Waldorf microQ, User Manual

Page 1: ...User s Manual microQ Omega lite Keyboard ...

Page 2: ...a with up to 75 voices Therefore you need a hardware modification that is done exclusively by official Waldorf Distributors or official Waldorf Service Centers More information about price and handling can be found on our website http www waldorf music com or by contacting our product support see page 6 The microQ microQ Keyboard can be upgraded to a microQ Omega with up to 75 voices Therefore you...

Page 3: ...black with stylish printing available sizes M L XL XXL Euro 13 00 Subout Still available Independant Electronic Music from famous artists Oomph De Vision Front 242 Wolfsheim Frontline Assembly Ernst Horn Deine Lakaien etc Previously unreleased tracks Euro 10 00 The reptile with arpeggio or chord memorizer function One button one LED MIDI In Out no external power supply necessary Euro 76 00 Euro 51...

Page 4: ...d 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 Music AG will repair or replace the product without charge for materials or labor provided the produc...

Page 5: ...bel 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 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 Send us...

Page 6: ...uary 2003 mQ lite Vers 1 38 We would like to thank Holger Bahr Sigi Barishi Steffi vom Berg H P Bonni Bonnenberg Mike Caroll Geoff Farr Gunther Gräfe Florian Gypser Christian Halten Martin Herbst Jörg Hüttner Thilo Kloft Werner Kramer Dirk Krause Achim Lenzgen Nicole Jasmin Moser Wolfgang Mörs Dr Georg Müller Martin Neideck Stefan Profittlich Norbert Reiß Alex Sauff Beate Walkowiak Kurt Lu Wangard...

Page 7: ...e Panning Filters 1 2 Volume Velocity FX Mix Arp Mode Range Tempo Clock Amp FX Arp Attack Level Decay Decay2 Sustain Sustain2 Release Mode Envelopes F A 3 4 LFO1 Speed Shape Sync LFO2 Speed Shape LFO3 Speed Shape LFOs Select Source Amount Destination MOD Matrix Picture 1 Front Panel microQ 햲 Display 햳 Instrument Select Buttons 햴 Red Alpha Dial for Sound and page access 햵 Master Section with functi...

Page 8: ...ditional controls 9 Waldorf microQ User s Manual Front Panel microQ Keyboard additional controls Picture 2 microQ Keyboard 햿 Pitch Bend 헀 Modulation Wheel 헁 Program Select Section 헂 3 octave keyboard with aftertouch 헃 Keyboard Transpose buttons 헄 Full Metal Jacket ...

Page 9: ... signal for connection to a mixing desk or amplifier 쐋 Sub Out 1 jacks Deliver a stereo line level output signal for connection to a mixing desk or amplifier 쐏 Sub Out 2 jacks Deliver a stereo line level output signal for connection to a mixing desk or amplifier 쐄 MIDI In jack Used to receive MIDI data from an external device 쐂 MIDI Thru jack Echoes MIDI data received at the MIDI In 쐆 MIDI Out jac...

Page 10: ...iver a stereo line level output signal for connection to a mixing desk or amplifier Sub Out 2 jacks Deliver a stereo line level output signal for connection to a mixing desk or amplifier MIDI In jack Used to receive MIDI data from an external device MIDI Thru jack Echoes MIDI data received at the MIDI In MIDI Out jack Used to transmit MIDI data to an external device Power supply socket 100 240V AC...

Page 11: ...s 26 The Master Section 27 Selecting Programs 28 Selecting Programs with the Page Dial 28 Fast Selection of Sound Banks in Single Mode 29 Selecting Programs with the Number Buttons 29 Additional Switching Banks in the mQK 30 Category Search 30 Instruments and Sounds 31 Switching between Instruments 31 Creating Sound Layers with Instruments 31 Replacing Sounds in Layers 31 Editing Sounds in Layers ...

