Waldorf PPG Wave 2.V User`s manual

Foreword
Foreword
Thank you for purchasing the Waldorf PPG Wave 3.V.
Hint
You now own a synthesizer which combines the unique
Wavetable synthesis sound of the legendary PPG Wave 2.2
and 2.3 synthesizers from the 1980s with the advantages of a
modern software Plug-In. The PPG Wave 3.V is featuring a
wide range of unique sounds of high quality including
emulated Waveterm sample playback.
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. Waldorf Music GmbH extends no liabilities in
regard to this manual other than those required by local law.
What to read?
This manual or any portion of it may not be reproduced in
any form without the manufacturer's written consent.
The biggest problem with any manual is to cover both the
needs of an absolute expert and a beginner alike. There are
people who read a manual cover to cover while others don’t
even touch it. The latter is the worst choice, especially when
the manual describes a Waldorf instrument.
Waldorf Music GmbH, Lilienthal Str. 7, D-53424 Remagen,
Germany
If you decide to read the following manual, we promise you
a lot of fun while reading about and working with the
Waldorf PPG Wave 3.V.
Your Waldorf Team
PPG Wave 3.V User´s Manual
2
Foreword
PPG Wave 3.V Development Team
Software:
Wolfram Franke, Stefan Stenzel
64 Bit and
AAX Porting:
Thomas Rehaag
User interface:
Wolfram Franke, Axel Hartmann
We would like to thank
Manual:
Holger Steinbrink
Revision:
1.0.3, May 2014
Christian Bacaj, Karsten Dubsch, Willie Eckl, Joachim
Flor, Michael von Garnier, Frank Schneider, Kurt “Lu”
Wangard, 吴海彬 and anyone we have forgotten.
Consulting:
Wolgang Palm, Hermann Seib
Sounddesign:
Volker Barber, Thomas Dolby,
André Geisler, Boele Gerkes,
Daniel Gill, Achim Gratz,
Michael Johnson, Till Kopper,
Dirk Krause, Lothar Krell, Rob
Lee, Jay de Miceli, Jonathan
Miller, Niels Moseley, Dr. Georg
Müller, Don Petersen, Hermann
Seib, Holger Steinbrink, Andy
Thomas, Dr. Stefan Trippler, Dr.
Ingo Weidner
New Wavetables:
Wolfgang Palm
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3
Please visit our website www.waldorfmusic.de
for more information about our products.
PPG Wave 3.V User´s Manual
Content
Content
Panel Buttons and Panel Sections ............................................... 33 PROGRAM Panel (PROG) .............................................. 33 DIGITAL Panel (DIGI) .................................................... 36 TUNING Panel (TUNE) .................................................. 40 MODULATION Panel (MOD) ........................................ 42 The Graphical Editor (GRAPH) ....................................... 47
The GROUP Button ....................................................... 48
The Effects Panel (EFFECTS) ........................................... 48
Transient Panel (TRNSNT) .............................................. 56
Global Panel (GLOBAL) ................................................. 59
Appendix ......................................................................................... 61 History ........................................................................... 61 How near is the PPG Wave 3.V to the Originaly? .......... 61 Differences to the Original PPG Wace 2.3 ..................... 62 Wavetable Synthesis in the PPG Wave 3.V .................... 63
List of the PPG Wave 3.V Wavetables ............................ 66
The Waveterm B Library ................................................ 68
Filter Introduction .......................................................... 70
The Envelope ................................................................. 71
Controller Numbers ....................................................... 72
Glossary ......................................................................... 77 Product Support ............................................................. 82 Foreword ........................................................................................... 2 Content.............................................................................................. 4 Overview ........................................................................................... 5 Introduction ...................................................................................... 6 Installation ........................................................................................ 7 Installation under Windows ............................................. 7 Installation under Mac OS X ............................................ 9 Activation of PPG Wave 3.V ......................................... 10 Basic Operation.............................................................................. 12 General Operation ........................................................ 12 Useful Knowledge about Multi Parts .............................. 12 Key Combinations ......................................................... 12 Control Elements ........................................................... 13
Sound Selection ............................................................ 15 The Controls ................................................................................... 16 Overview of Functions .................................................. 16 The Top Menu Section .................................................. 16 The Sound Browser ....................................................... 18 The Analog Control Panel ............................................................. 24
PPG Wave 3.V User´s Manual
4
Overview
Overview
User Interface
a
Top Menu section
b
Digital Control Panel section
5
c
Analog Control Panel section with Panel buttons and
display
d
Virtual Keyboard
PPG Wave 3.V User´s Manual
Introduction
Introduction
Highlighted Control Features and Parameters
About this Manual
All of the PPG Wave 3.V´s buttons, controls and
parameters are highlighted in bold letters throughout the
manual.
This manual was written to help you to become familiar
with the PPG Wave 3.V synthesizer. It will also aid
experienced users with routine tasks.
To avoid confusion, the terminology in this manual is
based on the PPG Wave 3.V parameter names. You will
find the various terms explained in a glossary at the end of
this manual.
Example:
•
The PPG Wave 3.V’s different modes and parameter
pages are illustrated in a depiction of the display.
The value range of a continuous parameter is indicated
from low to high with both values shown in italic letters,
separated by three dots.
We also used a uniform set of symbols to show you topics
of particular interest or significance. Important terms are
highlighted in bold letters.
Example:
Cutoff
Symbols
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Caution – The comments that follow this symbol
will help you avoid errors and malfunctions.
Info – Additional information on a given topic.
[ Example – Real-world examples to try out.
PPG Wave 3.V User´s Manual
Turn the Cutoff dial.
6
0…63
Installation
Installation under Windows
Installation
Proceed as follows to install the PPG Wave 3.V:
System Requirements for Windows
Installation from CD-ROM:
In order to be able to use the PPG Wave 3.V, 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.
•
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1. Start your computer and launch your operating system.
Insert the PPG Wave 3.V CD-ROM into your DVD/CDROM drive. If you have enabled the Autostart function in
Windows, the Installer will start automatically and you
can proceed with Step 5 below. If not, please proceed as
follows:
2. Launch the Explorer or open the window “My
Computer”.
3. Double click on the icon for the drive that holds the
PPG Wave 3.V-CD-ROM.
AAX compatibel host application such as Pro Tools
10. This must be correctly installed on your
computer.
4. Double click on the PPG Wave 3.V Installer icon. This
launches a special installation program.
5. Follow the on-screen instructions.
Please also observe the system requirements of your
host application!
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PPG Wave 3.V runs within 32 bit as well as 64 bit
host applications.
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After installing PPG Wave 3.V you will have to
activate the program on your computer Please refer to
the chapter “Activation of PPG Wave 3.V”.
PPG Wave 3.V User´s Manual
Installation
Installation of a Downloaded Installer File:
System Requirements for Mac OS X
1. Refer to the folder where the downloaded PPG
Wave 3.V zip archive is located.
In order to be able to use the PPG Wave 3.V, you will
need at least:
2. Double click on the archive file to extraxt it.
•
Mac with 1.5 GHz Intel processor or better.
3. Double click on the PPG Wave 3.V Installer icon. This
launches a special installation program.
•
Mac OS X 10.6 or newer.
•
128 MB of free RAM.
4. Follow the on-screen instructions.
•
VST 2.4 compatible host application or a VST3
compatible host application such as Steinberg
Cubase. This must be correctly installed on your
computer.
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After installing PPG Wave 3.V you will have to
activate the program on your computer. Please refer
to the chapter “Activation of PPG Wave 3.V”.
or
•
An AudioUnit 2.0 compatible host application such
as Apple Logic or GarageBand. This must be
correctly installed on your computer.
or
•
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PPG Wave 3.V User´s Manual
8
An AAX compatible host application such as Pro
Tools 10. This must be correctly installed on your
computer.
Please also observe the system requirements of your
host application!
PPG Wave 3.V runs within 32 bit as well as 64 bit
host applications.
Installation
3. Double click on the PPG Wave 3.V Installer DMG
icon. This launches a special installation program.
Installation under Mac OS X
Proceed as follows to install the PPG Wave 3.V:
4. Follow the on-screen instructions.
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Installation from CD-ROM:
1. Quit all other applications so that you return to the
Finder. Disable any system activity monitoring software or
extension. Then insert the PPG Wave 3.V CD into your
computer’s DVD/CD-ROM drive.
After installing PPG Wave 3.V you will have to
activate the program on your computer Please refer to
the chapter “Activation of PPG Wave 3.V”.
2. If required, double click on the PPG Wave 3.V icon to
open the CD window.
3. Double click on the PPG Wave 3.V Installer icon to
load the installation software. Follow the instructions on
the screen.
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After installing PPG Wave 3.V you will have to
activate the program on your computer Please refer to
the chapter “Activation of PPG Wave 3.V”.
Installation of a Downloaded Installer File:
1. Refer to the folder where the downloaded PPG Wave
3.V zip archive is located.
2. Double click on the archive file to extraxt it.
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PPG Wave 3.V User´s Manual
Installation
folder.
Activation of PPG Wave 3.V
2. In the application windows please choose the option
“Enter Activation Code”.
PPG Wave 3.V uses a software based copy protection
called eLicenser. PPG Wave 3.V can only run with an
activated license.
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3. Enter the activation code that was included in your
PPG Wave 3.V package. Confirm it and follow the
instructions.
Really important — The license code can be used
just once and becomes invalid after first use. If you
have lost your license code by a hard disk crash or
renewing your operating system please contact our
support: support@waldorfmusic.de
4. You can download your final activation as software
license (SeL) or directly to a connected optional eLicenser
USB Key (e.g. Steinberg Key).
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Independent of installing the PPG Wave 3.V on a Mac or
Windows computer you will need to activate the
software. You need to have administrator rights to install
and authorize PPG Wave 3.V. If your current user account
doesn't have administrator rights, please quit the installer,
log in as user with administrator rights and start the
installer again.
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You require an active internet connection for license
activation.
1. After successful installation of the PPG Wave 3.V plugin the eLicenser Control Center application will start
automatically. If not, please start it manually. eLicenser
Control Center can be found within your Application
PPG Wave 3.V User´s Manual
10
PPG Wave 3.V is copy-protected by the Soft
eLicenser Copy Protection. You do not need an USB
key to authorize PPG Wave 3.V on a particular
computer. However, we strongly recommend to
transfer the PPG Wave 3.V license to an eLicenser
USB Key (i.e. from Steinberg or eLicenser) during or
after activation. Please consult the eLicenser Control
Center Online Help how to perform this optional
step.
Installation
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If you want to use PPG Wave 3.V on different
computers or if you want to remove the soft license
from your current computer or if you need to reinstall
your computer system you must transfer the PPG
Wave 3.V eLicense to an eLicenser USB Key.
Otherwise your soft license will be gone forever.
Please note the “Read Me!” and “Important Changes”
text files on the PPG Wave 3.V CD-ROM, which may
contain additional information and/or any changes.
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.
Otherweise your soft license will be gone forever.
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PPG Wave 3.V User´s Manual
Basic Operation
Basic Operation
•
Layering of sound programs. You want to create new,
astonishing sound combinations.
General Operation
•
Working with multi samples (Transients)
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PPG Wave 3.V has been optimized for a screen resolution
of at least 1024x768 pixels. If the resolution of your
screen is lower you will have to scroll your window. PPG
Wave 3.V has various on-screen controls, whose behavior
differs according to the Control Mode settings in the
Global panel (Auto/Linear/Circular).
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Useful Knowledge about Multi Parts
With the PPG Wave 3.V, you can simultaneously create
up to eight different sounds. This function is generally
called Multi Part Mode. Which of the eight sounds you
play, depends on the MIDI send channel of your host
application. You can use the Program menu to select
sounds for the eight MIDI channels.
Working with a sequencer. You want to use different
sound programs on different MIDI channels for
simultaneous playback.
PPG Wave 3.V User´s Manual
Make sure to load the PPG Wave 3.V as
multitimbral
instrument
within
your
host
application to provide full functionality when using
the Multi Part Mode.
Key Combinations
•
If you hold down the [CTRL] key (PC) or Command key
(Mac) on your computer keyboard and click on any
control, its value is automatically set to its default value
(e.g. Cutoff is set to 63, Emphasis is set to 0 or
modulations are set to OFF).
•
If you hold down the [SHIFT] key when in linear mode,
you can increase the resolution of a dial, value selector
or wheel.
•
If you use a computer mouse with scroll wheel you can
use it to change parameters. Move your mouse pointer
There are three reasons to use the Multi Part Mode:
•
Using the Transients (samples) in connection with the
multimode is a distinctive feature. Please read the
corresponding chapter “Transient Menu”.
12
Basic Operation
•
•
over the desired value and use the scroll wheel to
change it. If you hold down the [SHIFT] key you can
also increase the resolution.
Using PPG Wave 3.V’s controls is simple. There are some
different types of control elements:
You can increase the resolution of a dial, value selector
or wheel by holding down the [Shift] key on your
computer keyboard when you use the respective
control. If a dial is set to “circle mode” (you change a
value by dragging around the dial in a circle), then you
can temporarily change to “up/down mode” by holding
down [ALT].
Dials
To set a value, click on the dial, hold down
the mouse button and drag around the dial in
a circle (Control Mode setting: Circular) or
move the mouse up and down (Control
Mode setting: Linear). The Control Mode
setting can be found within the Global panel.
Doubleclick on a value to open a text input field for
direct parameter input via your computer keyboard.
Parameter Values
These allow to
set a parameter
value. Click and
hold the mouse button on the value and drag the mouse
up or down. Pressing [SHIFT] while holding the mouse
button allows finer adjustment. You can also doubleclick
on any value to enter it via your computer keyboard.
Control Elements
The PPG Wave 3.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? As matter of fact 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 3.V displays all parameters as dials, same as it was
the case with the original. All digital parameters can be
viewed and edited on a 'LCD' display.
Pop-up Menu
Click on the corresponding
parameter to open a pop-up
menu where you can choose the desired parameter.
