User´s Manual / Bedienhandbuch

User´s Manual / Bedienhandbuch

➤

Vielen Dank für den Kauf dieses Waldorf Produktes. Es zeichnet sich durch

✁

Zuverlässigkeit und Langlebigkeit aus. Dennoch können Material- oder

Verarbeitungsfehler nicht völlig ausgeschlossen werden. Daher bieten wir

Ihnen eine verlängerte Garantie. Damit Garantieleistungen in Kraft treten, müssen Kaufrechnung und Garantiekarte vollständig ausgefüllt innerhalb von 14 Tagen zurückgesandt werden. Diese Garantie erstreckt sich auf alle

Defekte in Material und Verarbeitung für den Zeitraum von 1 Jahr ab Kauf des Produktes. Während der Garantiezeit ersetzt oder repariert Waldorf

Electronics das durch Waldorf Electronics oder ein autorisiertes Service

Zentrum als defekt befundene Produkt, ohne dem Kunden Material- oder

Arbeitsaufwand in Rechnung zu stellen.

Um die Garantie in Anspruch zu nehmen, muß sich der Kunde zunächst telefonisch mit dem zuständigen Vertrieb in Verbindung setzen. Produkte, die ohne vorherige Absprache eingesandt werden, können nicht kostenfrei ausgetauscht bzw. repariert werden.

Das Produkt muß frei und versichert in Originalverpackung eingesandt werden. Detaillierte Fehlerbeschreibungen sind beizufügen. Unfrei und/oder nicht originalverpackt eingesandte Produkte gehen ungeöffnet zurück.

Waldorf Electronics behält sich vor, das eingesandte Produkt auf den neusten

Stand der Technik zu bringen, wenn dies erforderlich sein sollte.

Diese Garantie deckt keine Defekte ab, die durch unsachgemäße

Behandlung oder Eingriffe von unautorisierten Personen verursacht wurden und ist beschränkt auf die Behebung von Defekten, die während der normalen Nutzung durch Material- oder Verarbeitungsfehler aufgetreten sind.

Produktgarantie / Product Warranty

Thank you for choosing this Waldorf product. It is a dependable device and is designed to last. However, the potential for defects in material or workmanship cannot be eradicated completely. This is why we provide an extended warranty for you.

To ensure your unit has full warranty coverage, mail the receipt and the fully completed warranty card back within 14 days of purchase.

This warranty covers all defects in material and workmanship for a period of one year from the date of original purchase. During this time, Waldorf

Electronics will repair or replace the product without charge for materials or labor, provided the product was first inspected and found faulty by Waldorf

Electronics or an authorized service center. You must first contact your dealer or distributor by telephone. Products that were mailed without prior agreement cannot be exchanged or repaired free of charge.

The unit must be insured and sent prepared in its original package. Please include a detailed description of the defect. Products that were not send prepared or in the original package will be returned unopened.

Waldorf Electronics reserves the right to upgrade the unit with the latest technological advances if necessary.

This warranty does not cover defects due to abuse, operation under other than specified conditions, or repair by unauthorized persons. The warranty covers only those malfunctions caused by material or workmanship defects that occur during normal operation.

Bitte schicken Sie die Garantiekarte vollständig ausgefüllt zusammen mit einer Kopie der Kaufrechnung zurück, um die Produktgarantie in Anspruch nehmen zu können.

Garantiekarte / Warranty Card

Please fill out this warranty card completely, include a copy of the purchase receipt and send the two items to us in order to ensure the warranty is valid.

Name / Name:

Waldorf Electronics

Support Department

Neustraße 9-12

53498 Waldorf

Germany

Straße / Street:

PLZ, Wohnort / ZIP Code, City:

Land / Country:

Telefon / Telephone:

Telefax / Facsimile:

Produkt / Product:

Keyboard

Rack

Sonstige verwendete Geräte / Other used equipment:

Sonderausstattungen / Custom features:

Seriennummer / Serial number: Kaufdatum / Purchase date:

Name Ihres Händlers / Name of your dealer:

Ort Ihres Händlers / City of your dealer:

✁

Produktunterstützung / Product Support

Wenn Sie Fragen zu Ihrem Waldorf Produkt haben, gibt es vier

Möglichkeiten, uns zu kontaktieren:

Schicken Sie uns eine E-Mail. Das ist der mit

Abstand effizienteste und schnellste Weg, uns zu erreichen. Ihre Fragen können sofort an die richtige Stelle weitergeleitet und innerhalb kürzester Zeit beantwortet werden.

If you have any questions about your Waldorf product, feel free to contact us via one of the four options listed below.

[email protected]

Send us an e-mail 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.

+49-(0)2636-976499

Send us a fax. This is as fast as e-mail, but not quite as comfortable for you and us.

Senden Sie uns ein Telefax. Fast so schnell wie E-

Mail, allerdings für Sie und uns weniger komfortabel.

Schicken Sie uns einen Brief. Etwas langsamer, dafür jedoch genauso zuverlässig wie ein

Telefax.

Und wenn es ganz dringend ist, rufen Sie uns an.

Wir versuchen, Ihre Fragen möglichst sofort zu beantworten.

Waldorf Electronics

Neustraße 9-12

53498 Waldorf, Germany

+49-(0)2636-976464

Send us a letter. It will take a bit longer, but it is just as dependable as a fax.

If you’re in big hurry, call us, we’ll try to answer your questions right away.

Foreword – Development

Foreword

Thank you for purchasing the Waldorf microQ. You now own a synthesizer featuring a wide range of unique sounds from analog to digital.

To ensure your instrument functions properly and enjoys a long life, please read and heed the instructions in this manual.

Development

Software development:

Hardware development:

Design:

Housing:

Factory Sound programming:

Albert Huitsing, Stefan Stenzel

Thomas Kircher

Axel Hartmann

Frank Schneider

Wolfram Franke, Christian Halten, Uwe G. Hoenig, Jörg Hüttner,

Tommy Kircher, Dirk Krause, Hubertus Maaß, Stefan Stenzel,

Tsching, Eric Young, Rocco Zodiac

Manual:

English version proofing:

Head:

Revision Date:

Holger "Tsching" Steinbrink

Amanda Pehke and Mark Pulver - RedMoon Music

Wolfgang Düren

Version 1.0, October 2000

We would like to thank

Holger Bahr, Sigi Barishi, Steffi vom Berg, H.-P. “Bonni” Bonnenberg, Piera Caccia, Mike Caroll,

Philipp Dahlhausen, Birger Degen, Geoff Farr, Gunther Gräfe, Peter Grandl, Martin Herbst, Thilo

Kloft, Achim Lenzgen, Evi Mognol, Wolfgang Mörs, Cordula Müller, Dr. Georg Müller, Martin

Neideck, Drew Neumann, RedMoon Music, Norbert Reiß, Alex Sauff, Holger "Tsching" Steinbrink,

Beate Walkowiak, Kurt “Lu” Wangard, Sabine Weiland, Hubertus “Hubi” Weller, Rocco Zodiac … and anyone we have forgotten.

Waldorf Electronics 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 extends no liabilities in regard to this manual other than those required by local law.

This manual or any portion of it may not be reproduced in any form without the manufacturer's written consent.

Waldorf Electronics GmbH, Neustraße 12, D-53498 Waldorf, Germany

3 Waldorf microQ User’s Manual

Control Features and Connections – Front Panel

Control Features and Connections

Front Panel

micro

Inst. 1 Inst. 2 Inst. 3 Inst. 4

Graphic Display

Play

Multimode Peek

Global Utility

Multi Compare

Edit Recall

Sound Store

Shif t

Oscillators

Mixer/Routing

1 2 3

Filters

Amp/FX/Arp.

1 2

Envelopes

LFOs

MOD Matrix

F A 3 4

Octave Semi

Osc1 Balance

Cutof f Keytrack

Volume Velocity

Attack Level

LFO1 Speed

Select

Detune FM

Osc2 Balance

Resonance Drive

FX Mix

Decay Decay2

Shape Sync

Source

Shape PW

Osc3 Balance

Env Velocity

Arp Mode Range

Sustain Sustain2

LFO2 Speed Shape

Amount

PWM Source

Filter Routing

Type Panning

Tempo Clock

Release Mode

LFO3 Speed Shape

Destination polyphonic synthesizer

Power a Display b Instrument Select Buttons c Alpha Dial for Sound and page access d Master Section with function buttons e Navigation buttons f Parameter matrix g Power button with standby/MIDI indicator LED

Picture 1: Front Panel h Endless dials for parameter access i LEDs for showing the selected parameter section j German synthesizer manufacturer k Display parameter dials l Stereo Headphone jack

Waldorf microQ User’s Manual 4

Control Features and Connections – Rear Panel

Rear Panel

Picture 2: Rear Panel

A Stereo External In jack for feeding external audio signals into the Mixer section.

E MIDI In jack. Used to receive MIDI data from an external device.

B Main Out jacks. Deliver a stereo line level output signal for connection to a mixing desk or amplifier.

C Sub Out 1 jacks. Deliver a stereo line level output signal for connection to a mixing desk or amplifier.

F MIDI Thru jack. Echoes MIDI data received at the MIDI In.

G MIDI Out jack. Used to transmit MIDI data to an external device.

H Power supply socket 100…240V AC

D Sub Out 2 jacks. Deliver a stereo line level output signal for connection to a mixing desk or amplifier.


Contents – Rear Panel

Contents

Foreword .......................................................... 3

Development......................................................3

We would like to thank........................................3

Control Features and Connections.................... 4

Front Panel .........................................................4

Rear Panel..........................................................5

Contents ........................................................... 6

Introduction ...................................................... 8

About this Manual...............................................8

Symbols.........................................................8

Highlighted Control Features and Parameters ....8

What to read? .....................................................9

If you are new to the whole subject ..................9

If you have experience with synthesizers...........9

If you are a synthesizer hotshot ...................... 11

General Safety Guidelines.................................. 12

Suitable Operating Conditions ....................... 12

Power Supply............................................... 12

Operation .................................................... 12

Maintenance................................................ 12

Proper Use................................................... 13

Setup and Connection..................................... 14

Inventory.......................................................... 14

Setup ............................................................... 14

Connections ..................................................... 14

Audio Connections............................................ 16

External Input.................................................... 17

Overview......................................................... 18

Memory Structure.............................................. 18

Dynamic Voice Management ............................. 18

Basic Operation .............................................. 19

Switching on..................................................... 19

Switching off..................................................... 19

Panic Function.................................................. 19

System Volume ................................................. 20

Demo Playback................................................. 20

Demo Sequences .............................................. 20

The Master Section............................................ 21

Selecting Programs ............................................ 21

Selecting Programs with the Page Dial ............ 22

Fast Selection of Sound Banks in Single Mode . 22

Instruments and Sounds ..................................... 23

Switching between Instruments ...................... 23

Creating Sound Layers with Instruments .......... 23


Replacing Sounds in Layers ........................... 23

Editing Sounds in Layers................................ 24

Deactivating Sound Layers............................. 24

Editing Parameters............................................. 25

Editing Parameter Controls............................. 25

Editing Display Menu Parameter .................... 26

Edit Buffers................................................... 27

Viewing Parameter Values without Change ..... 27

Comparing Edited Programs........................... 28

Recalling Edited Programs ............................. 28

Storing Programs .......................................... 29

Multi Mode ...................................................... 30

Selecting an Instrument for editing ...................... 30

Basic Instrument settings ................................... 31

MIDI and Status Settings..................................... 32

Tuning ............................................................. 33

Velocity Range.................................................. 33

Keyboard Range................................................ 34

Multi Parameters ............................................... 34

Sound Parameters .......................................... 36

Overview of Functions....................................... 36

Modulation Speed Levels ................................... 37

FM (Frequency Modulation)........................... 37

Fast Modulation............................................ 37

Standard Modulation .................................... 39

Triggering of Voices........................................... 41

Sound Edit Menu .......................................... 41

Oscillators Introduction ..................................... 44

Oscillator Shapes.......................................... 44

Oscillator Section.............................................. 50

Oscillator Parameter Controls ........................ 50

Oscillator Edit Menu ..................................... 55

Mixer/Routing Section ....................................... 59

Mixer/Routing Parameter Controls.................. 59

Mixer/Routing Edit Menu............................... 60

Filter Introduction.............................................. 63

Filter Section..................................................... 65

Selecting and Editing Filters ........................... 65

Filter Parameter Controls ............................... 65

Filter Edit Menu............................................ 67

Filter Types....................................................... 69

Bypass......................................................... 69

24dB Low Pass and 12dB Low Pass ................ 69

24dB Band Pass and 12dB Band Pass.............. 69

24dB High Pass and 12dB High Pass .............. 70

24dB Notch and 12dB Notch......................... 70

Comb+ and Comb-....................................... 71

Amp/FX/Arp Section .......................................... 75

Amplifier Parameter Controls ......................... 75

Amplifier Pages in the Amp/FX/Arp Edit Menu . 75

Effects.......................................................... 77

Effect Parameter Controls............................... 77

Effect Parameter of the Amp/FX/Arp Edit Menu 77

Bypass......................................................... 78

Chorus ........................................................ 78

Flanger ........................................................ 78

Phaser ......................................................... 79

Overdrive .................................................... 80

Five FX ........................................................ 80

Delay .......................................................... 82

Vocoder ...................................................... 83

Arpeggiator....................................................... 87

Arpeggiator Parameter Controls...................... 87

Arpeggiator Parameter of the Amp/FX/Arp Edit

Menu .......................................................... 88

Arpeggiator Step Data Pages .......................... 92

The Tempo ....................................................... 95

Envelope Section............................................... 96

Envelope Parameter Controls ......................... 96

ADSR Envelope ............................................ 97

ADS1DS2R Envelope .................................... 98

One Shot ..................................................... 99

Loop S1S2 ................................................. 100

Loop All .................................................... 101

Envelope Edit Menu.................................... 102

LFO Section.................................................... 103

LFO Parameter Controls .............................. 103

LFO Edit Menu ........................................... 104

Mod Matrix Section ......................................... 109

Mod Matrix Parameter Controls ................... 109

Matrix Edit Menu........................................ 110

Modifier Matrix .......................................... 110

Drum Map ..................................................... 112

Drum Map Sound Menu.............................. 112

Global Parameters ........................................ 114

Global Menu.............................................. 114

Utility Menu............................................... 118

MIDI Control.................................................. 120

Contents – Rear Panel

Channel Based MIDI Messages ......................... 120

Program Change Messages .......................... 120

Note On and Note Off Messages.................. 120

Aftertouch Messages ................................... 120

Poly Pressure Messages ............................... 120

Pitchbend Messages.................................... 120

Modulation Wheel...................................... 121

Breath Control Messages ............................. 121

Foot Controller Messages............................. 121

Channel Volume Messages.......................... 121

Pan Messages............................................. 121

Sustain Pedal Messages ............................... 121

Sostenuto Pedal Messages ........................... 121

All Notes Off Message................................. 121

All Sound Off Message................................ 121

Reset All Controllers Message ...................... 122

Influencing / Editing Sounds over MIDI.............. 122

Controllers as Modulation Sources ............... 122

Changing Sound Parameters with Controllers 122

Changing Sound Parameters with SysEx Data 122

System Exclusive Data Transmission.................. 122

Sending System Exclusive Data .................... 122

Receiving System Exclusive Data.................. 123

Other Functions ............................................ 124

Updating the System Software...................... 124

Tips & Tricks.............................................. 126

Appendix ...................................................... 127

Technical Data ............................................... 127

Glossary......................................................... 128

Tips for Performance........................................ 132

MIDI Controller............................................... 133

MIDI Implementation Chart.............................. 137

CE Declaration................................................ 138


Introduction – About this Manual

Introduction

About this Manual

This manual was written to help you to become familiar with the Waldorf microQ. It will also aid experienced users with routine tasks.

To avoid confusion, the terminology in this manual is based on the microQ´s parameter names. You will find a glossary at the end of this manual; it explains the various terms used.

We also used a uniform set of symbols to show you topics of particular interest or significance.

Important terms are highlighted in bold letters.

Symbols

m

Caution – The comments that follow this symbol will help you avoid errors and malfunctions.

☞

Instruction – Follow these guidelines to execute a desired function.

w

Info – Additional information on a given topic.

.

Example – Real-world examples to try out.

Highlighted Control Features and Parameters

All of the microQ’s buttons, controls and parameters are highlighted in

bold

letters throughout the manual. Example:

•

Press the

Play

button.

Also, each section and the main control elements have position numbers a…l which refer to the pictures at the beginning of this manual. The connectors on the rear panel are referred to by position numbers

A…H. We suggest you make a copy of these pages to have at hand when needed.

The microQ’s different modes and parameter pages are illustrated in a depiction of the display:

Inst:1 Sound:A001

HornsOfJericho jh

The value range of a continuous parameter is indicated from low to high with both values shown in italic letters, separated by three dots. Example:

Semi

-12…+12


Introduction – What to read?

What to read?

The biggest problem with any manual is to find a way 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.

To ensure that everyone finds the information he needs to work with the microQ, we collected the following information to tell you which chapters you should read at the very least.

If you are new to the whole subject

Is this your first or second synthesizer? Then you should first read the whole manual once. You don’t need to do that while you’re exploring the microQ - you can also read it as you would read a good book. But read it. You don’t need to understand everything but after you’ve read the manual, you know where to find a particular topic. Then it’s time to go deep into the microQ and when you’re stuck, you will find the answer quickly and easily.

Furthermore, we recommend the purchase of a good book explaining synthesizers and sound synthesis in general. This book might help you when you don’t understand a certain term that is used in the manual. The appendix of the microQ manual contains a glossary but it is possible that you want or need even deeper explanation. A good book explaining analog sound synthesis named

“Analog Sound Synthesis” can be obtained from the German publisher WIZOO. You can find further info about it and other books covering similar topics at: http://www.wizoo.com

If you have experience with synthesizers

Do you own a couple of synthesizers, and have you edited some sounds to fit your needs? Then make sure to read at least the following chapters:

Section

Introduction

Chapter Sub-Chapter

General Safety Guidelines all chapters

Setup and Connection Audio Connections

Basic Operation Switching off

Panic Function

Selecting Programs

Instruments and Sounds all chapters all chapters

Multi Mode

Editing Parameters

Multi Parameters

Instrument Parameters all chapters all chapters all chapters



Sound Parameters

Global Parameters

MIDI Control

Dynamic Performance

Managment

Modulation Speed Levels

Oscillators all chapters

Mixer/Routing Section

Filter Section

Filter Types

Amp/FX/Arp Section

FX

FM and FM Source

Wavetable Oscillators

Pulsewidth

PWM and PWM Source

PitchMod and PitchMod Source

Sync

Keytrack

Glide

Balance

Routing

RingMod

Noise / Ext. Balance

N/E Select F1 / F2 Feed

Selecting and Editing Filters

CutoffMod and CutoffMod Source

FM and FM Source

Drive

Env

Velo

Pan

PanMod and PanMod Source

Notch

Comb + and Comb -

Velo

AmpMod and AmpMod Source

Global Effect

Mix

FX Types - Vocoder all chapters Arpeggiator Edit Menu

Tempo/Clock parameter

Envelope Section

LFO Section

Mod Matrix

Modifier Matrix

Drum Map

Global Menu

Channel Based MIDI

Messages

Influencing and Editing

Sounds over MIDI

Other Functions

Mode

ADS1DS2R Envelope

One Shot Envelope

LoopS1S2 Envelope

Loop All Envelope

Sync

Delay

Keytrack

Fade

Clocked

Phase all chapters all chapters all chapters

Sysex Device ID

Clock

Controller Send

Input Gain

Program Change Messages

Poly Pressure Messages all chapters

Updating the System Software

Table 1: Suggested chapters for advanced users



If you are a synthesizer hotshot

Do you own a whole bunch of various synthesizers of all flavors, analog, digital, sample playback, and know how to create and modify sounds, multis and other patch types on them? Do you already own any Waldorf synthesizers so that you are familiar with their structure and terminology. Then make sure to read at least the following chapters. They describe the extraordinary features and functions of the microQ.

Section

Introduction

Chapter Sub-Chapter

General Safety Guidelines Power Supply

Setup and Connection External Input

Basic Operation Switching off

Panic Function

Selecting Programs

Instruments and Sounds

Sound Selection by Category all chapters

Multi Mode

Editing Parameters

Multi Parameters

Instrument Parameters all chapters

Ctrl W…Z

Selecting an Instrument for editing

MIDI and Status Settings

Sound Parameters Dynamic Performance

Managment

Modulation Speed Levels

Oscillators

Mixer

Filter Section

FM and FM Source

Wavetable Oscillators

Balance

Routing

Noise / Ext. Balance

N/E Select F1 / F2 Feed

Selecting and Editing Filters

FM and FM Source

Pan

PanMod and PanMod Source

Comb + and Comb all chapters all chapters

Filter Types

Vocoder

Arpeggiator Edit Menu

Tempo/clock

Envelope Section

LFO Section

Mod Matrix

Modifier Matrix

Global menu

Mode

ADS1DS2R Envelope

One Shot Envelope

LoopS1S2 Envelope

Loop All Envelope

Sync

Fade

Clocked

Phase all chapters all chapters

Sysex Device ID

Clock

Controller Send

Input Gain

Table 2: Suggested chapters for synthesizer hotshot


Introduction – General Safety Guidelines

General Safety Guidelines

m

Please read the following safety tips carefully! They include several precautions you should always observe when dealing with electronic equipment. Read all of the instructions before operating your device.

Suitable Operating Conditions

•

Use the device in enclosed rooms only.

•

Never use the device under damp conditions such as in bathrooms, washrooms or around indoor swimming pools.

•

Do not use the device in extremely dusty or dirty environments.

•

Make sure that adequate ventilation is available at all sides of the device.

•

Do not place the device near heat sources such as radiators.

•

Do not expose the device to direct sunlight.

•

Do not expose the device to extreme vibrations.

Power Supply

•

Never use a different power supply than the one that came with the microQ.

•

Never install a different plug. If the included power supply is not equipped with a suitable plug for your local sockets, take the microQ and the power supply to a qualified electrician.

•

Unplug the device when you are not using it for longer periods.

•

Never touch the plug with wet hands.

•

Always pull the plug when unplugging the device, never the cable.

Operation

•

Never place objects containing liquids on or near the device.

•

Place the device on a stable base only. Use a suitable platform or rack.

•

Make sure no foreign objects find their way into the chassis. If for some reason this should occur, switch the power off, unplug the device and consult a qualified repair center.

•

This device, used on its own or with amplifiers, speakers or headphones, can generate volume levels that may do irreparable damage to your hearing. For this reason you should keep the volume at tolerable levels.

Maintenance

•

Do not open the device or remove the cover. Refer all service and repair tasks to qualified personnel. The interior of the chassis contains no components that require user maintenance.

•

Use only a dry, soft cloth or brush to clean the device. Never use alcohol, cleaning solutions or similar chemicals. They will damage the surface of the chassis.


Introduction – General Safety Guidelines

Proper Use

This device is designed exclusively to produce low-frequency audio signals for the purpose of generating sound. Any other use is prohibited and voids the warranty extended by Waldorf

Electronics GmbH. Waldorf Electronics GmbH is not liable for damages due to incorrect use.


Setup and Connection – Inventory

Setup and Connection

Inventory

The Waldorf microQ comes complete with:

• the microQ synthesizer

• external power supply

• this manual including a warranty card

Please ensure all the items above were included. If something is missing, contact your local dealer.

We recommend that you save the original packing material for future transport.

m

Make sure you fill out the warranty card and send it to the appropriate distributor or the address printed on the card. This is the only way we can keep you informed of updates and upgrades. Other available services are listed on the warranty card.

Setup

Place the microQ on a clean, even surface. We recommended the installation in a stable 19" rack. If you choose to take the device on the road, we suggest transporting it in a special keyboard case, which should be available from your dealer.

Connections

In order to get started with your microQ you will need an AC power outlet, a mixing console, an amp and an audio monitor such as a speaker cabinet. The microQ also needs to connect with a MIDI master keyboard.

You can also use a computer or sequencer to make use of the microQ’s MIDI features.


Setup and Connection – Connections

POWER

IN

Stereo

MAIN OUT

Left/Stereo Right/Mono

SUB OUT 1

Left/Stereo Right/Mono

SUB OUT 2

Left/Stereo Right/Mono In

MIDI

Thru Out

Main Output

to mixing desk, headphone or amplifier

Left/Stereo:

Tip: Left Signal

Ring: Right Signal

External In

from mixing desk or audio source

Tip: Left Signal

Ring: Right Signal

Sub Output 1

to mixing desk or amplifier

Left/Stereo:

Tip: Left Signal

Ring: Right Signal

Sub Output 2

to mixing desk or amplifier

Left/Stereo:

Tip: Left Signal

Ring: Right Signal

MIDI Thru

to MIDI In of further tone generators

MIDI In

from MIDI Out of a

Computer or a MIDI

Masterkeyboard

MIDI Out

to MIDI In of a

Computer or tone generator

Power Supply

Socket

for an external power supply

Out

In

Connections

☞

To connect the devices:

•

Turn all units off.

•

Connect the microQ’s main audio outputs

Main Out

2 to your mixing console. Optionally connect the auxilliary audio outputs

Sub Out 1

3 and

Sub Out 2

4 too.

•

To play the microQ you need a MIDI master keyboard. Connect its MIDI Out jack to the microQ´s

MIDI In

jack

E. Instead of this you can also connect the microQ to a MIDI computer system.

•

If you want to use a computer, connect your computer´s

MIDI Out

jack to the microQ’s

MIDI In

jack

E and the computer´s

MIDI In

jack to the microQ’s

MIDI Out

jack

G.


Setup and Connection – Audio Connections

•

Connect the power supply cable that came with the microQ with the

Power Supply

H jack.

•

Plug the other side of the power supply cable into a suitable AC power outlet.

•

The microQ should power up itself. If not, switch on the microQ with the

Power

button g.

•

Then switch on the computer (if connected), the mixing console and finally the amplifier.

w

To check the correct reception of MIDI Data send any MIDI Events to the microQ; the Power

LED lights up on any incoming MIDI Message. If this is not the case please check the MIDI connection to the microQ.

Audio Connections

The microQ provides three analog stereo audio outputs that can be used individually. All outputs are affected by the setting of the System volume control. If you choose to send only one mono or stereo signal to your mixer, use the

Main Out

2 jacks. You can connect each output stereophonically or monophonically as follows:

☞

To connect an output stereophonically with two mono cables:

•

Connect the Left and Right jack with 1/4-inch mono plugs.

☞

To connect an output stereophonically with one stereo cable:

•

Only connect the

Left/Stereo

jack of the output with a 1/4-inch stereo plug. Don’t plug any cable into the

Right/Mono

jack of the output pair.

☞

To connect an output monophonically:

•

Only connect the

Right/Mono

jack of the output pair with a 1/4 inch mono plug. Don’t plug any cable into the

Left/Stereo

jack of the output pair.

The microQ also offers a stereo headphone jack l on ist front panel. The signal on the headphone jack connector is always identical to the

Main Out

jacks.

w

The Main´volume of the microQ can be changed with the endless knob left below the display while being in Play Mode. This function works in Single- and in Multimode.

w

If you do not choose to connect a mixing console, you can patch the microQ’s output signals directly to an amp. Use an input usually called Aux or Tape input.

m

Before connecting and disconnecting the microQ to a power supply source, turn your amp’s volume control all the way down to avoid damage due to on/off switching noise.

