Waldorf blofeld User Manual
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Waldorf blofeld User Manual

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  • Page 2 !oreword Foreword Hint 3h/n5 6ou )or 7ur8h/sing the </ldor) 'lo)eld= >ou now own / s6nthesi?er )e/turing / wide r/nge o) uni@ue sounds </ldor) .usi8 is not li/ble )or /n6 erroneous in)orC/tion with the /77roAed </ldor) @u/lit6= 8ont/ined in this C/nu/l= 3he 8ontents o) this C/nu/l C/6 be u7d/ted /t /n6 tiCe without 7rior noti8e= <e C/de eAer6 What to read? e))ort to ensure the in)orC/tion herein is /88ur/te /nd th/t...
  • Page 3 Foreword Blofeld Development Team We would like to thank Software: Stefan Stenzel, Wolfram Franke Willie Eckl, Koachim Flor, Michael von Garnier, Florian Gypser, Frank Lauterbach, Achim Lenzgen, Diana Hardware< Housing: Frank Schneider Ioannides, Kurt XLuY Wangard, ! and anyone we...

  • Page 4: Table Of Contents

    !"#$%#$ Content Q#;%#$"-K 66666666666666666666666666666666666666666666666666666666666 N7 J%$1< 6666666666666666666666666666666666666666666666666666666666666666 N7 !"##%E$9"#, 6666666666666666666666666666666666666666666666666666666 N7 Foreword......................................2 >4% +J& E"##%E$9"#666666666666666666666666666666666666666666666 N? 340$ $" -%0)5 6666666666666666666666666666666666666666666666666666666 7 89#$ 6666666666666666666666666666666666666666666666666666666666666666666 7 Basic Operation...................................14 &'"(%') :%;%'"<=%#$ >%0= 6666666666666666666666666666666666666 ? J@9$E49#L "#R "(( 6666666666666666666666666666666666666666666666666 NS 3% @"1') '9A% $" $40#A6666666666666666666666666666666666666666666 ? JK,$%= T"'1=% 666666666666666666666666666666666666666666666666666 NS J%'%E$9#L C-"L-0=,66666666666666666666666666666666666666666666666 NS Content........................................4...
  • Page 5 Amplifier Edit Menu..........54 The Comb Filter Types...........8P Effects Parameter Controls ........55 Envelope Types............91 Effects Edit Menu ..........54 Appendix......................................94 Effect Bypass ............55 Chorus .............. 55 FM Sources ............94 Flanger .............. 5P Modulation Sources ..........94 Blofeld ,ser/s Manual...
  • Page 6 !ontent Modulation 4estinations 555555555555555555555555555555555555555597 4eclaration of !onfor=it< 555555555555555555555555555555555555DD2 +8dating the S<ste= Soft>are 5555555555555555555555555555555559? J!! Knfor=ation 5555555555555555555555555555555555555555555555555DDL @i8s A @ricks 555555555555555555555555555555555555555555555555555555599 Mroduct Narrant< 55555555555555555555555555555555555555555555555DD7 @echnical 4ata 55555555555555555555555555555555555555555555555555 DEE Mroduct Su88ort 5555555555555555555555555555555555555555555555555DD7 !ontroller Fu=Gers 55555555555555555555555555555555555555555555 DED Hlossar<55555555555555555555555555555555555555555555555555555555555 DE2 Blofeld +ser.s Manual...

  • Page 7: Control Features And Connections

    "#$%&#' ()*%+&), *$- "#$$).%/#$, Control Features and Connections Front Panel 6/,7'*8 <8,%): @#'+:) 6/*' 9*&*:)%)& 5*%&/; 6/,7'*8 9*&*:)%)& 6/*', <)').%/#$ 6/*' =/%> 9'*8 ?+%%#$ 1'#2)'- 3,)&4, 5*$+*'...
  • Page 8 Control Features and Connections Connections Po7er supply socket Stereo Geadphone =ack ³ ´ MIDI In =ack Po7er s7itch · USB port for connection to a suited computer » Stereo audio output left@right (only leftD monoE only ¿ rightsD stereo) Blofeld User3s Manual...

