arpeggiator Step Editor“ below about the pattern settings you can create. Timing Factor Determines how much the Arp Timing parameter affects an arpeggio step. If Timing Factor is set to 0, the settings in Arp Timing are completely ignored and the arpeggio is played back without any shuffled timing.
Sound Parameter • If off is selected, the Note Off message of the previous note is sent right before the next note with the same pitch is started. Arpeggiator Step Editor The following Arpeggiator parameters can edited with your computer mouse easily. w You can only select the steps that are in the range set by Pattern Length. E.g., when you have set Pattern Length to 8, you can’t change a value of step 9 or above.
Sound Parameter hear it. This feature is the opposite to Step set to o pause, which doesn’t generate any note and therefore doesn’t advance the note list. Timing have any effect at all. Also, if Length is set to a very small value, Arp Length might not have an audible effect when you set it to a negative value. You can create very nice staccato and legato effects with this parameter. random / -3...+3 Moves the playback time of a step forward or backward.
Sound Parameter • If Pause o is selected, the Arpeggiator plays nothing at this step position. When Length is set to legato, the previous step that isn’t set to pause is still held to create the legato effect. The note list is not advanced • If Previous is selected, the Arpeggiator plays the same note as it had to play in the previous step that was set to Normal or Random. With this setting, you can repeat a particular note of the note list several times. The note list is not advanced.
Sound Parameter w Please note that Glide function must be set to off when you want to set Arp Glide for individual pattern notes. Otherwise, the glide effect will occur on all notes. The Effects The Largo has two similar effect units which are editable separately for each layer. FX Active Switches the corresponding FX unit on or off. Mix 0…127 The only parameter that is common to all types of effects is the Mix parameter.
Sound Parameter Bypass / Chorus / Flanger / Phaser / Overdrive / Delay / Reverb Stages Type Dual / Quad / Hexa Sets the number of Chorus stages. Higher settings result in a denser effect. Sets the type of effect produced by the first effect unit. All further parameters depend on the selected effect type. Speed Chorus Sets the LFO speed of the Chorus effect. A Chorus effect is generated by using Comb filters that generate slightly detuned copies of the input signal and mix it into the output signal.
Sound Parameter Polarity Pos / Neg Controls if the signal is fed back normally or inverted. Feedback 0…127 Delay Sets the initial delay that is added to the Flanger delay line. 0…127 0…127 Feedback Feeds the Chorus output signal back to its input. Controls the feedback amount of the Flanger signal. Flanger positive / negative The Flanger effect is very similar to the Chorus effect, but features feedback circuitry to feed the generated signal back into the comb filter.
Sound Parameter 0…127 Depth Overdrive Sets the modulation depth of the Phaser effect. Center The Overdrive effect distorts the input signal by amplifying it drastically and clipping the resulting signal to a certain output level. The difference between this Overdrive effect and the Drive parameter of the Filter sections is that Drive affects one single voice, while this effect type distorts the summed output of the whole instrument.
Sound Parameter w Speed Please note that the setting of the Mix parameter doesn’t affect the strength of the overdrive effect but only the volume of it. Therefore, you can get a very strong overdrive with a low volume when you turn up Drive and turn down Mix. The delay effect can be modulated in ist delay time with the integrated LFO. Speed dtermines the frequency of this LFO. Depth Delay on / off Polarity Synchronizes the Delay to the song tempo of your host application.
Sound Parameter creates the typical “high frequency loss” that often happens in natural echoes. A setting of 127 means that the signal isn’t filtered, while lower settings filter the high frequencies of the feedback signal. Size Determines the length of the longest room side in meters. Lower settings simulate a normal room while higher settings simulate a big hall or church. Reverb Density The Reverb effect is probably the most widely used effect in music production.
Sound Parameter reverb as if the signal were reflected by a uneven surface. Settings above 100 change the room characteristic even further. the Damping parameter mean more high frequencies will be dampened. 0…127 Low Cut Decay 0…127 Determines the frequency where the lower frequency parts are divided from the effect signal. This parameter works in the same way as the highpass filter in the Largo´s sound synthesis.
Sound Parameter Chamber Room Club Medium Hall Large Hall Car Park Underground Car Park Tunnel Underbridge 2-5 2-10 10-16 16-32 32-64 50-80 50-80 100 50-70 0-40 ~64 ~64 ~64 ~64 0-40 64-127 40 0-40 Part Buttons Click on the corresponding Part button to choose this part for editing (button lights red). Only one part can be edited in time. A click on the Part activation button activated the corresponding part (button lights red).