The microQ produces a high level output signal (see technical data). Please take care that the connected playback device is suitable for the high level of an electronic instrument.

Never use the mic or phono input of the connected amp!


Setup and Connection – External Input

External Input

The microQ offers a stereo

External In

jack

A that can be used to feed an external signal into the mixer section. Therefore, the signal can be processed via the filters and the effects section in the same way as the oscillators.

w

As the external signal is treated like any other sound source within the microQ, it is necessary to trigger the Amplifier Envelope to get the signal passed through. To do so, notes must be sent to the microQ’s sound generation, either by playing on the keyboard, receiving MIDI notes or via internal arpeggiator. Please read the chapter “External In” in the “Sound Parameters” section for further info.


Overview – Memory Structure

Overview

Memory Structure

The memory architecture of the microQ is divided into three main sections as shown in the following picture. All memory locations are freely programmable, so there is no separation into preset and user programs.

Internal Memory

Multi

001

.

.

.

.

.

.

.

100

Sound

Bank C

Bank B

Bank A

.

.

100

Drum Map

.

.

.

.

.

.

.

20

Picture 3: Memory Structure

•

100 Multi programs (Multi 001…100)

A Multi program stores information about how up to 16 Sound programs sound at once.

•

300 Sound programs (Sound A001…C100)

A Sound program stores information about the character of a sound.

•

20 Drum Maps (Drum Map D001...D020)

A Drum Map contains up to 32 Single Sound Programs which can be organized on the keyboard.

Dynamic Voice Management

The microQ has a Dynamic Voice Management. This means that unused or deactivated parts of the

Sound Engine, e.g. Oscillators, Filters, Effects, etc. do not need any CPU capacity. This enhances the maximum polyphony up to 25 voices.

Further informations about this can be found in the chapter “Sound Parameters” under the corresponding parameters.

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The simple rule of thumb says: the less complex the sound, the higher the available polyphony.

.

Tips for better voice performing can be found on page 133.


Basic Operation – Switching on

Basic Operation

Switching on

The microQ is equipped with a software-based power control, which means that it is initially switched on when you connect it to an AC outlet, even if it was switched to standby mode before the power was disconnected. This enables you to switch the microQ on or off through e.g. a main power switch in your studio. However, if you switched the microQ off manually you can switch it on again with the following procedure:

☞

To switch the microQ on manually:

•

Press

Power

g to switch the microQ on. The standby LED will go out.

After a couple of seconds the display will change, to show the last sound or multi program that was selected before the microQ was switched off. The microQ is now ready to be played:

Inst:1 Sound:A001

HornsOfJericho jh

Please take into consideration that we’re releasing new Operating Systems for our

Synthesizers at regular intervals. These new Operating Systems might contain new and desirable features. To read about this, please see the „Updating the System Software“.

Switching off

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The microQ has a special shutdown feature that prevents data loss by accidentally pressing the power button.

☞

To switch the microQ off:

•

Press and hold the

Power

button g. The display now shows a countdown message from

10 to 0:

Switching off: 8

After counting down to 0 the microQ will switch off. If you release the

Power

button before, the shutdown process is cancelled.

Panic Function

The

Power

g button is also used to perform a Panic function. The Panic function sends and executes an "All Notes Off" command to terminate stuck notes. Panic immediately sets all envelopes to their release phases. Panic also stops the step sequencer and the arpeggiator playing when running in Hold mode.

To activate this function, briefly press

Power

g.

When holding

Power

g a bit longer, all sound is suppressed and the release phases are cancelled.


Basic Operation – System Volume

System Volume

In Play mode you can use the left parameter dial k under the display control to adjust the microQ’s master volume. The volume setting is global and affects the levels of all audio outputs including the headphone output.

Demo Playback

The microQ is equipped with several demo songs to show some of its unique features. They should give you a quick overview of the microQ’s sound character and the possibilities you can expect when you start working with your microQ. To listen to the songs in highest quality you should make sure that the microQ is connected stereophonically to a good amplifier/loudspeaker combination.

Alternatively, you could use good headphones.

m

The Demo Playback mode clears all edit buffers. If you have made any changes to existing programs that you would like to keep, you should store them now. However, stored programs aren’t affected in any way.

☞

To start the Demo Playback:

•

Press

Multimode

and

Peek

simultaneously to enter the demo mode. The microQ shows a selection of various demo songs.

•

Press one of the highlighted

Instrument

b buttons to listen to a particular demo song or press the

Play

button to listen to all demo songs in sequence.

•

While you are listening to the music watch the display.

☞

To play back another demo song:

•

Press another highlighted

Instrument button

b.

If this gave you an idea of the microQ´s capabilities of, it is time to leave the Demo Playback and to start exploring it yourself.

☞

To exit the Demo Playback Mode:

•

Press

Peek

to exit the demo mode. The microQ returns to normal operation.

Demo Sequences

The microQ is equipped with four demo sequences. These demo sequences give you a way to hear the microQ without being connected to a MIDI keyboard.

☞

To play back a demo sequence:

•

Press

Peek

and one of the four

Instrument

buttons simultaneously to play back a demo sequence with the currently selected sound.

•

Press another

Instrument

b button to listen to a particular demo sequence.

•

If you want, change the sound by turning the

Page Dial

c.

•

Press

Multimode

to stop the demo sequence playback. The microQ returns to normal operation.


Basic Operation – The Master Section

The Master Section

Most of the basic operations like managing programs are done in the Master Section. The picture below shows the controls of the Master Section in detail:

Inst. 1 Inst. 2 Inst. 3 Inst. 4

Graphic Display

Global Utility

Multi Compare

Edit Recall

Play

Sound Store

Shif t

Multimode

Picture 4: Master Section

As you can see, the Master Section consists of several controls:

Peek

•

A 2x20 character display that shows program names, parameters and other messages.

•

A red page dial on the right of the display. It is used to select sound programs or, when editing a program, to select a parameter page.

•

Two value dials below the display for adjusting parameters currently shown.

•

Four buttons labelled

Global / Utility

,

Multi / Compare

,

Edit / Recall

and

Sound / Store

.

These buttons are used to call special parameter edit pages and to perform several utility functions.

•

A button labelled

Shift

that is used to activate alternative functions of knobs and buttons, labelled in blue color.

•

A button labelled

Play / OK

. Pressing this button will bring back the microQ to Play mode, where sounds can be selected.

•

A button labelled

Multimode

. It is used to activate or deactivate the Multimode.

•

A button labelled

Peek

. Pressing this button allows you to check parameter values without changing them.

Selecting Programs

The microQ offers three types of programs, Multis, Sounds and DrumMaps. To switch between them, you can either use the

Page Dial

c or the left parameter dial under the display (only in Play mode).

The type of program changed depends on the microQ Single or Multi Mode status.

Single Mode

The Single Mode of the microQ consists of four Instruments that can be played one after the other or at once. This offers a fast way to switch between different sounds in a live situation or to create


Basic Operation – Selecting Programs layered sounds in a studio session without deeper programming. We will come to that later. For now, you only need to know: The buttons

Inst. 1

…

Inst. 4

b are used to switch between these Instruments.

Each Instrument holds a Sound that can be selected in various ways.

In Single Mode, you can either select Sound Programs or DrumMaps. If you want to build a setup with a particular Sound and a related DrumMap, use the Multi Mode of the microQ.

Multi Mode

The Multi Mode of the microQ consists of 16 Instruments that can be mapped, layered or played individually. For a thorough explanation of the Multi Mode, read the chapter “Multi Mode”.

Selecting Programs with the Page Dial

With the

Page Dial

c, you can select Multis in Multi Mode and Sounds in Single Mode.

☞

To select a Program with the

Page Dial

c:

1. Make sure that the

Play

LED is lit. If not, press

Play

in the Master section.

2. If you are in Single Mode (

Multimode

LED is off), press one of the Instrument buttons

Inst.

1

…

Inst. 4

b to select an Instrument that holds the Sound or DrumMap. The LED above the button lights up and the display content will change to show the current Sound for this

Instrument.

3. Use the

Page Dial

c to select an appropriate Program. Turning the dial clockwise increases the Program number, turning the dial counterclockwise decreases it.

When you are at the end of one Bank and turn the

Page Dial

c further, you will jump to the beginning of the next Bank and vice versa. The only exceptions are the first Program in the first Bank and the last Program in the last DrumMap Bank. The Bank names are:

Sound Bank

A

to

C

.

Drum Map bank

D

.

Multi Bank

4. The display shows the Program number in the top right corner and the name of the selected

Program (name may be different depending on the factory set in your microQ).

Single Mode:

Inst:1 Sound:A001

HornsOfJericho jh

Multi Mode:

Inst:1 Multi:A009

The Wavetrip T w

Drum Maps can be found in sound position 01 to 20 in Bank D. The microQ can only hold up to 20 Drum Maps. Therefore higher storage positions aren’t available.

Fast Selection of Sound Banks in Single Mode

In Play mode the Banks can be changed quickly by using the endless knob right below the display.

Turning the knob clockwise raises the bank number, turning counterwise lowers it.


Basic Operation – Instruments and Sounds

Instruments and Sounds

Switching between Instruments to change Sounds

As mentioned before, the Single Mode of the microQ uses four Instruments that can be accessed through the buttons

Inst. 1

…

Inst. 4

b.

In a live situation, for example, you can set up the Sounds for the Instruments in advance and quickly switch to them during your performance.

Or, in a studio session, you can try out several Sounds by switching the Instruments back and forth.

This is also interesting when working with MIDI. In Single Mode, only the active Instrument (or Sound

Layer) responds to MIDI.

☞

To select one instrument:

•

Press one of the Instrument buttons

Inst. 1

…

Inst. 4

b. The LED above the button lights up and the display content will change to show the settings for this Instrument.

•

You can now play the Sound of this Instrument.

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There’s no way to store the settings of the four Instruments permanently except when you create a real Multi in Multi Mode. So, see the Instruments as temporary scratch pads.

Creating Sound Layers with Instruments

Beside the feature to select the four Instruments in sequence, you can select two or more Instruments at once to create Sound Layers. This is very handy and allows you to build up big sounds without any deeper programming as you would have to do in Multi Mode. However, if you are very happy with a

Sound Layer, you should think about building a Multi with the same settings to store it permanently.

☞

To create a Sound Layer by selecting several Instruments at once:

1. Set up the Instruments to hold the Sounds that you would like to play.

2. Press and hold one of the Instrument buttons

Inst. 1

…

Inst. 4

b. The LED above the button lights up and the display content will change.

3. Press additional Instrument buttons briefly. The Instruments will be added to the other

Instruments as long as you hold the Instrument button you’ve pressed first. The respective

Instrument LEDs light up half as bright to indicate that these Instruments are added.

4. Release the Instrument button you pressed first.

5. The LED of the Instrument you selected first will light fully to indicate that this is the editable Instrument. All other selected Instrument LEDs are dimmed.

Replacing Sounds in Layers

If you are not happy with one Sound of your Sound Layer, you can replace it at any time with a different Sound.

☞

To replace one Sound of a Layer:

1. Press the Instrument button

Inst. 1

…

Inst. 4

b that holds the Sound you want to replace.

The LED above the Instrument button lights up fully.

2. Select a Sound for this Instrument.


Basic Operation – Instruments and Sounds

Editing Sounds in Layers

You can edit individual Sounds in Layers. This helps you to fine-tune a Sound to match it to the sound character of the Layer.

☞

To edit one Sound of a Layer:

1. Press the Instrument button

Inst. 1

…

Inst. 4

b that holds the Sound you want to replace.

The LED above the Instrument button lights up fully.

2. Now you can edit the Sound with the panel controls and its menus.

Deactivating Sound Layers

☞

To deactivate a Sound Layer:

•

Press all Instrument buttons

Inst. 1

…

Inst. 4

b that make up the Sound Layer.

or

•

Press an Instrument button

Inst. 1

…

Inst. 4

b that isn’t part of the Sound Layer.


Basic Operation – Editing Parameters

Editing Parameters

In order to change or edit a program in the microQ, you must access the appropriate parameters. In spite of the microQ’s compactness it uses a sophisticated user interface allowing a fast editing of any parameter. The change of any value is done with the so-called endless rotaries.

The rotary knobs control parameters with continuous values.

All rotary controls consist of dials.

Turning a dial clockwise increases the corresponding value; turning it counterclockwise decreases it.

The dials have a built-in dynamic response feature. If you turn the control slowly, the value changes very smoothly, too. If you turn it faster, it accelerates as well. This gives you the chance of adjusting the whole value range in just one turn without losing accurate control when necessary.

Bipolar parameters (parameters with positiv and negative values) use special gradation when changing their values. As soon as the value

0 is reached, the sweep is stopped for a short period to make it easier to edit the microQ.

Editing Parameter Controls

The basic programming of the Waldorf microQ is done via the so-called parameter matrix f which has its most important parameters silksreeened on the machine´s front panel. Changing the parameters is done with the four endless rotaries h on the bottom of the matrix. Changing the edit level is done with the four navigation buttons e left to the parameter matrix. This sounds more complex than it is. With a simple example you will understand the structure of the microQ handling easily:

Would you like to change the

Resonance

of Filter 2? Please proceed as follows:

☞

To access a specific panel parameter:

1. Locate the section that contains the desired parameter on the front panel. For example, if you want to change

Resonance

of Filter 2, refer to the Filter section. To do this please press the upper or lower navigation button until the LED lights up in the Filter section.

2. With the left or right navigation button you can choose Filter 2. The LED will show the currently selected Filter.

3. With the second endless rotary you can now change the

Resonance

value of

Filter 2

.

Whenever you change a parameter by moving a knob or pressing a button, the display shows the edited parameter and its current value in the upper right corner for a few seconds:

[F2 Resonance 016]

Nimm Oel! T

If you wish to edit a shift-parameter (printed in blue next to the main parameter) you need to keep the

Shift

button pressed or push it briefly. If pressed briefly the LED next to the shift button will keep lighting up until you press it again to edit the main parameters again.

Now you should be able to choose the 7 edit levels with the navigation buttons:



Oscillator, Mixer/Routing, Filter, Amp/FX/Arp., Envelopes, LFOs and

Mod Matrix

For each parameter level you can also access an edit menu, since only the most important parameters can be directly accessed through the parameter matrix. To activate the edit menu of the selected section simply press the

Edit

button in the master section to edit all additional parameters in the microQ’s display.

Editing Display Menu Parameter

There are display menus for all sections of the parameter matrix The display menus contain additional parameters that are not directly accessible from the front panel.

You can reach these menus by pressing the

Edit

button in the master section.

☞

To access a specific display menu parameter:

1. With the navigation buttons you choose the parameter section you wish to reach. For instance, if you wish to edit the

Keytrack

of any Oscillator please choose the

Oscillator

section in the Parameter matrix.

2. Press the Edit button of the Master section.

3. The first page of the oscillators’ display menu will appear. If you did some editing in this menu before, the display may show another page. This happens because the microQ remembers the state of each display menu:

O1 Keytrk|O1 BendRg

+100% | +02

4. Use the page dial to scroll through the menu. Turning the dial clockwise selects the next page, turning it counterclockwise selects the previous page. You can also press the

Edit

button again to select the next page.

5. Use the value dials below the display to adjust the corresponding parameters. Some display menus consist of only a single parameter. Only the leftmost value dial will be active then.

6. After finishing all edits, press the

Play

button in the Master section to return to normal mode.

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While editing display menu parameters, you can also adjust panel parameters and vice versa.

In addition to the

Edit

button, three other buttons located on the right hand of the Master section allow you to set up further parameters:

•

The

Global

parameters provide the basic settings of the microQ, valid for all programs.

•

The

Multi

parameters refer to a Multi program. They determine the common setting for all instruments in the Multi program. Obviously, you can access these parameters only when the microQ is in Multi mode.

•

The

Sound

parameters refer to a Sound program. If you are in Single Mode, you will edit the currently played program. If you are in Multi mode, the Sound program for the currently selected Instrument will be edited.

Here you can program the parameter of a

Drum Map, too.

The procedure for setting up these parameters is the same as for adjusting the other display menu parameters described above.



When you have finished all your edits, you should save the program. Please read the chapter about saving programs for further information.

Edit Buffers

Whenever you edit a program on the microQ, the program is internally copied to an edit buffer.

When you use the

Store

function to save the edits, the program is copied back from the edit buffer to the internal memory. The display shows an

e

behind the program number for every program that is actually in an edit buffer:

Inst:1 Sound:A001e

HornsOfJericho jh

The microQ has a number of different edit buffers, each holding a program of the specific type when you edit them:

•

1 Multi edit buffer:

This buffer holds the currently selected Multi in Multi mode.

•

1 Drum Map edit buffer:

This buffer holds the currently edited Drum Map in single or multi mode.

•

16 Sound edit buffers:

Each buffer holds an edited Sound.

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The edit buffers aren’t cleared when you select a different program so you can always go back to the edited program to examine it or do further edits. The only way to “lose” an edit buffer automatically is when all buffers of this type are already in use and you start to edit another program. Then the oldest edit buffer is cleared and used to hold the new edit.

m

Note that all edit buffers are cleared when the microQ is switched off. Use the

Store

function as soon as possible after finishing your edits.

Viewing Parameter Values without Change – Peek

The microQ offers a special mode to check parameter values without performing any changes.

☞

To check parameter values without changing them:

1. Press the

Peek

button, located in the Master section. The LED beside this button will light up.

2. If you move the control element of any panel parameter, its current value will be shown in the display. E.g. if you move the

Detune

knob in the Oscillators section, the display will show (value may be different):

[01 Detune +09]

3. After a few seconds, the display will return to its previous state. You can also check the various display menu parameters. Press the

Edit

button and scroll through the display menu via the

Page Dial

or by pressing the

Edit

button repeatedly. This procedure is also applicable to the display menu parameters of the the

Global

,

Multi

or

Sound

menus.

4. Press the

Peek

button again. The LED beside the button will go off, indicating that peek mode has been terminated.


Basic Operation – Editing Parameters w

If you don’t check any parameters for a certain time, the Peek mode will be terminated automatically.

Comparing Edited Programs with Stored Programs

The Compare function allows you to compare the currently edited program to its original stored version in the internal memory.

☞

To use the Compare function:

1. Choose the program type to compare as follows:

•

If you want to compare a

Sound

, select the

Play

page or any of the

Edit

menus.

•


Multi

, select the

Multi

page.

•


Drum Map

, select the

Drum Map Edit

menu.

2. Press

Shift + Compare

.

3. The display now shows a

c

after the program number:

Inst:1 Sound:A001c

HornsOfJericho jh

4. You will hear the unedited version of your program when you play the microQ.

5. Press the

Shift + Compare

again.

6. The

c

in the display changes to

e

again. The edited version of the program is now active again.

w

You can only view the original settings. If you select a new program while the Compare function is active, the Compare status is automatically terminated. No parameters can be edited with the Compare function active. Any attempt will give you an error message in the display:

[Compare active]

Recalling Edited Programs

You can void edits at any time and return to the original program.

☞

To recall an edited program:

1. Choose the program type to recall as follows:

•

If you want to recall a

Sound

, select the

Play

page or any of the

Edit

menus.

•


Multi

, select the

Multi

page.

•


Drum Map

, select the

Drum Map Edit

menu.

2. Press

Shift + Recall

.

3. The

e

or

c

in the display after the program number will disappear. All edits will be recalled and the program returns back to its stored state.



Storing Programs

After you have finished editing a program, you must store it if you intend to use it again. Any of the microQ´s memory locations are available for this purpose. The type of program that is stored depends on the page you were in before performing the Store function.

☞

To store a program:

1. Choose the program type to store as follows:

•

If you want to store a

Sound

, select the

Play

page or any of the

Edit

menus.

•


Multi

, select the

Multi

page.

•


Drum Map

, select the

Drum Map Edit

menu.

2. Press

Shift + Store

to activate the Store page.

3. The display shows the Store page where you can select the destination and the program name:

Store Sound to A051

01[Nimm Oel! T]

4. Use the page dial to select the destination program. The default value is the currently selected program but you may want to store your edits in a different location. In this case the name of the chosen Sound Program is temporarily shown and you can choose to overwrite the old sound or not.

5. Optionally, edit the program name. First select the character to be modified via the first value dial. Then change its setting via the second value dial. The program name can use up to 16 characters.

6. Press

Shift + Store

to store the Program to the selected location.

m

Whenever you store a program, the selected memory location is overwritten. Therefore, any previously stored program at this location will be erased and there is no way to get it back.

So, you should do backups of the sounds, multis and Drum Maps regularly. If you want to restore the factory presets, you can download them as a Standard MIDI File from our website.

You now have stored the program. When you activate the Store function, the Edit or Compare status of the stored program is terminated.

By pressing any button before performing the last step, you can discard the Store process at any time.

w

Use the Store function also if you want to copy programs. There is no need to edit a program before storing it.


Multi Mode – Selecting an Instrument for editing

Multi Mode

The Waldorf microQ offers a 16 part Multi mode. As soon as you want to arrange keyboard layers for a live performance or want to do multi track recordings in a studio, you should start to program your own Multis that you can use to quickly switch between completely different setups.

Only a Multi combines the various sections of the microQ like Sounds, MIDI In/Out Channel settings, or audio output routings. The following picture shows the structure of a Multi.

Multi Programm

Multi Programm Parameter

Instrument 1

Instrument 2

Instrument 3

Instrument 4

Instrument

Parameter

Instrument 5

Instrument 6

Instrument 7

Instrument 8

Instrument

Parameter

Instrument 9

Instrument 10

Instrument 11

Instrument 12

Instrument

Parameter

Instrument 13

Instrument 14

Instrument 15

Instrument 16

Instrument

Parameter

Sound Sound Sound Sound

Sound

Bank C

Bank B

Bank A

.

.

100

Picture 5: Multi Program architecture w

Setting up a Multi requires some organizational work, as it does on all synthesizers, but you should do it anyway because it eases your work with the microQ when you use it live or for recording.

Selecting an Instrument for editing

Before you can adjust the Instrument Parameters of a particular Instrument, you have to select it. The

Multi mode of the microQ offers 16 Instruments that can be played at a time via MIDI. The 16

Instruments are organized into 4 banks with each 4 Instruments.

☞

To select an Instrument:

1. Press

Shift+Inst. 1…4

b to select one of the four Instrument banks.

2. Press

Inst. 1…4

to select one of the Instruments of the selected bank.

When the Play page is selected, the display shows the Instrument number in the top left corner as follows:


Multi Mode – Basic Instrument settings

Inst:4 Multi:001

Sequencer Multi

The instruments are numbered consecutively from

1

to

16

. In the display shown above, Instrument 4 is selected. If you want to select Instrument 12, for instance, you have to access Bank 3 by pressing

Shift + Inst.3

b and then button

Inst.4

to switch to Instrument 12.

When one of the Instrument parameter pages is selected, the current Instrument number is shown in the top right corner as follows:

Channel |Status 4

global | Midi w

Don’t confuse Instruments with MIDI Channels. Although you can set up a Multi that uses separate MIDI Channels in ascending order for all Instruments, it can also be that a couple or all Instruments are set to the same MIDI Channel. Please read the description below to see how the MIDI Channel for a particular Instrument is set.

☞

To call the Multi parameter pages:

1. Make sure that the

Multimode

LED is lit to indicate that the Multi mode is active.

2. Press the

Multi

button in the Master section. The display changes to the

Multi

or

Instrument

parameter page that was active when you last left the Multi parameter pages the last time.

3. You can change the pages with the red page dial.

Basic Instrument settings

The instrument parameters specify the individual settings of each instrument in a Multi Program. You can edit the audio output, transpose function or tuning, key range and velocity range for a selected sound.

Sound Bank and Number

A…D 001…100

Each Instrument points to one Sound in memory. The display shows the Sound name in the upper row and the Sound bank and number in the lower row as follows:

[Nimm Oel! T ]1

Bank: A sound: A001

☞

To select a Sound for an Instrument:

•

Use the

left display dial

to select

Bank A…D from which the Sound program is taken.

•

Use the

right display dial

to select the Instrument’s Sound program

001…100.

w

In a Multi-Program you can use only one Drum Map at a time. When you’re assinging a Drum

Map to an instrument, any other instrument using a Drum Map will be restored to the normal program assignment.


Multi Mode – MIDI and Status Settings

Volume

000…127

Volume

100

Volume

sets the output volume of the selected Instrument.

w

This

Volume

parameter sets the maximum output volume of the selected Instrument. 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 Instrument

Volume

to

10 and Controller #7 to 127, the maximum output volume is

10.

Output

Main Out, Sub Out 1, Sub Out 2, FX1, FX2, FX3, FX4, Aux

Output

Main Out

Output

sets the audio output of the selected Instrument. The Instruments

1…4

can only be routed to the physical outputs, the Instruments

5…16

can also be routed to the effect busses of the Instruments

1…4

.

•

Main Out means that the selected Instrument plays over the

Main Out

2 jacks.

•

Sub Out1 means that the selected Instrument plays over the

Sub Out 1

3 jacks.

•

Sub Out2 means that the selected Instrument plays over the

Sub Out 2

4 jacks.

•

FX1…FX4 (only available on Instruments

5…16

) means that the selected Instrument is routed to the respective effect bus of Instrument

1…4

and therefore also plays back over the same physical output.

• aux means that the selected instrument is routed to the internal audio bus. So you can use this Instrument to feed the vocoder or the 5FX. For more information refer to the chapter

"Effects".

w

The Instruments

1…4

define the effects that are used in the selected Multi. All other Instruments are played back without effects unless you route them to one of the effect busses

FX1…FX4. If you do so, these particular Instruments automatically use the same physical outputs that are set up in the respective Instrument

1…4

.

MIDI and Status Settings

Channel

global, omni, 1…16

Channel |

01 |

Channel

sets the MIDI Channel for the selected Instrument. This MIDI channel is used to send MIDI messages and to receive MIDI messages for this Instrument when

Status

is set to MIDI.

• global means that the selected Instrument receives and sends on the MIDI channel set up in the

Global

menu. This setting is recommended for a Multi that is intended for use in a live performance.


Multi Mode – Tuning

• omni means that the selected Instrument receives all MIDI channels and sends on the MIDI channel set up in the

Global

menu. This setting is not recommended. Only use it for diagnostic purposes when you need to know if the microQ receives any MIDI messages at all.

•

1…16 means that the selected Instrument receives and sends on this MIDI channel. This setting is recommended for a Multi that is intended for multi track playback with a software sequencer.

Status

Off, On

|Status 1

| On

Status

sets the send and receive status of the selected Instrument. This means whether the Instrument can be played by MIDI or is disabled.

•

Off means that the selected Instrument is disabled.

•

Oni means that the selected Instrument can be played by MIDI.

Tuning

Transpose|Detune 1

+00 | +00

Transpose

-48…+48

Transposes the Instrument in semitone steps. I.e., a value of

–12 means that the Instrument sounds one octave lower than it was originally programmed.

Detune

-64…+63

Detunes the Instrument in steps of 1/64th of a semitone.

.

You can set up nice layered sounds with

Transpose

and

Detune

. Activate two Instruments and set their parameters to identical values including the sound number. Then simply transpose one Instrument by one octave, and you have a fat layer sound. Or set them both to the same octave and set

Detune

of one Instrument to –05 and the other to +05.