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PPG Wave 3.V User´s Manual
Basic Operation
a brief description of the parameter function. In addition,
MIDI controller allocations (CTRL) and the current
numerical value of the parameter are displayed as well as
the actual multi part. If you hover over a parameter using
the mouse, the corresponding information appears in the
information display. Clicking on the arrow buttons leftside
of the sound program name allows you to switch forth
and back between programs. Clicking on the arrow
rightside opens a pop-up menu for fast program selection
within the actual bank.
Switches
Switches are represented by
“LEDs”. If a function is active, its
“LED” will be lit red. To
activate/deactivate a function, click on its “LED”.
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 PANEL button, buttons light up in blue
when they have been used. Button states are not saved
with programs.
Envelopes and Graphs
These allow you to set a
parameter value to ON or
OFF. Click on the value to switch between ON and OFF.
Click on the respective
handle of an envelope
and drag into the
desired direction to
change the desired envelope parameter. You can also
doubleclick on any selected value to open a text field for
direct value input.
Display
Click and move your mouse vertically within the LFO and
oscillator graphs to change the desired parameter.
Selection Switches
The information display shows parameter information and
PPG Wave 3.V User´s Manual
14
Basic Operation
Sound Selection
Wheels
To change the value, click on the wheel and
drag the mouse up or down. The Pitch-Bend
wheel snaps back into its center position as
soon as you release the mouse button.
To select a Sound Program, please proceed as follows:
•
Click on the arrow buttons in the Head-up section to
step through the sound programs of the current
loaded sound bank.
•
Click on the left arrow buttons in the Display to step
through the sound programs of the current loaded
sound bank.
•
Click on the right arrow button in the Display to open
a pop-down menu for a faster sound selection.
•
Use the Program overview to select sound programs
for all 8 parts.
•
Use our Sound Browser for efficient and fast sound
selection and search. Read more in the
corresponding chapter.
•
If your host application offers a Load/Save dialogue
you can also use it to load and save sound programs.
Waldorf Logo
If you click on the Waldorf logo, a
“program information” window
opens.
The Virtual Keyboard
Same as the original, the PPG Wave
3.V provides a standard keyboard (61
keys). Click on a key to hear the
corresponding note. If you hold the
[ALT] key while clicking, you can
hold a note to play chords. Release the [ALT] key to end
the played notes.
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PPG Wave 3.V User´s Manual
The Controls
3. The Edit menu button opens a pop-down menu
containing various functions for editing sound programs,
banks and parts.
The Controls
Overview of Functions
4. The Sound Selection arrow buttons are for selecting
sound programs.
The analog user interface offers direct access to the dials
on the PPG Wave 3.V. The pitch-bend and modulation
wheel 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.
5. The Waldorf logo is clickable and opens a window
with vitally important information about the PPG Wave
3.V.
The File Menu
Left click on the File menu button to open a pop-down
menu with the following parameters:
The Top Menu Section
•
Load Bank opens a window to load a PPG Wave
3.V sound bank.
The Top Menu section provides the global overview and
includes the following elements:
•
Save Bank opens a window to save the current PPG
Wave 3.V sound bank.
1. The BROWSE and EDIT buttons toggle between
standard PPG Wave 3.V user interface (EDIT) and Sound
Browser window (BROWSE).
•
Load Program opens a window to load a single
PPG Wave 3.V sound program.
•
Save Program opens a window to save the current
PPG Wave 3.V sound program.
2. The File menu button opens a pop-down menu
containing all functions for loading and saving programs
and banks.
PPG Wave 3.V User´s Manual
16
The Controls
•
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.
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.
•
Paste Program pastes the sound program from the
clipboard to the current sound program.
•
Recall Program recalls all sound edits and recalls
the program as it was stored.
•
Init Program initializes the current sound and sets
all sound parameters to standard values.
•
Init Part initializes the current part and sets all part
parameters to standard values.
Init All Parts initializes all parts and sets all part
parameters to standard values.
•
Recall Bank recalls all sound edits of the loaded
bank and recalss the bank as it was stored.
•
Init Bank initializes the current bank and sets all
parameters to standard values.
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The Edit Menu
•
•
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Please note that some host applications like Cubase 4
or 5 use an additional sound data managment. It
offers an alternative way to load and save sounds.
Please refer to the corresponding chapter in the
manual of your host application.
PPG Wave 3.V User´s Manual
The Controls
“Waveterm B Disk Images” or show “AudioUnit
Setting” (Mac only).
The Sound Browser
The PPG Wave 3.V offers comprehensive functionality for
selecting, searching and managing sound programs.
Click on the BROWSE button in the Top Menu section to
open the Sound Browser window.
•
Bank Manager table search field – here you can type
in any name or search strings to find desired sounds
of a bank. Search results will be highlighted, all other
sounds greyed out. Click on the cross to reset the
search field.
Here you can manage all used Multi parts as also the
corresponding samples (Transients).
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At the top of the File Browser different search and
category options are available:
The pop-up menu “Show all” selects which file types
are displayed. You can choose between “Show all”,
show “Programs” only, show “Banks” only, show
PPG Wave 3.V User´s Manual
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.
Part Manager
The Sound Browser consists of three main sections: The
Part Manager in the top left area, the Bank Manager in
the lower left area and finally the File Browser on the
right.
•
•
Keep in mind that the Part Manager is available in all
program modes. Selection of Transients (Samples) is
only possible within the Part Manager or in the
PROGRAM panel.
You can mute (M) or solo (S) each of the 8 parts by using
the corresponding buttons.
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The Controls
You can select sound programs by using the arrow
buttons.
other functions. It offers the following mouse and
keyboard functions:
To select the desired MIDI receive channel you can open
a drop-down menu by clicking on the arrow button next
to the MIDI channel number.
•
Click selects a Program. Selected Programs are
highlighted with a filled background in a different
colour.
To play the sound program of a Part you have to set the
corresponding MIDI channel within your host application
to the same channel number.
•
2nd Click gives you the ability to rename a Program.
•
Double-Click switches to that Program. Active
Programs are highlighted with a frame in a different
colour.
•
Shift + Click selects a contiguous range of Programs.
•
Command + Click [Mac] / CTRL + Click [Windows]
adds a Program to or removes it from the current
selection.
•
Right Click [also CTRL + Click on Mac] opens a
context menu with the following menu items:
The column Transient allows to load a separate sample for
each Part. Click on the corresponding arrow button to
open a context menu and choose “Load Transient...”.
“Clear” removes a loaded Transient. Drag & Drop of
samples is also supported.
Alternatively you can play multi samples with separate
key zones by using the 8 parts. Please read more in the
chapter “Transient Menu”.
Bank Manager
The Bank Manager shows all 128 Programs of the
currently loaded Bank. It allows to quickly access or
manage these sounds. Managing includes reordering,
copying and pasting, importing and exporting among
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•
Open – opens a fxp or aupreset from a desired
location.
•
Save as Single Programs – saves the selected
Programs to a desired location as fxp (VST
version) or aupreset (AU version).
PPG Wave 3.V User´s Manual
The Controls
•
Dragging:
Copy – copies the selected Programs to the
system clipboard. This allows copying and
pasting Programs between different PPG Wave
3.V instances.
•
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. Note that Category Sort doesn't
sort the factory-given categories alphabetically
but in a meaningful order.
•
Arrow Keys (Up / Down / Left / Right) select a
Program and switch to it.
•
Shift + Arrow Keys selects a contiguous range of
Programs.
PPG Wave 3.V User´s Manual
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•
Swap – Drag and drop entries inside the Program
Table swaps the selected Programs with the ones
starting at the drop location.
•
Copy – Holding Option [Mac] or Alt [Windows]
during the drop operation copies the selected
Programs to the ones starting at the drop location.
•
Import – Drop of a selection of files of known file
types from Finder [Mac] or Explorer [Windows]
imports them into Programs starting at the drop
location. Dropping Bank Files (.fxb) and Program
Files (.fxp or .aupreset [Mac]) at once results in
undefined behaviour, depending on the order in
which the Operating System delivers these files to
PPG Wave 3.V.
•
Export – Drag and Drop into the File Browser, the
Finder [Mac], the Explorer [Windows] or any other
application that is aware of dragged files saves the
selected Programs to disk into the selected folder as
invidivual .fxp files (or as .auprest files when run as
AudioUnit on Mac). The files are always stored with
unique file names, so no existing files are
overwritten.
The Controls
•
•
Share – Drop on any application that can handle files
to perform further actions with them, such as an
email application to easily share PPG Wave 3.V
Programs with other musicians.
•
The File Browser view differs from the Explorer tree view
[Windows] in that it displays folders and files both in the
same structure. This allows to view or select files in
different folders at once which wouldn't be possible with
a split view, which would only show the files of one
single folder.
List – Drop on any application window that doesn't
handle files creates a text list from the selected
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].
The File Browser shows at least the content of the default
PPG Wave 3.V Program locations on disk. They are called
Local Library (accessible for all users of the particular
computer) and User Library (accessible only for the
current user) respectively and are located in the following
locations (note that folder names might be localized or
personalized on your operating system version. Those
folder names appear in [brackets]):
File Browser
The File Browser shows file and folder (directory)
hierarchies of certain folders in a tree view similar to the
Finder [Mac] or Explorer [Windows]. It allows to quickly
access or manage files of all known file types on disk.
Managing includes restructuring, duplicating, removing,
importing and exporting among other functions. Only
known file types are presented, files that PPG Wave 3.V
doesn't understand are not added to the tree.
Presets Location on a Mac computer:
Local Library: /Library/Audio/Presets/Waldorf/PPG Wave
3.V/
User Library: [User home directory]/Library/ Audio/
Presets/Waldorf/PPG Wave 3.V/
The following file types will be displayed:
•
VST presets and banks (.fxp and .fxb)
•
AU presets (.aupreset, only Mac)
•
Waveterm B Library Transients
Audio formats AIFF, Wave, mp3, Ogg Vorbis, FLAC
Preset Location on a Windows computer
Local
Library:
[PPG
Wave
3.V
path]\Waldorf\PPG Wave 3.V Sounds
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installation
PPG Wave 3.V User´s Manual
The Controls
User Library: [Documents And Settings]\[User home
directory]\[Application Data]\Waldorf\PPG Wave 3.V\
The File Browser offers the following mouse and keyboard
functions. Please note that all operations which modify
files or folders on disk require sufficient access privileges:
Further folders can be added and removed at will but we
strongly recommend to not add an entire hard disk or
other huge folder structure since scanning those might
take a very long time and if the number of found items is
huge, PPG Wave 3.V might behave unpredictably.
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Click selects a file or folder. Selected items are
highlighted with a filled background in a different
color.
•
2nd Click 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.
•
Double-Click on a file loads that file into PPG Wave
3.V. A Program File (.fxp or .aupreset [Mac]) is
loaded into the currently active Program location
overwriting the Program that was there previously. A
Bank File replaces the whole memory of PPG Wave
3.V completely.
•
Double-Click on a folder reveals or hides its content.
•
Shift + Click selects a contiguous range of files and
folders.
Working with the File Browser
The view is divided into two columns. The first column
shows the file or folder name, the second the last
modification date. Folders have a small triangle to their
left to reveal or hide their content.
Files or folders that are added to the tree by either
dropping them onto the file browser or by using the
context menu items “Add...” or “Duplicate” are always
created with unique file names. These file names are
created in the style “original_name number.extension”
where “original_name” refers to the original file name
without extension, “number” refers to a unique number
starting at 1, which is incremented until a unique name is
found, and “extension” refers to the original file extension.
PPG Wave 3.V User´s Manual
22
The Controls
•
Command + Click [Mac] / CTRL + Click [Windows]
adds a file or folder to or removes it from the current
selection.
•
Right Click (also CTRL + Click on Mac) opens a
context menu with the following menu items:
•
Open – loads the selected file into PPG Wave
3.V.
•
New Folder... – creates a new folder on disk
inside the selected folder or the enclosing folder
if a file is selected. Upon successful creation, the
folder can be renamed.
•
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.
•
Duplicate – duplicates the selected files or
folders and renames them uniquely.
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•
Move to Trash – moves the selected files or
folders to the system trash.
•
Reveal in Finder [Mac] / Reveal in Explorer
[Windows] – reveals the selected files or folders
in a Finder [Mac] or Explorer [Windows]
window.
•
Add Scan Folder... – shows a folder select dialog
to select a folder that is scanned for folders and
files with known file types and adds the result to
the File Browser view. No files are copied by this
command, the selected folder is only added to
the view tree. All added scan folders are stored
in PPG Wave 3.V's preferences when PPG Wave
3.V is closed and they are added to the File
Browser automatically on subsequent launches.
•
Remove Scan Folder – removes the selected toplevel folder from the list of scanned folders if
possible. The main library folders Local Library
and User Library cannot be removed, only the
custom scan folders can.
•
Refresh – refreshes the content of the selected
folder or the enclosing folder if a file is selected.
•
Refresh All – refreshes the content of all folders.
PPG Wave 3.V User´s Manual
The Controls
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Arrow Keys Up / Down select the previous / next file
or folder in the file browser.
The Analog Control Panel
•
Arrow Keys Left / Right close or open a selected
folder.
BASIS
•
Return (or Enter) loads the selected entry into PPG
Wave 3.V memory. A Program File is loaded into the
currently selected program, a Bank File replaces the
whole memory of PPG Wave 3.V.
The BASIS dial controls the position of voices
within the stereo panorama (pan). If this is set
to 0, all voices are audible in the middle of the
stereo spectrum. If you turn it to the right,
voices in POLY mode alternate between a left
and a right pan position. In DUAL, QUAD
and MONO modes, voices are equally spread
within the stereo spectrum. This function only
makes sense, if you monitor your audio signal in stereo.
Dragging:
•
•
•
Move – Drag and drop inside the File Browser or
between the Finder [Mac] or the Explorer [Windows]
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.
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Copy – Holding Option [Mac] or Alt [Windows]
during the drop operation copies the selected files or
folders to the new location.