Page 12: ... 109 ADS1DS2R Envelope 110 One Shot Envelope 111 Loop S1S2 Envelope 112 Loop All Envelope 113 Envelope Edit Menu 114 LFO Section 115 LFO Parameter Controls 115 LFO Edit Menu 116 Mod Matrix Section 121 Mod Matrix Parameter Controls 121 Mod Matrix Edit Menu 122 Modifier Matrix 122 The Tempo 124 Drum Map 125 Drum Map Sound Menu 125 Global Parameters 127 Global Menu 127 Utility Menu 136 MIDI Control 1...

Page 13: ...s Caution The comments that follow this symbol will help you avoid errors and malfunctions Instruction Follow these guidelines to execute a desired function 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 P...

Page 14: ...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 g...

Page 15: ...b Amp FX Arp Section Velo AmpMod and AmpMod Source FX Global Effect Mix FX Types Vocoder Surround Delays Arpeggiator Edit Menu Tempo Clock parameter all chapters Envelope Section Mode ADS1DS2R Envelope One Shot Envelope LoopS1S2 Envelope Loop All Envelope LFO Section Sync Delay Keytrack Fade Clocked Phase Mod Matrix all chapters Modifier Matrix all chapters Sound Parameters Drum Map all chapters G...

Page 16: ... Category Instruments and Sounds all chapters Basic Operation Editing Parameters all chapters Multi Parameters Ctrl W Z Multi Mode Instrument Parameters Selecting an Instrument for editing MIDI and Status Settings Dynamic Performance Managment Modulation Speed Levels Oscillators FM and FM Source Wavetable Oscillators Mixer Balance Routing Noise Ext Balance N E Select F1 F2 Feed Filter Section Sele...

Page 17: ...h 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 platfor...

Page 18: ...ely to produce low frequency audio signals for the purpose of generating sound Any other use is prohibited and voids the warranty extended by Waldorf Music AG Waldorf Music AG is not liable for damages due to incorrect use Don t let your microQ beside children or animals This could leads into critical interactions ...

Page 19: ...or 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 for the microQ rack version If you choose to take the device on the road we suggest transporting it in a special keyboard case which sho...

Page 20: ...nal Ring Right Signal MIDI Out to MIDI In of a Computer or tone generator MIDI In from MIDI Out of a Computer or a MIDI Masterkeyboard Out In Power Supply Socket for an external power supply Connections microQ rack version To connect the devices 1 Turn all units off 2 Connect the microQ s main audio outputs Main Out to your mixing console Optionally connect the auxilliary audio outputs Sub Out 1 a...

Page 21: ...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 T...

Page 22: ...board only The microQ Keyboard features an input for a hold pedal These hold pedal must be a so called sustain pedal with an open state The Hold Pedal Jack on the microQ Keyboard is a stereophonic 1 4 inch phono jack with a connection to 5V on the ring You can connect a sustain pedal to it with a monophonic 1 4 inch phono plug Control Pedal CV Input microQ Keyboard only The microQ Keyboard feature...

Page 23: ... 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 following maximum po...

Page 24: ...d Inst 1 Sound A001 LosAngeles2019 T Switching off 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 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 i...

Page 25: ...back 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 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 If...

Page 26: ...e 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 activa...

Page 27: ...or played individually For a thorough explanation of the Multi Mode read the chapter Multi Mode on page 38 Selecting Programs with the Page Dial With the Page Dial you can select Multi programs in Multi Mode and Sounds in Single Mode To select a Program with the Page Dial 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 p...

Page 28: ...d button This button is used to set the program type that is switched by the number buttons Entering a two digit number will select the corresponding program within the current bank Here are three examples Entering 01 will call up Program number 001 in the current bank Entering 99 will call up Program number 099 in the current bank Entering 00 will call up Program number 100 in the current bank To...

Page 29: ...unds only these sounds will be displayed as you scan the storage banks with the red dial To accomplish this each sound contains 4 extra digits in the sound name to define its sound category Further details about how to change a sound s category are described in the chapter Storing Programs on page 37 Searching for a special sound categroy 1 Hold down the Shift button 2 Chose a category with the re...

Page 30: ...t 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...