Velocity Range

LowVelo |HiVelo 1

001 | 127

LowVelo

001…127

LowVelo

allows you to limit the velocity range in which the instrument is played. Only notes with a velocity higher or equal to the selected value are passed through. Set this parameter to 1, if you want to turn velocity switching off.


Multi Mode – Keyboard Range

HiVelo

001…127

HiVelo

is the counterpart to

LowVelo

. Only notes with a velocity lower or equal to the selected value are passed through. Set this parameter to

127, if you want to turn velocity switching off.

Keyboard Range

LowKey |HighKey 1

C-2 | G8

LowKey

C-2…G8

Analogous to the velocity switching parameters, the key range can be restricted for the instrument’s tone generation. Only notes with a key number higher or equal to the selected value are passed through. Set this parameter to C-2 if you want to use the full keyboard range.

HighKey

C-2…G8

HighKey

is the counterpart to the

LowKey

parameter. Only notes with a key number lower or equal to the selected value are passed through. Set this parameter to G8 if you want to use the full keyboard range.

Multi Parameters

The Multi parameters consist of settings that are common to all instruments in a Multi program.

Except for

Multi Tempo

, all Multi parameters are adjusted in the Multi parameter pages.

Ctrl W…Ctrl Z

0…120

Ctrl W |Ctrl X 1

002 | 003

Ctrl Y |Ctrl Z 1

004 | 006

These parameters are used to define arbitrary MIDI Continuous Controllers as modulation sources for the Sounds in the active Multi. You can set up four Controls, W, X, Y and Z, for this purpose. Each value represents a MIDI Continuous Controller number that is used when you assign its parameter as modulation source in the Modifiers or the Modulation Matrix. The highest possible Controller number is

120 because all higher numbers are reserved for non-real-time purposes. If global is selected, the corresponding settings for

Ctrl W...Z

made in the global parameter section are used.

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The most important Sound parameters of the microQ can be controlled by MIDI Continuous

Controller messages. If you set one of the Ctrl W…Ctrl Z to a Controller that is also used for a

Sound parameter, the microQ disables this Controller as Sound parameter Controller and uses it exclusively for one of the Ctrl W…Ctrl Z.

This is an important issue when you send Sound parameter changes by tweaking parameters on the front panel. The Sound parameter is sent out as Controller but can’t be received as long as any of the Ctrl W…Ctrl Z remains assigned the same Controller number.


Multi Mode – Multi Parameters

Multi Volume

0…127

Multi Volume 1

127

Multi Volume

sets the overall volume for the selected Multi program. It affects all Instruments of the

Multi program, so if you would set

Multi Volume

to

0, you won´t hear anything.

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Multi Volume

is used to set several Multi programs to similar output levels, especially in live situations. While recording in a studio, you should set

Multi Volume

to

127 to get the highest possible Signal-to-Noise ratio.

Multi Tempo

40…300

[Multi Tempo 120]

Multi Tempo

sets the global tempo for all instruments in the selected Multi program. It affects all arpeggiators and all LFOs that are set to clocked. Please read the chapter “The Tempo” for further information.

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The

Multi Tempo

parameter is controlled by the

Tempo

dial in the

Amp/FX/Arp.

section, so it doesn’t need to have an entry in the

Multi

parameter pages.


Sound Parameters – Overview of Functions

Sound Parameters

Overview of Functions

The Waldorf microQ consists of numerous sound-shaping components. The following overview gives you an idea of how the individual components interact:

MIDI Clock Arpeggiator Trigger

Audio Signal

Controller Signal

FM Destination

LFO 1

…

LFO 2

…

LFO 3

…

Filter Envelope

Amplifier

Envelope

Envelope 3 Envelope 4

MIDI Input

Modulation

Matrix

Modifiers f(x, y)

Oscillator 1

…

Ring Modulator

Mixer

Filter 1

…

Routing

Pan 1

Amplifier FX1 / FX 2

L

Output

R

Oscillator 2

…

Sync

Oscillator 3

…

Noise Generator

Filter 2

…

External Audio

Signal

Pan 2

Picture 6: Block schematic diagram of a sound

As you can see, the microQ consists of two different types of components for sound generation and sound shaping:

•

Oscillators, Ring Modulator, Noise Generator, External Audio Signal, Mixer, Filters,

Amplifier, Effects:

These modules represent the audio signal flow. Sound generation actually occurs within the Oscillators. They produce square, sawtooth, triangular, sine and alternative waveforms.

The Mixer follows the Oscillators in the signal chain, which is where the Oscillators’ output signals are mixed. Noise or signals received through the audio inputs can also be added to the mix. The Filter then shapes the sound by amplifying (boosting) or attenuating

(dampening) certain frequencies. The Amplifier and the Effects are located at the end of the signal chain. They determine the overall volume of the signal and add some effects like chorus, flanger, delay etc.

•

LFOs, Envelopes, Modifiers, Modulation Matrix:

These modules are called Modulators. The Modulators are designed to manipulate or modulate the sound generating components to add dynamics to sounds. The Lowfrequency Oscillators (LFOs) are designed for periodic or recurring modulations while

Envelopes are for modulations that occur once on each note. These generators are


Sound Parameters – Modulation Speed Levels assigned to parameters through the Modulation Matrix and influence these parameters to alter a sound. In addition, the Modifier unit can process various mathematical operations and functions on the modulation signals.

Modulation Speed Levels

The microQ offers three levels of modulation speeds: FM, Fast Modulation and Standard Modulation.

This separation assures maximum flexibility in sound generation while keeping the amount of processor power needed to calculate a voice as low as possible. You will find separate descriptions of how to access the different modulation types in the chapters below. The three modulation speed levels are categorized as follows:

FM (Frequency Modulation)

This is the fastest modulation speed level. These calculations are performed for each generated sample or, in other words, 48000 times per second (48kHz). Five modules of the microQ’s sound generation offer FM - the three oscillators and the two filters. When you browse the list of available sources for this type of modulation, you will find almost exclusively those sources that make sense to modulating the destination with sample speed. This includes the oscillators, the audio input, noise, the LFOs, the envelopes and so on. You won’t find sources like modwheel or velocity, because their values change incredibly slowly, compared to an oscillator playing at a pitch of i.e. 10kHz. The following table shows all available FM Sources:

FM Sources Description

Off No modulation

Osc1

Osc2

Oscillator 1 Signal

Oscillator 2 Signal

Osc3

Noise

ExtLeft

ExtRight

Oscillator 3 Signal

Noise Generator Signal

Audio Input Left Signal

Audio Input Right Signal

ExtL+R

LFO1

LFO2

LFO3

FilterEnv

AmpEnv

Env3

Env4

Summed Audio Input Signal

LFO 1 Signal

LFO 2 Signal

LFO 3 Signal

Filter Envelope Signal

Amplifier Envelope Signal

Envelope 3 Signal

Envelope 4 Signal

Table 3: FM Sources w

FM

needs a lot of CPU Power which leads to less polyphony.

Fast Modulation

Though not calculated in sample speed, the Fast Modulation calculations are performed in audio speed: more than 5000 times per second (>5kHz). Most of the modulations in the microQ are performed at this speed level. The following table lists all pre-routed Fast Modulation destinations:


Sound Parameters – Modulation Speed Levels

Pre-routed Modulation destinations Description

Oscillator PitchMod Global pitch modulation of all three Oscillators at once

Oscillator 1 PWM

Oscillator 2 PWM

Pulse width modulation of Oscillator 1


Oscillator 3 PWM

Filter 1 CutoffMod

Filter 1 Env

Filter 1 Velo


Cutoff modulation of Filter 1

Envelope amount of Filter 1 cutoff

Envelope velocity amount of Filter 1 cutoff

Filter 1 PanMod

Filter 2 CutoffMod

Filter 2 Env

Filter 2 Velo

Filter 2 PanMod

Amplifier AmpMod

Amplifier Volume

Panning modulation of Filter 1 output

Cutoff modulation of Filter 2

Envelope amount of Filter 2 cutoff

Envelope velocity amount of Filter 2 cutoff

Panning modulation of Filter 2 output

Amplitude modulation

Output shaped by the Amplifier Envelope

Table 4: Pre-routed Modulation destinations

In addition to the pre-routed Fast Modulation destinations, the microQ offers eight slots for individual routing connections that are updated at the same speed level: the Fast Modulation Matrix. The following table lists all available destinations for a Fast Modulation Matrix slot:

Fast Modulation Matrix destinations Description

Pitch Global pitch of all three Oscillators at once

O1 Pitch, O2 Pitch, O3 Pitch

O1 PW, O2 PW, O3 PW

Pitch of Oscillator 1…3

Pulse width of Oscillator 1…3

O1 FM, O2 FM, O3 FM

O1 Level, O2 Level, O3 Level

O1 Bal., O2 Bal., O3Bal.

RingLevel

FM Amount modulation of Oscillator 1…3

Mixer level of Oscillator 1…3

Filter 1/2 Balance of Oscillator 1…3

Mixer ring modulation level

Ring Bal.

N/E Level

N/E Bal.

Routing

F1 Cutoff, F2 Cutoff

F1 Reson., F2 Reson.

F1 FM, F2 FM

F1 Drive, F2 Drive

F1 Pan, F2 Pan

Volume

Filter 1/2 Balance of Oscillator 1

Mixer level of Noise or External signal

Filter 1/2 Balance of Noise or External signal

Filter Routing

Cutoff of Filter 1…2

Resonance of Filter 1…2

FM Amount modulation of Filter 1…2

Drive of Filter 1…2

Pan of Filter 1…2

Amplifier output volume

Table 5: Fast Modulation Matrix destinations

The following table shows all available Fast Modulation sources:



Fast Modulation sources

Off

LFO1

LFO1*MW

LFO2

LFO2*Prs

LFO3

FilterEnv

AmpEnv

Env3

Env4

Velocity

Modwheel

Pitchbend

Pressure

Description

No modulation

LFO 1 Signal

LFO 1 Signal shaped by the Modwheel

LFO 2 Signal

LFO 2 Signal shaped by Aftertouch

LFO 3 Signal



Envelope 3 Signal

Envelope 4 Signal

MIDI Velocity

MIDI modulation wheel (controller #1)

MIDI pitchbend signal

MIDI channel pressure

Table 6: Fast Modulation sources

Standard Modulation

The Standard Modulations are calculated at normal speed, which is still fast enough for the most modulation purposes, e.g. when dealing with the modulation wheel or velocity. The Standard

Modulation slots offer an extended set of modulation sources and destinations compared to the Fast

Modulation slots. The Standard Modulation speed level is only available in the Modulation Matrix, while all other modulations are performed as Fast Modulations or FM.

Standard Modulation Matrix destinations

Pitch

O1 Pitch, O2 Pitch, O3 Pitch

O1 PW, O2 PW, O3 PW

O1 FM, O2 FM, O3 FM

O1 Level, O2 Level, O3 Level

O1 Bal., O2 Bal., O3Bal.

RingLevel

Ring Bal.

N/E Level

N/E Bal.

Routing

F1 Cutoff, F2 Cutoff

F1 Reson., F2 Reson.

F1 FM, F2 FM

F1 Drive, F2 Drive

F1 Pan, F2 Pan

Description

Global pitch of all three Oscillators at once

Pitch of Oscillator 1…3

Pulse width of Oscillator 1…3

FM Amount modulation of Oscillator 1…3

Mixer level of Oscillator 1…3

Filter 1/2 Balance of Oscillator 1…3

Mixer ring modulation level

Filter 1/2 Balance of Oscillator 1

Mixer level of Noise or External signal

Filter 1/2 Balance of Noise or External signal

Filter Routing

Cutoff of Filter 1…2

Resonance of Filter 1…2

FM Amount modulation of Filter 1…2

Drive of Filter 1…2

Pan of Filter 1…2

Volume Amplifier output volume

LFO1Speed, LFO2Speed, LFO3Speed Speed of LFO 1…3



FE Attack

FE Decay

FE Sustain

FE Release

AE Attack

AE Decay

AE Sustain

AE Release

E3 Attack

E3 Decay

E3 Sustain

E3 Release

E4 Attack

E4 Decay

E4 Sustain

E4 Release

M1F Amount

M2F Amount

M1S Amount

M2S Amount

01SubDiv, 02SubDiv

01SubVol, 02SubVol

Attack rate of Filter Envelope

Decay (and Decay 2) rate of Filter Envelope

Sustain (and Sustain 2) level of Filter Envelope

Release rate of Filter Envelope

Attack rate of Amp Envelope

Decay (and Decay 2) rate of Amp Envelope

Sustain (and Sustain 2) level of Amp Envelope

Release rate of Amp Envelope

Attack rate of Envelope 3

Decay (and Decay 2) rate of Envelope 3

Sustain (and Sustain 2) level of Envelope 3

Release rate of Envelope 3

Attack rate of Envelope 4

Decay (and Decay 2) rate of Envelope 4

Sustain (and Sustain 2) level of Envelope 4

Release rate of Envelope 4

Modulation amount of M1F

Modulation amount of M2F

Modulation amount of M1S

Modulation amount of M2S

Frequency divide of the sub oscillator1...2

Volume of the sub oscillators 1...2

Table 7: Standard Modulation Matrix destinations

The following table shows all available Standard Modulation sources:

Standard Modulation Matrix sources Description

Off No modulation

LFO1

LFO1*MW

LFO 1 Signal

LFO 1 Signal shaped by the Modwheel

LFO2

LFO2*Prs

LFO3

FilterEnv

LFO 2 Signal

LFO 2 Signal shaped by Aftertouch

LFO 3 Signal


AmpEnv

Env3

Env4

Keytrack

Velocity

Rel. Velo

Pressure

Poly Prs.


Envelope 3 Signal

Envelope 4 Signal

MIDI note number

MIDI Velocity

MIDI note release velocity

MIDI channel pressure

MIDI polyphonic pressure

Pitchbend

Modwheel

Sust. Ctr

Foot Ctr

BreathCtr

Control W, X, Y, Z

MIDI pitchbend signal

MIDI modulation wheel (controller #1)

MIDI sustain pedal (controller #64)

MIDI foot control (controller #4)

MIDI breath control (controller #2) assignable MIDI controller W, X, Y, Z


Sound Parameters – Triggering of Voices

Ctr Delay

Modif. #1...#4 minimum

MAXIMUM

Voice Num

Voice %16, %8, %4, %2

Unisono V

Modifier Delay

Modifier result #1...#4 constant for minimum modulation (equals 0) constant for maximum modulation (equals +1)

Number of voices

Number of voices in %

Number of unisono voices

Table 8: Standard Modulation Matrix sources

Triggering of Voices

As soon as a note is played, the microQ triggers one or several voices. How this triggering is done is set by the following parameters. You can find these parameters in the Sound Edit menu located in the

Master section.

Sound Edit Menu

Mode

Poly / Mono

Mode | Unisono

Poly | Dual

Controls if the Sound can be played polyphonically or monophonically.

•

Poly means that each note triggers its own voice or voices, as on a piano.

•

Mono means that only the last played note sounds. All other notes are stored in an internal list but aren’t played. As soon as you release the note that is currently played, the second last note is played and so on. When you play legato, only the first note that was played triggers the envelopes. All later notes use these envelopes, but sound in the pitch you’ve played. This mode is for sustained sounds like typical 70’s solo sounds.

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When Mono is selected and you have set up a decaying volume envelope for the selected

Sound, you might not hear anything after playing several notes because of the envelopes decaying to 0.

Unisono

Off / Dual / 3…6

Controls how many voices are triggered when a note is played.

•

Off means that a note triggers one voice. This is the standard mode.

•

Dual means that a note triggers two voices. Both voices have high priority so they can cut off other voices that are played.

•

3…6 means that this number of voices is triggered when a note is played. Only the first voice has high priority, meaning that it can cut off other played notes. The other voices can only sound if any voices are free or if there are other unison voices with lower priority that could be cut off. This ensures that older notes play at least one voice as long as the voice allocation isn’t forced to steal even this voice for a new note.

m

Please note that the chosen number of unisono voices will respectively lower the number of available voices.



Unisono Detune

012

Unisono Detune

000…031

Controls the detuning of the Unison voices. Each voice is detuned differently; with

Unisono Detune

, you control the overall amount.

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Unisono Detune

is perfectly suited to thickening the tone. Arpeggios benefit too from the detune function.

Trig FE ! AE (mono)

Normal ! Single

Triggering of the Filter Envelope (Trig FE)

Determines the triggering of the Filter Envelope.

•

Normal means that every Note starts the filter envelope of its own voice.

•

Single means that the envelopes of all voices of a selected program behave like a single envelope. This common envelope starts as soon as the first note is played. The sustain level remains until the last note is released. Afterwards the release phase is active.

Triggering of the Amplifier Envelope (AE (Mono))

Determines the triggering of the Amplifier Envelope.

•

Normal means that every Note starts the amplifier envelope of its own voice.

•


This setting is only active as long as the Parameter

Mode

is set to Mono. Otherwise the envelope behaves as though set to Normal.

Trig E3 ! E4 (mono)

Normal ! Single

Triggering of the Envelopes 3 (Trig E3) and 4 E4 (mono)

Determines the triggering of the Envelopes 3 and 4.

•

Normal means that every Note starts the amplifier envelope of its own voice.

•


This setting is only active as long as the Parameter

Mode

is set to Mono (only Envelope 4). Otherwise the envelope behaves as though set to Normal.


Rename Sound

02[Init Sound V1.0 ]


Rename Sound

This function changes the program’s name. Choose the position of the name with the left parameter knob and change the character of the selected position with the right parameter knob. The numbers to the left in the lower row show the currently selected postition in the name. You can edit up to 16 characters per name. To save all your changes, please store the sound before leaving this menu.


Sound Parameters – Oscillators Introduction

Oscillators Introduction

The Waldorf microQ is equipped with three oscillators that have almost identical functionality.

Oscillator Shapes

The oscillator is the first building block of a synthesizer. It delivers the signal that is transformed by all other components of the synthesizer. In the early days of electronic synthesis, Robert A. Moog found out that most real acoustic instrument waveforms could be reproduced by using abstracted electronic versions of these waveforms. He wasn’t the first who came to that conclusion, but he was the first in recreating them electronically and building them into a machine that could be used commercially.

What he implemented into his synthesizer were the still well-known waveforms sawtooth, square and triangle. For sure, this is only a minimal selection of the endless variety of waveforms, but the Waldorf microQ gives you exactly these waveforms at hand, plus other classic waveforms like pulse (which is the father of the square waveform) and the sine wave (also part of every other waveform).

Now, you probably know how these waveforms look and sound, but the following chapter gives you a small introduction into the deeper structure of these waveforms. Let’s start with the most basic one.

The Sine Wave

The Sine Wave is the purest tone that can be generated. It consists only of one harmonic, the fundamental, and has no overtones. The following picture shows the sine wave and its frequency representation:

Amplitude Magnitude

Time

Frequency

1 4 8

Harmonics

12 16

The Sine Wave

There is no acoustic music instrument that generates a pure sine wave; the only instrument that comes close to it is the pitch fork. Therefore, the sine wave sounds a little artificial to the ear. However, the sine wave can be an interesting oscillator waveform to emphasize a certain harmonic while other oscillators are playing more complex waveforms, or as FM source for frequency modulation.

The sine wave is the most basic building block of each waveform. Any waveform can be broken down to several or many sine waves that are arranged with different frequencies and magnitudes.

These sine waves are called partials. In most waveforms, the partial with the lowest frequency is dominant, meaning that this partial is used by the ear to determine the pitch of the tone. This partial is called fundamental. All other partials are called overtones. So, the second partial is the first overtone.

Cyclic waveforms such as the waveforms in the microQ only feature sine waves in integer frequency ratios to the fundamental like double frequency, triple frequency and so on. Those partials are called harmonics because their frequency is a harmonic multiple of the fundamental.

Confusing? Let’s generalize it to cyclic waveforms: a cyclic waveform like sawtooth, square etc. only consists of harmonic partials. The harmonic with the lowest frequency is dominant and therefore called fundamental. All other harmonics are called overtones.



The Sawtooth Wave

The Sawtooth Wave is the most popular synthesizer waveform. It consists of all harmonics in which the magnitude of each harmonic descends by the factor of its position. This means that the first harmonic (the fundamental) has full magnitude, the second harmonic has half magnitude, the third harmonic has a third magnitude and so on. The following picture shows how the individual harmonics build up the sawtooth wave:

1st Harmonic

Magnitude 1

+

2nd Harmonic

Magnitude 1/2

+

3rd Harmonic

Magnitude 1/3

+

4th Harmonic

Magnitude 1/4

Amplitude

+

.

.

=

Magnitude

Time

Frequency

1 4 8

Harmonics

12

Picture 7: Additive components of the Sawtooth wave

16

The sawtooth wave was thought as an abstraction of the timbre of string and brass instruments. You can easily understand that when you think of a violin. Imagine a bow pulling the string slightly into one direction. At one point, the string abruptly comes off the bow and swings back to its original position. The bow is still moved and so it catches the string again and the procedure is repeated. The result is a waveform that looks like a sawtooth. The same is true for a brass instrument. The string in this case are the lips while the bow is the air. The lips are moved by the air to a certain extent and abruptly move back to their original position.

The Square Wave

The Square Wave is a special waveform generated by a pulse waveform with 50% pulse width. This means that the positive part of the waveform has equal length to the negative part. The pulse waveform can have other pulse widths as you will read later. For now, we´ll talk about the square


Sound Parameters – Oscillators Introduction wave as a unique waveform. The square wave consists of all odd harmonics in which the magnitude of each harmonic descends by the factor of its position. This means that the first harmonic has full magnitude, the third harmonic has a third magnitude, the fifth harmonic has a fifth magnitude and so on. The following picture shows how the individual harmonics build up the sawtooth wave:

1st Harmonic

Magnitude 1

+

3rd Harmonic

Magnitude 1/3

+

5th Harmonic

Magnitude 1/5

+

7th Harmonic

Magnitude 1/7

Amplitude

+

.

.

=

Magnitude

Time

Frequency

1 3 5 7 9 11 13 15

Harmonics

Picture 8: Additive components of the square wave with 50% pulse width

The square wave was thought as an abstraction of wind instruments like a panflute or a recorder.

They consist of a tube that can contain a certain amount of air. The player blows air through the tube in a way such that the air starts to vibrate. This vibration is almost completely symmetrical, resulting in a hollow timbre.

The Pulse Wave

The Pulse Wave is the most versatile wave in a classic synthesizer because its shape and therefore its harmonic content can be changed in real time. This is done by changing the width of the upper and lower portion of the waveform cycle. These portions are called pulses, hence the name pulse width.

The width of the first pulse is used to distinguish between different pulse waves and it is measured in percent. The following picture shows several pulse waves with different pulse widths:



50% Pulse

(Square Wave)

1 3 5 7 9 11 13 15

33% Pulse

1 3 5 7 9 11 13 15

25% Pulse

1 3 5 7 9 11 13 15

<1% Pulse

(Impulse)

1 3 5 7 9 11 13 15

Picture 9: Additive components of Pulse wave with different pulse widths

The first thing you probably observe is that the lower part of the wave has a narrower excursion. This is because the energy of the wider pulse is higher than the one of the narrower pulse. If this weren´t compensated for in the waveform, the overall signal would have an unwanted DC offset.

As you have read in the previous chapter, the harmonic contenct of a 50% pulse wave is a special case. It has a very symmetrical harmonic content, while all other pulse widths create peaks or troughs at certain frequencies. Another special case is a pulse wave with a very narrow pulse width, in the above picture labelled as <1%. An infinitely thin pulse creates a spectrum that has all harmonics with equal magnitudes. In a digital synthesizer, “infinitely” necessarily means one sample.

The pulse wave is an artificial wave, which means that it doesn’t occur in nature. It was built into synthesizers because it could create a lot of different timbres with a minimum of technical effort.

However, certain pulse widths sound very close to the timbres of acoustic (or semi-acoustic) instruments, i.e. a guitar or bass guitar, an e-piano or even a flute.

The most powerful feature of the pulse wave is the ability change its width while sounding. This is called pulse width modulation. When the pulse width is changed, the waveform starts to sound thicker. This happens because the effect is very similar to what you hear when you have two oscillators running with slightly different frequencies. They interfere and create irregular troughs in the resulting waveforms.

The Triangle Wave

The Triangle Wave is very similar to the square wave. It is composed of the same harmonics as the square wave, but with different magnitude ratios. The magnitude of each harmonic is divided by the power of its number. This means that the third harmonic’s magnitude is a ninth, the fifth harmonic is a twenty-fifth and so on. The following illustration shows the harmonic content:



1st Harmonic

Magnitude 1

+

3rd Harmonic

Magnitude 1/9

+

5th Harmonic

Magnitude 1/25

+

7th Harmonic

Magnitude 1/49

Amplitude

+

.

.

=

Magnitude

Time

Frequency

1 3 5 7 9 11 13 15

Harmonics

Picture 10: Additive components of the Triangle wave

The reason why the triangle wave is so popular in classic synthesizers is because it was easier to generate than a sine wave but could be used for the same purpose. It could act as a suboscillator wave, to emphasize certain frequencies or to frequency modulate other oscillators.

The triangle wave sounds like a woodwind instrument, i.e. a clarinet. It can also be used for mallet instruments like vibraphone, xylophone etc.

Wavetable Synthesis

The sound generation of the alternative waveforms (Alt1 and Alt2) of the microQ is based on wavetable synthesis. This type of synthesis combines analog access and digital flexibility in a simple way. Although wavetable synthesis is a form of "sample playback" in principle, you should avoid this term because functionality, operation and results are totally different.

Each of Alt1 and Alt2 contain one wavetable with 128 Waves each.

m

Please keep the terms "wavetable" and "wave" in mind. Don´t confuse the two.

The following overview explains how the Wavetable Synthesis works:

A wavetable into the microQ is a table consisting of 128 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


Sound Parameters – Oscillators Introduction 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.

This principle offers powerful capabilities. To give some examples:

•

Each note on a keyboard can access a different wave of the 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.

•

Wavetables are perfect as the FM Source when you want to create very strange sounds.

You should keep the following sentence in mind because it describes the essential of the wavetable synthesis:

A wavetable is a table of pointers to up to 128 waves, among which you can move at will.

w

If you like the sound and possibilities of wavetable synthesis, you should try out the Waldorf

Microwave II, XT or XTk. These are pure wavetable synthesizers. Also the Waldorf PPG Wave

2.V as a VST Instrument is capable of this synthesis.


Sound Parameters – Oscillator Section

Oscillator Section

The most important controls of the oscillators can be found in the parameter matrix. The following picture shows the microQ’s

Oscillators Section

:

Oscillators

PWM Source

1 2 3

Octave Semi Detune FM

Picture 11: Oscillators Section

Shape PW

Selecting an Oscillator

Choose the

Oscillators

section with the navigation buttons, and then the Oscillator you wish to edit.

The LED of the corresponding Oscillator will light up. When keeping the left navigation button pressed and pushing the right navigation button at the same time, you can select from on to three available Oscillators at the same time. This allows you to edit two or three Oscillators simultaneously.