  • Page 9: Introduction

    "#troduct*o# Introduction Highlighted Control Features and Parameters About this Manual Gll of t6e ,lofeld21 ;utto#1A co#trol1 a#d 9ara7eter1 are 56*1 7a#ual 8a1 8r*tte# to 6el9 you to ;eco7e fa7*l*ar 6*B6l*B6ted *# bold letter1 t6rouB6out t6e 7a#ual= 8*t6 t6e ,lofeld 1y#t6e1*<er= "t 8*ll al1o a*d e>9er*e#ced J>a79leK u1er1 8*t6 rout*#e ta1k1= J>a79leK...
  • Page 10 Power Supply General Safety Guidelines ;ever use a different power cable than the one that came with the Blofeld. !lease read the follo-ing safet1 ti2s carefull15 6he1 include se7eral 2recautions 1ou should al-a1s /nplug the device when 9ou are not using it for o8ser7e -hen dealing -ith electronic e9ui2:ent;...
  • Page 11 "#$%&'()$*&# Maintenance !! 5& #&$ &6/# $7/ '/8*)/ &% %/9&8/ $7/ )&8/%: ;/./% 4-- 1/%8*)/ 4#' %/64*% $41<1 $& =(4-*.*/' 6/%1&##/-: >7/ *#$/%*&% &. $7/ )7411*1 )&#$4*#1 #& )&96&#/#$1 $74$ %/=(*%/ (1/% 94*#$/#4#)/: ! ! 01/ &#-? 4 '%?@ 1&.$ )-&$7 &% A%(17 $& )-/4# $7/ '/8*)/: B/8/% (1/ 4-)&7&-@ )-/4#*#C 1&-($*&#1 &% 1*9*-4% )7/9*)4-1: >7/? D*-- '494C/ $7/ 1(%.4)/ &.

  • Page 12: Setup And Connection

    (Windows PC or Apple Mac). After that the Blofeld is automatically available as a MIDI unit. In order to get started with your Blofeld you will need an AC power outlet, a mixing console, an amp or/ and an Blofeld User´s Manual...
  • Page 13 "#$%& '() *+((#,$-+( 89 *+((#,$ $:# &+;#5 4%&&1< ,'=1# +5 $:# &+;#5 !"#$%" '$(("')*(+ ,(- -*.'$(("')*(+ )/" !0$#"0- )$ ,'=1# $:'$ ,'># ;-$: $:# 01+2#1) ;-$: $:# ?+;#5 , 1$2"% .31104 .$3%'"5 )3%( 4$3% ,617. 8$036" 4%&&1< @',A9 '$()%$0 ,00 )/" 2,4 -$2( )$ ,8$*- -,6,+" -3" )$ $(9$## .2*)'/*(+ ($*.": ;/"...
  • Page 14 !"#$% '() *+((",#-+( 8""% -( 9-() #:'# ;" +00"3 ("; +%"3'#-+( 2<2#"9 $%)'#"2 03+9 #-9" #+ #-9"= >/"'2" 3"') '/2+ #:" ,:'%#"3 ?1%)'#-(@ #:" !<2#"9 !+0#;'3"A= B+$ ,'( -(2#'// ' ("; +%"3'#-(@ 2<2#"9 '2 ;"// '2 5CDC +3 '( 1!. ,+((",#-+(= ./+0"/) 12"342 5'($'/...

  • Page 15: Basic Operation

    !!!!!!"#$%&!'()*#+%,- Basic Operation !" $*,*(' 1 23"4315 %&') ')* 6*,*('&"/ .&1, !! 5#=)!$6*)!+8#+!+8)!D0#>!E,6-2!@,2)!%$!$8,:-!%- Switching on/ off +8)!2%$(0#>! ;!F1!-,+G!(*)$$!+8)! Play!C6++,-! $8,*+0>; 78)!"0,1)02!%$+!)96%(()2!:%+8!#!(,:)*!$:%+&8; ! ! 3$)! +8)! Selection ! +,! $)0)&+! #- dial! !" $%&'() ')* +,"-*,. "/ #((*,(*%#+)!D*,B*#@;!76*-%-B!+8)!2%#0!&0,&=:%$) %-&*)#$)$! +8)! D*,B*#@! -6@C)*G! +6*-%-B! +8)! 2%#0 ! ! <0%&=! +8)! Power switch ! +,! $:%+&8! ,-! +8) &,6-+)*&0,&=:%$)!2)&*)#$)$!%+;!H8)-!>,6!#*)!#+...