Page 31: ...p or down via the corresponding buttons This is how you change the keyboard s octave setting 1 Press the Octave Down button The keyboard is shifted one octave down by each pressing The corresponding transposition is shown in the display 2 Press the Octave Up button The keyboard is shifted one octave up by each pressing The corresponding transposition is shown in the display 3 To return to the defa...

Page 32: ... is done with the four endless rotaries on the bottom of the matrix Changing the edit level is done with the four navigation buttons 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 ...

Page 33: ...cts 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...

Page 34: ...hen the oldest edit buffer is cleared and used to hold the new edit 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 ...

Page 35: ...pare again 6 The c in the display changes to e again The edited version of the program is now active again 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 Recalli...

Page 36: ...ial Then change its setting via the second value dial The program name can use up to 16 characters 6 When the cursor is on the 16th character and you scroll it even further to the right you will come to a second page where you can change the category of the sound It is strongly recommended to select an appropriate category for your sound or to create a new category This helps you finding your soun...

Page 37: ...trument Parameter Instrument 9 Instrument 10 Instrument 12 Instrument 11 Instrument Parameter Instrument 13 Instrument 14 Instrument 16 Instrument 15 Instrument Parameter Sound Sound Sound Picture 5 Multi Program architecture 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 liv...

Page 38: ...ure 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 or by pressing the Multi button several times Instrument settings The instrument parameter...

Page 39: ...obal omni 1 16 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 omni mean...

Page 40: ...ument you don t hear its audio signal on the physical outputs Status Off Midi Status 1 Midi 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 Midi means that the selected Instrument can be played by MIDI FX1 Mix FX2 Mix 064 000 FX1 2 Mix 000 127 FX1 and FX2 Mix...

Page 41: ... 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...

Page 42: ... 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 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 hig...

Page 43: ... time The following parameters are available Vol shows the actual volume of the instruments in Multimode Here the volume can be changed infinitely variable from 0 to 127 FX1 shows the FX1 Mix Level of the Multi Instruments It can be changed infinitely variable from 0 to 127 FX2 shows the FX2 Mix Level of the Multi Instruments It can be changed infinitely variable from 0 to 127 VU Mode The VU Mode ...

Page 44: ...io 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...

Page 45: ...scillators 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 noise the LFO the envelopes and so on You won t find sources like modwheel or velocity because their values change incredibly slowly compared to an oscill...

Page 46: ...tions 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 Pit...

Page 47: ...ulation 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 Description Pitch Global pitch of all three Oscillators at once O1 Pitch O2 Pitch O3 Pitch Pitch of Oscillator 1 3 O1 PW O2 PW O3 PW Pulse wid...

Page 48: ...odulation amount of M2F M1S Amount Modulation amount of M1S M2S Amount Modulation amount of M2S 01SubDiv 02SubDiv Frequency divide of the sub oscillator1 2 01SubVol 02SubVol 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 LFO 1 ...

Page 49: ...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 When Mono is selected and you have set up a decaying ...

Page 50: ...lope AE Mono Determines the triggering of the Amplifier Envelope Normal means that every Note starts the amplifier 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 ...

Page 51: ... 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 ...

Page 52: ...onic the fundamental and has no overtones The following picture shows the sine wave and its frequency representation 1 4 8 12 16 Frequency Magnitude Time Amplitude Harmonics 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 wa...

Page 53: ...rmonic Magnitude 1 2 3rd Harmonic Magnitude 1 3 4th Harmonic Magnitude 1 4 Harmonics Picture 7 Additive components of the Sawtooth wave 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 ...

Page 54: ...ic 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 1 3 5 7 9 Frequency Magnitude Time Amplitude 1st Harmonic Magnitude 1 5th Harmonic Magnitude 1 5 7th Harmonic Magnitude 1 7 Harmonics 11 13 15 3rd Harmonic Magnitude 1 3 Picture 8 Additive components of...

Page 55: ...nted DC offset As you have read in the previous chapter the harmonic content 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 harmoni...