Oscillator Parameter Controls

Octave

128’…1/2’

Sets the basic pitch of the oscillator in steps of an octave. The

Octave

setting is shown as register value, a common measurement based on the length of organ pipes. The reference pitch for the oscillator is generated at MIDI note A3 (note no. 69) when

Octave

is set to 8’,

Semi

and

Detune

are set to 0,

Keytrack

is set to 100% and no pitch modulation is applied. In this case, the oscillator’s frequency will be the same as set in the global

Tune

parameter (usually 440Hz).

.

Set

Octave

to

16’ for bass sounds.

.

Set

Octave

to

8’ if you are creating typical keyboard sounds.

.

Set

Octave

to

4’ if you are programming strings or other high pitched sounds.

.

When you use an Oscillator to modulate other Oscillators or the Filters, experiment with the

Octave parameter. Low settings might result in periodic modulations while high settings might add a bell character to the timbre.

.

Ultra-low settings like

128’ can create very nice rhythmic changes when used with the ring modulator. If this is still not low enough, you can use the Standard Modulation Matrix to apply

MAX to the respective oscillator pitch with a negative amount.

Semi

-12...+12

Sets the pitch of the oscillator in semitone steps. The standard setting for this parameter is 0, but there are cases where different values are interesting as well.

.

Organ sounds often include a fifth, therefore one oscillator's semitone parameter must be set to

+7.

.

Lead and Solo sounds might sound interesting when you set one Oscillator to e.g. a fourth (+5 semitones).

.

When making ring modulated or FM sounds, try to use dissonant values, e.g.

+6 or +8.



Detune

-64…+63

Fine-tunes the oscillator in steps of 1/128th of a semitone. The audible result of detuned oscillators is a Chorus or Flanger effect. Use a positive setting for one oscillator and an equivalent negative setting for another.

.

A low value of ±1 results in a slow and soft Flanger effect.

.

Mid-ranged settings of ±5 are perfect for pads and other fat sounding programs.

.

High values of ±12 or above will give a strong detune that can be used for accordions or effect sounds.

FM

0…127

Sets the amount of frequency modulation that is applied to the oscillator by the selected

FM source

in the Oscillators Edit menu. The sound will get more metallic and sometimes even drift out of tune, especially if Oscillator 2 is used as FM Source for Oscillator 3 and

Sync

is activated. To avoid unusable detune, use a triangular or sine waveform for the FM Source.

.

If you want to bias

FM

over the keyboard so that higher notes aren’t modulated as strongly as lower notes, use the

Standard Modulation Matrix

and apply Keytrack to the respective oscillator FM with a negative amount.

.

To change the amount of

FM

dynamically, use the

Fast Modulation Matrix

or

Standard

Modulation Matrix

to apply an Envelope or an LFO to the respective oscillator FM with positive amount.

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This parameter may also be found in the

Oscillator Edit Menu

for the sake of completeness.

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FM

requires a lot of CPU Power, which can lead to decrease polyphony.

Shape

Pulse / Saw / Tri / Sine / Alt1 / Alt2

Sets the type of waveform to be generated by the Oscillator. The parameter is called

Shape

instead of

“waveform”, because it doesn’t necessarily set only one waveform, but sets a specific oscillator model that could produce a number of waveforms depending on other settings. A good example for this behaviour is the

Pulse shape. However, the term “waveform” is used interchangeably throughout the manual. The following shapes are currently available:

Pulse

(variable Pulse Width)

Sawtooth Triangle Sine

•

Off disables the selected oscillator for the purpose of increasing Polyphony. Please read the chapter "Dynamic performance management".

•

Pulse selects the pulse waveform. A pulse waveform with a pulse width of 50% has only the odd harmonics of the fundamental frequency present. This waveform produces a hollow / metallic sound. If the Pulse waveform is selected, the parameters

Pulsewidth

and

PWM

are used to change the pulsewidth of the waveform. Furthermore, the modulation


Sound Parameters – Oscillator Section destinations O1PW, O2PW or O3PW gain functionality, depending on which oscillator is set to Pulse.

•

Saw selects the sawtooth waveform. A Sawtooth wave has all the harmonics of the fundamental frequency in descending magnitude. It doesn’t have any further parameters.

This waveform is pleasing to the ear.

•

Tri selects the triangular waveform. The triangle mainly consists of the odd harmonics with very low magnitudes. It doesn’t have any further parameters.

•

The Sine waveform consists of the fundamental frequency only. It has no harmonics at all.

It doesn’t have any further parameters.

•

Alt1 and Alt2 are wavetable generators. Both can create a wavetable with 128 waves each.

Please refer the chapter "Wavetable synthesis". When Alt1 or Alt2 are selected, the knobs

Pulsewidth

and

PWM

serve to select the start point of the waves. Furthermore, the modulation sources 01PW and 02PW are active subject to which Oscillator is set to Alt. In the Oscillators Edit Menu you additionally have Suboscillators at your disposal (please read also „Suboscillators“ in the chapter „Oscillators Edit Menu“ about this). Please note that the Wavetables are only available for Oscillators 1 and 2.

.

The

Pulse shape can be used to create unusual synthesizer sounds and oboe like sounds.

.

The

Saw shape can be used for basses, leads, brass and string sounds.

.

The

Tri shape can be used for flute sounds or soft pads.

.

The

Sine shape can be used to produce basses and electric organ sounds.

.

The

Sine shape is also perfectly suited for ring modulation or as

FM Source

.

.

Alt1/Alt2 waves are perfect for very vivid sounds.

.

The tips listed here of course are only suggestions. The variety of tones among all Waveforms in the microQ are nearly inexhaustible.

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Oscillators should be set to “ off” when not using them. This saves DSP Power and therefore can contribute to increased polyphony.

PW - Pulsewidth

0…127

Sets the pulse width of the Pulse waveform. The value 0 is equivalent to a pulse ratio of <1%, the value 127 is equivalent to 50%.

You determine the start point of the wavetable at Alt1 or Alt2 with the

Pulsewidth

knob, at which 0 selects the first of 128 Waveforms. If you select any waveform other than Pulse, Alt1 or Alt2, this parameter does not have any effect The following picture illustrates the effect of the pulsewidth parameter:



Pulse Width 50%

(Square)

Pulse Width 33% Pulse Width 25% Pulse Width <1%

(Impulse)

Picture 12: Pulse Width parameter results

.

A pulse width of 50% can be used for flute sounds or very hollow bass sounds.

.

A pulse width of around 30% can be used for e-piano or fat bass sounds.

.

A pulse width of around 10% is interesting for Clavinet sounds.

.

Experiment with different start points for Alt1- and Alt2-Waveforms to get an overview of the array of available Waveforms for both Wavetables.

Alt1 and Alt2 waveforms

At this point we offer a few more hints and tips about the „Alternate Waveforms“:

As stated above, the

Shapes

Alt1 and Alt2 each contain a wavetable generator showing a few particulars that are opposite to the normal synthesis functions.

Please refer to the chapter "Wavetable

Synthesis".

To make sure that you have access to the power of the wavetable synthsis, you should make yourself familiar with the sound and the characteristics of both wavetables. The best way to do this is to set up a kind of test sound to listen to the wavetables:

☞

Test program for wavetables

Start with an initialized sound program (please read "Init Sound" in the chapter "Utility-Menü").

1. Choose Alt1 as

Shape

for oscillator 1, and turn down the mixer level of oscillator 2 and 3.

2. Choose the modulation wheel ( Modwheel) as

PWM-Source

for oscillator 1.

3. Set the

PWM

amount to -63.

Now you can use the Modulation Wheel of your MIDI Master keyboard to sweep through the whole wavetable. Choose Alt2 to hear how this wavetable sounds. You will notice that both wavetables cover an extremely wide range of interesting spectral timbres, including analog, FM-like, bell-type or vocal.

.

To get very lively sounds you should always use modulators when using the Wavetables of

Alt1 and Alt2.

.

When you like to create a wavetable sweep you should set the starting point roughly to the desired position with

Pulsewidth

before programming the modulation. This procedure can help to find the basic character of the sound being affected by the modulation.

.

Please note that you can use unipolar as well as bipolar modulation sources. For instance, set the

Pulsewidth

Parameter to

64, nearly the middle of the wavetable, and use a slow LFO to sweep through the whole wavetable.



.

Try out very lively sounds by using different fast modulation sources (LFOs or envelopes) on

Oscillator 1 set to

Alt1

and Oscillator 2 set to

Alt2

, and additionally ring- and frequencymodulating the signal.

.

Please note that additional Suboscillators are available when using

Alt1

and

Alt2

(see the chapter „Suboscillator“).

PWM

-64…+63

PWM

stands for pulsewidth modulation. This parameter determines the amount of modulation that is applied to the pulsewidth of the oscillator’s square wave. If Alt1 or Alt2 is selected,

PWM

determines the amount of the wavetable modulation. If you select any shape other than Pulse, Alt1 or Alt2, this parameter does not have any effect. The modulation source that affects the pulsewidth is selected by the source parameter described below.

PWM Source

see Table “Fast Modulation Sources”

Selects the source of the pulsewidth modulation or the wavetable modulation. Common sources for pulsewidth modulation are envelopes and LFOs, but other sources like the modulation wheel or aftertouch can create nice effects as well.

.

To create a thick oscillator sound, use a triangular

LFO as

PWM Source

with full

PWM

and a

Pulsewidth

of around

80. This basic setting is useful for very big string and lead sounds. When you play different notes on the keyboard, you might notice that bass notes sound more detuned than higher notes. To avoid this behaviour, set

Keytrack

of the used LFO to a positive setting between

50% and 100%.

.

To create a Bass sound, use a decaying

Envelope as

PWM Source

with negative

PWM

and a

Pulsewidth

of around

80…127. This results in a fat attack phase, especially when only one oscillator is used for the Bass.

.

When you want to create a sound with a wave sweep, you should set the startpoint roughly

(

Pulsewidth)

at the desired wave, before you apply any modulation. This will help you to find the basic waveform, before the effect of modulations. Note that you can apply unipolar and bipolar modulation sources . For example, set

Pulsewidth

to 64, which is almost the middle of the wavetable and apply a slow running LFO to

PWM Source

to sweep through the whole wavetable.



Oscillator Edit Menu

The following parameters can be accessed via the display menu. Press the

Edit

button when you are in the Oscillators section to activate the display menu.

O1 Keytrk|O1 BendRg

+100% | +12

01 Keytrk (Keytrack)

-200%...+197%

Determines how much the pitch of the oscillator 1 depends on the MIDI note number. The reference note for Keytrack is E3, note number 64. For positive settings, the oscillator pitch rises on notes above the reference note, for negative settings the oscillator pitch falls by the same amount and vice versa. A setting of +100% corresponds to a 1:1 scale, e.g. when an octave is played on the keyboard the pitch changes for the same amount. Other settings than +100% make sense especially when using ring modulation, FM or oscillator synchronization. Try to use values in the range 0%…+75% or even negative settings for one oscillator while leaving the second at +100% Keytrack.

01 BendRg (Bendrange)

-24…+24

Determines the intensity of the pitchbend via MIDI Pitchbend messages in semitones for oscillator 1.

O1 FM Src!01 FM Amt

Osc3 | 000

01 FM Src (FM Source)

see Table “FM Sources”

Selects the source for the frequency modulation of oscillator 1.

.

You can create nice E-Piano sounds when you use a high pitched oscillator as

FM Source

and set its

Keytrack

to a value between

+000% and +050%.

.

The use of Noise is very interesting as

FM Source

on a high pitched oscillator playing a sine or triangle waveform. With low

FM

amount, the oscillator starts to sound dirty or airy while higher amounts create a colored noise similar to a filter with high resonance. A side benefit is that the filters are then still free for other purposes.

01 FM Amt (FM Amount)

0...127

Please read the "FM" in the chapter "Parameter of the Oscillators Section".

w

FM



-200%...+197%

Determines how much the pitch of the oscillator 2 depends on the MIDI note number. For more information please refer to "01 Keytrk".


-24…+24








0...127


w

FM


02 Sync

off / on

Enables or disables oscillator synchronization. When enabled, Oscillator 2 acts as a slave that is controlled by Oscillator 3, the master. Each time Oscillator 3 starts a new cycle, it sends a trigger signal to Oscillator 2, forcing it to restart its waveform cycle, too. As a result, interesting sound effects may be generated, especially when both oscillators are operating at different pitch settings. Using additional pitch modulation by envelopes, LFOs, or pitchbend will lend further movement to sync sounds. The following picture illustrates the principle of oscillator synchronization in a simplified way: new cycle of master oscillator

This oscillator synced to this oscillator results in this wave

Picture 13: Oscillator Sync

.

Use

Sync

for Lead or Solo sounds. Set Oscillator 2 to play one octave and 7 semitones higher, apply an envelope to its pitch with positive amount and you get a screaming sync sound.

.

Sync

can also be very interesting on arpeggio sounds. Apply a slow clocked LFO to Oscillator

2 pitch and the arpeggio starts to move.


-200%...+197%

Determines how much the pitch of the oscillator 3 depends on the MIDI note number. For more information please refer to "01 Keytrk".


-24…+24






0...127


w

FM




Pitch Src!Pitch Mod

Off | +00

Pitch Src (Pitch Source)


Selects the source of the pitch modulation for all oscillators. A common source for pitch modulation is an LFO whose strength is controlled by the modwheel or aftertouch.

.

To create a common pitch vibrato that is controlled by the modwheel, set

Pitch Source

to

LFO1*MW with

Pitch Mod

set to around

+20.

.

To create a sound whose pitch glides in, set

Pitch Source

to a decaying

Envelope with

PitchMod

set to around

–25.

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If you want to modulate the pitch of individual oscillators, you can do so with the

Fast

Modulation Matrix

or

Standard Modulation Matrix

, which can be accessed through the

Mod Matrix

section. See the respective section for details.

Pitch Mod

-64…+63

Sets the amount of pitch modulation for all oscillators. Positive amounts will raise the pitch when positive modulation is applied, e.g. by pressing aftertouch on the keyboard. Negative amounts will lower the pitch when positive modulation is applied.

Glide

Off

Glide

off / on

Enables or disables the Glide effect. "Glide" or "Portamento" describes the continuous gliding from one note to another. This effect can be created on fretless stringed instruments or some brass instruments (e.g. trombone). It is very common on synthesizers and used throughout all music styles.

Please note that Glide affects the pitch of all oscillators.

GlideMode! Rate

Porta | 064

Glide Mode

Portamento / Fingered Portamento / Glissando / Fingeres Gliss

Determines the way the Glide effect works.

•

Portamento means that a continuous glide is performed on all new notes.

•

Fingered Portamento means that a continuous glide is performed only when notes are played legato. Staccato played notes start on the exact pitch of their note.

•

Glissando makes the normal Glissando effect in the same manner by changing the pitch in semitones.

•

Fingered Gliss is similar to Glissando but generates a pitchchange only when notes are played legato.



Rate

0…127

Determines the glide time. Low values will give a short glide time in a range of milliseconds that gives a special character to the sound. High values will result in a long glide time of up to several seconds which can be useful for solo and effect sounds.

Suboscillator

01Sub Vol!Frq.divide

127 | 24

The parameters for the Suboscillator settings are only available when

Alt1 or Alt2 are chosen as

Waveform. Therefore Oscillator 3 cannot create a Suboscillator.

SubVol

determines the volume of the Suboscillator creating a Square Waveform. A setting of

0 corresponds to no volume. Please note that the loudness of the Suboscillator also depends on the volume of the main oscillator.

Frq.divide

determines the relative proportion of Sub- and Main oscillator frequencies. Higher values represent a lower tuning.

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When Alt-Waveforms are selected for the first two oscillators and the Suboscillators are activated, the microQ can create up to 5 (!) oscillators per voice.


Sound Parameters – Mixer/Routing Section

Mixer/Routing Section

In the Mixer, you control the volumes of the oscillators, the noise generator, and an external sound source. Ring modulation can be applied optionally to extend the microQ’s tonal range. Routing controls the signal flow of the filters.

The following picture of the microQ’s parameter matrix shows the Mixer/Routing section:

Mixer/Routing

F ilter Routing Osc1 Balance Osc2 Balance

Picture 14: Mixer/Routing Section

Osc3 Balance

Mixer/Routing Parameter Controls

The most commonly used controls of the Mixer can be found in the parameter matrix.

Osc 1 / 2 / 3

0…127

Volume of the selected Oscillator(s).

Balance 1 / 2 / 3

F1 64…mid…F2 63

Determines the ratio of the selected Oscillator’s signal that is sent to the inputs of Filter 1 and Filter 2.

If set to

F1 64, the signal is sent to Filter 1 only. Higher values will increase the amount of signal that feeds Filter 2 and decrease the amount of signal that feeds Filter 1. If set to

mid, both filters will receive the same signal level. If set to

F2 63, the signal is sent to Filter 2 only.

Filter Routing

The Routing function is one of the advanced features of the microQ. Its purpose is to control the signal flow of the filters. In comparison with many other synthesizers where signal flow is static, the microQ offers a more flexible configuration.

The microQ offers two independent filters and panning units. In fact, the panning units are part of the filters in the microQ. The routing control makes it possible to change the signal flow from a parallel to a serial filter configuration and vice versa. Furthermore, the routing control is modulatable via the modulation matrix.

This is how the Routing section works in detail:

•

The Mixer/Routing section uses two separate outputs – one connected to the input of Filter 1, the other connected to the input of Filter 2. Each sound source, i.e. the oscillators, the ring modulator, and the noise generator/external input has an individual

Balance

control in the

Mixer. By means of these controls you can determine what portion of each source’s signal is routed to the inputs of Filter 1 and Filter 2. E.g. this makes it possible to send the signal of

Oscillator 1 and 2 to Filter 1 and the ring modulation signal to Filter 2.

•

The output of Filter 1 is split up into two paths. The

Routing

knob determines the ratio of the signals for each path.

•

When the

Routing

parameter is set to serial, the whole output signal of Filter 1 is routed to the input of Filter 2, and added to the amount of signal that is already coming from the Mixer through its dedicated output. This setting is equivalent to a serial connection of the two filters.



•

When the

Routing

parameter is set to parallel, the whole output signal of Filter 1 is routed to the filter’s panning unit. This setting is equivalent to a parallel routing of two filters, each filtering the input signals independently.

•

After passing the panning units, both signals are summed up again and sent to the Amplifier and FX sections.

Mixer/Routing Edit Menu

The following parameters can be accessed via the Mixer/Routing Edit menu. If you are in the

Mixer/Routing section press the

Edit

button to activate this display menu.

N/E Mix ! N/E Bal

127 | F1 64

N/E Mix – Noise/External Mix / Ext.

0…127

Volume of the noise generator respectively the external sound source connected to the stereo

External In

1 jack. This control behaves differently depending on the setting of

N/E Select F1/2 feed

in the Mixer Edit menu. Noise is a fundamental source for any kind of analog-type percussion.

Also, wind and other sound effects can be created by using the noise generator.

Amplitude Magnitude

Time

1 10

Picture 15: Noise

100 1000 10000

Frequency (Hz) w

Please note that if you use an external sound source, you still have to trigger the microQ’s envelopes to get the signal passed through. So you have to generate MIDI notes from a connected sequencer or the internal arpeggiator to hear the audio signal.

N/E Bal - Noise / Ext. Balance

F1 64…mid…F2 64

Determines how loud the signals set up in

N/E Select F1/F2 feed

are sent to the inputs of Filter 1 and Filter 2.

Noise / Ext. Balance

behaves differently from the other Balance controls. It doesn’t move the signal between Filter 1 and Filter 2 but controls the loudness ratio between the two signals set up in


. The signal set up in

F1 feed

is always sent to Filter 1 while the signal set up in

F2 feed

is always sent to Filter 2.

N/E Select F1/2 feed

Noise | ExtLeft

N/E Select F1 / F2 Feed

Noise / ExtLeft / ExtRight / ExtL+R

Sets the input signal sources that are fed into filter 1 and filter 2.

Please note that the

N/E Balance

control behaves differently compared with the other Balance controls.

N/E Balance

only affects the input levels but doesn't shift the signals between the filters.

F1

Feed

is always routed to Filter 1 while

F2 Feed

is always routed to Filter 2.

The available sources are:



•

Noise selects the Noise Generator as input for the respective filter.

•

ExtLeft selects the Left input signal as input for the respective filter.

•

ExtRight selects the right input signal as input for the respective filter.

•

ExtL+R feeds the summed signal of the left and right input into the respective filter.

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Noise

needs CPU Power which results in decreased polyphony.

Ringmod !Ring Bal

000 ! F1 64

RingMod - Ringmodulation

0…127

Volume of the ring modulation between Oscillator 1 and 2. From a technical point of view ring modulation is the multiplication of two oscillators’ signals. The result of this operation is a waveform that contains the sums and the differences of the source frequency components. Since the ring modulation generates disharmonic components, it can be used to add metallic distorted sound characteristics. This is useful e.g. when generating synth percussion. Please note that in a complex waveform all harmonic components behave like interacting sine waves, resulting in a wide spectral range of the ring modulated sound. The following pictures show the results of a saw wave ringmodulated with a square wave and two ringmodulated sine waves:

This Sawtooth wave ringmodulated with this Square wave results in this wave

Picture 16: Ring Modulation of a Sawtooth and a Square wave with different frequencies.

A Sine wave with frequency 1 ringmodulated with a Sine wave with frequency 2.5 (1 octave + 4 semitones) results in this wave

Picture 17: Ring Modulation of two Sine waves with different frequencies.

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Ring Modulation can result in unwanted low frequencies when the pitches of oscillator 1 and 2 don’t differ very much. This is logical because when you use i.e. one oscillator set to 100Hz and the second set to 101Hz, the resulting ring modulation is 201Hz and 1Hz, and 1Hz is very low.

.

Ring Modulation can be very interesting when a slow pitch modulation is applied to one oscillator, i.e. a decaying Envelope. This creates spacy effect sounds.

.

For an E-Piano sound, you might apply Ring Modulation when one high pitched oscillator’s

Keytrack

is lowered to i.e. 50%.

.

If you turn down the pitch of one oscillator markedly, you can get an effect very similar to

Amplitude modulation. Use this for sounds with a periodic element if you wish.



RingMod Balance

F1 64…mid…F2 63

Determines the ratio of the ring modulator’s signal that is sent to the inputs of Filter 1 and/or Filter 2. If set to

F1 64, the signal is sent to Filter 1 only. Higher values will increase the amount of signal that feeds Filter 2 and decrease the amount of signal that feeds Filter 1. If set to

mid, both filters will receive the same signal level. If set to

F2 63, the signal is sent to Filter 2 only.

The following parameters can be accessed via the display menu. Press the Mixer section’s

Edit

button to activate the display menu.


Sound Parameters – Filter Introduction

Filter Introduction

Once the audio signal leaves the mixer, it is sent to the filters. The microQ has two independent filter units, each with its own individual settings. The signal flow in the filters can be controlled via the

Routing function. The filters are components that have significant influence on the microQ’s sound characteristics.

For a detailed description of the different filter types that are available in the microQ, see the section

“Filter Types”. For now, we’ll explain the basic function of a filter discussing the type used most commonly in synthesizers: the low pass filter.

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 microQ’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:

Level

Frequency

Cutoff

Picture 18: Low Pass Filter principle

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 microQ’s filter also features a resonance parameter. Resonance in the context of a low, band or high 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:


Sound Parameters – Filter Introduction

Level

Resonance

Cutoff

Picture 19: Low Pass Filter Resonance

Frequency

If the resonance 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.


Sound Parameters – Filter Section

Filter Section

The most commonly used controls of the filters can be found in the parameter matrix.

The following picture of the microQ’s parameter matrix shows the Filter section:

Filters

Cutof f Keytrack Resonance Drive Env Velocity Type Panning

1 2

Filter section

Selecting and Editing Filters

Before you make any edits to the filters, you must select for editing either Filter 1, Filter 2, or both.

This can be done by pressing the left or right navigation button when the Filter section is selected.

Push the buttons until both Filter LEDs light up. The two LEDs of the Filter section indicate which filter is selected for editing.

If both filters are selected for editing, moving any control will alter the setting of the corresponding parameter for Filter 1 and Filter 2. Please note that all edits are relative. Therefore, the relationship of the parameters will be retained. E.g. the display may look like this when turning the

Cutoff

knob:

[F1 Cutoff 80]

[F2 Cutoff 93]

In the given example, turning the

Cutoff

control two steps clockwise will result in the following:

[F1 Cutoff 82]

[F2 Cutoff 95]

If the value range of one parameter is reached, e.g by turning

Cutoff

clockwise until

127 is set for

Filter 1, the relationship is no longer retained. In this case, the cutoff of Filter 1 will keep its maximum value while Filter 2’s cutoff is still increased by turning the knob.

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The scenario is different when you move the

Type

knob. If both filters are selected for editing and

Type

is altered, the same filter type is assigned to Filter 1 and Filter 2. This takes place because altering selection parameters relatively does not make any sense.

Filter Parameter Controls

Cutoff

0…127

Controls the cutoff frequency for the low pass and high pass filter types, the center frequency for the band pass and notch filter types, and the delay length of the comb filter types.

•

When a low pass is selected via the

Type

parameter, all frequencies above the cutoff frequency are damped.

•

When a high pass type is selected, all frequencies below the cutoff frequency are damped.

•

When a band pass type is selected, only frequencies near the cutoff setting will be passed through.

•

When a notch type is selected, the frequencies near the cutoff frequency are damped.

•

When a comb type is selected, the frequencies near the cutoff frequency are emphasized

(comb+) or attenuated (comb-).



You can bring more movement into the sound by modulating the cutoff frequency via the LFOs, the envelopes or the Keytrack parameter of the filter. At a value of 64 and a

Resonance

value of 114, the filter oscillates with 440Hz, which is equal to A3 (the Comb+ type oscillates one octave higher).

Tuning is scaled in semitone steps. When Keytrack is set to +100%, the filter can be played in a tempered scale.

Keytrack

-200%…+197%

Determines how much the cutoff frequency depends on the MIDI note number. The reference note for Keytrack is E3, note number 64. For positive settings, the cutoff frequency rises on notes above the reference note, for negative settings the cutoff frequency falls by the same amount, and vice versa. A setting of +100% corresponds to a 1:1 scale, so e.g. when an octave is played on a keyboard the cutoff frequency changes by the same amount. If you want to play the filter in a tempered scale, e.g.

for a solo sound with self-oscillation, set the value to +100%. On most bass sounds lower settings in the range +50…+75% are optimal to keep the sound smooth at higher notes.

Resonance

0…127

Controls the emphasis of the frequencies around the cutoff point. Use lower values in the range of

0…80 to give more brilliance to the sound. At higher values of 80…113 the sound gets the typical filter character with a strong boost around the cutoff frequency. When the setting is raised to values above 113, the filter starts to self-oscillate, generating a pure sine wave. This feature can be used to create analog-style effects and percussion-like electronic toms, kicks, zaps etc.

Drive

0…127

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.

Env (Filter Envelope Amount)

-64…+63

Determines the amount of influence the filter envelope has on the cutoff frequency. For positive settings, the filter cutoff frequency is increased by the modulation of the envelope, for negative settings, the cutoff frequency is decreased. Use this parameter to change the timbre of the sound over time. Sounds with a hard attack usually have a positive envelope amount that makes the start phase bright and then closes the filter to get a darker sustain phase. String sounds, on the other hand, usually use a negative envelope amount that gives a slow and dark attack before the cutoff rises in the sustain phase.