  • Page 16: Editing Parameters

    !"#$%&'()*"+$,- Category Search O"+)<,*:& C)"*%8& 0,)#-?+& %8"-<)& "-:& (*,<*"; -4;9)*#=&>+&,-.:&/$.+)*#&,4+&"..&("+%8)#&-,+&9).,-<$-< 78)& !.,/).0& ,//)*#& "& #()%$".& /4-%+$,-& +,& )-"9.)& )"#: +,& +8)& #).)%+)0& %"+)<,*:=& C%*,..$-<& +8*,4<8& ("+%8)# #)"*%8)#& /,*& #,4-0#& ,/& #$;$."*& %"+)<,*$)#=& >/& :,4?*) A$+8& +8$#& /4-%+$,-& $#& ;4%8& /"#+)*& 9)%"4#)& ,-.: #)"*%8$-<&...
  • Page 17 !!!!!!Basi&!'perati,n s,,n!as!the!8alue!!!is!rea&hed9!the!sweep!is!st,pped!1,r!a se&ti,n!Cutt,n!until!the!LMN!1,r!Hilter!A!lights!up sh,rt!peri,d!t,!ma<e!it!easier!t,!edit!the!Bl,1eld= in!the!Hilter!se&ti,n= A= >ith!the!1irst!endless!r,tary!y,u!&an!n,w!&hange Editing Parameter Controls the 7"#$88!parameter!,1!9(*#.1 := O= >hene8er!y,u!&hange!a!parameter!Cy!m,8ing!a >e!re&,mmend!t,!swit&h!,n!the!!"#$ &'(#!1un&ti,n <n,C9! the! display! sh,ws! the! edited! parameter in!the!)*$+,* -./"=!?ead!m,re!,n!this!,n!page!/A= and!its!&urrent!8alue!in!the!upper!right!&,rner!1,r a!1ew!se&,nds= Bhe!Casi&!pr,gramming!,1!the!Bl,1eld!is!d,ne!8ia!the!s,- &alled!0,1,-.#.1 -,#1(2! whi&h!has!its!m,st!imp,rtant H,r! ea&h! parameter! le8el! y,u! &an! als,! a&&ess! an! edit menu9! sin&e! ,nly! the! m,st! imp,rtant! parameters! &an! Ce parameters! sil<s&reened! ,n! the! ma&hine4s! 1r,nt! panel= dire&tly!a&&essed!thr,ugh!the!parameter!matrix=...
  • Page 18 All menu pages of the Blofeld are arranged one after .* 3'& #/& 8*21$+& 935"#(*57 another in order of the signal flow. 1se the to select these pages.
  • Page 19 !o 1tore a pro.ram: is the currently selected program but you may want to store your edits in a different location. Press Shift + Utility to activate the Store page. In this case the name of the chosen Sound Blofeld User4s Manual...
  • Page 20 !asic 'peration 7rogram is temporarily shown and you can choose to o=erwrite the old sound or not> ?> @inally press Shift ' Store to store the 7rogram to the selected location> A> !y pressing any Button Before performing the step ?C you can discard the Store process at any time>...

  • Page 21: Multi Mode

    Part + receives data on "FIF channel +, part 2 on "FIF channel 2 and so on. 4he 6aldorf Blofeld offers a +7 part "ulti mode. ;s soon as <ou want to do multi track recordings in a studio, <ou should start to use "ulti parts.

  • Page 22: Menu Pages Overview

    !"#$ &'(") *+",+-". Menu Pages Overview !"#$%%&'()*- BCDEF *G;'+" D /'0'#G" B6DEF &$0)".-3;> D &H! I:1$#; 7"," 81$ 2-#3 '# 1+",+-". 12 '00 /012"03 9',':";", '#3 BJDEF &H! =1$,G" D &H! I:1$#; :"#$ 9'(")< BKDEF /,-00-'#G" BMDEF N! =1$,G" D N! I:1$#; !s#illat(rs BEDEF O"8;,'GP D /"#3 Q'#("...
  • Page 23 Filter'.n/elo0e (3/4) Start Phase / Keytrack (1/3) Trigger / Mode (4/4) Delay / Fade (2/3) Attack Level (3/3) Decay 2 / Sustain 2 5FO'- (1/4) Shape / Speed 1m0'.n/elo0e (2/4) Sync / Clocked (1/3) Trigger / Mode Blofeld User7s Manual...
  • Page 24 (1/6) Mode / Clock (2/2) Mod Source / Mod Amount (2/6) Tempo / Pattern (3/6) Direction / *ctave E44e5ts (4/6) Length / *verlap (5/6) Timing Factor / Velocity !arameter matrix: (6/6) PatR Length / PatR Reset MiL 1, MiL 2 Blofeld 4ser5s Manual...
  • Page 25 Position / >lide (2/3) Category (3/3) Dest. Bank / Dest. Sound Arpeggiator 1iming Position / Timing 6ompare +ound Arpeggiator Lengt4 7ecall +ound Position / Length 8nit +ound 7andomi9e +ound :ump +ound :ump +ound ;an< :ump All +ound= :ump All Blofeld 6ser7s Manual...
  • Page 26 Master Tune / Transpose !l#$%l M1'1 (1/3) MDDD Channel / De+ice DD (2/3) Hel Cur+e / Clock (2/3) Ctrl Send / Ctrl Kecei+e !l#$%l 2#nt4#ls (1/2) Control L / Control M (2/2) Control N / Control O Blofeld 4ser5s Manual...