Appendix Appendix The Sine Wave The Sine Wave is the purest tone that can be generated. It consists only of one harmonic, the fundamental, and has no overtones. The following picture shows the sine wave and its frequency representation: Oscillators Introduction The oscillator is the first building block of a synthesizer. It delivers the signal that is transformed by all other components of the synthesizer. In the early days of electronic synthesis, Robert A.
Appendix partials. In most waveforms, the partial with the lowest frequency is dominant, meaning that this partial is used by the ear to determine the pitch of the tone. This partial is called fundamental. All other partials are called overtones. So, the second partial is the first overtone. !;2<=/'5>+1, ./0+12*3(+1, .
Appendix bow pulling the string slightly into one direction. At one point, the string abruptly comes off the bow and swings back to its original position. The bow is still moved and so it catches the string again and the procedure is repeated. The result is a waveform that looks like a sawtooth. The same is true for a brass instrument. The string in this case are the lips while the bow is the air. The lips are moved by the air to a certain extent and abruptly move back to their original position.
Appendix tube that can contain a certain amount of air. The player blows air through the tube in a way such that the air starts to vibrate. This vibration is almost completely symmetrical, resulting in a hollow timbre. #&'()*+,./0*12-(314-5 ! " # $ % !! !" !# The Pulse Wave ""'()*+,- The Pulse Wave is the most versatile wave in a classic synthesizer because its shape and therefore its harmonic content can be changed in real time.
Appendix very symmetrical harmonic content, while all other pulse widths create peaks or troughs at certain frequencies. Another special case is a pulse wave with a very narrow pulse width, in the above picture labelled as <1%. An infinitely thin pulse creates a spectrum that has all harmonics with equal magnitudes. In a digital synthesizer, “infinitely” necessarily means one sample. The Triangle Wave The Triangle Wave is very similar to the square wave.
Appendix The triangle wave sounds like a woodwind instrument, i.e. a clarinet. It can also be used for mallet instruments like vibraphone, xylophone etc. !;2<=/'5>+1, ./0+12*3(+1, ./0+12*3(
Appendix This principle offers powerful capabilities. To give some examples: • Each note on a keyboard can access a different wave of a wavetable. • Different waves can be played depending on key velocity. • A LFO can modulate the position within the wavetable. You can create subtle to drastic sound changes. • User-selected controllers e.g. the mod wheel, can change the position within the wavetable. When you turn the wheel while playing a chord, each note´s wave will be modified intantly.
Appendix 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 Polated Transient ElectricP Robotic StrongHrm PercOrgan ClipSweep ResoHarms 2 Echoes Formant2 FmntVocal MicroSync MicroPWM Glassy SquareHP Largo User´s Manual 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 Filter Introduction 19/twenty Wavetrip1 Wavetrip2 Wavetrip3 Wavetrip4 MaleVoice Low Piano ResoSweep Xmas Bell FM Piano Fat Organ Vibes Chorus 2 True PWM UpperWaves Once the audio signal leaves the mixer, it is sent to the filters.
Appendix )#*#+ point is emphasized. The following picture shows the effect of the resonance parameter on the filter’s frequency curve: )#*#+ 0#1.&2&'# !"#$%#&'( ,%-.// To give you an idea of the extent of damping, consider this example of a low pass filter: A reduction of 24dB reduces the original level one octave above the cutoff point by approx. 94%.
Appendix )#*#+ The Comb Filter Types The Comb filter types differ from the other filter types greatly, because they don’t actually damp any part of the signal, but instead add a delayed version of the input signal to the output. What exactly is a Comb filter? 7#4.&8&'# A Comb filter is basically a very short delay that can be controlled in length and feedback.
Appendix )#*#+ The Comb filter as a Chorus This is the most basic way to use the Comb filter. A Chorus in fact is made of one or several Comb filters, so this is an easy task to set up manually. 7#4.&8&'# + To set up the Comb filter to produce a Chorus: 1. Select the Comb+ filter type for the desired filter. 2. Set Cutoff to a medium value. 3. Set Resonance, Drive, Filter Keytrack and any other modulation to 0. 4. Select an LFO as Mod Source. Comb – Filter Type 5.
Appendix The Comb filter as a Flanger [ You can also pan the original, i.e. low pass filtered signal, to one stereo side and route 50% into Filter 2, producing a Chorus effect that is panned to the other stereo side. A Flanger is almost the same as a Chorus. The only difference is that it has feedback circuitry to change the depth of the Flanger effect. You might ask why you should use a Comb filter type to produce Chorus instead of using the FX section of the Largo.