Velocity (Filter Velocity)

-64…+63

Determines the amount of influence the filter envelope has on the cutoff frequency, based on key velocity. This parameter works similarly to the

Env

parameter with the difference that its intensity is velocity based. Use this feature to give a more expressive character to the sound. When you hit the keys smoothly, only minimal modulation is applied. When you hit them harder, the modulation amount also gets stronger. The following picture illustrates the functionality of this parameter:



Envelope Depth

100%

50%

0%

Key Velocity = 1…127

-50%

Key Velocity = 127

Key Velocity = 1 Key Velocity = 1

Key Velocity = 127

-100%

Time

Env Parameter = +32

Velocity Parameter = 0

Time

Env Parameter = +32

Velocity Parameter = +32

Picture 20: Envelope depth influence of different Velo parameter settings

Time

Env Parameter = +32

Velocity Parameter = -64 w

The overall modulation applied to the filter’s cutoff frequency is calculated as the sum of both the

Env

and

Velocity

parameters. Therefore you should always bear this total in mind, especially when the filter does not behave as you expect. You can also create interesting effects by setting one parameter to a positive and the other to a negative amount.

Type

see chapter “Filter Types”

Selects the filter type. Further information on the different filter types is given at the end of this chapter.

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Usage of Filters (especially comb filters) requires DSP Power, and therefore can reduce the available polyphony. A filter switched to “ Bypass” doesn’t need any DSP Power at all.

Panning

left 64…center…right 63

Determines the position in the stereo panorama. When the setting is left 64, the sound is panned far left; when the setting is right 63, it is panned far right. If you want to situate the sound in the middle of the stereo panorama, use the center setting. To give further movement to the sound, set this parameter to a basic value and apply some modulation to it via the

PanMod

parameter in the Filter Edit menu.

Filter Edit Menu

The following parameters can be accessed via the Filter Edit menu. If you are in the Filter section press the

Edit

button to activate this display menu.

F1 ModSrc! F1 Mod

LFO1 | +00

F1 ModSrc – Filter 1 Cutoff Mod Source


Selects the source of the cutoff modulation for Filter 1.



F1 Mod – Filter 1 Cutoff Modulation

-64…+63

Controls the amount of cutoff modulation for Filter 1. Positive amounts will increase the cutoff frequency when positive modulation is applied, e.g. by pressing the aftertouch on the keyboard.

Negative amounts will decrease the cutoff frequency when positive modulation is applied.

F1 FM Src!F1 FM Amt

Off | Off

F1 FM Src – Filter 1 FM Source


Selects the source of the frequency modulation for Filter 1.

F1 FM Amt – Filter 1 FM Amount

Off, 0…127

Sets the amount of frequency modulation that is applied to the filter by the selected source for Filter 1.

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FM

needs a lot of CPU power, which results in decreased polyphony.

F1 PanSrc!F1 PanMod

Off | +00

F1 PanSrc – Filter 1 Panning Source


Selects the source of the panorama modulation for Filter 1.

F1 PanMod – Filter 1 Panning Modulation

-64…+63

Determines the amount of panorama modulation for Filter 1.

F2 ModSrc! F2 Mod

LFO1 | +00

F2 ModSrc – Filter 2 Cutoff Mod Source


Selects the source of the cutoff modulation for Filter 2.

F2 Mod – Filter 2 Cutoff Modulation

-64…+63

Controls the amount of cutoff modulation for Filter 2. Positive amounts will increase the cutoff frequency when positive modulation is applied, e.g. by pressing the aftertouch on the keyboard.

Negative amounts will decrease the cutoff frequency when positive modulation is applied.

F2 FM Src!F2 FM Amt

Off | Off

F2 FM Src – Filter 2 FM Source


Selects the source of the frequency modulation for Filter 2.

F2 FM Amt – Filter 2 FM Amount

Off, 0…127

Sets the amount of frequency modulation that is applied to the filter by the selected source for Filter 2.

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FM

needs a lot of CPU power, which results in decreased polyphony.


Sound Parameters – Filter Types

F2 PanSrc!F2 PanMod

Off | +00

F2 PanSrc – Filter 2 Panning Source


Selects the source of the panorama modulation for Filter 2.

F2 PanMod – Filter 2 Panning Modulation

-64…+63

Determines the amount of panorama modulation for Filter 1.

Filter Types

This paragraph describes the microQ’s different filter types. Most types are based on traditional low pass, high pass or band pass structures.

Bypass

Use this setting to bypass the filter. This is useful if you want to disable the filter temporarily and listen to the oscillators’ pure signals.

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With this setting the microQ doesn’t need any DSP Power for this operation. If you do not want to use Filter 1 or Filter 2 then switch them to “

Bypass”.

24dB Low Pass and 12dB Low Pass

The low pass types 24dB LP and 12dB LP are suitable for most normal applications. Use the 24dB slope if you want to create sounds with a typical audible filtered character; use the 12dB slope if you want to get softer results.

Level

24dB/Oct 12dB/Oct

Cutoff

Picture 21: Low Pass Filter Type

Frequency

24dB Band Pass and 12dB Band Pass

The band pass filters 24dB BP and 12dB BP remove frequencies both below and above the cutoff point. As a result, the sound character gets thinner. Use these filter types when programming effect and percussion-like sounds.



Level

Resonance

Frequency

Cutoff

Picture 22: Band Bass Filter Type

24dB High Pass and 12dB High Pass

The high pass filters 24db HP and 12dB HP are useful to thin out a sound’s bass frequencies. This may also give interesting results in conjunction with cutoff frequency modulation. By doing this you can e.g. "fly-in" a sound starting at its high harmonics and then coming up to its full frequency range.

Use the 24dB slope if you want to create sounds with a typical audible filtered character; use the

12dB slope if you want to get softer results.

Level

Resonance

Frequency

Cutoff

Picture 23: High Pass Filter Type

24dB Notch and 12dB Notch

The notch filters 24db Notch and 12dB Notch are the opposites of the band pass types. They dampen frequencies around the cutoff point. Frequencies below or above the cutoff point are passed through.

Use these filter types for programming effect sounds.



Level

Frequency

Cutoff

Picture 24: Notch Filter Type

On Notch filter types, the Resonance parameter is almost useless by definition because the resonance frequency is exactly the frequency that is blocked by the filter. However, you will still be able to hear slight differences when you change the Resonance because of phase changes. Anyway, the effect isn’t that spectacular.

Comb+ and Comb-

The Comb filter types differ from the other filter types greatly, because they don’t actually damp any part of the signal, but instead add a delayed version of the input signal to the output. What exactly is a Comb filter?

A Comb filter is basically a very short delay that can be controlled in length and feedback. The delay time is so short that you can’t hear its individual taps but a colorization of the original signal created by peaks or holes in the frequency spectrum. The frequency of the colorization is set by the delay length, which is controlled in the microQ through

Cutoff

, while the amount of colorization is set by the Comb filter feedback, which is controlled in the microQ through

Resonance

.



Level

Resonance

Level

Cutoff determines number of teeth

Picture 25: Comb + Filter Type

Frequency

Resonance

Frequency

Cutoff determines number of teeth

Picture 26: Comb – Filter Type

So, as with all other filter types, the Comb filter is controlled with two parameters:

•

Cutoff

controls the delay length.

•

Resonance

controls the feedback depth.

Now, what sound can a comb filter produce? Here are some examples:

The Comb filter as a Chorus

This is the most basic way to use the Comb filter. A Chorus in fact is made of one or several Comb filters, so this is an easy task to set up manually.

☞

To set up the Comb filter to produce a Chorus:

1. Select the Comb+ filter type for the desired filter.

2. Set

Cutoff

to a medium value.

3. Set

Resonance

,

Drive

, Filter

Keytrack

and any other modulation to 0.

4. Select an LFO as

Mod Source.

5. Set

Mod

to a medium positive or negative amount.

6. Adjust the

LFO

to generate a slow triangle oscillation.

7. Fine tune

Cutoff

,

Mod

and

LFO Speed

until you get the desired Chorus effect.



.

You can also use both filters to create a Chorus and pan them to different stereo positions.

.

You can also pan the original, i.e. low pass filtered signal, to one stereo side and route 50% into Filter 2, producing a Chorus effect that is panned to the other stereo side.

You might ask why you should use a Comb filter type to produce Chorus instead of using the FX section of the microQ. Here are some reasons:

•

The FX sections remain free for other purposes. Also, in Multi Mode, the Comb filter works no matter on which Instrument you use it.

•

The Comb filter works per voice rather than per Instrument. This means that each voice has its own Chorus and therefore could generate a different Chorus effect. You can easily hear this when you change

LFO Keytrack

or

Filter Keytrack

. Now, each voice sounds with a different Chorus speed or frequency.

•

You have full control over MIDI of all parameters that make up the Chorus effect, by using

Control messages.

The Comb filter as a Flanger

A Flanger is almost the same as a Chorus. The only difference is that it has feedback circuitry to change the depth of the Flanger effect.

☞

To set up the Comb filter to produce a Flanger:

1. Adjust the filter as described in the Chorus paragraph above.

2. Turn up

Resonance

to create the typical Flanger sound.

3. Gradually lower

LFO Speed

to create slow Flanger sweeps.

4. Select either Comb+ or Comb- to change the character of the Flanger.

.

Set up

Mod Source

to

Modwheel to change the Flanger effect manually.

.

Use the

Filter Envelope

with positive or negative amount to create a “one time sweep” that is triggered at Note On.

.

Use

Filter Keytrack

with an amount of

100% to create really different flangings depending on the Note you play.

The Comb filter used to simulate a string or a tube

The Comb filter is one of the most basic building blocks of “Physical Modeling”, which is the term for an algorithmic description of an acoustic instrument. The microQ is definitely not meant to replace a good physical modeling synthesizer, so you shouldn’t expect to get a perfect emulation of an acoustic instrument like a trumpet or a violin out of the microQ. However, the Comb filter enables you to create abstractions of those sounds that can be played expressively.

To do so, you have to understand that the Comb filter is the part that actually sets the pitch of the resulting sound; the oscillators or the noise generator are only used to trigger the Comb filter somehow. When you play with the Comb filter, you can hear that it emphasizes or attenuates certain frequencies depending on the setting of Cutoff and Resonance.

When you set

Resonance

to a very high value, you will notice that the Comb filter oscillates heavily, and that’s the key to using it as a tone generator. When you set

Filter Keytrack

to

+100%, you can play the Comb filter musically.



Now you need to know how to set up Cutoff. Filter Cutoff is scaled in semitone steps, and you only have to find the Cutoff value where the filter oscillates with standard pitch. The following table gives you these settings:

8’

4’

2’

Oscillator Comb+ Comb-

64’ 11 23

32’

16’

23

35

35

47

47

59

71

59

71

83

Table 9: Comb Filter Cutoff settings

If you need other tunings, just keep in mind that

Cutoff

is changed in semitones, so if you increment

Cutoff

by

12, the filter oscillates one octave higher, and so forth.

☞

To set up the Comb filter to produce a tone:

1. Select either Comb+ to produce a string-like tone or Comb- to produce a tube-like tone.

2. Turn up

Resonance

to around 114 to 127.

3. Turn up Filter

Keytrack

to +100% to have Filter Cutoff change with equal-tempered scaling.

4. Set

Cutoff

to 23, 35, 47 or 59 to have it oscillating in the same pitch as the oscillator´s usually tuning. Please note that Comb+ oscillates one octave higher than Comb-.

5. Feed the Comb filter with a signal of any kind. The incoming signal’s pitch isn’t important for the resulting tuning, but both pitch and timbre of the input signal affect the timbre of the

Comb filter output sound greatly.

.

Try to experiment with all kinds of input signals, i.e. different oscillator settings, noise, combinations of both and the like.

.

Also try to set up envelopes to control the levels of the input signal, i.e., use a short percussive signal that only triggers the comb filter briefly. The filter then oscillates to produce the resulting tone.


Sound Parameters – Amp/FX/Arp Section

Amp/FX/Arp Section

This section is the last of the microQ’s signal routing. Its purpose is to set the volume of the sound.

The following picture of the microQ’s Parameter Matrix shows the Amp/FX/Arp section:

Amp/FX/Arp.

Volume Velocity FX1 Mix FX2 Mix Arp Mode Range Tempo Clock

Picture 27: Amp/FX/Arp section

Amplifier Parameter Controls

To understand the operation of this unit, it is important to know that the Amplifier Envelope is always acting as a modulation source for the volume. This means that an audio signal can only pass through if the Amplifier Envelope is triggered and opened.

Volume

0…127

Determines the master volume of the sound program.

Velocity

-64…+63

Specifies how much volume will be affected by keyboard velocity. Use this feature to give more expression to the sound. With a setting of 0, velocity will have no effect on the volume. Classic organs work in this way because they do not have dynamic response. For positive settings, the volume rises with higher velocities. This is the most commonly used setting, which gives a piano-like character. With negative settings, the volume decreases at higher velocities. This gives an aypical character suitable for effect sounds. As the Amplifier always works in conjunction with the Amplifier

Envelope, this parameter actually determines the envelope velocity amount. The following picture illustrates this functionality:

Output

100%

Maximum Volume

Key Velocity = 1…127 Key Velocity = 127

Key Velocity = 1

Key Velocity = 64 Key Velocity = 64

0%

Time

Velocity Parameter = 0

Key Velocity = 1

Time

Velocity Parameter = +63

Key Velocity = 127

Time

Velocity Parameter = -64

Picture 28: Volume influence of different Velo parameter settings

Amplifier Pages in the Amp/FX/Arp Edit Menu

The following parameter of the Amplifier can be accessed via the Amp/FX/Arp menu only. If you are in the Amp/FX/Arp section, press the

Edit

button to activate this display menu and select the corresponding parameter page.

AmpModSrc! AmpMod

LFO1 | +00

AmpMod Source


Selects the source of the volume modulation.


Sound Parameters – Amp/FX/Arp Section

AmpMod

-64…+63

Determines the amount of volume modulation.


Sound Parameters – Effects

Effects

The microQ has two effect units. The first effect unit is always part of the Sound Program. The second effect can be assigned either globally or to Instruments 1 through 4. To use the effect units in

Multimode please read the chapter “Multi Mode”.

Effect Parameter Controls

The Effect Parameter Controls can be directly accessed via the Amp/FX/Arp section.

FX 1 Mix

0…127

The only parameter that is common to all types of effects is the

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 signal.

At maximum setting, the pure effect signal will be heard.

FX 2 Mix

0…127

See

FX 1 Mix

.

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The usage of effects requires DSP Power and can lead to decreased polyphony. The setting

“

Bypass” doesn’t need any processing power.

Effect Parameter of the Amp/FX/Arp Edit Menu

Most parameters related to the Effects section are located in the Amp/FX/Arp Edit menu. If you are in the Amp/FX/Arp section press the

Edit

button and turn the

Page Dial

to access these parameters.

FX1 Type

Bypass / Chorus / Flanger / Phaser / Overdrive / Five FX / Vocoder

FX1 (I1) ! mix

Chorus ! 056

Sets the type of effect produced by the first effect unit. All further parameters depend on the selected effect type.

FX2 Type

Bypass / Chorus / Flanger / Phaser / Overdrive / Five FX / Vocoder / Delay

FX2 (glb)! mix

Delay ! 036

Sets the type of effect produced by the second effect unit. All further parameters depend on the selected effect type.

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The Delay FX is only available for the FX2 unit.

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The assignment of the second effect processor is done with the

FX2 (glb) link

parameter in the

Global Menu. Please also see the chapter “Global Menu”.

On the following pages all effect types will be described, together with their available setttings.



Bypass

Disables the effect unit. No further parameters available.

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.

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A Mix setting of 48 to 96 produces the strongest effect because both the unaffected signal and the processed signal are mixed together.

Speed | Depth

064 | 064

Speed

0…127

Sets the LFO speed of the Chorus effect.

Depth

0…127

Sets the modulation depth of the Chorus effect.

Delay

064

Delay

0…127

Sets the initial delay that is added to the Chorus delay line.

Flanger

The Flanger effect is very similar to the Chorus effect, but features feedback circuitry to feed the generated signal back into the comb filter. This generates a deeper detuning and colorizes the signal.

With extreme settings you can hear a whistling sound which is very characteristic of a Flanger effect.

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Speed | Depth

064 | 064

Speed

0…127

Sets the LFO speed of the Flanger effect.

Depth

0…127

Sets the modulation depth of the Flanger effect.



Feedback |Polarity

064 |positive

Feedback

0…127

Controls the feedback amount of the Flanger signal.

Polarity

positive / negative

Determines whether the feedback signal is fed back into the Flanger as is, or is inverted beforehand.

Phaser

A Phaser is a combination of several "allpass" filters working in parallel. This generates an effect with equally spaced frequency peaks or troughs. The result is a strongly colorized signal with a “spacy” character.

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Speed | Depth

064 | 064

Speed

0…127

Sets the LFO speed of the Phaser effect.

Depth

0…127

Sets the modulation depth of the Phaser effect.

Center | Spacing

064 | 064

Center

0…127

Controls the basic delay length of the allpass filters. Lower settings produce a high pitched Phaser effect while higher settings enable the Phaser to cover deeper frequencies.

Spacing

0…127

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.

Feedback

0…127

Controls the feedback amount of the delay signal.

Polarity

positive / negative

Determines whether the feedback signal is fed back into the Phaser as is, or is inverted beforehand.



Overdrive

The Overdrive effect distorts the input signal by amplifying it drastically and clipping the resulting signal to a certain output level. The difference between this Overdrive effect and the Drive parameter of the Filter sections is that Drive affects one single voice, while this effect type distorts the summed output of the whole instrument. 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.

Drive |Post Gain

064 | 064

Drive

0…127

Controls the amount of distortion the effect produces. Low values create no or only slight distortion while high values create heavier distortion.

0…127

Post Gain

Controls the output level of the distorted signal.

Cutoff

064

Cutoff

0…127

Dampens the high frequency output of the Overdrive effect.

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Please note that the setting of the

Mix

parameter doesn’t affect the strength of the overdrive effect but only the volume of it. Therefore, you can get a very strong overdrive with a low volume when you turn up

Drive

and turn down

Mix

.

Five FX

This effect type is a combination of five different effects. You can easily use this as a replacement for one of the above mentioned effect types. The quality of Five FX is the same as if you use a single effect, only its parameter set is reduced. The effects and their order is as follows:

•

Sample & Hold is a sample rate reduction effect.

•

Overdrive is the same as the above described effect.

•

Ring Mod allows ring modulation of the effect input signal with another signal.

•

Chor/Dlay is a combination of a Chorus and a Delay effect.

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You should turn the Mix control fully up with this effect type because you probably want the sample rate reduction to process the whole signal. The Ring Mod and the Chor/Dlay effect have their own mix control.



Sample & Hold

44.1kHz

Sample & Hold

44.1kHz…2.6Hz

Controls the output sample rate. 44.1kHz means that the signal is unaffected, while other values reduce the sample rate of the sound to the respective rate. You will hear a lot of aliasing when you lower the sample rate, but this is great for so-called “lo-fi” sounds.

Overdrive

064

Overdrive

0…127

Controls the amount of distortion of the signal. Please note that the signal might become a little louder when you increase this parameter.

Ring Mod | Source

064 | Aux

Ring Mod

0…127

Controls the level ratio of the input signal of ring modulation and a second signal that can be chosen with

Source

.

Source

External/Aux/Inst.1 FX/Inst.2 FX/Inst.3 FX/Inst.4 FX/Main in/Sub1 in/Sub2 in

Selects the source of the second signal that is used for the ring modulation. The first signal is the summed output of the current Sound or Instrument. You can find more details about the function of a ring modulator in the sub chapter “Ring Modulator” in the chapter “Mixer Edit Menu”.

•

External means that the source is the audio signal that comes from the stereo External In jack

A.

•

Aux means that the source is the audio signal that comes from the internal Aux bus. Please refer to the chapter "Multimode".

•

Inst.1 FX…Inst.4 FX means that the source is the audio signal that comes from the internal FX bus. Please refer to the chapter "Multimode".

•

Main in means that the source is the summed audio signal that is routed to the microQ´s

Main Out

jack

2.

•

Sub1 In means that the source is the summed audio signal that is routed to the microQ´s

Sub

Out 1

jack

3.

•


Sub

Out 2

jack

4.

Chor/Dlay| Speed

064 | 032

Chor/Dlay

0…127

Controls the mix level of the Chorus/Delay effect.



Speed

0…127

Controls the LFO speed of the Chorus effect.

Depth | Delay

064 | 064

Depth

0…127

Controls the modulation depth of the Chorus effect.

Delay

0…127

Controls the initial delay that is added to the Chorus delay line.

.

Five FX is perfect for processing external audio signals. So start by experimenting with Voice,

Speech and Drumloops.

Delay

A Delay is an effect that produces echoes of the input signal. To make this effect musically useful in a synthesizer, the parameters to adjust the delay length are scaled in note values when

Clocked

is activated. The Delay effect features its own Tempo control but can also synced to the Global Tempo if you like.

The Delay effect is fully stereophonic, meaning that a signal that is routed to the left stereo position is fed into the left or right delay line, and vice versa, depending on the setting of

Auto Pan

.

An important feature of the microQ’s Delay effect is that the Delay length can be changed without clicks or pitch changes. This allows you to experiment with different Delay lengths without getting annoying side effects in the output signal.

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This effect type is only available for the FX2 unit.

Clocked

Off

Clocked

off / on

If

Clocked

is set to on, the delay length is adjusted in note values. If it set to off, the delay length is adjusted in milliseconds.

Length

001.4ms

Length | Tempo

8/4. | internal

Length

1.4ms…1.48s 1/128…8/4.

Sets the length of the Delay tap in milliseconds or note values depending on the

Clocked

setting. A

“ t” behind the number means a triplet note value while a “.” behind it means a dotted note.


Sound Parameters – Effects w

If the adjusted length is longer than the maximum length of the Delay effect, the Delay length is halved automatically.

Tempo

internal / 42…300

Sets the tempo in BPM (Beats per minute) that is used as basis for the delay length. This parameter only appears if

Clocked

is set to on. When set to internal, the Tempo is synced to the Global Tempo which in turn is generated by the microQ itself or evaluated from incoming MIDI Clock. See the chapter “The Tempo” for details.

Feedback |Polarity

064 |positive

Feedback

0…127

Controls the amount of signal that is routed back into the Delay line. Lower values therefore produce fewer echoes than higher values.

Polarity

positive / negative

Determines whether the feedback signal is fed back into the delay line as is, or is inverted beforehand.

Cutoff |Auto Pan

064 | On

Cutoff

0…127

Dampens the signal produced by the Delay effect. This filter is routed before the feedback circuitry meaning that adjacent taps of the Delay will be dampened further. This creates the typical “high frequency loss” that often happens in natural echoes. A setting of 127 means that the signal isn’t filtered, while lower settings filter the high frequencies of the feedback signal.

Auto Pan

Off / On

Controls an automatic panning effect produced by the delay. If Auto Pan is set to Off, the left input signal is routed into the left delay line and its output signal is fed back into the same delay line. The same is true for the right signal and the right delay line. If Auto Pan is set to On, the left input signal is fed into the right delay line and the right signal is fed into the left delay line. The output of each delay lines is fed back into the opposite delay line. The result is called a Ping-Pong delay.

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You can only hear this effect if the left input signal is different from the right input signal.

Vocoder

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The Vocoder effect is a special effect type. Only one Vocoder is allowed at a time. When you have several sounds using a Vocoder, the one in the lowest Instrument slot wins. E.g., if you have a sound with a Vocoder effect set up for Instrument 1 and another sound with a Vocoder in Instrument 3, only the Vocoder in Instrument 1 works.

A Vocoder is a circuit to process the frequency content of one signal with the frequency content of another signal. This is done by splitting up the analysis signal (also known as Speech signal) with


Sound Parameters – Effects bandpass filters into several frequency bands. The volume of each frequency band is then evaluated with an envelope follower, and the resulting envelope is used to control the volume of a bandpass filter that processes the synthesis signal (also known as Carrier signal). The synthesis signal is therefore filtered by as many bandpass filters as the analysis signal, so that each analysis filter finds its synthesis filter counterpart.

This technique was developed as early as World War II, but the plan then was to use it to encrypt speech when transmitted by radio, rather than using it to create musically useful sounds. However, this shouldn’t disturb you and you should feed a Vocoder with speech, drum loops or any other collection of external audio material you like. The results will always be complex and interesting, sometimes close to the original signal and sometimes much altered. Experiment and have fun.

For the Vocoder, you always need two signals, a signal that is analyzed and another signal that is used for processing by the synthesis filters. The analyzed signal always comes from a different source, either the external input or one of the internal routing busses. The synthesis signal is the current sound, but if you wish to use a different synthesis signal, set up the

N/E Select

parameter in the

Mixer/Routing Edit menu to feed the filters with the External In or one of the internal routing busses. It might even be interesting if both the analysis and synthesis signal come from the same source, especially when you set the synthesis band offsets to other values than +00. Then a low analysis band might deliver the envelope for a high synthesis band and vice versa.

To preserve the original signal as much as possible, the synthesis signal should only consist of a simple, unfiltered noise that you generate with the microQ’s noise generator. For a spoken or sung voice, you should add a sawtooth oscillator such that the pitch determines the frequency of the speech. To get a natural sounding spoken voice, you should modulate the pitch of this oscillator with a slow sine LFO to simulate the emphasis.

Bands

002…025

Sets the number of filter bands. A setting of 25 bands results in a very fine frequency resolution, so that the original signal is almost completely preserved by the synthesis filters. For a classic sounding

Vocoder effect, you should set the number of bands to values between 13 and 22 bands.

Analysis Signal

External/Aux/Inst.1 FX/Inst.2 FX/Inst.3 FX/Inst.4 FX/Main in/Sub1 in/Sub2 in

Determines the source of the signal that is analyzed. This signal is also known as Speech signal. The synthesis signal always comes from the current sound. This is not a real limitation because the voice architecture isn't affected at all by the Vocoder. You still have all three oscillators and two filters.

•

External means that the source is the audio signal that comes from the stereo External In jack

A.

•

Aux means that the source is the audio signal that comes from the internal Aux bus. Please refer to the chapter "Multimode".

•

Inst.1 FX…Inst.4 FX means that the source is the audio signal that comes from the internal FX bus. Please refer to the chapter "Multimode".

•

Main in means that the source is the summed audio signal that is routed to the microQ´s

Main Out

jack

2.

•


Sub

Out 1

jack

3.

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You achieve the best results with external signals when you set

Input Gain

in the

Global Edit

to 1 or 2 for line level signals.



A. Lo Frq and A. Hi Frq

10.9Hz…16.7kHz

Set the frequency of the lowest and highest analysis bands respectively. You should set

A. Lo Frq

to around

220Hz and

A. Hi Frq

to

14kHz for voice analysis (the default values) or to around 100Hz and

16kHz for drum loops or other signals with a lot of bass and treble.

All other analysis bands are spread equally between these two bands.

.

If you find that the Vocoder isn’t tracking quite right, then you might want to narrow the frequency range of the analysis bands.

.

If you want to extract one instrument from a complex sum, you should set

Bands

to 2 and change

A. Lo Frq

and

A. Hi Frq

until you find the signal’s main frequency range. So you can, for example, process a full sounding String Pad to be emphasized on the Snare Drum or Hihat figure of a drum loop.