  • Page 27: Sound Parameter

    Modifier unit can process various chapter BSound SCnthesis BasicsD on pa=e .8> mathematical operations and functions on the You should Gno? that the Blofeld consists of t?o different modulation si=nals> tCpes of components for sound =eneration and sound...
  • Page 28 !o#$%&'ara*+t+r Oscillator Parameter Controls 8#ls+9i%t6& o/& t6+& 9a:+/or*@& P#rt6+r*or+D& t6+ *o%#latio$& %+sti$atio$s& 94%6D&95%6&or&9:%6 <ai$&/#$ctio$alit7D&%+8+$%i$<&o$&96ic6&oscillator&is !"" $ %&'() $ *+, $ -./+01') $ */0) $ 2'3 4 $ Shape s+t&to&%&'()@&A6+&8ara*+t+r&Brilliance&is&/or&a%%i$< 2'3 5 $ 6+7)3+8')( *or+&;rillia$c+&to&t6+&'#ls+&9a:+@ !+ts& t6+& t78+& o/& 9a:+/or*& to& ;+& <+$+rat+%& ;7& t6+ *+,&...
  • Page 29 Ahe audi9le result of detuned oscillators is a Uhorus or Ahe variet< of tones among all ;aveforms in the Flanger effect. 2se a Bositive setting for one oscillator and Blofeld are nearl< ineGhausti9le. an eVuivalent negative setting for another.. >scillators should 9e set to HoffI when not using A low value of :1 results in a slow and soft Flanger them.
  • Page 30 !"#$% '()(*+,+) C7,=9 *"%#.(,7"$ 71 (CC.7+%> I$ ,971 =(1+H ,9+ "1=7..(,")M1 6789 :(.#+1 "/ !"# ") (;":+ <7.. 87:+ ( 1,)"$8 /)+N#+$=D <7.. ;+ ,9+ 1(*+ (1 1+, 7$ ,9+ 8.";(. ;)&*", %+,#$+ ,9(, =($ ;+ #1+% /") (==")%7"$1 ") +//+=, <71"...
  • Page 31 !u#$%&'()* of around -)E+%,. This results in a fat piano or fat ?ass sounds. attack phase, especially when only one oscillator is A pulse width of around 1IG is interesting for used for the Bass. Clavinet sounds. Blofeld 2ser4s Manual...
  • Page 32 !"#$% '()(*+,+) C7+ ($(."? 9(<+/")*1 ()+ ( )+.;:, /)"* ,7+ /")*+) ''Q 67+$ 8"# 9($, ," :)+(,+ ( 1"#$% 9;,7 ( 9(<+ 6(<+ ($% 3;:)"9(<+ 18$,7+1;R+)1B M/ 8"# %"$2, 9($, ," 19++=> 8"# 17"#.% 1+, ,7+ 1,(),=";$, )"#?7.8 #1+ ,7+1+ 9(<+/")*1> #1+ Limit W7 ," *(1S ;,B @Pulsewidth) (, ,7+ %+1;)+% 9(<+>...
  • Page 33 "ound Pa)a*ete) 5i7he) !rilliance values :o*e :lose to the sound Qs:illato) 3 and Sync is a:tivated. To avoid unusable s;nthesis <)o:ess o0 the ea)lie) =avetable s;nthesi?e)s as detuneO use a t)ian7ula) o) sine =ave0o)* 0o) the SM PP@ Wave and Waldo)0 Wave. The Waldo)0 Mi:)o=ave "ou):e.