VOLUME
This dial is used to set the overall output volume of the
PPG Wave 3.V. It is a good idea to lower the Volume
value, if a sound tends to distort anyway because of its
settings.
Load – Drag of selected files to the Program Table
loads them into PPG Wave 3.V RAM starting at the
highlighted location.
PPG Wave 3.V User´s Manual
In contrast to the original PPG, where it could
happen that two consecutive voices would sound on
the same channel, voices in the PPG Wave 3.V
always sound alternatively for each channel.
24
The Controls
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LOW FREQ OSCILLATOR (LFO)
LFO (Low Frequency Oscillator) is an oscillator that
creates an oscillation below the threshold of audibility.
This can be used to continuously control different
parameters (e.g. to control the WAVES, the FILTER or the
pitch of the oscillator).
The original PPG LFOs were calculated with a very
low update rate, as back then the available processor
power had to be carefully distributed to the various
tasks. In the PPG Wave 3.V you can get the same low
update rate if you activate TRUE PPG.
DELAY
This parameter enables a time delayed LFO modulation.
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The PPG Wave 3.V’s LFO offers four different oscillator
waveforms as modulation signal. Modulation intensity can
be controlled with the modulation wheel (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 the
TOUCH parameter in the MODULATION panel is set to
OFF, otherwise the LFO will only modulate the signal if
Aftertouch data is generated at the same time.
If TRUE PPG is deactivated, DELAY doesn’t have an
impact when set to zero. If TRUE PPG is active, the
LFO is faded in with any new key that you press,
irrespective of the DELAY parameter setting.
WAVESHAPE
The LFO can create the following four waveforms:
Triangle, falling saw tooth, rising saw tooth and Square.
You can use this control to select one of these waveforms.
The LFO can also be synchronized to the Song tempo of
your host application by clicking the red LED next to the
RATE knob.
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PPG Wave 3.V User´s Manual
The Controls
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CLK (Clock)
Same as on the original PPG, the LFO waveform
Square jumps between “no modulation” and “full
positive modulation”. The other three waveforms
oscillate between “full negative modulation” and “full
positive modulation”. You can clearly notice this
effect, if you activate MOD>FILTER and switch back
and forth between the various waveforms.
The Clock button synchronizes the LFO to the tempo of
your host application. If activated the corresponding LED
lits red. Additionally a small arrow lits up. Click on it to
open a pop-up menu for faster selection of LFO rates with
musical steps.
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LFO Waveshape and Rate can also be edited within
the Graph menu.
ENVELOPES
RATE
An Envelope creates a variable control signal. It is for
instance used to modulate the filter settings of a sound
within a given period of time. The classic Envelope form
consist of four separately controllable phases: Attack,
Decay, Sustain and Release, which is why it is also called
ADSR Envelope. If you press a key, the Envelope is
started. Within the period of time that you have defined
with the ATTACK parameter, it first rises to its maximum
value. Then it needs the time set with the DECAY dial to
fall to the level set with the SUSTAIN dial. It remains
there until you let go of the key. Then the Envelope sinks
back to zero within the period of time that you have set
with the RELEASE dial.
The Rate dial controls the LFO’s speed. If this is set to its
minimum value, the LFO operates with 0.09 Hz (one
cycle in 10,6 seconds). If Rate is set to its maximum value,
the LFO speed reaches 24 Hz (i.e. 24 cycles per second).
If CLK (Clock) is activated, the LFO speed can be selected
in musical steps (from 1/32 to 128 bars).
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If TRUE PPG is activated, higher LFO rates produce
unpredictable but rhythmical modulations as in the
original PPG.
PPG Wave 3.V User´s Manual
Again, TRUE PPG has influence on the modulation. If
activated, the LFO modulation is slightly shifted.
26
The Controls
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The PPG Wave 3.V has two unipolar ADSR envelopes
and one AD envelope with positive or negative deflection,
which can also be edited graphically. Find additional
information in the section “The Graphical Editor (Graph)”.
The original PPG Wave 2.2 and 2.3 saved only a few rates
that have displayed. Attack rates were saved with only 16
steps, e.g. values as 0, 4, 8, 12 and so on. Decay and
Release rates were saved with 32 steps (0, 2, 4, 6 etc.). If
TRUE PPG is activated, the PPG Wave 3.V plays also
these reduced rates. Deactivate TRUE PPG if you want to
have all values of an envelope rate for a smooth sound
control.
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The original PPG had an especially interesting
feature, which can of course always be found in the
Plug-In. If the Attack Rate of an Envelope was set to a
value higher than 47, then the signal would execute
the Attack-phase completely, no matter if the note
was still played or not. The Envelope would always
switch into the Release-phase. This function is
especially useful for long filter-sweeps. For this to
work, Envelope 2, which controls the volume, must
of course also be set correspondingly.
ADSR ENVELOPE 1
This Envelope is used to control the filter frequency and
the waveforms. The four dials control the exact Envelope
form and time-wise modulation development. The impact
of the Envelope on the filter frequency can be adjusted
with the ENV1-VCF parameter, the intensity of waveform
modulation is changed with the ENV1-WAVES parameter.
In the Appendix of this manual you will find a more
detailed explanation of envelopes.
Although only common controllers are available for this
envelope, the calculation is done twice. The waveform
envelope is a little bit faster than the filter envelope and
has to wait after each envelope phase until the filter
envelope matches the phase. If so, the next phase starts
automatically.
27
PPG Wave 3.V User´s Manual
The Controls
Short settings for Attack, Decay or Release will be
ignored by the waveform envelope. This prevents the
typical click sound that occurs within the PPG Wave 2.2
and 2.3.
ADSR ENVELOPE 2
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.
This Envelope is used to control level development. The
four dials control the exact Envelope form and time-wise
modulation development of the sound’s level. The
intensity of this Envelope can be controlled with the ENV2
VCA parameter.
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All three Envelopes can also graphically be edited in
the GRAPH editor.
AD ENVELOPE 3
MODIFIERS
This Envelope can be assigned to different modulation
targets. Attack and Decay behave as usual, but the signal
always travels through the Envelope completely, no
matter if a note is held or not.
This section creates the actual sound. Two Wavetable
oscillators (OSC and SUB) as well as a low pass filter with
resonance capability.
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 creates a
negative (when turned counter clockwise) or a positive
(when turned clockwise) Envelope deflection.
Sound creation in the PPG Wave 3.V bases on waveform
sets, called Wavetables. You should think of these as a
PPG Wave 3.V User´s Manual
28
The Controls
sequence of 64 single Waves. This can be played back in
a static way or passed through dynamically, which results
in the PPG-typical interesting sound transformations. If the
Waves do not differ much, then the Wavetable will
probably sound smooth and pleasant. If they have a
completely different structure, this will result in abrupt
spectral changes.
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CUTOFF
Similar to the original, the PPG Wave 3.V contains a low
pass filter with resonance capability and a slope rate of 24
dB per octave. Additionally it is switchable to 12 dB per
octave. The original PPG doesn´t offer this slope rate. The
filter attenuates frequencies above the corner frequency
set with the dial. Turning the dial clockwise opens the
filter, so that all frequencies can pass unchanged when
the dial is fully up. Turning the dial counterclockwise
closes the filter. When the dial is turned down, you won’t
hear anything, same as on the original PPG.
More information about Wavetable synthesis can be
found in the Appendix of this manual.
The PPG Wave 3.V offers nearly 140 Wavetables and the
last four Waves of each of the classic Wavetables are
always the classic analog waveforms Triangle, Pulse,
Square and Saw tooth. You should thus first use these four
waveforms, if you want to create typical analog sounds.
The new Wavetables don´t offer these analog waveforms.
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Additionally, you have the UPPER WAVES, another
Wavetable, which is always available on all MIDI
channels. Please also read the section “Upper Waves”.
New Wavetables with the letter “U” don´t offer the Upper
Wavetable because they contain already 128 different
waves.
The Slope button reduces the slope rate to 12 dB per
octave.
More information about how a filter works can be
found in the Appendix of this manual.
EMPHASIS
Emphasis, often also named Resonance, emphasises a
narrow frequency band around the corner frequency.
Lower settings between 15 and 50 make the sound more
brilliant and nasal and give it the typical filter character.
Please note that higher settings attenuate the level in the
29
PPG Wave 3.V User´s Manual
The Controls
same way as the SSM 2044 filter chip did in the original
PPG 2.2/2.3.
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DIGITAL panel. 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. This method helps you to find the basic
character of the sound, to which a modulation (e.g.
caused by the LFO, the Envelope or by Key tracking) is
assigned.
PPG users do especially like the typical sound
character that results from high Cutoff and Emphasis
settings. Caused by the combination with the
waveforms, the sound becomes extremely thin and
delicate.
DRIVE
When a Transient is loaded the startpoint of the sample
can be moved in steps of 128 samples. A value of 0 starts
the sample from the very beginning, a maximum value of
63 moves the startpoint to 8064 samples.
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.
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Waves-Sub-Oscillator (WAVES SUB)
Depending on the setting of the SUB-WAVES parameter in
the DIGITAL panel, the WAVES-SUB parameter selects a
certain waveform. Please find more information in the
section “DIGITAL Panel”.
Use the Drive button in the Panel section to change
the characteristic of the saturation from a hard
transistor distortion to a tube saturation.
Waves-Oscillator (OSC WAVES)
Waves-Oscillator controls the starting point of the
Wavetable (or a loaded Transient) selected in the
PPG Wave 3.V User´s Manual
30
The Controls
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Envelope. Experiment with Cutoff and this control to find
out what they do. Note that the Envelope intensity can
only use the positive deflection form, same as on the
original PPG Wave.
Within sound memory, the current and Upper
Wavetables are arranged in the form of a sequential
ring. If you thus create a modulation that exceeds the
63rd Wave, then the corresponding Waves of the
Upper Wavetable become audible. The same goes for
modulations below 0. You simply use the parameter
UPPER WAVES to replace the Wavetables of the
oscillator. The SUB-WAVES parameter controls
whether the sub oscillator also uses these replaced
Wavetables.
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.
ENV 1 WAVES
MODIFIERS CONTROL
This controls ADSR Envelope 1’s impact on the
modulation of the oscillator’s Waves. It controls the loop
start and loop end when a Transient is loaded.
This is where you control the impact that both ADSR
Envelopes have on the respective modulation target.
ENV 1 VCF
This controls how ADSR Envelope 1 influences the filter
frequency. The higher you set this value, the more the
filter frequency rises with the modulation deflection of the
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PPG Wave 3.V User´s Manual
The Controls
[
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Try this: Set WAVES-OSC to zero. Set ENV1
WAVES to a value smaller than 60. If you select
60 or higher, you will get into the area of the four
“analog” waveforms, which can lead to rough
sound jumps (which of course can also be
attractive). Now set the ADSR Envelope 1
ATTACK to a value between 32 and 40 and
SUSTAIN to zero. Now you can clearly hear the
Wave scanning process, i.e. how the sound
travels through the Waves of the Wavetable.
Using ENV 1 WAVES and/or WAVES-OSC you
can now exactly control the Wavetable area
through which the sound travels in a certain
period of time. You can additionally scan the sub
oscillator’s Wavetable with ENV 3, which
facilitates interesting sound transformations.
PANEL FUNCTION
SLOPE 12 DB
Click on this button to change the filter
characteristic from 24 dB per octave to 12
dB per octave. The corresponding LED
lights up in red.
DRIVE TUBE
Click on this button to change the drive characteristic to
an asymmetric saturation that sounds like a valve
saturation. If not activated , the drive characteristic is
similar to a hard transistor saturation.
TRUE PPG
Keep in mind that ENV1 WAVES can move a sample
loop. Loop length is unaffected.
If you activate this function, the PPG Wave 3.V is set into
a special mode where it shows the same peculiarities in
behaviour that its original model showed. The LED lights
up in red, if the function is active. According to this
parameter the setting of the PPG WAVE MODE
parameter on the DIGITAL panel is also important.
•
PPG Wave 3.V User´s Manual
32
You hear the typical aliasing noise of the original
PPGs, especially when creating higher notes.
The Controls
•
Wave scanning produces typical click noise as can be
heard within the original PPG synthesizers.
•
The LFO oscillates irregularly, LFO Delay set to zero
fades in the LFO with each newly started note.
•
Filter tuning varies slightly to simulate the tuning
instability of the analog filter chip.
•
Playback quality of Transients is set to 8 Bit mode
(PPG WAVE MODE = 2.2) or 12 Bit mode (PPG
WAVE MODE = 2.3).
•
Panel Buttons and Panel Sections
PROGRAM Panel (PROG)
Here you can manage all used Multi parts as also the
corresponding samples (Transients). To open the Program
panel, press the PROG button on the Plug-In panel. The
button lights up in blue.
Envelopes are showing the same behaviour with
shapes and rates as in the original PPG synthesizers.
All eight Multi Parts have the same settings that are
described on the following pages.
•
33
Part selection: Click into the free area left of the Part
number to activate the desired Part. The Control Panel
changes automatically to the selected sound program.
A small arrow indicates the choosen part.
PPG Wave 3.V User´s Manual
The Controls
•
The Mute button mutes the corresponding part.
•
The Solo button mutes all other parts.
•
Program Selection gives you an overview over all
loaded sound programs. You can select sound
programs by using the arrow buttons.
•
Click on the Group button to group all eight parts.
This is useful when working with Multi samples on
different parts to edit them simultaneously. Please read
also the chapter about Transients.
•
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The MIDI Channel Selection (CH) determines the
MIDI receive channel for the selected Part. 1…16
means that the selected Part recieves MIDI data on the
choosen MIDI channel. This setting is useful when
working within a sequencer arrangement with
different PPG Wave 3.V sound programs.
If you want to playback Multi samples or layered
sounds you can set all Parts to the same MIDI
channel.
•
Panorama (PAN) determines the position in the
stereo panorama. When the setting is L64, the sound is
panned far left; when the setting is R63, it is panned
far right. If you want to situate the sound in the middle
of the stereo panorama, use the CTR setting.