S. Offset

-64…+63

Sets the relative offset of the lowest synthesis band compared with the lowest analysis band. A setting of

0 means that the lowest synthesis band has the same frequency as the lowest analysis band. +63 means that the lowest synthesis band has the same frequency as the highest analysis band. Negative values mean that the lowest synthesis band is even lower than the analysis band.

Hi Offset

-64…+63

Sets the relative offset of the highest synthesis band compared with the highest analysis band. When you set it to

-64, it is tuned to the lowest analysis band.

All other synthesis bands are spread equally between these two bands.

.

When you set

S. Offset

(the low offset) to +63 and

Hi Offset

to -64, the synthesis frequency bands are arranged inversely compared with the analysis bands, so you get a flipped Vocoder.

Bandwidth

-64…+63

Controls the width of the synthesis bands. Negative values result in wider bands while positive values result in narrower bands.

0 is the ideal Vocoder setting but it's up to you if you want other widths.

Resonance

-64…+63

Controls the impulse response of the synthesis bands. Again,

0 results in an ideal Vocoder effect while you can remove resonance to make the vocoded signal less defined, or add resonance to get bell-like sounds.

Attack

000…127

Controls the rate of rise of the synthesis bands until they reach the level evaluated by the respective analysis band. For real Vocoder sounds, set it between

0 and 15.

Decay

000…127

Controls the decay rate of the synthesis bands until they reach minimum volume. For real Vocoder sounds, set it between

10 and 25. Shorter values might result in uneven volume changes of individual bands while longer values smear the signal. Both can be nice, but if the results aren't as you've expected, try changing this parameter.



.

When you set

Decay

to

127, you get a Resonator effect. Be careful with the input signal volume when doing so.

EQ Low Band Level and EQ High Band Level

–64…+63

Control the overall weighting of all synthesis bands by ±18dB. When you set both to the same level, the filters are all equal in volume, if you set one of them to a different value, all filters in-between are scaled proportionally.

EQ Middle

001…025

Selects the band that is emphasized or attenuated by Mid Level. The surrounding bands are scaled to match the level of the Middle EQ.

Mid Level

-64…+63

Emphasizes or attenuates the band selected with

EQ Middle

by ±18dB.


Sound Parameters – Arpeggiator

Arpeggiator

An Arpeggiator is a device that splits an incoming MIDI chord into its single notes and repeats them rhythmically. Different sequence modes can be defined for the Arpeggiator to cover a wide range of applications. In addition to the synthesis features, the microQ offers a deeply programmable

Arpeggiator for every sound program. It can play a wide range of different rhythm patterns including accents and different timings, and allows creating sophisticated custom rhythm patterns.

The arpeggiator uses a so-called note list that can store up to 16 notes. This list is set up depending on the Arpeggiator parameter settings. For example, when

Sort Order

is set to

Num Lo>Hi, the list is rearranged so that the lowest note is placed at the first position, the second lowest note at the next and so on. Refer to the individual parameter descriptions to see if and how a parameter alters the list.

Arpeggiator Parameter Controls

The most commonly used controls of the Arpeggiator can be directly accessed via the Amp/FX/Arp section.

Arp Mode

Off / On / One Shot / Hold

This parameter sets the way the Arpeggiator works.

•

If

Off is selected, the arpeggiator is not active.

•

If

On is selected, the arpeggiator is active. When you press a note or a chord on the keyboard, it is split up and repeated rhythmically. As soon as you release a note, it is removed from the arpeggio rhythm. Conversely, as soon as you add another note to the existing chord, it is inserted into the arpeggio. When you release all notes, the arpeggiator stops.

•

If

One Shot is selected, the arpeggiator splits up all played notes and plays back an arpeggio.

The actual length of this arpeggio is set by the

Pattern Length

parameter. After the arpeggio rhythm is played once, it is stopped automatically unless you hit a new chord. This mode is especially useful in a live performance where you might have to “synchronize” yourself, for example, to a drummer. Just hit a chord at each new bar.

•

If

Hold is selected, the arpeggiator splits up all played notes and generates a continuous arpeggio even when the chord is released. This gives you two ways of entering a chord:

1. Press all keys of the chord simultaneously. This is the normal procedure you would follow with the other Arpeggiator Modes, too.

or

2. Press and hold the first key of the chord. While holding this key, enter the other keys sequentially. After playing all keys, you can release the first key. On one hand this method is practical for playing difficult chords, and on the other hand it is essential when using the as played setting of the

Sort Order

parameter. This setting allows you to create arpeggios in the sequence of played notes. You can even hit the same note several times and it will appear in the note list accordingly.

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You can stop playback of the Arpeggiator by pressing the

Power/Panic

button, by setting

Mode

to

Off, On or One Shot, or by sending an All Notes Off message from your sequencer.



Range

1 Oct…10 Oct

Determines the range of the single notes in octaves. When it is set to

1 Oct, the note list will be played back in the same octave as originally entered Greater values mean that the note list is repeated in higher or lower octaves. The octave in which the arpeggio starts is determined by the

Direction

parameter. If you play notes that span more than one octave, they are still kept in the note list and played back before the note list is transposed. The following table shows some possible arpeggios, all set to

Sort Order

as played:

Note input Range Direction

C1 E1 G1 1 Oct Up

C1 E1 G1

E1 G1 C1

2 Oct

3 Oct

Up

Up

C1 G1 E2

C1 E1 G1

C1 E1 G1

3 Oct

3 Oct

2 Oct

Up

Down

Alt Down

Resulting Arpeggio

C1 E1 G1 | C1 E1 G1

C1 E1 G1 | C2 E2 G2 | C1 E1 G1 | C2

E1 G1 C1 | E2 G2 C2 | E3 G3 C3 | E1

C1 G1 E2 | C2 G2 E3 | C3 G3 E4 | C1

G3 E3 C3 | G2 E2 C2 | G1 E1 C1 | G3

G2 E2 C2 | G1 E1 | C1 E1 G1 | C2 E2

Table 10: Arpeggio results depending on note input

Tempo

40...300

The basic tempo of the Arpeggiator is set by this global

Tempo

control that also controls the behaviour of the LFOs and Envelopes. This allows you to change all tempo-related aspects of the sound with one single turn of the

Tempo

control. Please refer to the chapter “The Tempo”.

Clock

Please refer to the chapter “The Tempo”.

Arpeggiator Parameter of the Amp/FX/Arp Edit Menu

To reach the Arpeggiator parameters in the Amp/FX/Arp Edit Menu, press the

Edit

button and choose the parameter pages you wish to edit.

Arp Mode ! Pattern

On ! User

Arp Mode

Off / On / One Shot / Hold

See "Arpeggiator Parameter Controls” in the Amp/FX/Arp section.

Pattern

Off / User / 1…15

Sets the rhythm pattern that is used for generating the arpeggio. If

Pattern

is set to Off or to one of the

15 ROM patterns and

T.Factor

is set to a value greater than 0, the sequence is played back with a

Shuffle or Swing effect. This means that the off-beat steps are played back slightly later in time.

•

If Off is selected, the arpeggiator plays back a continuous sequence of notes with the current

Clock

setting.

•

User gives you the ability to create your own custom rhythm pattern. This pattern is stored in in the sound. See the section "Arpeggiator Step Data Pages" below about the pattern settings you can create.

•

1…15 selects one of the 15 internal ROM rhythm patterns. See the table below for an overview of each ROM rhythm pattern:



Pattern

13

14

15

9

10

11

12

7

8

5

6

3

4

1

2

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

●

●

●

●

●

● ●

●

●

●

●

● ● ●

● ●

● ● ●

● ●

● ●

● ● ●

●

●

● ●

● ● ●

●

● ●

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● ● ●

●

● ●

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●

●

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●

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● ●

● ●

●

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● ●

● ●

● ●

●

●

●

●

●

● ●

● ●

●

●

●

● ●

●

●

●

●

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●

●

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● ●

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●

●

●

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●

●

●

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● ●

●

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● ● ●

●

●

● ●

●

●

●

● ● ●

●

●

Picture 29: Arpeggiator patterns w

Note that you can edit a ROM pattern to create your own rhythms starting from an existing

ROM pattern. As soon as you do so, the ROM pattern is copied to the User pattern and the previous User pattern is overwritten.

Max.Notes! Clock

16 ! 12/192

Max. Notes

1…16

Sets the maximum number of notes that are used for the note list. When you press more notes than set up here, the oldest notes are removed from the list. This feature is particularly interesting in Multi

Mode. When you set it to 1 on a Bass sound, for example, the Arpeggiator only stores the last entered note and plays back sequentially. All other notes might still be used by other sounds, but the Bass sound plays back only this one particular note.

Clock

1/32t…1/1

Sets the note value for the steps of the rhythm pattern in a range from whole notes to thirty-second triplet notes. Triplets (e.g. 1/8T) and dotted notes (e.g. 1/16.) are available for every note value.

Length ! Oct.Range

12/192 ! 1

Length

1/192…127/192 / legato

Sets the length of the generated arpeggio notes. When

Length

is set to a value between

1/192 and

127/192, the

Arp Steplen

parameter lets you change the relative length of each step. However, when

Length

is set to legato, all arpeggio notes are played without pauses between each step and

Arp

Steplen

therefore has no effect.



Oct.Range

1...10

See "Arpeggiator Parameter Controls" in the Amp/FX/Arp section.

Direction!SortOrder

Up !as played

Direction

Up / Down / Alt Up / Alt Down

Sets the direction that is used to play back the arpeggio. This parameter is closely related to

Oct.Range

and

Sort Order

.

•

If

Up is selected, the note list is played forward and the octaves are transposed upward. The arpeggio starts in the original octave and goes up to the highest octave set by

Range

. Then the arpeggio is repeated.

•

If

Down is selected, the note list is played backward and the octaves are transposed downward. The arpeggio starts in the highest octave set by

Range

and goes down to the original octave. Then the arpeggio is repeated.

•

If

Alt Up is selected, the note list is first played forward and the octaves are transposed upward. After reaching the last note of the note list in the highest octave to play, the note list is played backward and the octaves are transposed downward down to the first note of the note list in the original octave. Then the arpeggio is repeated.

•

If

Alt Down is selected, the note list is first played backward and the octaves are transposed downward. The arpeggio starts in the highest octave set by

Range

. After reaching the first note of the note list in the original octave, the note list is played forward and the octaves are transposed upward up to the last note of the note list in the highest octave to play. Then the arpeggio is repeated.

SortOrder

as played / reversed / Num Lo>Hi / Num Hi>Lo /Vel Lo>Hi / Vel Hi>Lo

Sets the order in which the note list is arranged. With this parameter, you can determine how the notes you originally play are split up for the arpeggio.

•

If as played is selected, the notes are sorted in the exact order you played them. If you e.g.

press E1, G1 and C1, the note list looks exactly like that.

•

If reversed is selected, the notes are sorted to the reverse order in which you played them. If you e.g. press E1, G1 and C1, the note list is sorted to C1, G1 and E1.

•

If Num Lo>Hi is selected, the notes are sorted from the lowest note to the highest note. If you e.g. press E1, G1 and C1, the note list is sorted to C1, E1 and G1.

•

Num Hi>Lo is the opposite of Num Lo>Hi. The example would be sorted as G1, E1 and C1.

•

If Vel Lo>Hi is selected, the notes are sorted from the softest to the loudest velocity. If you press notes with velocities 64, 120 and 96, the note list will be sorted to 64, 96 and 120.

•

Vel Hi>Lo is the opposite of Vel Lo>Hi. The above notes would be sorted as 120, 96 and 64.

Vel Mode !T.Factor

EachNote ! 000

Vel Mode

Each Note / First Note / Last Note

Determines how velocity is interpreted in the arpeggio. Note that each arpeggio step might have an additional positive or negative offset set by the

Arp Accent

parameter.



•

If Each Note is selected, each note of the arpeggio is played back with the velocity that you originally played.

•

If First Note is selected, the first note you played sets the velocity for all arpeggio steps.

•

If Last Note is selected, the last note you played sets the velocity for all arpeggio steps.

T. Factor

0…127

Determines how much the

Arp Timing

parameter affects an arpeggio step. If

T. Factor

is set to 0, the settings in

Arp Timing

are completely ignored and the arpeggio is played back without any shuffled timing. Settings from 1 to 127 increase the shuffling of the notes depending on the setting in the

Arp

Timing

parameter.

T. Factor

also works on ROM patterns; these are set up with standard swing rhythm.

Same Note Overlap

Off

Same Note Overlap

Off / On

Due to the various

Length

parameters, it might happen that two notes having equal pitch overlap, e.g. when you play only one single note on a 16 beat rhythm with lengths set to 1/8.

Note that this parameter only affects notes of the same pitches. If you want to control the lengths of notes of different pitches, use the

Length

or

Arp Steplen

parameters.

•

If On is selected, the Note Off message of the previous note is allowed to be sent after a Note

On message of the next note with the same pitch. This setting can be nice with arpeggios triggering sounds with slow attack.

•

If Off is selected, the Note Off message of the previous note is sent right before the next note with the same pitch is started.

Pattern Reset

Off

Pattern Reset

Off / On

When all steps of an arpeggio pattern are played back, the pattern is repeated from the beginning so that the arpeggio is looped. With

Pattern Reset

, you can decide if the note list is also restarted from the beginning when the rhythm pattern is reset.

•

If Off is selected, the note list is not restarted, so that there is no synchronization between rhythm and note list. E.g., when you have a pattern where four steps are set and you play three notes, the pattern and the note list are repeated differently. The pattern restarts after the fourth step while the note list restarts after the third step. The arpeggio might look like this:

Pattern Step

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Note

C1 E1 G1 C1 E1 G1 C1 E1 G1 C1 E1 G1 C1 E1 G1 C1

Table 11: Arpeggio with Pattern Reset set to On

•

If

On is selected, the note list will be restarted as soon as the rhythm pattern is restarted.

The same arpeggio might now look like this (note the two C1s in sequence):



Pattern Step

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Note

C1 E1 G1 C1 C1 E1 G1 C1 C1 E1 G1 C1 C1 E1 G1 C1

Table 12: Arpeggio with Pattern Reset set to Off

Pattern Length

16

Pattern Length

1…16

Sets the length of the rhythm pattern. This parameter is also valid when

Pattern

is set to

Off or if one of the ROM patterns is selected. Note that you can only edit a particular step in the

Step Data

pages when its position is within the range of the

Pattern Length

parameter.

Arpeggiator Step Data Pages

The following Arpeggiator menu pages all behave similarly. The left value dial sets the step that should be changed while the right value dial changes the value of the step according to the possible value range.

w

You can only select the steps that are in the range set by

Pattern Length

. E.g., when you have set

Pattern Length

to

8, you can’t change a value of step 9 or above.

Arp Accent

01[--Ï-Ò------Í----]

Arp Accent

Í

,

Î

,

Ï

,

Ì

,

Ó

,

Ô

,



,

Ò

Sets the accent of a particular step. This accent is interpreted as a velocity offset that is added or subtracted from the original velocity stored in the note list. However, the generated velocities can never exceed the maximum MIDI velocity 127 or minimum MIDI velocity 1. This means when you have already played notes with a high velocity,

Arp Accent

might not be able to further offset them positively, so you will only hear differences with negative accent offsets. Conversely, low velocities might not be able to be lowered by

Arp Accent

. The only exception is Í description.

•

If Í list is advanced by one note, but you are not able to hear it. This feature is the opposite to

Arp Step

set to Off, which doesn’t generate any note and therefore doesn’t advance the note list.

•

If Ó back with their original velocity.

•

If

Arp Accent

is set to any positive or negative value, the velocity is raised or lowered accordingly. Each step adds or subtracts 15 from the original velocity.

Arp Glide

01[˜ ˜ ˜ ]

Arp Glide

off / ˜

For each step in the arpeggio pattern you can activate the glide effect individually. This gives you the ability to create the classic "Bass Line" melody character. Make sure that you set up a reasonable glide effect in the Oscillator Edit menu.

•

If off is selected (empty space), the glide effect is disabled for this step.



•

If ˜ previous note glides to the note that has to be played at this particular position in the arpeggio.

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Please note that

Glide

in the Oscillators Edit menu must be set to Off when you want to set Arp

Glide for individual pattern notes. Otherwise, the glide effect will occur on all notes.

Arp Step

01[****************]

Arp Step

*

/

-

/

Ú

/

Û

/

Ù

/

ı

/

ˆ

This parameter can have a pronounced effect on the resulting arpeggio, so you should read the following paragraphs carefully.

Arp Step

basically determines which note of the note list is played at a particular step. You can also force the Arpeggiator to play a whole chord or part of a chord or set it up to play a random note from the list.

•

If

* is selected (asterisk symbol), the Arpeggiator plays the step unaltered. The note list is advanced beforehand, except when you press a new chord.

•

If off is selected (empty space), the Arpeggiator plays nothing at this step position. When

Length

or

Steplen

is set to legato, the previous step that isn’t set to Off is still held to create the legato effect. The note list is not advanced.

•

If

- is selected, the Arpeggiator plays the same note as it had to play in the previous step that was set to

* or ˆ. With this setting, you can repeat a particular note of the note list several times. The note list is not advanced.

•

If

Ú is selected, the Arpeggiator plays the very first note of the note list. This might be interesting if you want to only play the "root note" of a chord in a bass sound. The note list is not advanced.

•

If

Û is selected, the Arpeggiator plays the very last note of the note list. The note list is not advanced.

•

If

Ù is selected, the Arpeggiator plays a chord with two notes, the first and the last one of the note list. This means that you have to play at least two notes to hear the effect.

Otherwise, you would hear only one note anyway. The note list is not advanced.

•

If ı is selected (notes symbol), the Arpeggiator plays a chord with all notes from the note list. This means that you have to play at least two notes to hear the effect. The note list is not advanced.

•

If

ˆ is selected, the Arpeggiator plays a random note from the note list. This doesn’t mean that it creates a note randomly; instead it uses one note of the existing note list. The note list is not advanced.

As you can see, the effects can differ greatly depending on what you set up here. The following arpeggio shows an example of the effect when the notes C1, E1 and G1 are pressed:



*

C1 -

* * * * Ú * *

E1 E1 G1 C1 E1 C1 G1 C1 G1 C1+

Table 13: Arp Step example

Arp Timing

01[˚˛

Û Ù

G1

* ı

E1 C1+

E1+

G1

* ˆ

G1 C1 or

E1 or

G1

Arp Timing

Moves the playback time of a step forward or backward. Forward means that a step is played later while backward means that it is played earlier. The overall strength of this parameter is set by

T.

Factor

. If

T. Factor

is set to

0,

Arp Timing

has no effect on the rhythm at all. If

T. Factor

is set to maximum,

Arp Timing

can move the step by a maximum of half the clock division. This means that it can move the step by 1/32 forward or backward when clock is set to 1/16.

•

ˆ moved.

•

Values pointing to the left (

¯, ˘ and ˙) move the step backward so that it is played earlier.

˙ means that the step is moved by a third, ˘ means that it is moved by two third and ¯ means that it is moved fully.

•

If a vertical line (

˚) is shown, the step isn’t moved at all. It is played at the standard clock position.

•

Values pointing to the right move the step forward so that it is played later.

¸ means that the step is moved by a third,

˝ means that it is moved by two third and ˛ means that it is moved fully.

Arp Steplen

˛

Arp Steplen

Changes the length of the note of a particular step. The overall length of the arpeggio depends on the

Length

setting. If

Length

is set to legato,

Arp Steplen

doesn’t have any effect at all. Also, if

Length

is set to a very small value,

Arp Steplen

might not have an audible effect when you set it to a negative value. You can create very nice staccato and legato effects with this parameter.

•

If

˜ is selected, the notes of this step are held until the next step is played. Empty steps force any step notes set to legato to remain held.

•

Values pointing to the left (

˙, ˘, ¯) shorten the length of the notes of this step.

•

If a vertical line (

˚) is shown, the step is held for the time set in the Length parameter.

•

Values pointing to the right (

¸, ˝, ˛) extend the note duration of this step.


Sound Parameters – The Tempo

The Tempo

Tempo

40…300

The

Tempo

control is one of the most important parameters in all operation modes of the microQ. It controls the tempo of the Arpeggiator, some Effect types and the LFOs for which

Clocked

is activated.

In Multi Mode,

Tempo

controls the overall tempo of the current Multi, affecting all Sounds that are used in its Instruments.

These parameters are affected by

Tempo

:

•

LFO 1…3 Speed

, when the respective

Clocked

parameter is activated

•

Effect type

Delay

, when its

Tempo

parameter is set to

Internal

•

The Arpeggiator

Clock

Internal / Send / Auto / Auto-Thru

Tempo

goes hand in hand with the

Clock

parameter in the

Global

menu. It determines how the microQ reacts to incoming MIDI Clock messages and whether it sends them. Depending on the setting of

Clock

, the actual sound tempo is set as follows:

•

Internal means that the microQ doesn’t react to incoming MIDI Clock nor does it send MIDI

Clock. The microQ only syncs to its own tempo base that is set by

Tempo.

•

Send means that the microQ doesn’t react to incoming MIDI Clock but sends it as MIDI

Clock messages through its MIDI Out. Use this setting when you want to sync other devices to the microQ’s

Tempo

setting but want the microQ to disregard sync from any other device.

•

Auto means that the microQ automatically syncs to incoming MIDI Clock if it is sent to it by an external device like a sequencer or drum machine. If there is no MIDI Clock present, the microQ generates its internal tempo base and sends it as MIDI Clock messages through its

MIDI Out. This is the recommended setting that works in almost all situations.

Now, how does

Auto really work? When you select a Sound or a Multi, the programmed tempo is used as long as no MIDI Clock is received. As soon as the microQ receives MIDI

Clock, the

Tempo

parameter is changed to match the incoming MIDI Clock. This tempo is still valid when no MIDI Clock is no longer received. You can now change the Tempo manually starting from the calculated value or perform the

Recall

function for the Sound or Multi to get back to the stored tempo.

•

Auto-Thru means that the microQ automatically syncs to incoming MIDI Clock and always sends out MIDI Clock, no matter if it received it or if it generated the tempo base itself. This setting is only useful for special setups where you need to control a device through the microQ’s MIDI Out including sync, e.g., when you use the microQ in a live performance in which the microQ itself is synced to a sequencer but needs to send MIDI Clock to a hardware sequencer, too.

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The recommended setting for Clock is Auto. This setting works in almost all situations. Please read the description above for a detailed explanation of it.


Sound Parameters – Envelopes Section

Envelopes Section

The microQ’s envelopes allow you to manipulate sound parameters via rate or timed modulations.

The microQ offers four independent programmable envelopes for every sound program:

•

A Filter Envelope. This envelope is designed to control the filter but can also be used for other modulations.

•

An Amplifier Envelope. This envelope is designed to control the sound volume, but can also be used for other modulations.

•

Two additional Envelopes, Env 3 and Env 4. These envelopes can be used freely to perform additional modulations on any module.

The following picture of the microQ’s parameter matrix shows the Envelopes section:

Envelopes

Attack Level Decay Decay2 Sustain Sustain2 Release Mode

F A 3 4

Picture 30: Envelope Section

Before you make any edits to the envelopes, you must select whether to edit the Filter and the

Amplifier Envelope or Envelope 3 and 4. This is done by pressing the left or right navigation button.

The four LEDs in the Envelope section indicate which envelopes are selected for editing:

•

•

•

•

F means the Filter envelope

A means the Amplifier Envelope

3 means Envelope 3

4 means Envelope 4 w

To edit more than one envelope at the same time, hold down the left navigation button and push the right navigation button once for as many envelopes as you wish to select.

Envelope Parameter Controls

All parameters of the microQ’s envelopes can be edited via the Parameter Matrix.

The microQ offers 5 different envelope types. Their parameters are described here in order. Some envelope types do not use the full number of parameters available to the envelope section.

Mode

ADSR / ADS1DS2R / One Shot / Loop S1S2 / Loop All

Switches between the various envelope types. The following chapters explain the types in detail.



ADSR Envelope

Most traditional synthesizers feature ADSR envelopes. These envelopes are made up of four parameters that determine their response:

Attack, Decay, Sustain

and

Release.

The other parameters of the Envelope section have no function, so they can´t be edited. The following picture illustrates the structure of an ADSR envelope:

Level

100%

Key pressed Key released

Sustain

Time

Attack Decay

Picture 31: ADSR Envelope

Release

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.

Attack

0…127

Determines the attack rate or amount of time it takes for a signal to go from zero to maximum level.

Decay

0…127

Determines the decay rate or amount of time it takes for a signal to reach the

Sustain

level.

Sustain

0…127

Determines the sustain level which is held until a note ends.

Release

0…127

Once the note has ended, the release phase begins. During this phase, the envelope fades to zero at the rate determined by the Release value.



ADS1DS2R Envelope

A difficult name for an envelope that is quite easy to understand. Besides the parameters an ADSR envelope features, it offers an adjustable attack level and a second Decay and Sustain pair. With these additional parameters, you can create much more complex envelopes. The additional envelope parameters are accessed through the

Shift

button.

Level

100%


Sustain 2

Attack Level

Sustain

Time

Attack Decay Decay 2

Picture 32: ADS1DS2R Envelope

Release

Attack

0…127

Determines the attack rate or amount of time it takes for a signal to go from zero to Attack level.

Attack Level

0…127

Controls the level at each the

Attack

phase ends and the

Decay

phase starts.

Decay

0…127


Sustain

level.

Sustain

0…127

As soon as the

Sustain

level is reached, the envelope proceeds with the second

Decay/Sustain

pair as explained below.

Decay 2

0…127


Sustain 2

level.

Sustain 2

0…127

Determines the level which is maintained until a note ends.

Release

0…127

Once the note is released, the release phase begins. During this phase, the envelope fades to zero at the rate determined by the Release value.



One Shot Envelope

The One Shot envelope type is designed for percussive sounds that don’t need a stage maintained as long as a note is played. In other words: the envelope goes through all its stages, no matter how long a key is pressed. This includes even the Attack phase. It uses the parameter set of the ADSR envelope type in which the

Sustain

parameter is used to set a level breakpoint. This allows creation of One

Shot envelopes with a very percussive attack or with a “Gate” effect. Some parameters of the

Envelope section have no function so they can´t be edited.

Level

100%

Key pressed or hit shortly

Sustain

Time

Attack Decay Release

Picture 33: One Shot Envelope

Attack

0…127

Determines the attack rate or amount of time it takes for a signal to go from zero to maximum level.

Decay

0…127


Sustain

level.

Sustain

0…127

Sets a breakpoint level between the Decay and the Release rate.

Release

0…127

The Release phase fades the envelope to zero after the Sustain level is reached.



Loop S1S2 Envelope

The Loop S1S2 envelope type loops the envelope between

Sustain 1

and

Sustain 2

as long as a note is held, after has been through the

Attack

phase once. This means that when

Sustain 2

is reached,

Decay 1

is used to reach

Sustain 1

again, then

Decay 2

is used to reach

Sustain 2,

and so on. As soon as the note is released, the envelope proceeds with the

Release

phase. It uses the parameter set of the ADS1DS2R envelope.

Level

100%


Attack Level

Sustain 2

Sustain

Loop

Time

Attack Decay Decay 2 Release

Picture 34: Loop S1S2 Envelope

Attack

0…127

Determines the attack rate or amount of time it takes for a signal to go from zero to

Attack

level.