Page 56: ...onic content 1 3 5 7 9 Frequency Magnitude Time Amplitude 1st Harmonic Magnitude 1 5th Harmonic Magnitude 1 25 7th Harmonic Magnitude 1 49 Harmonics 11 13 15 3rd Harmonic Magnitude 1 9 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...

Page 57: ... 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 v...

Page 58: ...ne 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 Oscil...

Page 59: ...ge 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 This parameter may also be found in the Oscillator Edit Menu for the sake of completeness FM requires a lot of CPU Power which can lead to decrease polyphony Shape Off Pulse Saw Tri Sine Alt1 Alt2 Sets the type of waveform ...

Page 60: ...lease read also Suboscillators in the chapter Oscillators Edit Menu on page 67 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...

Page 61: ...o do this is to set up a kind of test sound to listen to the wavetables Test program for wavetables 1 Start with an initialized sound program please read Init Sound on page 136 2 Choose Alt1 as Shape for oscillator 1 and turn down the mixer level of oscillator 2 and 3 3 Choose the modulation wheel Modwheel as PWM Source for oscillator 1 4 Set the PWM amount to 63 Now you can use the Modulation Whe...

Page 62: ...idth 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 de...

Page 63: ...ge 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 i...

Page 64: ... picture illustrates the principle of oscillator synchronization in a simplified way This oscillator synced to this oscillator results in this wave new cycle of master oscillator 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 b...

Page 65: ...he 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 I...

Page 66: ...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 Mai...

Page 67: ...ow 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...

Page 68: ...requency Hz Magnitude Time Amplitude Picture 15 Noise 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 F...

Page 69: ...ike 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...

Page 70: ...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 ...

Page 71: ...e 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 Fre...

Page 72: ...s Manual Frequency Level Cutoff Resonance Picture 19 Low Pass Filter Resonance 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 ...

Page 73: ...l 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 The scenario is different when you move the Type knob If both filters are...

Page 74: ...r 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 char...

Page 75: ... 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 ...

Page 76: ...a modulation for Filter 1 F2 ModSrc F2 Mod LFO1 00 F2 ModSrc Filter 2 Cutoff Mod Source see Table Fast Modulation Sources 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 k...

Page 77: ...r 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 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 suit...

Page 78: ...and 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...

Page 79: ...utoff point are passed through Use these filter types for programming effect sounds Frequency Level 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 ...

Page 80: ...ization 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 Frequency Level Cutoff determines number of teeth Resonance Picture 25 Comb Filter Type Frequency Level Cutoff determines number of teeth Resonance Picture 26 Comb Filter Type So as with all other...

Page 81: ...ich 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 ef...

Page 82: ...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 Oscillator Comb Comb 64 11 23 32 23 35 16 35 47 8 47 59 4 59 71 2 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 osci...

Page 83: ...me 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 atypical character suitable for effect sounds As the Amplifier always works in conjunction with the Amplifie...

Page 84: ...Sound Parameters Amp FX Arp Section 85 Waldorf microQ User s Manual AmpMod 64 63 Determines the amount of volume modulation ...

Page 85: ...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 If you hold the Shift button while moving the left or right display parameter dial the...

Page 86: ... The Chorus high frequency output can be dampened with the Cutoff parameter 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...

Page 87: ...est 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 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 Pha...

Page 88: ... distorted signal Cutoff 064 Cutoff 0 127 Dampens the high frequency output of the Overdrive effect 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...

Page 89: ...hat 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 on page 70 External means that the source is the audio signal that comes from the External In jack Aux means that the source is the audio signal that comes from ...

Page 90: ...rol 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 experi...

Page 91: ...hand 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 fe...

Page 92: ...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 analys...

Page 93: ... the External In jack Aux means that the source is the audio signal that comes from the internal Aux bus Please refer to the chapter Multimode on page 40 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 on page 40 Main in means that the source is the summed audio signal that is routed to the microQ s Main Out ja...

Page 94: ...idths 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 betwee...