•
In the Category Column (Category) you can enter
any category name (e.g. Bass, Lead, Pad etc.).
Doubleclick on the desired category area to open a
text field.
•
Output (OUT) determines the output of the selected
part where the audio signal is routed. PPG Wave 3.V
offers 8 stereo outputs which can be activated in the
Global menu.
•
Transpose (TRP) sets the pitch of the selected Part in
semitone steps. I.e., a value of -12 means that the part
Part Volume (VOL) determines the volume for the
selected Part.
PPG Wave 3.V User´s Manual
34
The Volume parameter sets the maximum output
volume of the selected part. If you use MIDI
Controller #7 (Channel Volume) to change the
volume of the Instruments that receive on this MIDI
channel, the real output level is scaled to the volume
set up in this parameter. This means that if you set
Volume to 10 and Controller #7 to 127, the
maximum output volume is 10.
The Controls
sounds one octave lower than it was originally
programmed.
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•
Detune (DTN) fine-tunes the selected part in steps of
1/64th of a semitone.
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•
Lo Key range can be restricted fort he part´s tone
generation. Only notes with the key number higher or
equal to the selected value are passed through. Set this
parameter to C-2 if you want to use the full keyboard
range.
•
Hi Key ist he counterpart to the Lo Key paramater.
Only notes with a key number lower or equal to the
selected value are passed throug. Set this parameter to
G8 if you want to use the full keyboard range.
•
Transient is for loading a separate sample for each
part. This is similar to the parameters in the DIGITAL
and in the TRANSIENT menu. If you set up samples for
up to 8 programs you can see an overview of the
loaded samples. Alternatively you can load 8
corresponding samples (so called Multi samples) and
set up with Hi Key and Lo Key to play it as one single
sound (by using the same MIDI channel). Click on the
corresponding arrow button to open a context menu
and choose “Load Transient...”. “Clear” removes a
loaded Transient.
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More information about Transients and their usage
can be found in the chapter “Transient Menu”.
What is a Multi sample?
A Multi-Sample is a bunch of different recordings of
the same single sound in different pitch ranges or
with different articulations. Since harmonics’
characteristics of most sounds change enormously
over the tone ranges and when played differently,
Multi-Samples are the only way to capture all
nuances of the entire sound. PPG Wave 3.V allows to
map up to 8 samples on your keyboard to receive a
more natural sound.
If you have loaded a Transient, Wavetable playback
is disabled for the corresponding Program.
PPG Wave 3.V User´s Manual
The Controls
WAVETABLE
DIGITAL Panel (DIGI)
This parameter is used to select the Wavetable for both
Wave oscillators. Nearly 140 Wavetables are available,
spread over various banks. Click on the left and right
arrow buttons to select the desired wavetable.
Alternatively you can click on the arrow down button to
open a pop up menu for faster selection.
The Digital panel lets you access the Wavetable
parameters, their modulation and the Arpeggiator. To
open the Digital panel, press the DIGI button on the PlugIn panel. The button lights up in blue.
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TRANSIENT
To travel through the Wavetables it is advisable to first
initialize a Program. Continuously hold down a key on
the keyboard (preferably the note C4). Envelope 1 is
programmed to slowly travel through all Waves of the
selected Wavetable (except for the last four “analog”
waveforms). Change the Wavetable to hear how the
various Wavetables sound. You will find that they cover a
wide spectrum of interesting sound colours, including
analog, FM typical or bell-type sounds. If you wish to
increase the “travel speed”, then decrease the Decay
value of Envelope 1 correspondingly.
Here you can load a desired sample. Click on the arrow
button to open a context menu and choose “Load
Transient...”. “Clear” removes a loaded Transient. Drag &
Drop of samples from Explorer (Windows) and Finder
(Mac) is also supported. More information on Transients
and their usage can be found in the chapter “Transient
Menu”.
If you have loaded a Transient, Wavetable playback
is disabled for the corresponding Program.
PPG Wave 3.V User´s Manual
A list of all Wavetables and Banks can be found in
the Appendix of this manual.
The Wavetables are the PPG Wave 3.V’s driving force. To
make sure that you fully use this power, you should
familiarize yourself with the sound and the characteristics
of each Wavetable.
The following sections describe the individual functions in
detail.
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Diverse
36
The Controls
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SUB-WAVES
If you have loaded a Transient, Wavetable playback
for the corresponding Programm is disabled.
BANK
Use this function to activate the Sub Wave oscillator. Four
different settings are possible:
Diverse
Bank chooses a desired presets bank containing different
wavetables. Click on the horizontal arrow buttons to
switch between the banks. Alternatively you can click on
the arrow down button to open a pop down menu for
faster bank selection.
UPPER WAVES
•
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 WAVES-SUB 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. The switch
UPPER WAVES also applies to the sub oscillator in
this setting, as this still concerns an Offset between
sub oscillator-waveform and oscillator-waveform.
•
DIRECT means that WAVES-SUB plays the set
waveform directly, and that no modulation can
change it. If you e.g. want to perform a Wavescan
only for the main oscillator, while the sub oscillator
should play a fixed wave, then select this setting. The
switch UPPER WAVES has no impact here.
ON / OFF
In addition to the 64 Waves per Wavetable, Upper Waves
are available. This is another Wavetable, which provides
another 64 Waves. Click ON to activate the Upper
Waves. The Upper Waves reside above the regular
Wavetables and expand the Spectrum of the Wave
scanning. Only one Upper Waves “Wavetable” is
available and it is identical for all Wavetables.
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OFF, OFFSET, DIRECT, ENV 3
The original PPG Wave 2.3 could only provide the
upper Wavetable to the Sound on the first Part. In the
PPG Wave 3.V UPPER WAVES can be active on each
channel.
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PPG Wave 3.V User´s Manual
The Controls
ENV 3 is identical with DIRECT, except that Envelope
3 is used as the modulation source for the Wave
scanning of the sub oscillator. You can use this
setting to create oppositely directed Wave
modulations of the two oscillators. The switch UPPER
WAVES has no impact here.
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[
SUB-WAVES has also influence on the
Transients playback. You should use it for sound
experiments. Load a sample, set SUB-WAVES to
DIRECT and choose alternative sample start points
and loop start points.
Keyboard Mode (KEYB MODE)
POLY means that an incoming note only creates one
voice. In Poly mode only SEMITONE 1 controls the
pitch of the played notes (in the Original PPG Wave,
this mode was named POLY 8x1).
•
DUAL means that an incoming note creates two
voices. Here, SEMITONE 1 controls the pitch of the
first voice and SEMITONE 2 controls the pitch of the
second voice (in the Original PPG Wave, this mode
was named QUAD 4x2).
•
QUAD means that each incoming note creates four
voices. Here, SEMITONE 1 to 4 control the respective
pitch of the four voices (in the Original PPG Wave,
this mode was named DUO 2x4).
•
MONO means, that each incoming note creates eight
voices. Again, SEMITONE 1 to 8 control the
respective pitch of the eight voices (in the Original
PPG Wave, this mode was named MONO 1 x 8).
Please note, that only one note at a time can be
played. If you create another note while the first one
ist still held, then the first will be cut off. The note is
not memorized. If you thus let go of the note of a
chord, no older note becomes audible.
Poly, Dual,
Quad, Mono
The Original PPG Wave 2.3 offered several options to
stack voices. The SEMITONE parameters in the TUNING
menu are directly connected with this function. Not all
original modes are found in the Wave 3.V, as it would not
make sense because of the dynamic voice assignment that
is used nowadays. (Background: The PPG Wave 2.3
offered a maximum of eight voices). The most important
and interesting Keyboard modes have been taken over
from the original:
PPG Wave 3.V User´s Manual
•
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38
Please read also the section SEMITONE in the chapter
TUNING Panel.
The Controls
PPG WAVE MODE
2.2 / 2.3 / 2.V
ARP ACTIVE
Sets the quality for wavetable and sample playback.
•
2.3 means, that the playback quality is similar to the
original PPG Wave 2.3. Samples will be played back
with a quality of 12 bit and no further interpolation,
This gives you less aliasing but enough bristliness.
•
2.V means, that the playback quality is similar to the
PPG Wave 2.V plug-in. Samples will be played back
with the original quality up to 32 bit and with
interpolation. Use this setting when you don´t wish
any sound quality loss.
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An Arpeggiator splits an incoming chord into single notes
and repeats these dynamically. Different pattern presets
can be used.
2.2 means, that the playback quality is similar to the
original PPG Wave 2.2. Samples will be played back
with a quality of 8 bit and no further interpolation.
This results in a characteristic aliasing and bristliness
of the sound.
•
ON / OFF
The PPG Wave 3.V Arpeggiator has a very simple
structure and serves as a source for sound sequence ideas
and as a fun generator.
If you set Arp Active to On, the Arpeggiator is switched
on. Play a chord on your MIDI keyboard to hear the
effect.
ARP MODE
Up, Down, Alt, Rnd, Moving
This parameter is used to determine the succession of
created notes depending on their pitch.
To hear the different playback quality, the TRUE
PPG parameter must be activated, otherwise the
playback quality is automatically set to high quality.
39
•
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.
PPG Wave 3.V User´s Manual
The Controls
•
If this is set to ALT (alternating), the Arpeggio starts
with the lowest note and then plays upwards to the
highest note. Then it reverses course and plays the
notes starting with the highest and ending with the
lowest note.
•
The RND (Random) setting creates a random
Arpeggio based on the notes of the played chord.
•
The MOVING setting creates an Arpeggio with an
interleave pattern. The note succession with five
keys pressed is as follows: 1-2-1-3-2-4-3-5-4-5-12-1-3-2-4...
ARP RATE
TUNING Panel (TUNE)
The Tuning panel lets you access all parameters that
concern the tuning and pitch modulation of the Plug-In.
To open the Tuning panel, press the TUNE button on the
Plug-In panel. The button lights up in blue.
DETUNE
You can use this parameter to detune the sub oscillator in
relation to the main oscillator and get flanging or chorustype effects, or musically useful intervals. These settings
are possible:
2/1...1/32
Arpeggiator Rate lets you control the note length of the
created individual notes. You can set values from a whole
note to a 32th Triplet. The 4/4 time signature and the
current Song tempo of the host application are used.
Triplets (e.g. 1/8T) and dotted notes (e.g. 1/16) are
available for each note value. Use the pop-up menu for a
fast selection of the desired value.
ARP RANGE
1...4 OCTAVE
Using Arpeggiator Range, you can control the number of
octaves used for the Arpeggio.
PPG Wave 3.V User´s Manual
0 Cents...2 Oct
40
•
The setting 0 CENTS does not create a detuning
effect.
•
The setting 3 CENTS detunes the sub oscillator by 3
cent.
•
The setting 6 CENTS detunes the sub oscillator by 6
cent.
The Controls
•
The setting 12 CENTS detunes the sub oscillator by
12 cent.
•
The setting 24 CENTS detunes the sub oscillator by
24 cent.
•
The setting 7 SEMI detunes the sub oscillator by 7
semitones (a Fifth) upwards.
•
The setting 1 OCT detunes the sub oscillator by one
octave upwards.
•
The setting 2 OCT detunes the sub oscillator by two
octaves upwards.
TOTAL TUNE
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We have no idea, why this parameter was adjustable
between 400 Hz and 499 Hz in the original PPG. But
to keep the charm of the original, we have
implemented it in the same way.
ENV 3>OSC
ON / OFF
You can use this parameter to select the AD-Envelope 3 as
a modulation source for the pitch of the main oscillator.
You can use this to create a rising pitch in the Attack
phase, for example. Using ENV 3 ATT on the analog user
interface, you control whether the deflection should be
positive or negative.
400...499 Hz
ENV 3>SUB
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. We
recommend that you only change the overall tuning, if
you are sure of what you’re doing. Please keep in mind to
adjust the tuning of all other used instruments, if you
change Total Tune.
ON / OFF
You can use this parameter to select the AD-Envelope 3 as
a modulation source for the pitch of the sub oscillator.
Using ENV 3 ATT on the analog user interface, you
control whether the deflection should be positive or
negative.
SEMITONE>KEY
ON / OFF
If active, all eight SEMITONE settings will be cycled upon
each note. To hear this effect you have to set the KEYB
MODE parameter in the DIGITAL panel to Poly.
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PPG Wave 3.V User´s Manual
The Controls
SEMITONE 1-8
0...63
MODULATION Panel (MOD)
These parameters are directly connected to KEYBOARD
MODE in the DIGITAL panel (also see the section
“Keyboard Mode”). They are used to define the pitch of
the individual voices in the different play modes in
semitone steps. If you set a Semitone value to “0”, then
the corresponding semitone will wind up in the 32’
octave range. If you set it to “12”, it winds up in the 16’
octave range etc.
•
SEMITONE 1 controls the pitch in POLY mode.
•
SEMITONE 1 and 2 control the pitches in DUAL
mode.
•
SEMITONE 1 to 4 control the pitches in QUAD
mode.
•
SEMITONE 1 to 8 control the pitches in MONO
mode.
You can use the Modulation panel to make various
settings that concern the modulation sources and their
respective targets. The Modulation panel offers a fast
editable modulation table. To open the Modulation panel,
press the MOD button on the Plug-In panel. The button
lights up in blue.
The x-axis of the modulation table contains all
modulation sources. The y-axis contains the modulation
destinations. Click on a corresponding intersection to
activate the desired modulation or to change the
modulation amount.
Activate the FINE parameter button in the upper area to
add additional modulations that were not possible in the
original PPG Wave. It offers also more detailed
modulation amounts.
PPG Wave 3.V User´s Manual
42
The Controls
wheel. Click on the TOUCH button above the LFO
MW source to activate it. Keep in mind that you have
to move up the modulation wheel to maximum
before you can hear the aftertouch modulation.
w
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The regular modulation table doesn´t offer
modulation amounts in many cases. Instead an
ON/OFF function as in the original PPG Wave is
available. Besides this not all modulations are
possible. If you want to take use of all modulations
you should activate the FINE parametrer.