Appendix Filter Keytrack to +100%, you can play the Comb filter musically. [ Use Filter Keytrack with an amount of 100% to create really different flangings depending on the Note you play. Now you need to know how to set up Cutoff. Filter Cutoff is scaled in semitone steps, and you only have to find the Cutoff value where the filter oscillates with standard pitch.
Appendix 2. Turn up Resonance to around 114 to 127. 3. Turn up Filter Keytrack to +100% to have Filter Cutoff change with equal-tempered scaling. 4. Set Cutoff to 23, 35, 47 or 59 to have it oscillating in the same pitch as the oscillator´s usually tuning. Please note that Comb+ oscillates one octave higher than Comb-. 5. Feed the Comb filter with a signal of any kind.
Appendix 7'8'/ 0'(123'++'4 0'(13'/'#+'4 9::; Envelope Types in the Largo ADSR Envelope Most traditional synthesizers feature ADSR envelopes. These envelopes are made up of four parameters that determine their response: Attack, Decay, Sustain and Release. The other parameters of the Envelope section have no function, so they can not be edited. The following picture illustrates the structure of an ADSR envelope: )*+"#,- !""#$% &'$#( .
Appendix 9':'/ Decay and Sustain pair. With these additional parameters, you can create much more complex envelopes. 7'8'/ 0'(123'++'4 0'(123'++'415316,"1+653"/( ;<<= 0'(13'/'#+'4 9::; )*+"#,- )*+"#,-1< !""#$%17'8'/ )*+"#,- !""#$% &'$#( &'$#(1< .'/'#+' !""#$% 5,6' .
Appendix 7'8'/ 0'(123'++'4 7'8'/ 0'(13'/'#+'4 9::; 0'(123'++'4 0'(13'/'#+'4 9::; )*+"#,-1< !""#$%17'8'/ !""#$% )*+"#,-1< !""#$%17'8'/ )*+"#,- )*+"#,- 7==2 7==2 &'$#( &'$#(1< .'/'#+' 5,6' !""#$% Loop S1S2 Envelope &'$#( &'$#(1< .'/'#+' 5,6' Loop All Envelope Loop All Envelope The Loop All envelope type is similar to the Loop S1S2 envelope type but it loops through all envelope stages as long as a note is held.
Appendix LFO2*Pressure LFO3 FilterEnv AmpEnv Env3 Env4 Keytrack Velocity Rel Vel Pressure Poly Pressure Pitchbend Modwheel Sustain Ctrl Foot Ctrl Breath Ctrl Control W, X, Y, Z Ctrl Delay Modifier 1...
Appendix (equals +1) Current voice number as Mod Source Voice %16, %8, %4, Used voice number as Mod Source %2 Unisono V Number of unisono voices Uni Detune Detuning of all unisono voices Uni Spread De-panning of all unisono voices Uni De-Oct De-octaving of all unisono voices O1 Balance, O2 Balance, O3 Balance Ring Level Ring Balance Noise Level Noise Balance F1 Cutoff, F2 Cutoff F1 Reson., F2 Reson.
Appendix AE Sustain AE Release E3 Attack E3 Decay E3 Sustain E3 Release E4 Attack E4 Decay E4 Sustain E4 Release M1 Amount M2 Amount M3 Amount M4 Amount O1 SubDiv, O2 SubDiv O1 SubVol, O2 SubVol Largo User´s Manual Tips & Tricks Sustain (and Sustain 2) level of Amp Envelope Release rate of Amp Envelope Attack rate of Envelope 3 Decay (and Decay 2) rate of Envelope 3 Sustain (and Sustain 2) level of Envelope 3 Release rate of Envelope 3 Attack rate of Envelope 4 Decay (and Decay 2) rate of Envelope 4 Sust
Appendix Just keep in mind that the LFOs have a maximum speed of around 2500 Hz and that they can produce aliasing side effects. • Use the wavetables as FM sources. If a LFO modulates the wavetable at the same time, you will create really amazing sounds. • For extremely wide sounds, you can do the following: Create a sound that uses only Filter 1 with the desired settings. Now set Routing to serial so that both filters are routed to the panning stages with equal volume.
Appendix Controller Numbers Controllers marked with * don’t change the Sound program but can perform temporary modulations or other tasks.