Page 95: ...rb effect Lowpass 0 127 Determines the frequency where the higher frequency parts are divided from the effect signal This parameter works in the same way as the lowpass filter in the microQ s sound synthesis A natural reverb doesn t produce all frequencies equally so the lowpass cuts the higher frequencies to produce a more realistic reverb effect Predelay Diffusion 100 0 ms 127 Predelay 0 300ms D...

Page 96: ...er expectations of audio in general have increased Music only recordings done as surround productions are not unusual anymore For this reason the effects in the microQ have been expanded to include two Surround Delays The term 5 1 means that 6 channels will be supported at the same time 2 front speakers 2 rear speakers and one center channel speaker build up the normal 5 tone channels 5 x where th...

Page 97: ...hannel FSL V Delay ML 127 100 0 FSL Volume 0 127 Determines the volume of the effect signal for the left Front Speaker Main Out L Delay ML 0 400 Determines the relative delay of the effect signal pertaining to the setting of the Delay parameter FSR V Delay MR 127 100 0 FSR Volume 0 127 Determines the volume of the effect signal for the right Front Speaker Main Out R Delay MR 0 400 Determines the r...

Page 98: ...ay of the effect signal pertaining to the setting of the Delay parameter 5 1 D Clk This surround delay type is similar to the 5 1 Delay With this delay type the delay time is synchronized to the microQ s internal tempo For more information about tempo settings refer to the chapter The Tempo on page 124 Delay Feedback 1 4 100 0 Delay 1 128 8 4 Sets the length of the delay tap in note values A t beh...

Page 99: ...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 onc...

Page 100: ...iour 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 on page 99 Clock Please refer to the chapter The Tempo on page 124 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 parame...

Page 101: ...lti 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...

Page 102: ... 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 a...

Page 103: ... 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 On Pattern Re...

Page 104: ...ote 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 ...

Page 105: ...ffect 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 ...

Page 106: ... 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 01 Changes the length of the note of a particular...

Page 107: ... 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 LED 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 To edit more ...

Page 108: ... 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 z...

Page 109: ...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 Determines the decay rate or amount of time it takes for a signal to reach the Sustain level Sustain 0 127 As soon as the Sustain level is reached the envelope proceeds with the second Decay Sus...

Page 110: ...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 not be edited Attack Decay Sustain Release Key pressed or hit shortly Time Level 100 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 De...

Page 111: ...t 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 level is reached the envelope ...

Page 112: ...nal 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 level is reached the envelope proceeds with the second Dec...

Page 113: ...values with the knobs below the display This Edit Menu simply serves as an overview Parameter changes are done with the four endless dials 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 examp...

Page 114: ...on 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...

Page 115: ...f LFO 3 See LFO 1 Speed above LFO 3 Shape Sine Triangle Square Saw Random S H 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 LFO1 Shape Sine Triangle Square Saw Random S H Sets the type of ...

Page 116: ...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 Please read the section The Tempo on page 124 for further information Keytrack 200 196 Dete...

Page 117: ... when routed to pitch or volume Please see the LFO Delay parameter on page 116 for further information LFO2 Sync Startphase 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...

Page 118: ...ll magnitude for the time set with the Delay parameter After this time the LFO is faded out to zero LFO3 Spd Fade 056 20 LFO3 Spd LFO 3 Speed 0 127 Determines the frequency of LFO 3 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 creat...

Page 119: ...e read the section The Tempo on page 124 for further information 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...

Page 120: ...ith 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 For in depth information about modulation speed and tables of the various available sources and destinations read the chapter Modulation Speed Levels on page 46 Mod Matrix Parameter Controls All parameters related to the Mod...

Page 121: ...n 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 all...

Page 122: ...t 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 ...

Page 123: ...d 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 real...

Page 124: ...ut 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 th...

Page 125: ...ry 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 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 effec...

Page 126: ...ish 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 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...

Page 127: ...t Local to Off The MIDI data flow then is as follows when you play a note on the microQ Keyboard it is send to the sequencer The sequencer eventually maps the note to a different MIDI channel and sends it out through a specific MIDI port With this method you can control your whole MIDI setup and also play the microQ s tone generation if you set the sequencer to send MIDI notes to the microQ Ctl Se...