Keep in mind, that some modulations are not possible
(e.g. Velocity to OSC PITCH). These modulations are
greyed out.
•
LFO offers a modulation based on the settings of the
LOW FREQ OSCILLATOR.
•
MOD WHL offers a modulation based on the settings
of the modulation wheel on your master keyboard.
•
KEY offers a modulation based on the pitch of a
played MIDI note.
•
VEL offers a modulation based on the velocity of a
played note.
•
TOUCH offers a modulation based on the Aftertouch
of a played note. Keep in mind that your master
keyboard has to generate aftertouch data to use this
function.
The following modulation sources are available:
•
BEND offers a modulation by using the pitch bend
wheel in the plug-in or on your master keyboard.
•
LFO MW offers a combined modulation of the LFO
in conjunction with the modulation wheel on your
master keyboard. Modulation intensity of the LFO
can be controlled with the Modulation wheel. If it is
fully turned down, no modulation takes place. You
can also use Aftertouch instead of the Modulation
The following modulation destinations are available:
43
•
OSC PITCH means the pitch of the main oscillator.
•
SUB PITCH means the pitch of the sub oscillator.
PPG Wave 3.V User´s Manual
The Controls
•
WAVES controls the waves of a wavetable. This is in
fact the most interesting modulation within the PPG
Wave 3.V.
•
FILTER means the cutoff frequency.
•
LOUDNESS means the volume.
LFO -> WAVES
This modulation uses the LFO as a modulation source for
Wave scanning.
TOUCH -> WAVES
Provided that your Master keyboard can generate
Aftertouch data, this modulation performs a wave scan
using monophonic Aftertouch (Channel Pressure).
On the following pages you can find some interesting
modulation examples.
KEY -> WAVES
BEND -> WAVES
This modulation allows 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 WAVES-SUB, 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. Most original wavetables were intended to play
back from wave 59 to 0. Using this function on
Wavetable 0, lets you for instance create an electric piano
sound, or you use it on Wavetable 27 to get the famous
“PPG choir”.
PPG Wave 3.V User´s Manual
This modulation uses the pitch bend wheel 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 creates a bipolar modulation. Make
sure to set WAVES-OSC to 29, as otherwise with the
maximum deflection of pitch bend, the four analog
waveforms of the Wavetable are also read out.
KEY -> FILTER
This modulation determines, the degree to which the filter
frequency depends on the played MIDI note. The higher
you set this value, the higher the filter frequency will rise
during play. For instance, if you set this to 100% and play
an octave on the keyboard, the filter frequency changes
44
The Controls
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by the same amount. Please note that this is a unipolar
function, i.e. it only works in one direction.
KEY -> LOUDNESS
The keyboard of the original PPG Wave 2.3 was not
able to generate note velocity data, but it had a
sensor for Aftertouch. This could be used to vary note
velocity. When a key was pressed, the Wave 2.3
calculated the velocity value of the next note, based
upon the detected Aftertouch data. To make things
easier, we have not implemented this method in the
PPG Wave 3.V. It directly uses note velocity.
This modulation defines the degree to which the level
depends on the played MIDI note. A setting of 10:10 will
change nothing. Settings of 1:10, 4:10 or 7:10 will cause
that lower notes sound less loud while settings of 10:8,
10:5, 10: 2 or 10:1 will cause that higher notes sound less
loud.
LFO -> FILTER
VEL -> FILTER
This modulation lets you use the LFO as a modulation
source for cutoff frequency.
This modulation controls the Filter Envelope’s influence
on filter frequency depending on note velocity values.
Use this function to add more expression to your sound.
LFO -> LOUDNESS
With this modulation the LFO will continuously modulate
the level. Please take special note that this modulation is
independent of the Modulation wheel setting. The LFO
parameter DELAY doesn’t have any impact on this
parameter. You can use this parameter to create a
continuous Tremolo effect.
VEL -> LOUDNESS
This modulation determines the degree to which the
volume level depends on note velocity values. Use this
function to add more expression to your sound.
TOUCH -> FILTER
Provided that your Master keyboard can generate
Aftertouch data, this modulation lets you control the
45
PPG Wave 3.V User´s Manual
The Controls
deflection of the Filter Envelope – as set with the ENV
1VCF dial – by using monophonic Aftertouch (Channel
Pressure).
wheel is a bipolar modulation source. It can produce both
positive and negative values.
TOUCH -> LOUDNESS
Provided that your Master keyboard can generate
Aftertouch data, this modulation lets you control volume –
as set with the ENV 2VCA dial – by using monophonic
Aftertouch (Channel Pressure).
BEND -> OSC PITCH
This modulation controls the pitch changes of the main
oscillator in semitones that you make with the Pitch Bend
wheel.
BEND -> SUB PITCH
This modulation determines the maximum pitch change
in semitones that can be reached using the pitch bend
wheel.
BEND -> FILTER
This modulation controls the filter frequency with the
pitch bend wheel. Please keep in mind that the pitch bend
PPG Wave 3.V User´s Manual
46
The Controls
dependent parameters, which is why they can only
be moved horizontally. SUSTAIN represents a
level, not a time period, and can therefore be
moved only vertically.
The Graphical Editor (GRAPH)
In the Graphical Editor, you can quickly and easily edit
the Envelopes, the LFO, both Wave Oscillators and filter
response curve with the mouse. Editing is simplified by
the fact that you see the graphic changes in the
corresponding function. To open the Graphical Editor,
click on the GRAPH button. The button lights up in blue.
ADSR Envelope 1 and 2 are structured identically.
ATTACK, DECAY and RELEASE are time-
You can also doubleclick on any value to open a
text field for direct value input.
Handling of the Wavetable Graphs
Please keep the following in mind:
•
•
Click and hold in the graph and move your mouse
horizontally to change the LFO speed (RATE). Moving
vertically changes the LFO waveform (WAVESHAPE).
To edit, click on the respective handle and drag into the
desired direction. The changes and their parameter names
are additionally visible in the display.
The AD Envelope 3 only has two parameters:
ATTACK and DECAY.
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. Click directly into the graph and
set both parameters as desired.
Handling of the LFO Graph
Handling of the Envelopes and the Filter
Response
•
•
Click and hold in the corresponding graph and move your
mouse up or down to fastly “scan” the loaded wavetable.
If you prefer a slower scanning please move the mouse
horizontally.
47
PPG Wave 3.V User´s Manual
The Controls
The GROUP Button
The Effects Panel (EFFECTS)
Click on this button to activate the Group function. No
additional menu is available. The buttons lits blue when
activated.
The Effects panel offers a wide range of different effects for
the PPG Wave 3.V sound programs. To open the Effects
Panel, click on the EFFECTS button. The button lights up
in blue.
When grouped, all eight parts can be edited
simultaneously. This is useful when working with Multi
samples on different parts. Please read also the chapter
about Transients.
Example: If you change the CUTOFF parameter in Part 1,
it will also be changed on Part 2 to 8. Some parameters
are not affected by the Group functions, as CHANNEL,
VOLUME, Key-Ranges etc.
The PPG Wave 3.V offers a separate effects unit for each
Part. Click on the SHARED button when you want to use
the effects form Part 1 for all other parts.
Click on the GROUP button again to deactivate this
function.
Click to OFF or ON to deactivate or activate the
corresponding effect as desired.
Click on the corresponding effect name to display
parameters for editing.
Some effects (Phaser, Chorus, Delay, Reverb) offer a Mix
parameter. This parameter controls the volume ratio
between the original signal and the effect output. If set to
0%, the dry signal is sent to the outputs only so that no
effects can be heard. Higher values will increase the effect
PPG Wave 3.V User´s Manual
48
The Controls
signal. At maximum setting, the pure effect signal will be
heard.
section is that Drive affects one single voice, while this
effect type distorts the summed output of the whole
instrument. Therefore, the resulting effect is different as
soon as you play more than one note and you should
consider which is best suited to a particular sound
program. The Overdrive effect, for example, works great
on Organ or E-Piano sounds.
EQUALIZER
The PPG Wave 3.V offers a parametric equalizer to adjust
the sound frequencies to your needs. The equalizer
contains four similar structured bands with the following
parameters. Low and High band offers shelving
characteristic, both mid bands offer bell characteristic:
•
Gain raises or lowers the volume of the selected
frequency.
•
Freq (Frequency) sets the frequency at which the
tones will be affected.
•
Diverse
Type
Determines the character of the drive. The following drive
curves are available:
Q widens or shortens the frequency range of the
current band. Low and High band offer additional
shelving
characteristics
with
overshots
and
undershots.
OVERDRIVE
•
Light produces a symmetric light distortion.
•
Medium produces
distortion.
•
Hard cuts the signal at a certain level.
•
Clip generates a typical digital clipping.
•
Tube simulates the asymmetric distortion of a tube
circuit.
a
symmetric
intermediate
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
49
PPG Wave 3.V User´s Manual
The Controls
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0…100%
Drive
Controls the amount of distortion the effect produces. Low
values create no or only slight distortion while high values
create heavier distortion.
Sets the number of Chorus stages. Higher settings result in
a denser effect.
Controls the output level of the distorted signal
Tone
Frequency
11.56 Hz…18795 Hz
0...20 Hz
Mod Speed
0…100%
Sets the modulation depth of the Phaser effect.
Controls the emphasis of the frequencies around the Tone
cutoff point. Use lower values in the range of 15…50 to
give more brilliance to the Overdrive effect.
Mod Shape
SINE, TRIANGLE
Determines the shape of the modulation source for the
Phaser effect.
PHASER
Spacing
A Phaser is a combination of several “allpass” filters
working in parallel. This generates an effect with equally
spaced frequency peaks or throughs. The result is a
strongly colorized signal with a “spacy” character.
PPG Wave 3.V User´s Manual
11.56 Hz…18795 Hz
Sets the LFO speed of the Phaser effect.
Dampens the high frequency output of the Overdrive
effect.
Emphasis
2...12
Stages
0…100%
Post Gain
A Mix setting of 48 to 96 produces the strongest effect
because both the unaffected signal and the processed
signal are mixed together.
0...100%
Controls the relative frequencies of the allpass filters. A
setting of 0 produces a classic phaser, while higher
settings spread out the frequencies of the allpass filters.
50
The Controls
Feedback
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0...100%
Controls the feedback amount of the delay signal.
Mod Depth
0...100%
2/4/6
Stages
Determines whether the feedback signal is fed back into
the Phaser as is, or is inverted beforehand.
Mod Spread
A Mix setting of 48 to 96 produces the strongest
effect because both the unaffected signal and the
processed signal are mixed together.
Sets the number of Chorus stages. Higher settings result in
a denser effect.
0...360
0.023...46.417 ms
Delay
Sets the modulation depth of the Phaser effect in degree.
Sets the initial delay that is added to the Chorus delay
line.
CHORUS
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. The result sounds like an
ensemble of several simultaneous sounds, like a choir as
opposed to a single voice; hence the name Chorus. The
detuning is generated by an internal LFO that can be
controlled in speed and depth. The Chorus’ high
frequency output can be dampened with the Cutoff
parameter. The Chorus effect offers besides the known 2
Stage mode (1 left, 1 right) also 4 (2 / 2) and 6 (3 / 3) Stage
modes. This results in a far denser chorus effect perfectly
suited for lush string or pad sounds. Furthermore, it sports
feedback, which makes the Chorus also act like a Flanger.
0...20 Hz
Mod Speed
Sets the LFO speed of the Chorus effect
Mod Shape
SINE / TRIANGLE
Determines the shape of the modulation source for the
Chorus effect.
Feedback
0.0...100%
Feeds the Chorus output signal back to its input.
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PPG Wave 3.V User´s Manual
The Controls
Clock is set to ON. If activated, a small arrow lits up.
Click on it to open a pop-up menu for faster selection of
delay times with musical values.
0.0...100%
Mod Depth
Sets the modulation depth of the Chorus effect.
0...360
Mod Spread
Mod Speed
Adjusts the phase offset of the LFOs of the right stereo
output compared to the left and the speed deviation of the
additional Chorus LFOs compared to the LFOs of the first
two stages. When set to 0, all LFOs are in sync and the
Chorus resembles the sound of old string machines.
Higher values result in wider Chorus effects. We
recommend a setting of 180 for a wide balanced sound.
The delay effect can be modulated in its delay time with
the integrated LFO. Speed determines the frequency of
this LFO.
Spread
A Delay is an effect that produces echoes of the input
signal. An additional LFO can modulate the delay times.
Feedback
Mod Depth
0.0...100%
Controls the modulation depth when delay time is
changed by means of the LFO. The depth ranges from no
delay to the amount set by the Delay parameter.
0...2000 or 1/512t...13 bars
Sets the length of the Delay tap. Delay offers a range of
usefull musical values. These are only available when
PPG Wave 3.V User´s Manual
0...100%
Controls the amount of signal that is routed back into the
Delay line. Lower values therefore produce fewer echoes
than higher values.
ON / OFF
Synchronizes the Delay to the song tempo of your host
application.
Delay
0:100...100:0 %
Spreads the left and right delay output to half of the delay
time maximum. Leftmost and rightmost settings (100:0 %
or 0:100 %) create a typical ping pong delay.
DELAY
Clock
0...20 Hz
52
The Controls
Low Cut
41.18...22050 Hz
High Damp
Determines the frequency where the lower frequency
parts are divided from the effect signal. A natural delay
doesn´t produce all frequencies equally, so the highpass
cuts the lower frequencies to produce a more realistic
delay effect.
High Cut
Low pass filter in the feedback loop of the delay.
Determines how fast the delay dampens the higher
frequencies. This phenomenon makes a natural echo
sound somewhat hollow. Higher values of the Damping
parameter mean that more high frequencies will be
dampened.