Appendix 16 0…127 LFO 1 Speed 17 18 19 0…1 0…127 0…5 LFO 1 Sync LFO 1 Delay LFO 2 Shape 20 0…127 LFO 2 Speed 21 22 23 0…1 0…127 0…6 LFO 2 Sync LFO 2 Delay LFO 3 Shape 24 0…127 25 26 27 28 0…1 0…127 16, 28, 40…112 52…76 LFO 3 Speed LFO 3 Sync LFO 3 Delay Osc 1 Octave Osc 1 Semitone sawtooth, random, S&H 0…127 or 256 bars…1/96 off, on 0…127 sine, triangle, square, sawtooth, random, S&H 0…127 or 256 bars…1/96 off, on 0…127 sine, triangle, square, sawtooth, random, S&H 0…127 or 256 bars…1/96 o
Appendix 47 48 49 50 51 0…127 0…127 0…1 0…127 0…9 Osc 3 PW Osc 3 PWM Sync Pitchmod Glide Mode 52 53 0…127 0…127 Osc 1 Level Osc 1 Balance 54 55 0…127 0…127 Ringmod Level Ringmod Balance 56 57 0…127 0…127 Osc 2 Level Osc 2 Balance 58 59 60 0…127 0…127 0…127 Largo User´s Manual Osc 3 Level Osc 3 Balance Noise Level 0…127 -64…+63 off, on -64…+63 siehe “Glide Mode” 0…127 F1 64…mid…F2 63 0…127 F1 64…mid…F2 63 0…127 F1 64…mid…F2 63 0…127 F1 64…mid…F2 63 0…127 90 61 0…127 Noise Balance 62 6
Appendix 77 0…127 Filter 1 Pan 78 79 80 81 0…127 0…10 0…127 0…127 82 83 0…127 0…127 Filter 1 Panmod Filter 2 Type Filter 2 Cutoff Filter 2 Resonance Filter 2 Drive Filter 2 Keytrack 84 0…127 85 0…127 86 0…127 87 88 0…127 0…127 Filter 2 Env. Amount Filter 2 Env. Velocity Filter 2 CutoffMod Filter 2 FM Filter 2 Pan 89 90 91 92 0…127 0…127 0…127 0…127 Filter 2 Panmod Filter 2 Level Amp Velocity Amp Mod Amt.
Appendix 115 116 117 118 119 120 0…127 0…127 0…127 0…127 - not used 0 E4 Sustain E4 Decay 2 E4 Sustain 2 E4 Release undefined All Sound Off* 121 0 122 123 - not used 0 Reset All Controllers* undefined All Notes Off* 124 125 126 - not used - not used - not used - 127 - not used - Largo User´s Manual Omni Mode Off Omni Mode On Poly Mode On/Off Poly Mode On 0…127 0…127 0…127 0…127 - not used immediate silence resets all controllers - not used releases all voices - not used - not used - not used -
Appendix Arpeggiator Glossary An arpeggiator is a device that splits an incoming chord into its single notes and repeats them rhythmically. Most arpeggiators feature different sequence modes to cover a wide range of applications. Typical controls for an arpeggiator are the octave range, the direction, the speed and the clock, which means the repetition interval. Some arpeggiators also feature preset or programmable rhythm patterns.
Appendix Clipping Envelope Clipping is a sort of distortion that occurs when a signal exceeds its maximum value. The curve of a clipped signal is dependent of the system where the clipping takes place. In the analog domain, clipping effectively limits the signal to its maximum level. In the digital domain, clipping is similar to a numerical overflow and so the polarity of the signal’s part above the maximum level is negated.
Appendix frequency. A high pass filter in turn dampens the frequencies below the cutoff. The band pass filter allows only those frequencies around the cutoff frequency to pass, all others are dampened. A band stop filter does just the opposite, i.e. it dampens only the frequencies around the cutoff frequency. The most common type is the low pass filter. Low Pass Filter Synthesizers are often equipped with a low pass filter. A low pass filter dampens all frequencies above its cutoff frequency.
Appendix MIDI Thru has a special function. It allows the sender to transmit to several receivers. It routes the incoming signal to the next device without modifying it. Another device is simply connected to this jack, thus creating a chain through which the sender can address a number of receivers. Of course it is desirable for the sender to be able to address each device individually. Consequently, there is a rule which is applied to ensure each device responds accordingly.
Appendix Program Change Trigger These are MIDI messages that switch sound programs. Program numbers 1 through 128 can be changed via program change messages. 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. Release An envelope parameter.
Appendix in shape, the result will sound smooth and pleasant. If, however, the shapes are completely different, the result will have wild spectral changes and may sound harsh.
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