  • Page 34: Oscillator Common

    !"#$%&'()(*+,+) -24...+24 !"#$ &'#(" 01+& )*#+&/")&I+(%&")&!"."&1"#$%1@&!+,&E1;7..(,")&F ,"&:.(9&"$+&";,(=+&($%&M&1+*7,"$+1&87?8+)D&(::.9&($ 6+,+)*7$+1& ,8+& 7$,+$17,9& "/& ,8+& :7,;8<+$%& =7(& 3>6> +$=+.":+&,"&7,1&:7,;8&G7,8&:"17,7=+&(*"#$,&($%&9"# '7,;8<+$%& *+11(?+1& 7$& 1+*7,"$+1& /")& ,8+& 1+.+;,+% ?+,&(&1;)+(*7$?&19$;&1"#$%@ "1;7..(,")@ )*#+& ;($& (.1"& <+& =+)9& 7$,+)+1,7$?& "$& ():+??7" 1"#$%1@& H::.9& (& 1."G& ;.";N+%& IJE& ,"& E1;7..(,")& F off ) on )*#+ ,- ./ 0-#1* 2-3 .4+ 56 :7,;8&($%&,8+&():+??7"&1,(),1&,"&*"=+@...
  • Page 35 !!!!!!"o$%&!'ara*eter 0ater! %otes! $se! t6ese! e%7e0o8es9! :$t! so$%&! i%! t6e !"#$%# '()# )*$) )*# +*(%#' ',-.#/ (0 ,'1%('( 8itc6! yo$>7e! 80aye&.! @6is! *o&e! is! 1or! s$stai%e& 2(1+#% 31"" /#%4#+)12#"5 "(3#/ )*# ',-.#/ (0 so$%&s!0ike!ty8ica0!70>s!so0o!so$%&s. $2$1"$."# 2(1+#%6 D6e%! !ono! is! se0ecte&! a%&! yo$! 6a7e! set! $8! a 0,,,123 !n# '()*n( &ecayi%E! 7o0$*e! e%7e0o8e! 1or! t6e! se0ecte&! "o$%&9...
  • Page 36 !"#$%&'()(*+,+) 67()(6,+)&,"&,7+&1"#$%8&9:;7&<(.#+1&=:..&)+1#.,&:$&(&."$; I"&6)+(,+&(&6"**"$&>:,67&<:?)(,"&,7(,&:1&6"$,)"..+% ;.:%+&,:*+&"/&#>&,"&1+<+)(.&1+6"$%1&=7:67&6($&?+&#1+/#. ?A&,7+&*"%=7++.J&1+,&Pitch Source &,"&:;<=>5? /")&1"."&($%&+//+6,&1"#$%18 =:,7&Pitch Amount&1+,&,"&()"#$%&@AB8 I"& 6)+(,+& (& 1"#$%& =7"1+& >:,67& ;.:%+1& :$J& 1+,& Pitch !ort%&ento * +ingere. ! * /liss%n.o * Mode Source&,"&(&%+6(A:$;& Envelope&=:,7&Pitch Amount +ingere. / 1+,&,"&()"#$%&FAG8 @+,+)*:$+1&,7+&=(A&,7+&B.:%+&+//+6,&=")C18 !ort%&ento& *+($1& ,7(,& (& 6"$,:$#"#1& ;.:%+& :1 K/&...

  • Page 37: Ringmodulation

    Cilter A andUor Cilter B. Rf set to /# 12, the signal is sent to Cilter A only. Nigher val$es 8ill increase the amo$nt of signal that feeds Cilter B and decrease the amo$nt of signal that feeds Cilter A. Rf set to Blofeld User4s 5an$al...