41.18...22050 Hz
REVERB
Determines the frequency where the higher frequency
parts are divided from the effect signal. This parameter
works in the same way as the lowpass filter in the PPG
Wave 3.V´s sound synthesis. A natural delay doesn´t
produce all frequencies equally, so the lowpass cuts the
higher frequencies to produce a more realistic delay
effect.
Low Damp
41.18...22050 Hz
The Reverb effect is probably the most widely used effect
in music production. It is used to add a realistic ambience
to clean and dry audio recorded in a studio. Very
complicated mathematical algorithms are needed to
simulate the complexity of a natural reverb. As a result,
good reverb processors are very expensive. The PPG
Wave 3.V’s reverb effects don’t intend to simulate the
perfect natural room, rather they are an addition to the
sound synthesis to make it more 3 dimensional and
expressive.
41.18...22050 Hz
High pass filter in the feedback loop of the delay.
Determines how fast the delay dampens the lower
frequencies. This phenomenon makes a natural echo
sound somewhat hollow. Higher values of the Damping
parameter mean that more low frequencies will be
dampened.
Shape
0...100
Controls the timing proportion of the early reflections to
the dimensions of the late reverb. Medium settings
roughly result in matching dimensions of the early
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PPG Wave 3.V User´s Manual
The Controls
reflections to the late reverb. Smaller values change the
room to a tube or a reverb plate, bigger values increase
the dimensions to around twice the actual room size.
higher settings separate the effect signal to produce a
more spatious sound.
Feedback
Size
0...100 m
Feedback of the reverb network. Recommended settings
are between 1/4 and half of its range. Higher values create
audible ringing especially with small Size settings, which
don't correspond to any natural reverb response, but
might be used for simulations of spring or plate reverbs.
Maximum setting results in a very long reverb.
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.
Diffusion
0...100 %
Determines the consistency of different room materials.
Lower settings produce a cold strong reflection like a
metal or tile wall. Higher settings make a warm and thick
reverb as if the signal were reflected by an uneven
surface. Settings above 100 change the room
characteristic even further.
Predelay
Density
0...100 %
Controls the density or diffusion of the early reflections. In
real rooms, even the first echoes are smoothed out by the
surface and material of the walls. Recommended settings
are above center.
0…300 ms
Low Cut
Determines the delay in milliseconds between the direct
sound and the reverb effect output. A natural reverb
contains a reflexion which is heard later than the original
signal. The predelay determines this delay so that the
reverb is separated from the original sound. Lower settings
connect the reverb more to the original signal while
PPG Wave 3.V User´s Manual
0...100 %
41.18...22050 Hz
Determines the frequency where the lower frequency
parts are divided from the effect signal. A natural reverb
doesn´t produce all frequencies equally, so the highpass
cuts the lower frequencies to produce a more realistic
reverb effect.
54
The Controls
High Cut
41.18...22050 Hz
Reverb Examples
Determines the frequency where the higher frequency
parts are divided from the effect signal. This parameter
works in the same way as the lowpass filter in the PPG
Wave 3.V´s sound synthesis. A natural reverb doesn´t
produce all frequencies equally, so the lowpass cuts the
higher frequencies to produce a more realistic reverb
effect.
Low Damp
All examples with Feedback set between 0 and 40.
Room
Oil Barrel
Chamber
Room
Club
Medium Hall
Large Hall
Car Park
Underground
Car Park
Tunnel
Underbridge
41.18...22050 Hz
High pass filter in the feedback loop of the late reverb.
Determines how fast the room simulation dampens the
lower reverb frequencies. This phenomenon makes a
natural echo sound somewhat hollow. Higher values of
the Damping parameter mean that more low frequencies
will be dampened.
High Damp
Size
0-2
2-5
2-10
10-16
16-32
32-64
50-80
50-80
Shape
0-40
0-40
~64
~64
~64
~64
0-40
64-127
100
50-70
40
0-40
41.18...22050 Hz
Low pass filter in the feedback loop of the late reverb.
Determines how fast the room simulation dampens the
higher reverb frequencies. This phenomenon makes a
natural echo sound somewhat hollow. Higher values of
the Damping parameter mean that more high frequencies
will be dampened.
55
PPG Wave 3.V User´s Manual
The Controls
sound. Don´t expect high-end sampleplayback, but you
will get nostalgic and expressive sounds.
Transient Panel (TRNSNT)
The Transient Panel is for loading and managing samples.
To open the Transient Panel, click on the TRNSNT button.
The button lights up in blue.
m
If you have loaded a Transient, Wavetable playback
is disabled for the corresponding Program.
We deliver the PPG Wave 3.V with a bunch of samples
that were part of the original PPG sample library.
Of course you can load and playback your own samples.
Stored loop points within a sample will be recognized and
played. Keep in mind that the PPG Wave 3.V only
supports forward loops. Backward loops or alternate loops
won´t be supported. Same is valid for crossfade loops. We
recommend to use a suited audio editor software to set
loop points and render them into the audio file before
using it with the PPG Wave 3.V.
Worth Knowing about Transients
The PPG Wave 3.V offers sampleplayback. This is an
homage to the original PPG Wave 2.2 and 2.3 in
conjunction with the Waveterm or PRK ProcessorKeyboard hardware. Samples are called Transients in the
PPG terminology. You can´t compare the sampleplayback
of the PPG Wave 3.V to the playback of modern software
samplers as Native Instruments Kontakt or Steinberg
Halion. It rather expand the sound diversity of the PPG
Wave 3.V and offers a very characteristic and vintage
PPG Wave 3.V User´s Manual
w
56
The Transients are not stored in the programs or
banks, only their absolute file path is stored. If you
move a sample to a different location on your hard
disk or delete it, the Transient field will show “not
found”, followed by the file name.
The Controls
w
TRANSIENT
Here you can load a desired sample. Click on the arrow
button to open a context menu and choose “Load
Transient...”. “Clear” removes a loaded Transient. Drag &
Drop of samples form Explorer (Windows) and Finder
(Mac) is also supported.
SAMPLE RATE
Shows the original sample rate of the loaded sample. You
can edit it by desire to change pitch of the sample.
The following audio formats are supported by PPG Wave
3.V:
•
Waveterm B Library Transients (WTB Disk Images)
•
AIFF (root key and loop points are read from the file if
they exist), alle sample rates and Bit rates from 8 to
32 Bit
•
WAV (root key and loop points are read from the file
if they exist), alle sample rates and Bit rates from 8 to
32 Bit
•
mp3 (currently Mac-only, no root key or loop read
from file)
•
Ogg Vorbis (no root key or loop read from file)
•
FLAC (no root key or loop read from file)
Keep in mind that stereo samples will be playbacked
in mono due to the mono signal path of the PPG
Wave 3.V. Only the left channel will be played.
The sample rate is the frequency representing the amount
of individual digital sample scans per second that are
taken to capture the original siginal digitally. For normal
CD audio recordings 44100 samples per second are used,
mostly indicated as a frequency of 44.1 kHz
ROOT KEY
C-2...G8
The root key defines the original pitch of a recorded
instrument or of a sample. Each root key represents a
specific key on the keyboard. Lower settings of the ROOT
KEY tune down the sample, higher settings tune it up. If a
sample was recorded with a pitch that doesn´t match to
the ROOT KEY values you can use the SAMPLE RATE for
an exact tuning.
57
PPG Wave 3.V User´s Manual
The Controls
START
The PANEL Button
Start normally marks the beginning of a sample. Higher
settings than 0 change the sample start.
You can hide the panel section by pressing the PANEL
button.
ON / OFF
Click on any other menu button to open the desired panel
again.
LOOP
Activates the loop of a sample. WAV or AIFF samples can
contain loop information which will be automatically
recognized by the PPG Wave 3.V. You can also manually
activate a sample loop and set its start and end point.
LOOP START
Marks the start point of a sample loops.
LOOP END
Marks the end point of a sample loops.
w
If you want to use samples with advanced loop
functions we recommend to use a dedicated audio
editor like for example Steinberg Wavelab (Mac &
PC), BIAS Peak (Mac) or Skylife SammpleRobot (PC).
PPG Wave 3.V User´s Manual
58
The Controls
CONTROL MODE
Global Panel (GLOBAL)
Determines the mouse control for editing knobs in PPG
Wave 3.V:
The Global Panel is for common settings of the PPG Wave
3.V. To open the Global Panel, click on the GLOBAL
button. The button lights up in blue.
VOICES
•
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.
Click on the knob, hold down the left mouse button
and drag the mouse around the dial in a circle to
change values.
•
Linear is an alternative knob control. Click on the
knob, hold down the left mouse button and drag the
mouse up or down to change the value. The knob
reacts like a fader.
1...256
PPG Wave 3.V offers up to 256 voices. The number of
available voices depends on the available processor
power.
OUTPUT MODE
AUTO, CIRCULAR, LINEAR
w
STEREO, 16 OUTPUTS
Here you can select if you want to use the PPG Wave 3.V
with a single stereo output or with 8 stereo outputs (16
OUTPUTS). Depending on your host application you may
have to restart the PPG Wave 3.V plug-in after changing
this parameter.
We recommend the settings Auto or Linear.
100...500 %
VOLUME BOOST
This parameter lets you raise the overall plug-in volume.
GLOBAL CUTOFF / EMPHASIS
You can set an offset for Cutoff and Emphasis for each of
the 8 Multi parts.
59
PPG Wave 3.V User´s Manual
The Controls
The analog filters of the original PPG had to be tuned with
potis. Although the correct settings were written down in
the service manual, some units have had variations of
these settings which results in a more hollow or brilliant
sound. You can emulate this sound by using the GLOBAL
CUTOFF EMPHASIS parameter.
CUTOFF 1...8 / EMPHASIS 1...8
The 8 analog filters of the original PPG wave were
actually tuning stable, nevertheless changing temperature
and other factors could affect Cutoff and Emphasis. To
reproduce this behaviour within the PPG Wave 3.V you
can set up 8 offsets for CUTOFF and EMPHASIS. Every
new played note will be affected by one of these 8 offsets.
PPG Wave 3.V User´s Manual
60
Appendix
How near is the PPG Wave 3.V to the Originaly?
Appendix
To give you a simple answer: very near! An example: the
filter in the original PPG was a SSM 2044 chip. If the
resonance was increased, this filter attenuated the input
signal by up to 12dB. The PPG Wave 3.V works exactly
like that. Furthermore, the resonance of the SSM 2044 had
a very special character, which in this form is not
implemented in any other filter circuit or IC. If you have
the chance to listen to and directly compare both the
original and the Plug-In, you will find, that the resonance
(or Emphasis, as it’s called in the PPG) of both sounds
absolutely identical. Another characteristic of the original
PPG was its Aliasing noise – actually a side-effect during
the reproduction of digital signals – which added an
originally undesired noise level to the sound. Actually, it
is very simple to create Aliasing. But creating a type of
Aliasing that has the same behaviour as on the PPG, is a
challenge. In the PPG Wave 3.V you can even choose,
whether you want Aliasing of the PPG Wave 2.2, the PPG
Wave 2.3 or none.
History
In the end of 1970, the German mastermind Wolfgang
Palm and his company PPG (Palm Products Germany)
came up with the idea, to copy the sound and behaviour
of analog circuits and replace it with a digital
representation of oscillator waveforms. In this process,
different successive waveforms were stored in
Wavetables. While passing through, the sound changed
its character, which could be controlled by using
envelopes, LFOs or other control sources. This resulted in
a sound which continuously changed its character and
enabled soft transitions between similar sounding
waveforms or extreme jumps between totally different
sound spectra. With their additional subsequent analog
filters, the PPG synthesizers quickly reach cult status and
their typical “Wave sound” could be heard on a great
number of music productions of their time. We at Waldorf
have successfully on-developed Wavetable synthesis for
many years. But there are still many fans of the initial
powerful PPG sound around.
The only thing, that we did not emulate, was the hum
noise of the display back-lighting. We assume, that
nobody really wants to use this “feature”. There are many
more factors, that are responsible for the typical PPG
61
PPG Wave 3.V User´s Manual
Appendix
sound and we are proud to say that we have found them
all and reproduced them in our Wave 3.V.
shows all possibilities for modulation within one
panel, while the GRAPH paneloffers graphic envelope
and filter editing. Other new panels are dealing with
the EFFECTS, the TRANSIENTS and GLOBAL
functions.
Differences to the Original PPG Wave 2.3
From today’s viewpoint, some functions in the original
PPG Wave 2.3 are not up-to- date. For this reason, we
have made a view changes to the Plug-In user interface,
compared to its brother in hardware:
•
The naming of the different menus: In the original,
there were PROGRAM, DIGITAL, TUNING, ANALOG
and SEQUENCE. The ANALOG menu displayed the
dial parameters as numerical values in the display.
This helped the user to compare between the physical
dial setting and the actually set parameter value of the
current sound. In the PPG Wave 3.V this menu is not
necessary, as the dials show the settings of the
selected sound at any time. The SEQUENCE menu
was used to call up the built-in sequencer of the
original PPG. This had a very simple structure and
could in no way compare to the power of a modern
software sequencer, which is why we haven’t
included it in the Wave 3.V. Still present are the
Arpeggiator and the possibility to record parameter
changes using MIDI Controller messages. In addition,
the PPG Wave 3.V has new panels: MODULATION
PPG Wave 3.V User´s Manual
62
•
The second difference lies in the parameter names that
are used: On the original PPG, quite cryptic names
were used for a number of functions (e.g. MF for the
filter modulation or SW for sub-oscillator behaviour).
In the PPG Wave 3.V, these names are either not
abbreviated or the abbreviation makes sense
•
The third difference concerns the display of values.
On the original PPG, even switches only used
numerical values. The parameter SUB-WAVES, which
had the values OFF, OFFSET, DIRECT and ENV3.
These were represented by the numbers 0, 1, 2 and 3
(where 3 oddly enough stood for OFF). The PPG Wave
3.V offers an approach that is a little more
comprehensible.
Appendix
•
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.
