Search by Text Search Results: "unit" Found "unit" 1 time here: Product: mQ series Q: What's the difference between the mQ and the mQlite? A: The microQ lite is all of a microQ, except for: * Maximum of 12 voices * No reverb Effect * No surround Delay Effect * Cannot use as an effects unit ("Mix In to" disabled) * Not expandable to 75 voices * Can be upgraded to a full microQ via software. Found "unit" 2 times here: Product: Q series Product: mQ series Q: What's the difference between the Q and µQ series of synths? A: This list is probably quite a bit longer than you expect. As a general guideline the microQ seems to have just the things that a typical sequencer->tone generator setup needs, while the Q is a performance synthesizer where many of the features won't be used or make much sense until you free it from the slavery of the sequencer and let it call the shots. The microQkb and the Qrack are mixed breeds in that respect although they stay true to their ancestry, so the microQkb is still farther from the Q than the Qrack is and the Qrack is nowhere near the microQ. Now for the (likely still incomplete) list of differences from the biggies to the weenies (my order, yours would probably look different): The user interface. I'm not saying that one is better than the other, but that is something you'll notice right away and will in subtle ways shape your style of working with the synth. The step sequencer (we'll come back to that later). Some folks may not need it, but even if you don't use it for playing notes it can still be used as a modulation source. [I plan to write up a Q-Tip on that as it has to be one of the most often overlooked features of the step sequencer.] FX architecture. The Q has eight independent FX units arranged in four pairs. The microQ has four independent FX units and one global FX. Based on the questions here in this forum the architecture of the microQ is confusing to many users, as in essence the arrangement in the microQ means that a path will sound more often than not quite different in multimode than in single mode. The Filter Routing _interpolation_. The filter routing (serial and parallel) itself is there on the microQ, it's the interpolation and associated modulation possibilities that are missing on the microQ. When it's used you won't be able to do even an imitation of the effect on the microQ. No CV and switch inputs on the microQ (rack). The microQkb has one switch and one CV input vs two of them on the Q. The PPG filter. There is a certain range of resonance settings where this filter sounds just so much better than the normal lowpass. But understand that the lowpass on the microQ and the Q will also sound different. The XPhorm. Another trick the Q has up the sleeve that can yield stunning "modulations" that have no chance of being pressed into the ModMatrix. Fixed vs. dynamic performance architecture. The Q does not care how many of it's voices are in use and how many features are used by each voice. The microQ will have a different number of voices depending on the general complexity of the patches. Filter self oscillation. The microQ just doesn't, which is often easily worked around. Alongside with that the filter model generally is different from the Q which would be most noticeable at or around the point where self-oscillation would start on the Q. A few differences in the actual sound dumps, some necessary due to the mentioned differences and some gratuitous, like the scaling of some parameters. The Q's standard number of 16 firm voices can be doubled to 32, while the microQ's maximum number of dynamic voices can be tripled to 75. Maximum delay length and reverb room size is smaller on the microQ. Found "unit" 1 time here: Product: MW I series Q: How to calibrate the filters? A: MW1 users who have a working unit: DON'T DO THE FOLLOWING!! To tune the filters, you have to go into the Service Mode. - Press Mode and switch on the MW. As soon as you can read "Welcome to.." release the Mode button. - Press OK to confirm the warning message. - With the Mode button, step through the pages until you read "Filter Test". - With OK you can toggle each of the eight filters on and off. - With the alpha dial, you can tune the filters. I think you should try 440 Hz, but if you can't reach it with one or more filters, try to find a close frequency and tune the other filters to that, too. - When you're done, switch the MW off and back on. Now the filters are tuned again. Again: all others shouldn't do that, **only** if they experience *major* tuning problems. Wolfram Franke (Waldorf-Music AG) on the Waldorf mailing list Found "unit" 1 time here: Product: MW I series Q: What different microwave I versions are known? A: Rev A: - frontpanel dark metalic blue, not painted, anodized metal - rotary encoder has 52 ticks per revolution, has rippled, metal shaft with slot - uses Curtis CEM 3389 - LCD has black characters on green background - case is black Rev B: - frontpanel is made from Nextel, gray-blue, silkscreening blurry, rubs off - high quality red dial - rotary encoder has 24 ticks per revolution, has even, flattened plastic shaft - uses Curtis CEM 3387 - LCD has green characters on black background - case is grey I assume that the change from Rev A to Rev B was not done by a step-function, so there could be mixtures of all the attributes... sonically they are nearly the same. The change of the filter didn't changed the microWave sound that much. And although the older version used the same Curtis filter chip as the big Waldorf WAVE, the sound is totally different. There is also a single microWave with a chrome front plate (and a spare front plate like this in the hands of an ex-Waldorf employee). And the 99 last microWaves build came named "the mean green machine" with a green front plate and some spikes to put the unit on the shelf. Also included was a document in the look of a contract. It said you are not allowed to play folk music and that you have to feed the mean green MW I with all available software upgrades. Link: http://faq.waldorfian.info/files/GreenMeanMachineDocument.jpg (Showing the mean green "contract" document. The person in the watermark like picture is one of the signers: production manager Frank Schneider. Picture provided by Waldorf User Forum member Jesper Jensen. THANKS !) Found "unit" 1 time here: Product: MW II / XT series Q: What helps if the XT(k) screen has gone blank? A: After switching on the unit, press 5 times the GLOBAL/UTILITY button, then turn the 3rd softdial (Sound/Multi) to adjust contrast again. Or try this: Hit the UTILITY button (the LED should light), turn the red dial clockwise 2 turns (to make sure you're on the