  • Page 38: Noise

    !"#$%&'()(*+,+) The Filter Section mid6&7",8&/9.,+)1&:9..&)+;+9<+&,8+&1(*+&19=$(.&.+<+.>&?/&1+,&," F2 '(6&,8+&19=$(.&91&1+$,&,"&@9.,+)&A&"$.B> C8+&-."/+.%&"//+)1&,:"&/9.,+)&,8(,&#1+&,8+&1(*+&D()(*+,+)1 /")&+%9,9$=> Noise C8+&/"..":9$=&D()(*+,+)1&)+/+)&,"&,8+&$"91+&=+$+)(,")> I&%+,(9..+%&9$,)"%#;,9"$&"/&,8+&/9.,+)1&;($&7+&/"#$%&9$ ,8+&;8(D,+)&R!"#$%&!B$,8+191&-(19;1S&"/&,891&*($#(.> 0...12, Level C8+&*"1,&9*D"),($,&;"$,)".1&"/&,8+&/9.,+)1&;($&7+&/"#$%&9$ E".#*+& "/& ,8+& $"91+& =+$+)(,")& F"91+& 91& (& /#$%(*+$,(. ,8+&'()(*+,+)&*(,)9T> 1"#);+&/")&($B&G9$%&"/&($(."=H,BD+&D+);#119"$>&I.1"6&:9$%> 7+(;8+1&($%&",8+)&1"#$%&+//+;,1&;($&7+&;)+(,+%&7B&#19$= !"#"$%&'()'*)%+")F&#%"-. ,8+&$"91+&=+$+)(,")> M8""1+&,8+&%+19)+%&/9.,+)&7B&D)+119$=&,8+&7#,,"$>&C8+&UVJ "/&,8+&;"))+1D"$%9$=&/9.,+)&:9..&.9=8,&#D> F1 '4...middle...F2 '( Balance (Noise) Filter Section Parameter Controls J+,+)*9$+1&8":&."#%&,8+&$"91+&19=$(.&91&1+$,&,"&,8+&9$D#,1 "/&@9.,+)&K&($%&@9.,+)&A>&?/&1+,&,"&F1 '46&,8+&19=$(.&91&1+$,&,"...

  • Page 39: Oscillator Edit Menu

    "#$%& '()(*+,+) 3+,,8%9 83 )(83+& ,# H(0$+3 (?#H+ 11,= ,7+ 180,+) 3,(),3 ,# 67+% ( 7897 :(33 ,;:+ 83 3+0+<,+&= (00 1)+>$+%<8+3 •! ?+0#@ ,7+ <$,#11 1)+>$+%<; ()+ &(*:+&A 3+01F#3<800(,+= 9+%+)(,8%9 ( :$)+ 38%+ @(H+A Q783 1+(,$)+ <(% ?+ $3+& ,# <)+(,+ (%(0#9F3,;0+ +11+<,3 (%& :+)<$338#%F •...
  • Page 40 !"#$d '()(me,e) 24d- 1l"7e i/ 9"# :($, ," ;)e(,e 1"#$d1 :i,< ( -l"/eldH 9"# :ill /i$d ,<e )e1"$($;e T") Um7<(1i1H (1 ,97i;(l (#di=le /il,e)ed ;<()(;,e)> #1e ,<e 12d- 1l"7e i, i1 ;(lled i$ ,<e ''PV "/ =",< ," =e $e()l9 ide$,i;(l. i/ 9"# :($, ,"...

  • Page 41: Filter Edit Menu

    When you hit the keys smoothly, only minimal The following parameters refer to the selected filter. This modulation is applied. When you hit them harder, the is shown in the upper display area. modulation amount also gets stronger. Blofeld 2ser4s Manual...
  • Page 42 !"#$%&'()(*+,+) *::;#<666<=> FM Amount 67+&"8+)(..&*"%#.(,9"$&(::.9+%&,"&,7+&/9.,+);1&<#,"// /)+=#+$<>&91&<(.<#.(,+%&(1&,7+&1#*&"/&?",7&,7+&Env !+,1&,7+&(*"#$,&"/&/)+=#+$<>&*"%#.(,9"$&,7(,&91&(::.9+% Amount&($%& Env Velocity& :()(*+,+)1@& 67+)+/")+ ,"&,7+&/9.,+)&?>&,7+&1+.+<,+%&1"#)<+@ >"#&17"#.%&(.A(>1&?+()&,791&,",(.&9$&*9$%B&+1:+<9(..> A7+$&,7+&/9.,+)&%"+1&$",&?+7(8+&(1&>"#&+C:+<,@&D"# ?666<=> Drive <($& (.1"& <)+(,+& 9$,+)+1,9$E& +//+<,1& ?>& 1+,,9$E& "$+ :()(*+,+)&,"&(&:"19,98+&($%&,7+&",7+)&,"&(&$+E(,98+ I+,+)*9$+1&,7+&(*"#$,&"/&1(,#)(,9"$&,7(,&91&(%%+%&,"&,7+ (*"#$,@ 19E$(.@&J/&1+,&,"&?B&$"&1(,#)(,9"$&A9..&?+&(%%+%&")B&9$&",7+) A")%1B&,7+&19E$(.&A9..&)+*(9$&<.+($@&K"A+)&8(.#+1&A9..&(%% 1"*+& 7()*"$9<1& ,"& ,7+& 19E$(.B& )+1#.,9$E& 9$& (& A()* !""#$%&'"#()*+,'%$-*./*,01"!2 Mod Source <7()(<,+)@&...