Wavetable Synthesis in the PPG Wave 3.V
The sound generation of the wavetables in the PPG Wave
3.V is based on wavetable synthesis. Although wavetable
synthesis is not a form of “sample playback”, you should
avoid this term because functionality, operation and
results are totally different. Each of the wavetables contain
64 single waves.
m
Please keep the terms “wavetable” and “wave” in
mind. Don´t mix up!
The following overview explains how the Wavetable
Synthesis works: A wavetable in the PPG Wave 3.V is a
table consisting of 64 waveforms. Each waveform is
classified by its own special sound character. The main
difference of wavetable synthesis in comparison with
other sound generation principles is the facility not only to
play one waveform per oscillator, but also to walk
through the wavetable via different modulations.
Therefore you can create wavetable sweeps. The results
can be dramatic - much more so than those any sample
playback based system could ever produce. This is a
unique feature of wavetable synthesis.
You should keep the following sentence in mind:
w
A wavetable is a list with 64 waves, among which
you can move at will.
Modulating Waves over time
The graphic below shows a wavetable and some of its
contained waves from position 0 to 59 on the vertical
axis. The positions 60 to 63 are excluded since they
usually contain the four analog waveforms.
When you set WAVES OSC to 0, ENV 1 -> WAVES to 59
and ENV 1 ATTACK to some medium value, the
horizontal axis represents the audio signal that is
This principle offers powerful capabilities. To give some
examples:
63
PPG Wave 3.V User´s Manual
Appendix
generated and the diagonal line in the graphic shows the
attack stage over time.
brighter waves up to position 59. This results in a
behaviour similar to a low pass filter so that they can be
controlled conveniently by an envelope.
*+,./0121/3
If Attack is 0 and Decay set to a medium value you get a
percussive sound, if you turn up attack, you get a soft
sound start.
!"
#$
45331367289/568728-3,-:/;-7+22+<=702+66-3-9+2-0728107+5>1/70163+:
%&
'(
)
You can also use an LFO to modulate the wavetable
position and, depending on the selected LFO Shape, you
might get a wave scanning that goes back and forth
(triangle), only into one direction followed by a hard reset
to the origin (sawtooth up or down) or between only two
waves (square)..
Using the Keyboard to access certain Waves
?1@-
There are sounds with very strong so-called fixed formants
caused by a resonant body, e.g. a human voice or a choir,
where you need a different waveform for every key.
As soon as you play a note the envelope moves through
the wavetable positions generating different waveforms
over time.
This can be achieved with the KEY -> WAVES parameter.
If its set to +100%, a different wave is played for every
key. Because usually the lower notes have the richest
harmonics and these waves are located at the highest
position in most wavetables, this parameter acts reversed.
So, set WAVES OSC to 59. Then the wave position
The decay stage would move through these waves in the
opposite direction while ultimately holding a certain wave
at its sustain stage. When you release the note, the
envelope decays to zero.
Most Wavetables are created so that they start with a
hollow wave at position 0 and go through increasingly
PPG Wave 3.V User´s Manual
64
Appendix
decreases by one for each following semitone starting at
B0 (MIDI Note #35).
Exceeding the 64 Waves
You can also combine KEY -> WAVES with ENV 1 ->
WAVES, or even apply further modulations. All these
modulations are summed, which might result in over- or
underrunning the borders of the Wavetable. If this
happens, the Waves of the so-called Upper Wavetable are
accessed. In the PPG Wavetable Bank ORIGINAL, the
Upper Wavetable is always the same. A collection of
different Waves that might or might not match their direct
neighbours, so that a Wavetable scan through them might
sound strange (but maybe that's what you want).
However, they act as a good source for different static
spectra when either UPPER WAVES is ON or SUB WAVES
is set to OFFSET and WAVES SUB is set to a higher value
that reaches into this Upper Wavetable. The new
Wavetable Banks, however, sometimes have so-called
Double Wavetables explained in the next chapter.
*+,./0121/3
!"
#$
4-5
%&
Using Double Wavetables and LFO Modulation
'(
The new Wavetable banks by Wolfgang Palm (any but the
ORIGINAL bank) have some Double Wavetables with the
suffix "U". The PPG Wave 3.V has a second Wavetable
memory for each Part. Normally, the Upper Wavetable is
loaded into this memory, but the Double Wavetables
)
65
PPG Wave 3.V User´s Manual
Appendix
replace this memory with their own Waves offering a
continuous range of 128 Waves.
List of the PPG Wave 3.V Wavetables
When you activate UPPER WAVES and set WAVES OSC
to 0, the Wavetable effectively starts at 64. When setting
ENV 1 -> WAVES to 63, the maximum modulation now
reaches Wavetable position 127. The sound "SynBrass U"
from Wolfgang Palms Demo Soundbank shows this
behaviour. This by itself is not meaningful, but it starts to
become interesting when you apply an LFO modulation
as well. The LFO can modulate over this whole range of
Waves through both the Lower and the Upper Wavetable
resulting in Wavetable scans with a resolution twice as
high as on normal Wavetables.
PPG Wave 3.V User´s Manual
Bank: Original
No.
000
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
66
Wavetable
Resonant
Resonant2
MalletSyn
Sqr-Sweep
Bellish
Pul-Sweep
Saw-Sweep
MellowSaw
Feedback
Add Harm
Reso 3 HP
Wind Syn
HighHarm
Clipper
Organ Syn
SquareSaw
No.
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
Wavetable
Formant1
Polated
Transient
ElectricP
Robotic
StrongHrm
PercOrgan
ClipSweep
ResoHarms
2 Echoes
Formant 2
FmntVocal
Sync
PWM
Upper Wavetable
Piano/Sax
Appendix
Bank: Synthesis
Bank: Mix
Wavetable
Saw2Tri
SawLpR4
Wavetable
Harmon3
Harmon4
Wavetable
Struct3
Struct4
Wavetable
EPno2Inharm
Inharm2Saw
Wavetable
EPno2Bell
Saw2Struct
SawLpR1
Saw Lp
SineSweep
Harmon1
Harmon2
Harmon5
Inharm
AnotherWT
Struct1
Struct2
Struct5
Struct6
Struct7
Harm2Saw
Marimba2Saw
Guitar2Harp
EPno2Struct
Sitar2You
Saw2Inh2Struct Tromb2Wave
Sync2Harmon Tromb2Sitar
Bank: Harmonic Split
Wavetable
Saw+WT
Saw+EPno
Saw+Sitar
Saw+Piano
Saw+EgitTTR
Bank: Analysis
Wavetable
Clavinet
ConcertGit
Celeste
Marimba
Bell
GrandP
EPiano
Trombone
Wavetable
ViolaEns U
Cello U
BowedBass U
PlckBass
GL Bass
SynBrass U
Harp
Sitar
Wavetable
Syn2LpR4
Sitar2Bell
Wavetable
EGit-TTR
Y-Synth
Percussion U
HouseOrgan
B3Rock U
B3Jazz U
B4Modulation U
Saw+Ysyn
Sync+AnothWT
Sync+GPiano
Saw+Perc U
67
Wavetable
EPno+Perc U
Perc+SyBras U
PBas+Perc U
Saw+B3rock U
Saw+Perc U
Marimba+Perc
U
B3jazz+Ysyn U
Saw+Struct1
Saw+Struct8
Wavetable
Saw+Struct7
Ysyn+Struct7
EPno+Struct8
Inharm+Struct8
Sync+Struct8
Saw+Utt 'you'
Saw+Utt 'wave'
Saw+Utt 'sind'
PPG Wave 3.V User´s Manual
Appendix
Bank: Voice
Wavetable
SingleReso
3 Aa 55
Wavetable
4 Aa 72
4 Ih 72
Wavetable
7 Aa 60
7 Uw 60
3 Iy 55
3 Uh 55
3 Mh 55
4 Oh 72
6 Aa 60
6 Eh 60
Multi Aa
The Waveterm B Library
Since these are original disk images from the Waveterm B,
their content isn't in the native PPG Wave 3.V format but
the original PPG Wave 2.3 / Waveterm B format. Also,
you won't find the individual files like Transients or Multi
Transients on your hard disk, only the enclosing disks are
there.
To import one or more of these Transients / Multi
Transients proceed as follows:
Bank: Utterance
Wavetable
1 'for the 20th'
Wavetable
2 'you' 70
1 'will we' 60
3 'Um Uns '70
1 'author of' 60 3 'Allzu' 70
1 'wave' 60
3 'Nur an' 70
PPG Wave 3.V User´s Manual
Wavetable
3 'Sind In' 70
4 'Yeah' 69
5 'Rockiger' 68
6 'Feels like'
81
68
•
Switch to the BROWSER page and expand “Local
Library” where you find the “PPG Waveterm B
Sample Library” to see all installed Waveterm B disk
images.
•
As in the original PPG Wave the disks have some
very cryptic naming. Expand any of the disk images
(i.e. S85-01.WTB) to see which files are on it. These
file types are recognized:
•
Mxxx - Multi Transients consists up to 8
Transients with the corresponding program data
with keyboard splits.
•
Txxx –Transients consists of single samples with
the corresponding program data.
Appendix
•
w
•
•
w
Multi Transients (Mxxx) can only be imported by a
double-click. They consist of up to 8 samples with
respective sounds. Keyboard splits or multi timbrality
is recognized automatically and the parts are
adjusted accordingly.
We recommend to use the Multi Transients because
they load playable sound programs.
Example: S85-01.WTB/M000 GRAND PIANO loads
8 samples and the respective sounds into the selected
part program and up to the seventh following
program, sets the keyboard ranges accordingly, all
channels to 1, and transposes the sound as the PPG
Wave 2.3 also did automatically depending on the
octave the keyboard split started on.
One important thing to note: If you load a new
multisample over an existing one, there might be
leftovers from the previous multisample. I.e., if you
had an 8 part multisample in memory and load a 4
part multisample, the other 4 parts still contain the
old samples and key ranges / channel assignments
and might sound when you play certain notes. At
first, this might look like a bug but it isn't: when you
make music with the PPG, you might add further
samples to your existing multi, and not replace what
you've did.
Transients (Txxx) can be imported in three ways:
As soon as the plug-in detects that no keyboard splits
are set (i.e. all on minimum or so), it loads the
samples into the parts but sets the MIDI channels to
different values.
69
•
Double click imports it into the currently selected
part program.
•
Drag & drop to the program table imports it to that
program (note: the Transient isn't loaded into RAM
when this program isn't in one of the 8 part
programs).
•
Drag & drop to a part program to load it into that
program.
•
Drag & drop to the Transient column only loads the
sample, not the sound parameters.
PPG Wave 3.V User´s Manual
Appendix
[
[
Note: please re-read the last topic again, since this
is a valuable feature: Dropping a Transient file
onto the Transient column only loads the sample,
not the associated sound parameters. This allows
to set up a sound and experiment with different
samples for this sound.
Filter Introduction
If you want to use your own Waveterm disk
images in the PPG Wave 3.V, just drag those files
into the File Browser to the location you like.
Please note that the files are moved to your sound
library physically, if you want to copy them, press
the [Alt] key during drag & drop.
For now, we’ll explain the basic function of a filter
discussing the type used most commonly in synthesizers
as also in our PPG Wave 3.V: the low pass filter.
PPG Wave 3.V User´s Manual
Once the audio signal leaves the basic sound synthesis, it
is sent to the filter. The filter is a component that have
significant influence on the PPG Wave 3.V’s sound
characteristics.
The low pass filter type dampens frequencies that lie
above a specified cutoff frequency. Frequencies below
this threshold are hardly affected. The frequency below
the cutoff point is called the pass band range, the
frequencies above are called the stop band range. The
PPG Wave 3.V’s filter dampens frequencies in the stop
band with a certain slope. The slope can be 12dB or 24dB
per octave. This means that the level of a frequency that
lies an octave above the cutoff point will be 12dB or 24dB
less than those frequencies of the signal that fall into the
pass band. The following picture shows the basic
principle of a low pass filter:
70
Appendix
)#*#+
)#*#+
0#1.&2&'#
!"#$%#&'(
!"#$%#&'(
,%-.//
,%-.//
If emphasis is raised to a great extent, then the filter will
begin self-oscillation, i.e. the filter generates an audible
sine wave even when it does not receive an incoming
signal.
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%. The damping factor two octaves
above the cutoff point reduces the original level by more
than 99%, which in most cases means this portion of the
signal is no longer audible.
The 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:
The PPG Wave 3.V’s filter also features an emphasis
parameter (also known as resonance parameter). Emphasis
in the context of a low pass filter means that a narrow
frequency band around the cutoff point is emphasized.
The following picture shows the effect of the resonance
parameter on the filter’s frequency curve:
71
PPG Wave 3.V User´s Manual
Appendix
7'8'/
0'(123'++'4
0'(13'/'#+'4
9::;
Controller Numbers
Controllers marked with * don’t change the Sound
program but can perform temporary modulations or other
tasks.
Ctrl
#
0
1
2
3
4
5
6
7
8
9
10
11
12
)*+"#,-
!""#$%
&'$#(
.'/'#+'
5,6'
ADSR Envelope
The envelope is started by pressing a key. It ascends to its
maximum value at the rate determined by the Attack
parameter. It then descends at the rate determined by the
Decay value until it reaches the predetermined Sustain
value. It remains at this value until the key is released. The
envelope then descends to zero at the rate determined by
the Release parameter.