Page 128: ...rs or the Modulation Matrix The highest possible Controller number is 120 because all higher numbers are reserved for non real time purposes 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 Contr...

Page 129: ...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 Allows a global pitch transposition for the tone generator Incoming MIDI notes are shifted by the number of semitones FX2 glb link FX2 global link none Inst 1 4 FX2 glb link Inst 1 The microQ has 5 DSP effect blocks The ef...

Page 130: ... the need of a note trigger Main out will route an external signal directly to the microQ s Main Out Sub out 1 will route an external signal directly to the microQ s Sub Out 1 Sub out 2 will route an external signal directly to the microQ s Sub Out 2 Inst 1 FX Inst 4 FX will route an external signal into the effect sections of instruments 1 4 and to the corresponding audio output FX2 wet will rout...

Page 131: ...ing MIDI Note Off messages It doesn t affect incoming MIDI Note Off messages The various curves are identical to the ones shown under On Velocity Curve For a standard keyboard release velocity response you should set Rel Velocity Curve to linear or log 1 Other curves might be applicable under special circumstances only Pressure Curve microQ Keyboard only exp 2 exp 1 linear log 1 log 2 Pressure Cur...

Page 132: ...aximum gain for Control Pedal CV that is used when the pedal is at its maximum position To find out which value is suited for the Control Pedal CV you want to use do the following To adjust Pedal CV Gain 1 Perform the steps under Pedal CV Offset 2 Set the Matrix slot Source to MAXIMUM and adjust Amount so that you can just hear the sound with a very high pitch 3 Move the Pedal to its maximum posit...

Page 133: ...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 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 Here you can adjust for how long a time the menu page name is show...

Page 134: ...re information about updating your microQ please read Updating the System software on page 132 Board Serial Number page Board 0118 Prod 031005001 This menu page shows you the Board and Serial number of your microQ Upgrade Code only microQ lite Code for MQ upgrade 1111 1111 1111 1111 On this menu page the upgrade code for the microQ lite can be found It is used when making an upgrade to a fullrange...

Page 135: ... Sound program Press Shift Global Utility and choose the option Init Sound Press Shift Global Utility again to activate the function The selected program is now initialized 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 par...

Page 136: ...itialized 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 Shift Global Utility and choose the option Random Sound P...

Page 137: ...und 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 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 ...

Page 138: ...stain 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 ...

Page 139: ...th 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 on ...

Page 140: ...Global parameters are sent 3 Press Shift Global Utility again to activate the dump 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 y...

Page 141: ...and rack version are using the same operating system It is not possible to update a microQ lite The microQ series and the Q series do not using 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 i...

Page 142: ...ore 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 New functions in future OS will be documented in PDF files which are available on our website http www waldorf music com or at our ftp server ftp ftp waldorf gmbh de mi...

Page 143: ...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 frequency modulating 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 s...

Page 144: ...t 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 N E Select F1 F2 feed 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 w...

Page 145: ...al Menu 132 C Center Phaser FX 88 Hi Offset Vocoder FX 95 Resonance Filter 75 Channel Multi 40 Hi Velo Multi 42 Resonance Vocoder FX 95 Chor Dlay Five FX 90 I Input Gain Global 130 RingMod 5 FX 90 Clock Arpeggiator 101 Input HP 5 1 Dly FX 98 RingMod Mixer 70 Clock Global Menu 128 K Keytrack Filter 75 Routing Filter 68 Clocked Delay FX 91 Keytrack LFO 117 Rx Prg Chg Global Menu 129 Clocked LFO 117 ...

Page 146: ...10dB Frequency range 0Hz 24kHz Audio Input 1 x stereo Maximum level 0dBm Dynamic range 86dB Frequency range 5Hz 24kHz CV Inputs microQ Keyboard only Hold Pedal Stereo Jack with a connection to 5V on the ring for standard Sustain Pedal with open state CV 0 5V 5V out at Ring Stereo Jack Dimensions and Weight microQ Keyboard Rack version Width 622mm 483mm Depht incl rotary controls 331mm 92mm Heigh 9...