  • Page 43: Filter Common

    "#$%& '()(*+,+) 3#$%&6 3+, ,783 9()(*+,+) ,# ( :(38; <(0$+ (%& (990= 3#*+ ,7+ 38B%(0 10#A 1)#* ( 9()(00+0 ,# ( 3+)8(0 180,+) ;#%18B$)(,8#% (%& <8;+ <+)3(> *#&$0(,8#% ,# 8, <8( ,7+ Pa# %o'r)e 9()(*+,+)> @783 83 7#A ,7+ C#$,8%B 3+;,8#% A#)G3 8% &+,(80H see ta&'e ()o+u'at-on/ou0ces2 Pa# %o'r)e @7+ I3;800(,#) 3+;,8#% $3+3 ,A# 3+9()(,+ #$,9$,3 J...

  • Page 44: Modulation Section

    !"#$%&'()(*+,+) 5/,+)&6(117$8&,9+&6($$7$8&#$7,1:&;",9&178$(.1&()+&1#**+% 5$&5*6.7/7+)&G$A+."6+&F5*6&G$AH.&@971&+$A+."6+&71 #6&(8(7$&($%&1+$,&,"&,9+&5*6.7/7+)&($%&<=&1+>,7"$. /7B+%&,"&>"$,)".&,9+&1"#$%&A".#*+:&;#,&>($&(.1"&;+ #1+%&/")&",9+)&*"%#.(,7"$1. Modulation Section @I"&(%%7,7"$(.&G$A+."6+1:&G$A&3&($%&G$A&4.&@9+1+ +$A+."6+1&>($&;+&#1+%&/)++.K&,"&6+)/")*&(%%7,7"$(. @9+& *"1,& 7*6"),($,& >"$,)".1& /")& ,9+& +$A+."6+1:& ,9+ *"%#.(,7"$1&"$&($K&*"%#.+. *"%#.(,7"$&*(,)7B&($%&,9+&,9)++&C<D1&>($&;+&/"#$%&7$&,9+ Modulation 6()(*+,+)&*(,)7B. @9+& '()(*+,+)& E"$,)".1& "/& <7.,+)& G$A& ($%& 5*6& G$A ()+&$+().K&17*7.(). @971&1+>,7"$&71&%7A7%+%&7$,"&/"#)&1#;&1+>,7"$1. Selection of the Sub sections 5& %+,(7..+%& 7$,)"%#>,7"$& "/& ,9+& +$A+."6+1& >($& ;+ /"#$%&7$&,9+&>9(6,+)&N!"#$%&!K$,9+171&-(17>1O.

  • Page 45: Envelopes Edit Menu

    "ound 'ara*eter is a7ti@e. ./&0+1 is onlB a7ti@e in *onophoni7 !"""#$% !"#"$%" @oi7e-*ode. 6n7e the note has ended9 the release phase be<ins. ?urin< this phase9 the en@elope 1ades to Aero at the rate 2345 , 234#34$5 , 6&1 47'8 , 9'': 4#4$ , 2.3"...
  • Page 46 This setting is only active as long as the :+6%; phase starts. This parameter affects the envelope Parameter -,,26%$&2' is set to 60n0. Otherwise types A'(#'($)* ,ne (h0t* 2003 (#($ and 2003 All the envelope behaves as though set to n0r6al. only. Blofeld User´s Manual...
  • Page 47 Decay>Sustain pair as This common envelope starts as soon as the first explained below. note is played. The sustain level remains until the last note is released. Afterwards the release phase Blofeld 2ser4s Manual...

  • Page 48: Lfo Parameter Controls

    Parameter Control of the LFOs The Sine shape is best suited for oscillator LM or pan modulations. In addition to the main oscillators, the Blofeld is eHuipped with three low freHuency oscillators JLLOM that can be The Triangle shape is perfect for smooth pitch, used for modulation purposes.