Attack Level

0…127

Controls the level at which the

Attack

phase ends and the

Decay

phase starts.

Decay

0…127

Determines the

Decay

rate or amount of time it takes for a signal to reach the

Sustain

level. This phase is also used in the loop to go from

Sustain 2

to

Sustain

.

Sustain

0…127

As soon as the

Sustain


Decay/Sustain


Decay 2

0…127


Sustain 2

level.

Sustain 2

0…127

Sets the second

Sustain

level. As soon as this level is reached, the loop starts by using the first

Decay

rate to go to the first

Sustain

level.

Release

0…127

Once the note is released, the release phase begins. During this phase, the envelope fades to zero at the rate determined by the Release value.



Loop All Envelope

The Loop All envelope type is similar to the Loop S1S2 envelope type but it loops through all envelope stages as long as a note is held. This means that it goes through all envelope stages first, and if it ended with the

Release

phase, the envelope restarts from zero and goes through all its phases again. As soon as the note is released, the looping stops and the envelope goes into its

Release

phase.

Level

100%


Attack Level

Sustain 2

Sustain

Loop

Time

Attack Decay Decay 2 Release

Picture 35: Loop All Envelope

Attack

0…127

Determines the attack rate or amount of time it takes for a signal to go from zero to

Attack

level.

Attack Level

0…127

Controls the level at which the

Attack

phase ends and the

Decay

phase starts.

Decay

0…127

Determines the

Decay

rate or amount of time it takes for a signal to reach the

Sustain

level. This phase is also used in the loop to go from

Sustain 2

to

Sustain

.

Sustain

0…127

As soon as the

Sustain


Decay/Sustain


Decay 2

0…127


Sustain 2

level.

Sustain 2

0…127

Sets the second

Sustain

level. As soon as this level is reached, the envelope goes into the

Release

phase.

Release

0…127

The Release phase takes effect while the note is pressed, as last stage before the loop restarts with the

Attack phase. When the note is released, the loop stops and the Release phase is used to fade the envelope to zero.



Envelope Edit Menu

You can select the edit menu for the envelopes by pressing the

Edit

button as soon as any envelope is selected.

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Unlike all of the Edit Menus of the other sections, you cannot change any of these values with the knobs below the display. This Edit Menu simply serves as an overview. Parameter changes are done with the four endless dials h below the Parameter Matrix.

There are one or two Menu pages depending on what envelope type is chosen. The upper row of the display shows the chosen envelope and the type, and the lower row shows the corresponding values.

Filter Envelopes are shown here as an example for a normal ADSR-Type with corresponding values:

F-Env:ADSR

A000 D010 S127 R030


Sound Parameters – LFO Section

LFO Section

In addition to the main oscillators, the microQ is equipped with three low frequency oscillators (LFO) that can be used for modulation purposes. Each LFO generates a periodic waveform with adjustable frequency and shape.

The following picture of the microQ’s parameter matrix shows the LFO section:

LFOs

LFO3 Speed Shape LFO1 Speed Shape Sync

Picture 36: LFO section

LFO2 Speed Shape

LFO Parameter Controls

The most commonly used controls of the LFOs can be found in the parameter matrix.

LFO 1 Speed

0…127 or 256 bars…1/96

Determines the frequency of LFO 1. At low values, it might take several minutes for the LFO to perform a complete cycle while higher values are in the audible range. Very high values are scaled in semitone steps. With

LFO Keytrack

set to 100%, a

Speed

setting of 122 delivers an 8’ LFO oscillation. 16’ oscillation can therefore be generated with a

Speed

setting of 110, and so on.

When the LFO

Clocked

parameter is set to On, you can adjust the

LFO Speed

in musical values.

The lowest possible value is 256 bars, meaning that a complete LFO cycle would need 256 bars.

LFO 1 Shape

Sine / Triangle / Square / Saw / Random / S & H

Sets the type of waveform generated by LFO 1. The following picture shows the available shapes:

Sine Triangle Square

Sawtooth Random

Picture 37: LFO Shapes

S&H

•

The

Sine shape is best suited for oscillator FM or pan modulations.

•

The

Triangle shape is perfect for smooth pitch, filter or volume modulations.

•

The

Square shape can be interesting for hard pan modulations or special effects.

•

The

Sawtooth shape can generate interesting filter or volume changes. If you need a modulation with inverted slope, just apply the Sawtooth shape with negative amount.

•

The

Random shape generates random values and glides to them linearly.

•

S&H (Sample & Hold) samples a random value and holds it until the next value is generated.

If

Speed

is set to

0, a random value is generated on each new note.



Sync

Off, On

When

Sync

is set to On, the LFO phases of all voices are synced so that they sound as one LFO. This can be interesting when the LFO is applied to modulate

Filter Cutoff

or

Panning

.

When

Sync

is set to

Off, the LFOs run independently ; this is better suited for pitch modulation to obtain thicker sounds.

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Sync

does not mean that the LFO is synced to MIDI Clock or to note start. This is done with the

Clocked

parameter or the

Phase

parameter.

LFO 2 Speed

0…127 or 256 bars…1/96

Determines the frequency of LFO 2. See "LFO 1 Speed" above.

LFO 2 Shape


Sets the type of waveform generated by LFO 2. See "LFO 1 Shape" above.

LFO 3 Speed

0…127 or 256 bars…1/96

Determines the frequency of LFO 3. See "LFO 1 Speed" above.

LFO 3 Shape


Sets the type of waveform generated by LFO 3. See "LFO 1 Shape" above.

LFO Edit Menu

The following parameters can be accessed via the LFO Edit menu. If you are in the LFO section press the

Edit

button to activate the display menu.

LFO1 Shp.! Delay

Sine ! 000

LFO1 Shp. – LFO 1 Shape


Sets the type of waveform generated by LFO 1. For the sake of completeness this parameter can be also found here in the LFO Edit Menu. See "LFO 1 Shape" above.

Delay

0…127

The

Delay

parameter works in different ways depending on the setting of the

Fade

parameter in the

LFO edit menu:

•

When

Fade

is set to

+00…+63, the LFO signal output is zero for the time set with the

Delay

parameter. After this time, the LFO is faded in and then runs with full magnitude.

•

When

Fade

is set to

–64…-01, the LFO runs with full magnitude for the time set with the

Delay

parameter. After this time, the LFO is faded out to zero.



LFO1 Spd.! Fade

056 ! +20

LFO1 Spd. – LFO 1 Speed

0...127

Determines the frequency of LFO 1. For the sake of completeness this parameter can be also found here in the LFO Edit Menu. See "LFO 1 Speed" above.

Fade

out 64…in 63

Controls the speed with which the LFO is faded in or out. With this parameter you can create slowly rising or falling modulations that might create interest when routed to pitch or volume.

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Please see the

LFO Delay

parameter for further information.

LFO1 Sync!Startphase

Off ! free

LFO1 Sync

On / Off

For the sake of completeness this parameter can be also found here in the LFO Edit Menu. See "Sync" above.

Phase

free, 000°…360°

Controls the initial phase of the LFO when a new note is started. Free means that the LFO isn’t restarted on a new note but runs freely while other values set the LFO phase to the respective offset in degrees.

LFO1 Clk !Keytrack

Off ! +000%

LFO1 Clk - LFO 1 Clocked

Off / On

When

LFO1 Clk

is activated, the LFO is synced to the global

Tempo

of the microQ. The

LFO Speed

setting for LFO 1 is changed to offer musically meaningful values.

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Please read the section "The Tempo" for further information.

Keytrack

-200%...+196%

Determines how much the speed of the LFO depends on MIDI note number. The reference note for

Keytrack is E3, note number 64. For positive settings, the LFO speeds up on notes above the reference note, for negative settings the LFO slows down when higher notes are played and vice versa. A setting of +100% corresponds to a 1:1 scale, e.g. when the keyboard is played an octave higher, the LFO speed is doubled.

LFO2 Shp.! Delay

Sine ! 000



Determines the shape of LFO 2. For the sake of completeness this parameter can be also found here in the LFO Edit Menu. See "LFO 2 Shape" above.



Delay

0…127

The

Delay

parameter works differently depending on the setting of the

Fade

parameter in the LFO edit menu:

•

When

Fade

is set to

+00…+63, the LFO signal output is zero for the time set with the

Delay


•

When

Fade

is set to

–64…-01, the LFO runs with full magnitude for the time set with the

Delay


LFO2 Spd.! Fade

056 ! +20


0...127


Fade

out 64…in 63


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Please see the

LFO Delay



Off ! free

LFO2 Sync

On / Off

For the sake of completeness this parameter can be also found in the LFO Edit Menu. See "LFO 1

Sync" above.

Phase

free, 000°…360°

Controls the initial phase of the LFO when a new note is started.

Free means that the LFO isn’t restarted on a new note but runs freely while other values set the LFO phase to the respective offset in degrees.

LFO2 Clk !Keytrack

Off ! +000%


Off / On

When

LFO2 Clk


Tempo

of the microQ. The

LFO Speed


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Keytrack

-200%...+196%

Determines how much the speed of the LFO depends on the MIDI note number. The reference note for Keytrack is E3, note number 64. For positive settings, the LFO speeds up on notes above the reference note, for negative settings the LFO slows down when higher notes are played and vice


Sound Parameters – LFO Section versa. A setting of +100% corresponds to a 1:1 scale, e.g. when the keyboard is played an octave higher, the LFO speed is doubled.

LFO3 Shp.! Delay

Sine ! 000



Determines the shape of LFO 3. For the sake of completeness this parameter can be also found here in the LFO Edit Menu. See "LFO 1 Shape" above.

Delay

0…127

The

Delay

parameter works in different ways depending on the setting of the

Fade

parameter in the

LFO edit menu:

•

When

Fade

is set to +00…+63, the LFO signal output is zero for the time set with the

Delay


•

When

Fade

is set to –64…-01, the LFO runs with full magnitude for the time set with the

Delay


LFO3 Spd.! Fade

056 ! +20


0...127


Fade

out 64…in 63


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Please see the

LFO Delay



Off ! free

LFO 3 Sync

On / Off

For the sake of completeness this parameter can be also found in the LFO Edit Menu. See "LFO 1

Sync" above.

Phase

free, 000°…360°

Controls the initial phase of the LFO when a new note is started. Free means that the LFO isn’t restarted on a new note but runs freely while other values set the LFO phase to the respective offset in degrees.



LFO3 Clk !Keytrack

Off ! +000%


Off / On

When

LFO1 Clk


Tempo

of the microQ. The

LFO Speed


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Keytrack

-200%...+196%

Determines how much the speed of the LFO depends on the MIDI note number. The reference note for Keytrack is E3, note number 64. For positive settings, the LFO speeds up on notes above the reference note, for negative settings the LFO slows down when higher notes are played and vice versa. A setting of +100% corresponds to a 1:1 scale, e.g. when the keyboard is played an octave higher, the LFO speed is doubled.


Sound Parameters – Mod Matrix Section

Mod Matrix Section

A modulation can be described as a signal-generating unit’s influence upon a sound parameter. The terms used in this context are "source" and "destination". The microQ offers 16 independent modulation assignments (slots) each with individual settings of source, destination and amount. The

Modulation Matrix (Mod Matrix) is the key of the power of each Waldorf synthesizer, so start experimenting with it right now.

The following picture of the microQ’s parameter matrix shows the Mod Matrix section:

Mod Matrix

Select Source Amount Destination

The Modulation Matrix is split into two basic kinds of modulations:

Fast Modulation Matrix (M1F…M8F)

These slots feature a high internal update rate, intended to be used for modulations that require very fast calculations.

Standard Modulation Matrix (M1S…M8S)

These slots are calculated at normal speed, which is still fast enough for most modulation purposes, e.g. when dealing with the modulation wheel or velocity. The Standard Modulation Matrix slots offer an extended set of modulation sources and destinations compared with the Fast Modulation Matrix.

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For in-depth information about modulation speed and tables of the various available sources and destinations, read the chapter “Modulation Speed Levels”.

Mod Matrix Parameter Controls

All parameters related to the Modulation Matrix can be edited with the endless dials of the Mod

Matrix section.

Select

Select the respective slots

M1F…M8F

or

M1S…M8S

.

Source

see Tables “Fast Modulation Sources” and“Standard Modulation Sources”

Defines the modulation source.

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Please take into consideration that the number of modulation sources available depends on the type of modulation slot you’re using.

Amount

-64…+63

Determines the amount of modulation applied to the destination. Since the modulation is in fact a multiplication of the source signal and this parameter, the resulting amplitude depends on the type of modulation source you select:

•

For the so-called unipolar modulation sources, the resulting amplitude lies within the range of

0…+1, if Amount is positive or 0…-1, if Amount is negative. These sources are: all envelopes,


Sound Parameters – Mod Matrix Section all MIDI controllers including Modwheel, Foot control etc., Velocity, Release Velocity,

Aftertouch (Pressure) and Polyphonic Pressure.

•

For the so-called bipolar modulation sources, the resulting amplitude lies within the range of -

1…0…+1. These sources are: all LFOs, Keytrack, Pitchbend and the Modifiers.

Destination

Defines the modulation destination.

see Tables “Fast Modulation Matrix Destinations” and

“Standard Modulation Matrix Destinations” w

Please take into consideration that the number of modulation sources available depends on the type of modulation slot you’re using.

Mod Matrix Edit Menu

The following settings can be accessed via the Mod Matrix Edit Menu. To activate, please press the

Edit

button for the Mod Matrix Parameter Level.

M1F Src.

LFO1

M1F Dst. ! Amount

Pitch ! +10

You will find all “slots” reiterated here. The first page for each slot displays the Modulation source, the second page the Modulation destination as well as the amount level. The first 16 pages deal with the Fast Modulations, the next 16 pages with the Standard Modulations.

.

You can set up Modulations either with the Parameter Matrix or the Mod Matrix Edit Menu. The result will be the same.

Following the Modulation Matrix parameters you will find the Modifier Matrix:

Modifier Matrix

Modifiers allow you to apply mathematical functions on modulation signals. Depending on the function type selected, calculation will affect two source signals or a source signal and a constant parameter. You can use up to four independent modifier units. The result of each operation is not directly audible, but is used as input source for the Standard Modulation Matrix. Moreover, you can use it as source for yet another modifying process.

The parameter for the modifiers can be found after the pages of the Mod Matrix Edit Menu for the

Modulation slots. Please select these pages with the

Page Dial

.

Md1 Src1 !Source 2

LFO1 !constant

Md1 Src - Source #1

see Table “Standard Modulation Sources”

Selects the first source signal used for the calculation.


Sound Parameters – Mod Matrix Section

Source #2

see Table “Standard Modulation Sources”

Selects the second source signal when two sources are required for the calculation. See description of modifier functions for further details. The possible settings are the same as for

Source #1

with one exception: “

Off” is replaced by “constant” meaning that the calculation is performed with a constant value that you can set up with the

Constant

parameter.

Md1 Oper.!Constant

min ! +00

Md1 Oper. - Operation

see Table “Modifier functions”

Determines which kind of operation will be performed on the selected input sources. The following types are available:

Setting Description

-

+ Addition

Subtraction

*

XOR

OR

AND min

MAX

Multiplication

Exclusive OR function

OR function

AND function

Minimum value

Maximum value

Table 14: Modifier functions

The result of a modifier operation always lies within the range - max…0…+max. When it is assigned to a parameter in the Modulation Matrix, it is scaled to the range of the selected parameter.

The following paragraph describes the function and the result of each modifier function in detail:

•

+ Returns the sum of

Source #1

and

Source #2

.

•

- Returns the difference of

Source #1

and

Source #2

.

•

* Returns the product of

Source #1

and

Source #2

.

•

AND Returns the binary and operation of

Source #1

and

Source #2

.

•

OR Returns the binary or operation of

Source #1

and

Source #2

.

•

XOR Returns the binary exclusive-or operation of

Source #1

and

Source #2

.

• min Returns the minimum value of either

Source #1

or

Source #2

. If

Source #1

is smaller than

Source #2

, the value of

Source #1

is returned and vice versa.

•

MAX Returns the maximum value of either

Source #1

or

Source #2

. If Source #1 is greater than

Source #2

, the value of

Source #1

is returned and vice versa.

Constant

-64…+63

Defines a value for modifier functions that require a constant parameter. See the

Operation

parameter described above for further details.

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The three other Modifiers

Md2

,

Md3

and

Md4

, are available to you on the remaining pages of this menu. They can be edited in the same way as

Md1

.


Drum Map – Drum Map Sound Menu

Drum Map

The microQ allows you to create Drum Maps, which represent an array of 32 sounds mapped over the keyboard. You can use them to trigger drum or effect sounds that you don’t need to play polyphonically with different pitches. Each Multi program can hold one Drum Map which, combined with the 16 part Multi mode of the microQ, gives you 15 + 32 = 47 different sounds simultaneously.

To select a Drum Map, refer to the chapter

“Selecting Programs”. Drum Maps are stored in Bank D.

After you’ve selected a Drum Map, you can edit its parameters in the Sound menu accessed by pressing the

Sound

button in the

Master Section

.

Drum Map Sound Menu

Selecting a Drum Map entry for editing is done by simply playing a key on your keyboard. The upper left corner of the display shows the Drum Sound you are about to edit like this:

#01 Q BD 4 jh

C | C045

With the

Page Dial

you can select the various pages for the displayed Drum Sound. When you reach the last page, the microQ automatically jumps to the next Drum Sound’s first page and vice versa.

#02 TR66 Sidestk WMF

C | C070

Sound Bank and Number

A…C 001…100

Each Drum Map entry points to one Sound in memory. The display shows the Sound name in the upper row and the Sound bank and number in the lower row as follows:

☞

To select a Sound for an Instrument:

•

Use the


to select

Bank A…C from which the Sound program is taken.

•

Use the

right display dial

to select the Sound program

001…100.

#01 Pan | Output

center |Main Out

Pan

L64…center…R63

Controls the stereo position of the selected Drum Map entry.

Output

Main Out / Sub Out 1 / Sub Out 2

Sets the audio output for the selected Drum Map entry.

#01 Key |Transpose

C#1 | +00

Key

C-2…G8

Defines the lowest key for the selected Drum Map entry. A Drum Map entry can span over more than one note. I.e., when you set entry #01 to C1 and entry #02 to E1, entry #01 can be played from C1 to

D#1.


Drum Map – Drum Map Sound Menu w

Be careful with this parameter. As soon as you change it to another note, you have to press this new note to call up the entry again. This sounds obvious, but it might cause confusion.

Transpose

-60…+60

Controls the transposition offset of the selected Drum Map entry. In the Drum Map, Sound programs still keep their various Keytrack settings, so melodic sounds still play the pitch of the notes they are mapped to. With Transpose, you can change the Keytrack offset to the tuning you like.

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Please note that this parameter shifts the incoming note. When you’ve set the oscillators of the selected Sound to ignore keytrack (

O1…O3 Keytrack

0%), this parameter also has no effect on the pitch of the oscillators.

#01 Volume

127

Volume

0…127

Sets the maximum output volume of the selected Drum Map entry.


Global Parameters – Global Menu

Global Parameters

Global parameters are settings that affect the microQ’s general response. They are valid for all programs but might be overridden by other more specific settings. Global parameters are stored automatically when you modify them, so you are not required to save them manually.

Global Menu

All Global parameters are located in the Global Menu. Press the Master section’s

Global

button and select the various pages with the

Page Dial

or by pressing the

Global

button again. The menu parameters are changed with the corresponding knobs below the display.

Global Chn - Global MIDI Channel

omni / 1…16

GlobalChn!

01 !

Sets the basic send and receive channel for the microQ. This setting is valid for all Sound programs and for Instruments of a Multi program whose Channel parameter is set to global. If omni is selected, the microQ sends on channel 1 and receives on all channels.

m

Please use omni only for test purposes if you wish to check the basic MIDI send and receive functionality. As soon as you know that the microQ receives MIDI properly, set

Global MIDI

Channel

to any other value than omni.

Sysex ID

0…126

!SysEx ID

!000 (00)

Defines the device identification number for system exclusive data transmission. The number in brackets shows the current ID in hexadecimal number format.

System Exclusive data contains no MIDI channel information so this ID is used to distinguish between several microQs, if you have more than one Waldorf microQ in your setup.

Transmission will only be executed successfully if the sender and receiver are set to the same ID. ID

127 is a so-called broadcast ID that addresses all connected microQs. The microQ can receive Sysex data broadcast from other devices, but cannot send it itself. This function is limited to special computer software.

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Operating System upgrades are stored with a Device ID of 127, so you don’t need to change the

Sysex ID

on your microQ when you want to upgrade it to a newer OS.

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If you have only one microQ, leave

Sysex ID

on 0. There is no need at all to change this setting to any other value.

.

After you have bought your 128th microQ, please contact Waldorf Electronics. You will receive a personal device number that authorizes you to have dinner with our General

Manager.



Clock

Internal / Send / Auto / Auto-Thru

Clock !

Internal !

Please read the chapter "The Tempo" for in-depth information about the

Clock

parameter.

Arpeggiator Send

Off / On

!Arp. Send

! Off

Determines whether Arpeggiator notes are sent by the microQ over MIDI.

•

If

Off is selected, no notes are sent.

•

If

On is selected, all notes are sent over MIDI Out (whenever the Arpeggiator is active).

Controller Send

Off / Ctl / SysEx / Ctl+SysEx

Controller Send/Recv

Ctl+SysEx| on

Determines how Real-Time Sound Parameter Changes are sent by the microQ over MIDI.

•

If

Off is selected, no data is sent.

•

If

Ctl is selected, only controller messages are sent. Parameters without a dedicated controller are not sent at all.

•

If

SysEx is selected, all Sound parameters are sent as system exclusive messages. This has the advantage that the parameter change is not channel based but instrument based, which can prevent unwanted parameter changes in layered sounds. The disadvantage is that a larger amount of data is transferred.

•

If

Ctl+SysEx is selected, all Sound parameters with a dedicated controller assignment are sent as controller messages. All other Sound parameters are sent as system exclusive messages. This is the recommended setting. w

Set

Controller Send

to

Ctl+SysEx during normal operation. Only switch it to SysEx when you work with layered Multis, or to

Ctl if your sequencer can’t work with system exclusive data anyway.

Controller Recv

Off / On

Controller Send/Recv

Ctl | On

Determines whether Real-Time Sound Parameter Changes are received over MIDI by the microQ.

•

If

Off is selected, no Sound Parameter Changes are received.

•

If

On is selected, all Sound Parameter Changes are received, whether or not they were sent as controller or system exclusive messages.

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Set

Controller Recv

to

On during normal operation. You should only set it to Off for diagnostic purposes.



Tuning

430…450 Hz

Tuning |

440Hz |

Controls the microQ’s overall pitch in Hertz. The value specified here is the reference pitch for MIDI note A3. The default setting is 440Hz, which is commonly used by most instruments.

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You should only change this setting if you really know what you’re doing. You will have to adjust all your other instruments, too. Don’t forget to set it back again!

Transpose

-12…+12

|Transpose

| +00

Allows a global pitch transposition for the tone generator. Incoming MIDI notes are shifted by the number of semitones.

Input Gain

1…4

Input Gain

2

Sensitivity of the Stereo External In

1. The different Input Gain settings attenuate or amplify the input signal as follows:

Input Gain

Setting

1

2

3

4

Gain max. Input

Level

Remarks

-8dB +14dBm For very high level signals.

0dB +6dBm Studio level signals. This is the recommended setting.

+10dB

+29dB

-4dBm Line level signals.

-23dBm Low level signals such as microphone, guitar etc.

Table 15: Input Gain Settings w

Connecting a microphone or guitar directly to the microQ is not recommended. Low signal level instruments should be amplified by a special pre-amplifier before they are routed to the microQ’s External In.

FX2 (glb) link - FX2 global link

none / Inst. 1...4

This sets

FX2

as Global Effect for instrument 1, 2, 3, or 4. Optionally you can choose no assignment.

PopupTime

0.1s…15.5s

PopupTime!

1.5s

Here you can adjust for how long a time the name and value are shown in the upper right corner of the display when you perform any parameter edits.

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As a newcomer to the microQ you should choose a higher setting, around 5-10 sec. After you have had more experience with the microQ, you might lower this value to around 1.5 sec.



LabelTime

0.1s…15.5s

!LabelTime

! 1.5s

Here you can adjust for how long a time the menu page name is shown in the upper right corner of the display when you activate any edit menus.

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As a newcomer to the microQ you should choose a higher setting, around 5-10 sec. After you have had more experience with the microQ, you might lower this value to around 1.5 sec.

Display Contrast

0…127

Display Contrast

64

Sets the display contrast. If you accidentally set this parameter to

0, you may not be able to read the display any more. If you then switch the microQ off and back on later, it might appear that the microQ is defective. If this should ever happen, open this manual and proceed as follows:

☞

To restore the Display Contrast to a normal setting:

1. Power the microQ up.

2. Press

Global

.

3. Turn the

Page Dial

clockwise for exactly 7 clicks.

4. Turn the


clockwise until you can read the display. Now the display should work as usual. If not, turn the

Page Dial

counterclockwise for a short while and repeat the procedure from step 3.

Operating System (OS) page

SW version:1.0

HW version:1.1

This menu page shows the latest Operating system (SW) and the hardware version (HW) of your microQ. For more information about updating your microQ please read "Updating the System software".

Board/Serial Number page

Board ser#:0118

Prod. ser#:031005001

This menu page shows you the Board and Serial number of your microQ.

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On the menu pages that follow you will find important information. Please read and follow these instructions.


Global Parameters – Utility menu

Utility menu

Aside from the different Midi Dump Options, the Utility Menu contains further helpful functions.

You can access the Utility Menu by pressing

Shift + Global/Utility

. In the display a page for selecting the desired function will appear:

Dump Sound A001

[Utility]

Turn the page dial until you reach the appropriate function.

MIDI Dump functions

Please read the chapter "Sending System Exclusive Data".

Init Sound

Init Sound A001

[Utility]

The microQ provides a special function for setting all parameters of a Sound program to initial values.

You can use it to create a new program from scratch.

☞

This is how you initialize a Sound program:

•

Select the designated Sound program.

•

Press


and choose the option

Init Sound

.

•

Press


again to activate the function.

The selected program is now initialized.

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When you initialize a program, all action takes place inside an edit buffer. Therefore no data will be lost until you store the program.

Init Multi

Init Multi A001

[Utility]

The microQ provides a special function for setting all parameters of a Multi program to initial values.

You can use it to create a new Multi program from scratch. This function is only available in Multi mode.

☞

This is how you initialize a Multi program:

•

Select the designated Multi program.

•

Press



Init Multi

.

•

Press



The selected Multi program is now initialized.

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When you initialize a Multi program, all action takes place inside an edit buffer. Therefore no data will be lost until you store the program.


Global Parameters – Utility menu

Init Drums

Init Drums D01

[Utility]

The microQ provides a special function for setting all parameters of a Drum Map to initial values. You can use it to create a new Drum Map from scratch. This function is only available if a Drum Map is selected.

☞

This is how you initialize a Drum Map:

•

Select the designated Drum Map.

•

Press



Init Drums

.

•

Press



The selected Drum Map is now initialized.

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When you initialize a Drum Map, all action takes place inside an edit buffer. Therefore no data will be lost until you store the program.