last page), then two nudges back, then the Sound/Multi encoder (the third encoder from the left) under the display all the way clockwise. You can take that literally. :-) Found "unit" 1 time here: Product: MW II / XT series Q: How to play the XTk demo sounds and song A: To switch into the demo mode, press the number buttons 9 and 0 together when the unit is already powered. The Sounds A001 to A020 will be changed temporarily (No sound will be overwritten) to the demo sounds. The Multis 001 and 002 are complex examples. And finally select the Multi 003. The demo song made by Holger "Tsching" Steinbrink should start now. What the LCD for thanks to all the good old Waldorf stuff then. And of cause some well known other names. Including our "swissdoc" Georg. To leave the demo mode or to stop the demo song, just switch the instrument off and on again. But why is our Tsching spelled "Dzingh" here? Found "unit" 6 times here: Product: 4-pole Q: Are there Curtis and/or Pulse filter 4-Pole revisions? A: There are 3 Versions known for the 4-Pole: 4-Pole Beta Unit (Curtis) This one was used during the beta phase back in 1995. Part of the testing was done in Gasthof Goldener Hirsch in 92275 Hirschbach / Frankenalb / Germany. Testresults from that week have been sent by postcard to Waldorf. The buttons are swapped on that specific unit. That happened during all the swapping of EPROMs during beta phase. Firmware Update via Midi was introduced first time with the Microwave II. 4-Pole Production Unit (Curtis) Technically quite close to the beta-unit, some slight hardware changes, i.e. the trigger hardware has been improved. The labeling is differnt compared to the beta-unit since more and different features have been packed in during development. 4-Pole Production Unit (Pulse Filter) Silkscreening slightly changed here, most important is the change from 9V AC power input to 12V DC. Useful when you are chasing up one or the other version. Looks like this version has a green/red LED to show the overdrive status of the gain stage. The Curtis and Pulse filter revisions sounded very different when testing them here. We had problems comparing them, because the parameters did not match. So the envelope times, the cutoff and the resonance were very different. We did not come close in sound within 30 ins of trying to do the same filter sweep. The Curtis filter versions sounded more transparent and had a nice resonance without loosing bass on higher settings. The Pulse filter sounded more powerful. But bass level dropped on higher resonance settings (a typical Moog filter thing). The Waldorf Team of that time was: Stefan Stenzel (software) Andreas Busse (software MW I and WAVE mainly) Thomas Kircher (electronics) Axel Hartmann (design) Joachim Maier (he did some coding for the 4-Pole) Link: http://faq.waldorfian.info/4-pole-inside.html Found "unit" 1 time here: Product: Blofeld Q: Why is my Blofeld noisy when USB is connected? A: Due to the direct-coupled nature of USB and most PC soundcards it is exceptionally easy to create a ground loop when the Blofeld is connected to the PC via USB. The common symptom of that loop is digital noise in the audio, which often modulates with unrelated activity on the PC, like mouse movements. Only the following configuration does work securely: PC w/ isolation transformer (or laptop :-) connected via USB to Blofeld, which in turn connects to a mixer. No other audio gear can be connected to the PC via USB or any soundcard interface without isolation. Any configuration more complicated than that (and that includes almost all practical scenarios) will have a latent ground loop. You should not create a ground loop in the first place (instead of trying to troubleshoot it's symptoms) and there are several options to do so: 1) Insert a DI box w/ ground lift between Blofeld and the mixer/amp input. This is the recommended solution. If you simultaneously use a soundcard on your PC with further outboard audio gear, its inputs and outputs may have to be isolated as well. 2) Use an isolated input on your mixer or DAW. This is most likely a microphone input and you must ensure that phantom power is switched off on this input before you connect the Blofeld. If you have such an input, but no DI box and you are sure to remember that the phantom power must never be on, then use this solution. 3) Isolate the USB via a hub that has galvanic isolation between upstream and downstream side. These are much more expensive than DI boxes, so it won't be cost-effective. Most USB "extender cables" do not have galvanic isolation and are useless for this purpose. Also note that you can connect only one audio interface to the hub as connecting a second unit creates a ground loop again (this time through the two devices you connected after the hub). Not recommended unless for some unfathomable reason a galvanically isolated USB hub or optical USB extender falls into your lap. 4) Isolate all inputs and outputs on the PC including USB. Not only need they be isolated from the PC itself, they also need to be isolated from each other. This is completely impractical and I'm not suggesting you should even try, but it is a solution to the problem. It is often suggested that "balanced cables" would help. They don't, in fact there is no such thing as a "balanced cable" - there are only balanced connection and they need a balanced output and a balanced input. If both ends of a balanced connection are direct coupled, there is still a ground connection, but the symptoms of any ground loop would be less noticeable - the noise could probably be damped by 20dB-80dB depending on circumstances and frequency range. Since the audio outputs of the Blofeld are in fact unbalanced, you also can't "lift ground" on the audio cable (this is a bad solution to this problem even on fully balanced connections). Doing so would either exacerbate the problem (if you would just disconnect the shield) or stop the audio out from functioning. You can also not "lift ground" on the USB cable for the same reason (and then some). The ground connection is a necessary ingredient of the USB physical layer (see the documentation), even if there are two signal lines carrying a (pseudo-)differential signal. In dry words: no ground connection, no USB connection. You may even damage the USB interface as disconnecting the ground would render the input protection scheme of most USB IC useless - the USB plugs and jacks have been carefully designed so that the ground connection is made first and breaks last, an assumption that would be invalid with lifted ground. Link: USB Documentaion: http://www.usb.org/developers/docs/ [ Home ] 10.08.2026 02:03:02 Waldorf Time