Page 147: ...ter 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 max...

Page 148: ...ems 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 High Pass Filter A high pass filter dampens all frequencies below its cutoff frequency Frequencies above the cutoff point are not affected LFO LFO ...

Page 149: ...rams 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 pha...

Page 150: ...ldorf microQ User s Manual 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 ...

Page 151: ...3 11 not used Expression not used 12 0 9 Arp Range 1 10 octaves 13 0 15 Arp Length 1 16 steps 14 0 3 Arp Active off on one shot hold 15 0 5 LFO 1 Shape sine triangle square sawtooth random S H 16 0 127 LFO 1 Speed 0 127 or 256 bars 1 96 17 0 1 LFO 1 Sync off on 18 0 127 LFO 1 Delay 0 127 19 0 5 LFO 2 Shape sine triangle square sawtooth random S H 20 0 127 LFO 2 Speed 0 127 or 256 bars 1 96 21 0 1 ...

Page 152: ...e 128 1 2 43 52 76 Osc 3 Semitone 12 12 44 0 127 Osc 3 Detune 64 63 45 0 127 Osc 3 FM 0 127 46 0 5 Osc 3 Shape pulse saw triangle sine alt 1 alt 2 47 0 127 Osc 3 PW 0 127 48 0 127 Osc 3 PWM 64 63 49 0 1 Sync off on 50 0 127 Pitchmod 64 63 51 0 9 Glide Mode see Glide Mode 52 0 127 Osc 1 Level 0 127 53 0 127 Osc 1 Balance F1 64 mid F2 63 54 0 127 Ringmod Level 0 127 55 0 127 Ringmod Balance F1 64 mi...

Page 153: ...v Velocity 64 63 75 0 127 Filter 1 CutoffMod 64 63 76 0 127 Filter 1 FM off 1 127 77 0 127 Filter 1 Pan L64 center R63 78 0 127 Filter 1 Panmod 64 63 79 0 10 Filter 2 Type see Filter Types 80 0 127 Filter 2 Cutoff 0 127 81 0 127 Filter 2 Resonance 0 127 82 0 127 Filter 2 Drive 0 127 83 0 127 Filter 2 Keytrack 200 197 84 0 127 Filter 2 Env Amount 64 63 85 0 127 Filter 2 Env Velocity 64 63 86 0 127 ...

Page 154: ...7 108 0 127 E3 Decay 0 127 109 0 127 E3 Sustain 0 127 110 0 127 E3 Decay 2 0 127 111 0 127 E3 Sustain 2 0 127 112 0 127 E3 Release 0 127 113 0 127 E4 Attack 0 127 114 0 127 E4 Decay 0 127 115 0 127 E4 Sustain 0 127 116 0 127 E4 Decay 2 0 127 117 0 127 E4 Sustain 2 0 127 118 0 127 E4 Release 0 127 119 not used undefined not used 120 0 All Sound Off immediate silence 121 0 Reset All Controllers rese...

Page 155: ...h Control Foot Control Portamento Time Channel Volume Pan Bank Select LSB Sustain Pedal 4 Portamento On Off Sostenuto Pedal Prog Change True 앪 1 100 1 100 5 System Exclusive 앪 앪 System Song Pos Common Song Sel Tune 쎹 쎹 쎹 앪 쎹 쎹 System Clock Real Time Commands 앪 앪 앪 앪 MIDI Clock Start Stop Continue Local ON OFF Aux All Notes OFF Messages Active Sense Reset All Sound OFF 쎹 앪 쎹 쎹 앪 앪 앪 앪 앪 앪 Memorized...

Page 156: ...Appendix Declaration of Conformity 157 Waldorf microQ User s Manual ...

Page 157: ...e 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 a...

Page 158: ...usic AG 2003 All rights reserved Printed in Germany Waldorf Music AG Schloß Ahrenthal D 53489 Sinzig Germany Phone 49 0 26 42 90 20 8 0 Fax 49 0 26 42 90 20 8 77 http www waldorf music com info waldorf music com ...