Random Sound

Random Sound A001

[Utility]

This function initializes all parameters of a Sound Program with random values.

☞

This is how you randomize a program:

•

Select the appropriated Sound program.

•

Press



Random Sound

.

•

Press



The selected program is now randomized.

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When you ranomize a program, all action takes place inside an edit buffer. Therefore no data will be lost until you store the program.

.

Use

Random Sound

as much as possible. This is how most of the microQ´s preset sounds are programmed.


MIDI Control – Channel Based MIDI Messages

MIDI Control

This chapter describes the MIDI functions of the Waldorf microQ.

Channel Based MIDI Messages

In Single Mode, the microQ receives channel based MIDI messages like Notes, Aftertouch, Pitchbend and Controllers on the selected

Global MIDI Channel

. If it is set to omni, the microQ sends channel based MIDI messages on channel 1 but receives them on any channel. All received channel based

MIDI messages are played back by the active Instrument or Layer.

In Multi Mode, the microQ can send and receive on all 16 MIDI Channels at once, depending on the

Instrument settings of the current Multi program.

Program Change Messages

MicroQ Sound and Multi programs can be selected by MIDI Program Change messages together with

MIDI Bank Select messages. As the microQ contains 100 programs in each bank, it recognizes the program numbers 1…100 (on zero-based MIDI senders, this means 0…99). The Bank Select LSB message (Controller #32) is used to switch between different banks:

•

Bank 0 contains Sound Programs A001…A100.

•

Bank 1 contains Sound Programs B001…B100.

•

Bank 2 contains Sound Programs C001…C100.

•

Bank 3 contains Drum Maps D01...20

In Multimode, the microQ changes the Sound on individual Instruments.

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Please take into consideration that only 20 Drum Maps are available. Program Changes with higher values than 20 will be ignored.

Note On and Note Off Messages

The microQ receives Note On and Note Off Messages in the entire MIDI Note Number range with

Velocity and Release Velocity. Note On with Velocity 0 (simple note off) is evaluated as Note Off with Release Velocity 64.

Aftertouch Messages

The microQ receives monophonic Aftertouch messages. The microQ evaluates incoming Aftertouch messages as “Pressure” modulation source.

Poly Pressure Messages

The microQ receives Poly Pressure Messages but can’t send them. Poly Pressure Messages are evaluated as “Poly Prs.” modulation source.

Pitchbend Messages

The microQ receives Pitchbend Messages with a resolution of 14 bits. Pitchbend ranges are controlled by the

BendRg

parameters in the Oscillator Edit menu. Pitchbend Messages can also be used as “Pitchbend” modulation source.


MIDI Control – Channel Based MIDI Messages

Modulation Wheel

The microQ receives Modulation Wheel MSB Messages and evaluates them as “Modwheel" abbreviated as “MW” modulation source.

Breath Control Messages

The microQ receives Breath Control MSB Messages and evaluates them as “BreathCtr” modulation source.

Foot Controller Messages

The microQ receives Foot Control MSB Messages and evaluates them as “Foot Ctr” modulation source.

Channel Volume Messages

The microQ receives Channel Volume Messages (Controller #7) and scales the output of the respective Sound to that value. The maximum Sound volume depends on the settings in the Sound,

Instrument and Multi. Channel Volume changes the volume relative to these settings.

Pan Messages

The microQ receives Pan Messages (Controller #10) and balances the two Filter outputs according to this value. A value of 64 means that the Filter Pan settings are kept as they are while smaller values weigh the signal towards the left output and larger values weigh the signal towards the right output.

Sustain Pedal Messages

The microQ receives Sustain Pedal Messages (Controller #64) and evaluates them as follows: if a value greater or equal than 64 is received, the “Key Pressed” envelope phases of all voices of the respective MIDI channel are played. If a value smaller than 64 is recieved, the “Key Off” envelope phases are played. Sustain Pedal Messages can also be used with the “Sust. Ctr” modulation source.

Sostenuto Pedal Messages

The microQ receives Sostenuto Pedal Messages (Controller #65) and evaluates them as follows: if a value greater or equal than 64 is received, the “Key Pressed” envelope phases of the currently playing voices of the respective MIDI channel are played. Voices that are played afterwards are not affected by the Sostenuto Pedal message. If a value smaller than 64 is recieved, the “Key Off” envelope phases of the affected voices are played.

All Notes Off Message

The microQ sends an All Notes Off Message to the internal tone generator and over MIDI on all channels when the

Power

button is pressed briefly.

When the microQ receives an All Notes Off Message, it forces the envelopes of all sounding voices to go into their release phases. Furthermore, Arpeggiators are stopped if they were running.

All Sound Off Message

The microQ sends an All Sound Off Message to the internal tone generator and over MIDI on all channels when the

Power

button is pressed until the power down countdown starts.

When the microQ receives an All Sound Off Message, it closes the amplifiers of all sounding voices and stops the output of all effects immediately.


MIDI Control – Modifying / Editing Sounds over MIDI

Reset All Controllers Message

When the microQ receives a Reset All Controllers Message, it resets all controllers mentioned above, as well as Aftertouch, Poly Pressure and Pitchbend, to their default values (usually 0 except for

Pan=64, Volume=127, Pitchbend=64).

Modifying / Editing Sounds over MIDI

Controllers as Modulation Sources

The controllers mentioned above are always used as modulation sources. The freely definable Control

W…Z can also be used as modulation source. W…Z represent definable controller numbers 1…120.

Use these controllers in the Modifiers and the Modulation Matrix.

Changing Sound Parameters with Controllers

Every Sound parameter that has a control in the parameter matrix is assigned to a MIDI Controller through which the parameter can be changed. If a parameter matrix control is turned, this change is sent with the appropriate controller number over MIDI. With this feature, you can easily record matrix parameter changes with a MIDI sequencer.

All controller messages are sent and received on the MIDI channel defined in the Global menu or, if in Multi Mode, on the MIDI channel selected for the corresponding Instrument.

Please read the sections "Controller Send" and "Controller Recv" in the chapter "Global Menu" for further information.

Changing Sound Parameters with System Exclusive Data

All Sound parameters of the microQ can be controlled by system exclusive data.

Please read the sections "Controller Send" and "Controller Recv" in the chapter "Global Menu" for further information.

System Exclusive Data Transmission

System Exclusive data transmission lets you send and receive the contents of the microQ’s memory via MIDI (dump).

Sending System Exclusive Data

When you activate the send functions, the microQ sends the contents of its memory to the MIDI Out jack. Using a sequencer or a special sound editor program, you can record and archive this data.

☞

To activate the dump function:

1. Press


. The display shows a page where you can select the dump type:

Dump Sound A001

[Utility]

2. Use the page dial to select the desired dump function:

•

If

Sound is selected, the current Sound program will be sent. When used in

Multimode, the Sound program of the currently selected instrument will be sent.


MIDI Control – System Exclusive Data Transmission

•

If Multi is selected, the current Multi program will be sent. The Sound programs that made up the Multi are not sent. This function is only available in Multimode.

•

If Arrangement is selected, the current Multi program with all its used Sound and

Pattern programs is sent. Use this function to dump all settings of a Multi. This function is only available in Multimode.

•

If Drum Map is selected, the current Drum Map will be sent. When used in

Multimode, the Drum Map of the currently selected instrument will be sent.

•

If Global Data is selected, all Global parameters are sent.

•

If all Sounds is selected, all Sound programs of the microQ are sent.

•

If all Multis is selected, all Multi programs of the microQ are sent.

•

If all Drum Maps is selected, all Drum Maps of the microQ are sent.

•

If *All* is selected, all Sounds, Multis, Drum Maps and the Global parameters are sent.

3. Press


again to activate the dump.

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Depending on the selected type, the dump may take some time. The microQ cannot be played during this time.

Receiving System Exclusive Data

You are not required to activate a special receive mode of the microQ in order to receive system exclusive data through MIDI. However, there are a few things you should check before you transmit system exclusive data to the microQ:

•

Make sure none of the microQ’s programs is in Edit mode. The edit buffers might be cleared or overridden depending on the type of dump that is sent to the microQ.

•

Check out the parameter

SysEx ID

. Data transmission will only be executed successfully if if the sender and receiver settings match.

As soon as the dump from the sending device is activated, the microQ will receive data and store these in its memory.

If a single Sound, Multi, Drum Map or Arrangement dump is received, it is temporarily stored in its respective edit buffer. If you want to keep such edits, you have to store them. Otherwise they are when you switch the microQ off.


Other Functions – Updating the System Software

Other Functions

Updating the System Software

The microQ has a service-friendly feature that makes it possible to update the system software without changing any parts.

All software updates come in the form of a standard MIDI file that can be read by every sequencer.

The fastest way to get this file is by downloading it from our web site at:

http://www.waldorf-gmbh.de/microq/system.html

Please make sure to download the following files:

• os_xxxxx.mid (if it is newer than the one installed in your microQ)

• changelog.txt (always download this one, because it explains the latest changes)

If you don’t have Internet access, please ask your local dealer for a disk copy.

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The microQ and the Q Keyboard/Rack do not use the same operating system!

☞

To update the microQ’s system software:

1. Load the respective Standard MIDI File into your sequencer. Follow the instructions from your sequencer’s manual.

2. The MIDI file consists of one single track with several sysex messages in it. Make sure that this track is assigned to the microQ so that it can receive the data.

3. Make sure that any Cycle or Loop mode is switched off. Also make sure that any

Metronome clicks and MIDI Clock are switched off.

4. Start the sequencer playing the file, and send the track data to the microQ.

5. The Q will display a message that informs you that the update is in progress:

Receiving OS 1.01

[ââââá ]

The progress line in the lower part of the display will show the amount of data already received.

6. After the file is received correctly, the microQ burns the update into its FLASH memory.

This is shown by the following display:

Updating System m

Do not under any circumstances turn off the microQ while this step is in progress.

A complete loss of data may occur and it will be impossible for you to make your machine work again!

7. Wait until the operation is completed. If updating was successful, the microQ will perform a system reset and start up.

If an error occurs in the process of updating, the microQ displays an error message, e.g.:


Other Functions – Updating the System Software

Checksum Error

If this happens, try updating again. In some cases it can be helpful to adjust the sequencer tempo before playing the file so that the data events are sent more slowly.

If this message appears:

SysEx Timeout the file wasn’t transmitted completely to the microQ or played back too slowly. Try to download the file from the Internet again.

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New functions in future OS will be documented in PDF files which are available on our website (http://www.waldorf-gmbh.de) or at our ftp-server (ftp://ftp.waldorfgmbh.de/pub/waldorf/microq).


Other Functions – Tips & Tricks

Tips & Tricks

•

Noise as FM Source for an oscillator gives a colored noise output whose character can be changed with FM Amount, the oscillator waveform and the pitch of the oscillator.

•

Use Envelope 3 or 4 to blend in one of the oscillators. E.g, if you need a small blip in the attack phase, just use a free oscillator and a short percussive envelope to create this effect.

You can do that in the Modulation Matrix by setting the source to Env3 or Env4, the destination to Osc1, Osc2 or Osc3 level and setting up a positive amount. If this blip should be noisy, use FM with Noise as source for this oscillator to control the strength of the noise.

•

For a classic “Filter Trigger” sound, you don’t need to actually use a filter. You can also use a sine oscillator that is pitch modulated by an envelope. This frees up the two filters and you can use them to perform other tasks, e.g. filtering noise for a snare drum sound or the like.

•

Use the LFOs as FM Sources. With this technique, you get up to six oscillators frequencymodulating each other to create extremely complex timbres. Just keep in mind that the

LFOs have a maximum speed of around 2500Hz and that they can produce aliasing side effects.

•

Use the wavetables as FM sources. If a LFO modulates the wavetable at the same time, you will create really amazing sounds.

•

For extremely wide sounds, you can do the following: Create a sound that uses only Filter

1 with the desired settings. Now set Routing to serial so that both filters are routed to the panning stages with equal volume. Set Filter 2 to a comb filter type with middle or low cutoff and no resonance. Now set the Pan parameters of the filters to opposite directions and you should get a very fat sound. You can create further movement by applying an LFO to the comb filter cutoff.

•

The perfect place to read this user manual is your favorite bathroom. We recommend 5 pages per session!


Appendix – Technical Data

Appendix

Technical Data

Power Supply

Nominal voltage:

Maximum current consumption:

Maximum power consumption:

Audio Outputs

(3 x stereo)

Maximum level:

Dynamic range:

Frequency range:

AC 12V

1.0A

12W

+10dBm

110dB

0Hz-24kHz

Audio Input

(1 x stereo)

Maximum level:

Dynamic range:

Frequency range:

Dimensions and Weight

Width:

Depht (incl. rotary controls):

Heigh:

Total weight:

+0dBm

86dB

5Hz-24kHz

483mm

92mm

89mm

1,7kg


Glossary – Technical Data

Glossary

Aftertouch

The majority of contemporary keyboards are capable of generating aftertouch messages. On this type of keyboard, when you press harder on a key you are already holding down, a MIDI Aftertouch message is generated. This feature makes sounds even more expressive (e.g. through vibrato).

Aliasing

Aliasing is an audible side effect arising in digital systems as soon as a signal contains harmonics higher than half the sampling frequency.

Amount

Describes to which extent a modulation influences a given parameter.

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.

Arpeggiator

An arpeggiator is a device that splits an incoming

MIDI 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.

Attack

An envelope parameter. "Attack" is a term that describes the ascent rate of an envelope from its starting point to the point where it reaches its highest value. The Attack phase is initiated immediately after a trigger signal is received, i.e. after you play a note on the keyboard.

Band Pass Filter

A band pass filter allows only those frequencies around the cutoff frequency to pass. Frequencies both below and above the cutoff point are damped.

Band Stop Filter

A band stop filter does the opposite of a band pass filter, i.e. it dampens only the frequencies around the cutoff point and lets all other frequencies pass through.

Clipping

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.

Control Change (Controllers)

MIDI messages enable you to manipulate the response of a sound generator to a significant degree.

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.

CV

CV is the abbreviation for control voltage. In analog synthesizers, control voltages are used to control sound parameters like pitch, cutoff frequency etc. E.g.

to get a tremolo effect, the output signal of a LFO must be routed to the CV input of one or more oscillators.

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.

Filter

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 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.

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.

Envelope

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.

Gate

The term "Gate" has different meanings in a technical context. Like a real gate, it describes something that can be open or closed, or - to use a technical term active or inactive. A gate in sense of a device is a unit, that damps a signal passing through corresponding to specific conditions. For example, in a noise gate a signal is cut off when its level falls above a predetermined threshold.

Gate stands also for a control signal of analog synthesizer systems. A keyboard generates an active gate signal as long as a key is held down. When the key is released, the gate signal becomes inactive again. An envelope generator can use this signal for its trigger purposes, and as a result a VCA unit can be controlled.

129


High Pass Filter

A high pass filter dampens all frequencies below its cutoff frequency. Frequencies above the cutoff point are not affected.

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.

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.

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.

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.

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.

Waldorf microQ User’s Manual


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.

MIDI Clock

The MIDI Clock message determines the tempo of a piece of music. It serves to synchronize processes based on time.

Modulation

A modulation influences or changes a sound-shaping component via a modulation source. Modulation sources include envelopes, LFOs or MIDI messages.

The modulation destination is 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".

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.

Program Change

These are MIDI messages that switch sound programs. Program numbers 1 through 128 can be changed via program change messages.

Release

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.

Resonance

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 resonance, i.e, to a level where the filter begins self-oscillation, then it will generate a relatively clean sine waveform.

Sustain

An envelope parameter. 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.

System Exclusive Data

System exclusive data allow access to the heart of a

MIDI device. They enable access to data and functions that no other MIDI messages are able to address. "Exclusive" in this context means that these data pertain only to one device type or model. Every device has unique system exclusive data. The most common applications for SysEx data include transfer of entire memories and complete control of a device via a computer.

Trigger

A trigger is a signal that activates events. Trigger signals are very diverse. For instance, a MIDI note or an audio signal can be used as a trigger. The events a trigger can initiate are also very diverse. A common application for a trigger is its use to start an envelope.

VCA

VCA is the acronym for voltage-controlled amplifier.

A VCA is a component that influences the volume level of a sound via a control voltage. This is often generated by an envelope or an LFO.


VCF

VCF is the acronym for voltage-controlled filter. It is a filter component that allows you to manipulate the filter parameters via control voltages.


Volume

The term describes a sound's output level.


Glossary – Tips for better voice performance

Tips for better voice performance

The dynamic voice management of the microQ makes optimal use of its processing power. The following table shows you how to set up your microQ for the best voice performance.

Sound Parameter

Oscillators

Setup Tips

•

Use oscillators in the order 1, 2, 3.

•

Turn off unused oscillators with the

Shape

parameter.

Turning off oscillator 1 or 2 but leaving oscillator 3 turned on will not help.

•

Alt1/2 waveforms and the suboscillators use more processor power than other oscillator types.

Noise

•

When you not use Noise turn the


parameter to an external setting.

Filter

•

Use the filters in the order 1, 2.

•

Set unused filters bypass with the

Type

parameter.

•

Comb filters need more processor power as other filter types.

FM

•

Turn off

FM

when you don't need it (Oscillator and Filter

FM). Either set

FM Source

to off or

FM Amount

to

0.

Effects

•

Set unused effects to Bypass.

LFOs/Envelopes/Mod ulation

•

LFOs, Envelopes and Modulation can be used without changing the number of voices at all.


Glossary – Controller Numbers

Controller Numbers

Controllers marked with * don’t change the Sound program but can perform temporary modulations or other tasks.

Ctrl # Controller Range Controller Name or

Sound Parameter

0

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

- not used -

0…127

0…127

- not used -

0…127

0…127

- not used -

0…127

- not used -

- not used -

0…127

- not used -

0…9

0…15

0…3

0…5

0…127

0…1

0…127

0…5

0…127

0…1

0…127

0…5

0…127

0…1

0…127

Bank Select MSB

Modulation Wheel*

Breath Control* undefined

Foot Control*

Glide Rate

Data Entry

Channel Volume*

Balance undefined

Pan*

Expression

Arp Range

Arp Length

Arp Active

LFO 1 Shape

LFO 1 Speed

LFO 1 Sync

LFO 1 Delay

LFO 2 Shape

LFO 2 Speed

LFO 2 Sync

LFO 2 Delay

LFO 3 Shape

LFO 3 Speed

LFO 3 Sync

LFO 3 Delay

16, 28, 40…112 Osc 1 Octave

52…76

0…127

0…127

0…5

Osc 1 Semitone

Osc 1 Detune

Osc 1 FM

Osc 1 Shape

Value Range

- not used -

0…127

0…127

- not used -

0…127

0…127

- not used -

0…127

- not used -

- not used -

L64…R63

- not used -

1…10 octaves

1…16 steps off, on, one shot, hold sine, triangle, square, sawtooth, random, S&H

0…127 or 256 bars…1/96 off, on

0…127 sine, triangle, square, sawtooth, random, S&H

0…127 or 256 bars…1/96 off, on

0…127 sine, triangle, square, sawtooth, random, S&H

0…127 or 256 bars…1/96 off, on

0…127

128’…1/2’

-12…+12

-64…+63

0…127 pulse, saw, triangle, sine, alt 1, alt 2



58

59

60

61

54

55

56

57

62

63

50

51

52

53

46

47

48

49

42

43

44

45

38

39

40

41


Sound Parameter

32

33

0…3

0…127

Bank Select LSB*

Osc 1 PW

34

35

36

37

0…127

52…76

0…127

Osc 1 PWM

16, 28, 40…112 Osc 2 Octave

Osc 2 Semitone

Osc 2 Detune

0…127

0…5

0…127

0…127

52…76

0…127

0…127

Osc 2 FM

Osc 2 Shape

Osc 2 PW

Osc 2 PWM

16, 28, 40…112 Osc 3 Octave

Osc 3 Semitone

Osc 3 Detune

Osc 3 FM

0…5

0…127

0…127

0…1

0…127

0…9

0…127

0…127

0…127

0…127

0…127

0…127

0…127

0…127

0…127

0…127

- not used -

- not used -

Osc 3 Shape

Osc 3 PW

Osc 3 PWM

Sync

Pitchmod

Glide Mode

Osc 1 Level

Osc 1 Balance

Ringmod Level

Ringmod Balance

Osc 2 Level

Osc 2 Balance

Osc 3 Level

Osc 3 Balance

N/E Level

N/E Balance undefined undefined

Value Range

Bank A…D

0…127

-64…+63

128’…1/2’

-12…+12

-64…+63


0…127

-64…+63

128’…1/2’

-12…+12

-64…+63


0…127

-64…+63 off, on

-64…+63 see “Glide Mode”

0…127

F1 64…mid…F2 63

0…127

F1 64…mid…F2 63

0…127

F1 64…mid…F2 63

0…127

F1 64…mid…F2 63

0…127

F1 64…mid…F2 63

- not used -

- not used -



90

91

92

93

86

87

88

89

94

95

82

83

84

85

78

79

80

81


Sound Parameter

64

65

66

67

68

69

70

71

72

73

0…127

0…127

0…127

0…127

0…10

0…127

0…127

0…127

0…127

0…127

Sustain Pedal*

Glide Active

Sostenuto

Routing

Filter 1 Type

Filter 1 Cutoff

Filter 1 Resonance

Filter 1 Drive

Value Range

off, on off, on off, on serial/parallel see “Filter Types”

0…127

0…127

0…127

Filter 1 Keytrack -200%…+197%

Filter 1 Env. Amount -64…+63

74

75

76

77

0…127

0…127

0…127

0…127

Filter 1 Env. Velocity -64…+63

Filter 1 CutoffMod

Filter 1 FM

Filter 1 Pan

-64…+63 off, 1…127

L64…center…R63

0…127

0…10

0…127

0…127

0…127

0…127

0…127

0…127

Filter 1 Panmod

Filter 2 Type

Filter 2 Cutoff

Filter 2 Resonance

Filter 2 Drive

Filter 2 Keytrack

Filter 2 Env. Amount

Filter 2 Env. Velocity

-64…+63 see “Filter Types”

0…127

0…127

0…127

-200%…+197%

-64…+63

-64…+63

0…127

0…127

0…127

0…127

0…127

0…127

0…127

0…127

0…127

0…127

Filter 2 CutoffMod

Filter 2 FM

Filter 2 Pan

Filter 2 Panmod

Amp Volume

Amp Velocity

Amp Mod

FX 1 Mix

FX 2 Mix

FE Attack

-64…+63 off, 1…127

L64…center…R63

-64…+63

0…127

-64…+63

-64…+63

0…127

0…127

0…127




Sound Parameter

96

97

0…127

0…127

FE Decay

FE Sustain

98

99

100

101

110

111

112

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

102

103

104

105

106

107

108

109

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

0…127

0…127

0…127

- not used -

0

0

0…127

0

- not used -

- not used -

- not used -

- not used -

FE Decay 2

FE Sustain 2

FE Release

AE Attack

AE Decay

AE Sustain

AE Decay 2

AE Sustain 2

AE Release

E3 Attack

E3 Decay

E3 Sustain

Value Range

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

E3 Decay 2

E3 Sustain 2

E3 Release

E4 Attack

E4 Decay

E4 Sustain

E4 Decay 2

E4 Sustain 2

E4 Release undefined

0…127

0…127

0…127

0…127

0…127

0…127

0…127

- not used -

All Sound Off* immediate silence

Reset All Controllers* resets all controllers

Local Control

All Notes Off*

Omni Mode Off

Omni Mode On

Poly Mode On/Off

Poly Mode On

Local Control Off/On releases all voices

- not used -

- not used -

- not used -

- not used -


Glossary – MIDI Implementation Chart

MIDI Implementation Chart

Model: Waldorf microQ

Date: Oct/20/2000

Version: 1.00

Function

Basic Default

Channel Changed

Mode

Default

Messages

Altered

Note

Number

Velocity

After

Touch

Pitch Bend

True Voice

Note ON

Note OFF

Key’s

Ch’s

4

5

1

2

Control 7

Change

✽

2 10

32

64

65

66

Prog

Change True #

System Exclusive

System Song Pos

Common Song Sel

Tune

System Clock

Real Time Commands

Aux

Local ON/OFF

All Notes OFF

Messages Active Sense

Reset

All Sound OFF

Notes:

Mode 1: OMNI ON, POLY

Mode 3: OMNI OFF, POLY

Transmitted

1

1 – 16

3

T

3, 3b

Recognized

1

1 – 16

3

T

1, 3, 3b

Remarks

Memorized

Memorized

✽

1

0 – 127

0 – 127 v v

T

T

T

T

T

T

T

T

T

T

T

T

T

0 – 127

0 – 127 v v v v v v v v v v v v v v v

Transmitted only when "Arp

Send" is active v = 1 – 127 v = 0 – 127

14bit resolution

Modwheel

Breath Control

Foot Control

Portamento Time

Channel Volume

Pan

Bank Select LSB

Sustain Pedal

T

✽✽✽✽✽✽✽✽✽ v v

T v

T

T v v

T

T

T

1 – 100

1 – 100 v v

T

T v v v v v v v

Portamento On/Off

Sostenuto Pedal

✽

3

MIDI Clock

Start, Stop, Continue

Memorized

Issued by Power button

Issued by Power button

✽

1 Mode 3b is known as MULTI Mode.

✽

2 Please see the chapters “Control W…Z”, “MIDI Control” and “Appendix

Controller Numbers” for all controllers that can be sent and received.

✽

3 Bank Select LSB is used to switch between Banks A to D.

Mode 2: OMNI ON, MONO

Mode 4: OMNI OFF, MONO v

: Yes

T

: No


Glossary – MIDI Implementation Chart


FCC Information (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this Manual, meets FCC requirements. Modifications not expressly approved by Waldorf may void your authority, granted by the FCC, to use this product.

2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorisation to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part

15 for Class „B“ digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in residential environment will not result in harful interference with other electronic devices.

This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determinated by turning the unit „OFF“ and „ON“, please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference.

Utilise power outlets that are on branch (Circuit breaker or fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory results, please contact the local retailer authorised to distributed this type of product.

The statements above apply ONLY to products distributed in the USA.

CANADA

The digital section of this apparatus does not exceed the „Class B“ limits for radio noise emissions from digital apparatus set out in the radio interference regulation of the Canadian Department of Communications.

Le present appareil numerique n’emet pas de briut radioelectriques depassant les limites apllicables aux appareils numeriques de la „Classe B“ prescrites dans la reglement sur le brouillage radioelectrique edicte par le Ministre Des

Communications du Canada.

This only applies to products distributed in the USA.

Ceci ne s’applique qu’aux produits distribués dans Canada.

Other Standards (Rest of World)

This product complies with the radio frequency interference requirements of the Council Directive 89/336/EC.

Cet appareil est conforme aux prescriptions de la directive communautaire 89/336/EC.

Dette apparat overholder det gaeldenda EF-direktiv vedrørendareadiostøj.

Diese Geräte entsprechen der EG-Richtlinie 89/336/EC.

© Waldorf Electronics 1999 • All rights reserved • Printed in Germany

Waldorf Electronics GmbH • Neustr. 9-12 • D-53498 Waldorf • Germany

Tel.:++49-2636-9764-0 • Fax: ++49-2636-9764-99 http://www.waldorf-gmbh.de • [email protected]