PPG Wave 3.V User´s Manual
72
Controller
Range
not used
0…127
not used
not used
not used
not used
not used
0…127
0…127
0...127
0…127
not used
0…127
Controller Name/
Sound Parameter
undefined
Modulation Wheel
undefined
undefined
Foot Control*
Glide Time
Data Entry
MIDI Volume
BASIS
PPG WAVE MODE
MIDI Panning
Expression
LFO DELAY
Value Range
not used
0…127
not used
not used
not used
not used
not used
0…127
0...63
2.2, 2.3, 2.V
L64…R63
not used
0...63
Appendix
triangle, saw up, saw
down, square
0…127
LFO
WAVESHAPE
LFO RATE
0…127
0…127
0…127
0…127
0…127
0…127
0…127
0…127
0…127
0…127
0…127
0…127
0…127
0…127
0…127
0…127
0…127
0...127
ENV3 ATTACK
ENV3 DECAY
ENV3 ATT
ENV1 ATTACK
ENV1 DECAY
ENV1 SUSTAIN
ENV1 RELEASE
ENV2 ATTACK
ENV2 DECAY
ENV2 SUSTAIN
ENV2 RELEASE
WAVES-OSC
WAVES-SUB
ENV1>VCF
ENV2>VCA
ENV1>WAVES
LFO SYNC
undefined
0…63
13
0...127
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
0..63 oder 128
Bars..1/32
0…63
0…63
0…63
0…63
0…63
0…63
0…63
0…63
0…63
0…63
0…63
0…63
0…63
0…63
0…63
OFF, ON
not used
73
OFF, ON
0...127
0…127
0…127
TRUE PPG
WAVETABLE
BANK
WAVETABLE
UPPER WAVES
SUB-WAVES
38
0...127
KEYB MODE
POLY, DUAL, QUAD,
MONO
39
40
0…127
0…127
ARP ACTIVE
ARP MODE
OFF, ON
41
42
43
44
0...127
0…127
0…127
0…127
ARP RATE
ARP RANGE
DETUNE
MOD>OSC
1/32...2/1
45
0...127
MOD>SUB
46
47
48
49
50
0…127
0…127
0…127
0...127
0…127
ENV3>OSC
ENV3>SUB
SEMITONE 1
SEMITONE 2
SEMITONE 3
33
34
0…127
0…127
35
36
37
0...6
Depends on WT BANK
OFF, ON
OFF, OFFSET, DIRECT,
ENV 3
UP, DOWN, ALT, RND,
MOVIN
1, 2, 3, 4 OCTAVE
0.00 CENT...2 OCT
OFF, ON / Fine Mode: 100%... +100%
OFF, ON / Fine Mode: 100%... +100%
OFF, ON
OFF, ON
0...63
0...63
0...63
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Appendix
51
52
53
54
55
56
57
58
0…127
0…127
0…127
0…127
0…127
0…127
0…127
0…127
SEMITONE 4
SEMITONE 5
SEMITONE 6
SEMITONE 7
SEMITONE 8
KEY>WAVES
KEY>FILTER
KEY>LOUDNESS
0...63
0...63
0...63
0...63
0...63
0%...175%
0%...233%
10: 1, 10: 2, 10: 5,
10:10, 7:10, 4:10,
1:10
59
0…127
VEL>FILTER
OFF, ON / Fine Mode: 100%... +100%
60
0…127
VEL>LOUDNESS
61
0…127
MOD>WAVES
62
0...127
MOD>FILTER
OFF, ON / Fine Mode: 100%... +100%
OFF, ON / Fine Mode: 100%... +100%
OFF, ON / Fine Mode: 100%... +100%
63
0...127
LFO>LOUDNESS
OFF, ON / Fine Mode: 100%... +100%
64
65
66
67
0…127
not used
not used
not used
SUSTAIN PEDAL
undefined
undefined
undefined
OFF, ON
PPG Wave 3.V User´s Manual
not used
not used
not used
74
68
69
70
not used undefined
not used undefined
0…127 TOUCH>WAVES
71
72
0…127
0…127
EMPHASIS
TOUCH>FILTER
73
0…127
74
75
76
77
78
79
80
81
82
83
84
0…127
0…127
0…127
0…127
0…127
0…10
0…127
0…127
0…127
0…127
0…127
85
0…127
TOUCH>LOUD
NESS
CUTOFF
TOUCH>MOD
FINE MOD
BEND>FILTER
BEND>WAVES
DRIVE TYPE
DRIVE
SLOPE
BEND>OSC
BEND>SUB
BEND>LOUDNE
SS
VEL>WAVES
not used
not used
OFF, ON / Fine Mode: 100%... +100%
0…63
OFF, ON / Fine Mode: 100%... +100%
OFF, ON / Fine Mode: 100%... +100%
0...63
OFF, ON
OFF, ON
0%...100%
0%...100%
OFF, ON
0...63
OFF, ON
0...12
0...12
OFF, ON / Fine Mode: 100%... +100%
OFF, ON / Fine Mode: 100%... +100%
Appendix
86
0…127
87
0…127
MOD>LOUDNES OFF, ON / Fine Mode: 100%... +100%
S
OFF, ON / Fine Mode: LFO>OSC
88
0…127
LFO>SUB
OFF, ON / Fine Mode: 100%... +100%
89
0…127
FLO>WAVES
90
0…127
LFO>FILTER
OFF, ON / Fine Mode: 100%... +100%
OFF, ON / Fine Mode: 100%... +100%
91
0…127
Wheel>WAVES
OFF, ON / Fine Mode: 100%... +100%
92
0…127
Wheel>FILTER
OFF, ON / Fine:
100%... +100%
93
94
95
96
97
98
99
100
101
102
not used
0…127
0…127
0…127
0…127
not used
not used
not used
not used
0…127
undefined
PHASER Mix
CHORUS Mix
DELAY Mix
REVERB MIX
undefined
undefined
undefined
undefined
EQ ACTIVE
not used
100%... +100%
-
103
104
105
106
107
108
109
110
111
0…127
0…127
0…127
0…127
0…127
0…127
0…127
0…127
0…127
112
0…127
113
0…127
114
0…127
115
0…127
116
0…127
117
118
119
0…127
0…127
0...127
0.0%...100.0%
0.0%...100.0%
0.0%...100.0%
0.0%...100.0%
not used
not used
not used
not used
OFF, ON
75
EQ LOW FREQ
EQ LOW GAIN
EQ MID 1 FREQ
EQ MID 1 GAIN
EQ MID 2 FREQ
EQ MID 2 GAIN
EQ HIGH FREQ
EQ HIGH GAIN
OVERDRIVE
DRIVE
PHASER Mod
Speed
PHASER Mod
Depth
PHASER
Frequency
CHORUS Mod
Speed
CHORUS Mod
Depth
DELAY Time
DELAY Feedback
REVERB Decay
10 Hz...1000.0Hz
-20.0dB...+20.0dB
20 Hz...20000Hz
-20.0dB...+20.0dB
20 Hz...20000Hz
-20.0dB...+20.0dB
200 Hz...20000Hz
-20.0dB...+20.0dB
0%...100.0%
0 Hz...20.00Hz
0.000%...100.0%
11.56Hz...18794.54Hz
0 Hz...20.00Hz
0.000%...100.0%
0.02...2000.00ms
-100.0%...+100.0%
0.0%...100.0%
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121
0
0
122
123
124
125
126
not used
0
not used
not used
not used
127
not used
All Sound Off*
Reset All
Controllers*
undefined
All Notes Off*
Omni Mode Off
Omni Mode On
Poly Mode
On/Off
Poly Mode On
PPG Wave 3.V User´s Manual
immediate silence
resets all controllers
not used
releases all voices
not used
not used
not used
not used
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Appendix
Glossary
Arpeggiator
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).
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.
Aliasing
Attack
Aliasing is an audible side effect arising in digital systems
as soon as a signal contains harmonics higher than half
the sampling frequency.
Amount
An envelope parameter. “Attack” is a term that describes
the ascent rate of an envelope from its starting point to the
point where it reaches its highest value. The Attack phase
is initiated immediately after a trigger signal is received,
i.e. after you play a note on the keyboard.
Describes to which extent a modulation influences a
given parameter.
Clipping
Aftertouch
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.
Amplifier
An amplifier is a component that influences the volume
level of a sound via a control signal. This control signal is
often generated by an envelope or an LFO.
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Appendix
Control Change (Controllers)
Envelope
MIDI messages enable you to manipulate the response of
a sound generator to a significant degree.
An envelope is used to modulate a sound-shaping
component within a given time frame so that the sound is
changed in some manner. For instance, an envelope that
modulates the cutoff frequency of a filter opens and closes
this filter so that some of the signal's frequencies are
filtered out. An envelope is started via a trigger, usually a
fixed trigger. Normally, the trigger is a MIDI Note. The
classic envelope consists of four individually variable
phases: Attack, Decay, Sustain and Release. This
sequence is called an ADSR envelope. Attack, Decay and
Release are time or slope values, and Sustain is a variable
volume level. Once an incoming trigger is received, the
envelope runs through the Attack and Decay phases until
it reaches the programed Sustain level. This level remains
constant until the trigger is terminated. The envelope then
initiates the Release phase until it reaches the minimum
value.
This message essentially consists of two components:
• The Controller number, which defines the element to be
influenced. It can be between 0 and 120.
• The Controller value, which determines the extent of
the modification.
Controllers can be used for effects such as slowly swelling
vibrato, changing the stereo panorama position and
influencing filter frequency.
Decay
“Decay” describes the descent rate of an envelope once
the Attack phase has reached its zenith and the envelope
drops to the level defined for the Sustain value.
Emphasis
Filter
Emphasis or resonance is an important filter parameter. It
emphasizes a narrow bandwidth around the filter cutoff
frequency by amplifing these frequencies. This is one of
the most popular methods of manipulating sounds. If you
substantially increase the emphasis, i.e, to a level where
the filter begins self-oscillation, then it will generate a
relatively clean sine waveform.
PPG Wave 3.V User´s Manual
A filter is a component that allows some of a signal's
frequencies to pass through it and dampens other
frequencies. The most important aspect of a filter is the
filter cutoff frequency. Filters generally come in four
categories: low pass, high pass, band pass, and band stop.
A low pass filter dampens all frequencies above the cutoff
78
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.
Manual
Manuals for Waldorf products are written during nightshifts by solituded people which fear the daylight. Please
appreciate this by using this manual here and there. We
recommend to deposit it in your restroom within reach.
MIDI
The acronym MIDI stands for “musical instrument digital
interface.” It was developed in the early '80s so that
diverse types of electronic musical instruments by
different manufacturers could interact. At the time a
communications standard for heterogeneous devices did
not exist, so MIDI was a significant advance. It made it
possible to link all devices with one another through
simple, uniform connections.
Filter Cutoff Frequency
The filter cutoff frequency is a significant factor for filters.
A low pass filter dampens the portion of the signal that
lies above this frequency. Frequencies below this value
are allowed to pass through without being processed.
LFO
LFO is an acronym for low-frequency oscillator. The LFO
generates a periodic oscillation at a low frequency and
features variable waveshapes. Similar to an envelope, an
LFO can be used to modulate a sound-shaping
component.
Essentially, this is how MIDI works: One sender is
connected to one or several receivers. For instance, if you
want to use a computer to play the Pulse, then the
computer is the sender and the Pulse acts as the receiver.
With a few exceptions, the majority of MIDI devices are
equipped with two or three ports for this purpose: MIDI
In, MIDI Out and in some cases MIDI Thru. The sender
transfers data to the receiver via the MIDI Out jack. Data
are sent via a cable to the receiver's MIDI In jack.
Low Pass Filter
Synthesizers are often equipped with a low pass filter. A
low pass filter dampens all frequencies above its cutoff
frequency. Frequencies below the cutoff point are not
affected.
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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.
include envelopes, LFOs or MIDI messages. The
modulation destination is sound-shaping component such
as a filter or a VCA.
Note on / Note off
This is the most important MIDI message. It determines
the pitch and velocity of every generated note. The time
of arrival is simultaneously the start time of the note. Its
pitch is derived from the note number, which lies
between 0 and 127. The velocity lies between 1 and 127.
A value of 0 for velocity is similar to “Note Off”.
MIDI Channel
This is a very important element of most messages. A
receiver can only respond to incoming messages if its
receive channel is set to the same channel as the one the
sender is using to transmit data. Subsequently, the sender
can address specific receivers individually. MIDI
Channels 1 through 16 are available for this purpose.
Panning
The process of changing the signal's position within the
stereo panorama.
Pitchbend
Pitchbend is a MIDI message. Although pitchbend
messages are similar in function to control change
messages, they are a distinct type of message. The reason
for this distinction is that the resolution of a pitchbend
message is substantially higher than that of a conventional
Controller message. The human ear is exceptionally
sensitive to deviations in pitch, so the higher resolution is
used because it relays pitchbend information more
accurately.
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
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80
Appendix
Program Change
Volume
These are MIDI messages that switch sound programs.
Program numbers 1 through 128 can be changed via
program change messages.
The term describes a sound's output level.
Release
Here: A Wave is a digitally memorized reproduction of
one single period of a periodic waveform, such as a
sawtooth wave. Insofar it is identical with a Sample that is
looped after one single wave pass. In contrast to the
samples in a sampler, all Waves in the Waldorf Wavetable Synthesizers have the same lengths and are played
back at the same pitch.
Wave
An envelope parameter. The term “Release” describes the
descent rate of an envelope to its minimum value after a
trigger is terminated. The Release phase begins
immediately after the trigger is terminated, regardless of
the envelope's current status. For instance, the Release
phase may be initiated during the Attack phase.
Wavetable
Sustain
One oscillator shape in the PPG Wave 3.V bases on
waveform sets, called Wavetables. Wavetables are a
collection of up to 128 Waves. The playback sequence of
the Waves can be dynamically altered, which results in
interesting sound transformations. If the Waves in the
Wavetable are similar 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.
The term “Sustain” describes the level of an envelope that
remains constant after it has run through the Attack and
Decay phases. Sustain lasts until the trigger is terminated.
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.
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PPG Wave 3.V User´s Manual
Appendix
Product Support
If you have any questions about your Waldorf product,
feel free to contact us via one of the four options listed
below:
1. Send us an email message. This is the most efficient
and fastest way to contact us. Your questions will be
forwarded immediately to the resident expert and you will
quickly receive an answer.
support@waldorfmusic.de
2. Send us a letter. It will take a bit longer, but it is just as
dependable as an email.
Waldorf Music GmbH
Lielenthal Str. 7
53424 Remagen, Germany
PPG Wave 3.V User´s Manual
82