  • Page 49: Lfo Edit Menu

    Rhen the LKL 123/0#$ parameter is set to :(, you can adjust the !"##$ in musical values. The lowest possible -.../012%32/04-25"36.../784 !"##$ value is /04-2 5"36 , meaning that a complete LKL cycle See !"##$ &. would need 1VSW bars. Blofeld 2ser4s Manual...
  • Page 50 When +l-c2e3 is activated, the LFO is synced to the parameter. After this time, the LFO is faded in and global 6e7p- of the Blofeld. The 9%: Spee3 setting then runs with full magnitude. changed to offer musically meaningful values.

  • Page 51: Modulation Matrin Parameter Controls

    A modulation can be described as a signal-generating source Kou selectN unit’s influence upon a sound parameter. The terms used in this conteCt are DSourceD and DDestinationD. The Blofeld B For the so-called unipolar modulation sources, offers 16 independent modulation assignments (slots)

  • Page 52: Modulation Matrin Edit Menu

    The possible settings are the See -."#+) above same as for !"#$%& - with one e:ception: M);;N is replaced by M0)-!$%-$N meaning that the calculation is performed with a constant value that you can set up with the 5"+(),+) parameter. Blofeld 0ser2s Manual...
  • Page 53 The following paragraph describes the function and the described above for further details. result of each modifier function in detail: + Returns the sum of Source A and Source B. • - Returns the difference of Source A and Source • Blofeld User4s Manual...

  • Page 54: Amplifier Edit Menu

    !ound 'ara*eter Amplifier Edit Menu /or e//eAt sounds. =s t7e =*8li/ier al<a@s <or;s in AonMunAtion <it7 t7e =*8li/ier >n?elo8e: t7is 8ara*eter 6o understand t7e o8eration o/ t7is unit: it is i*8ortant to aAtuall@ deter*ines t7e en?elo8e ?eloAit@ a*ount. 67e ;no< t7at t7e =*8li/ier >n?elo8e is al<a@s aAtinB as a /ollo<inB 8iAture illustrates t7is /unAtionalit@N *odulation sourAe /or t7e ?olu*e.

  • Page 55: Effects Parameter Controls

    Edit is set to offL. Use the Selection dial to scroll through the corresponding menu pages. 5he name of the page is 5he Blofeld has two effect units. 5he first effect unit is shown in the top of the displa;.

  • Page 56: Flanger

    !"#$%&'()(*+,+) %+,#$6$7& 61& 7+$+)(,+%& 89& ($& 6$,+)$(.& :;<& ,=(,& >($& 8+ F& 36G& 1+,,6$7& "/& HI& ,"& J5& ?)"%#>+1& ,=+& 1,)"$7+1, >"$,)"..+%& 6$& 1?++%& ($%& %+?,=@& A=+& B=")#1C& =67= +//+>,& 8+>(#1+& 8",=& ,=+& #$(//+>,+%& 167$(.& ($%& ,=+ /)+D#+$>9& "#,?#,& >($& 8+& %(*?+$+%& E6,=& ,=+& B#,"// ?)">+11+%&167$(.&()+&*6G+%&,"7+,=+)@ ?()(*+,+)@ F&...
  • Page 57 "#$%& '()(*+,+) positive / negative 2o4arit5 6 578 3+,,7%9 #1 :; ,# <= >)#&$?+3 ,@+ 3,)#%9+3, +11+?, A+?($3+ A#,@ ,@+ $%(11+?,+& 379%(0 (%& ,@+ M+,+)*7%+3 H@+,@+) ,@+ 1++&A(?L 379%(0 73 1+& A(?L 7%,# >)#?+33+& 379%(0 ()+ *78+& ,#9+,@+)B ,@+ '@(3+) (3 73K #) 73 7%I+),+& A+1#)+@(%&B 0…127 Spee$ O7er$ri7e...

  • Page 58: Overdrive

    Sample O Hold is a sample rate reduction effect. Eontrols the output sample rate. RR.:kHz means that the signal is unaffected, while other values reduce the sample rate of the sound to the respective rate. Kou will hear a lot Blofeld 0ser2s Manual...

  • Page 59: Delay

    "ound Para*e,er o1 aliasing 8hen you lo8er ,he sa*ple ra,e< bu, ,his is !&&&$' 8e9:th grea, 1or so>?alled @lo>1iA soundsB "e,s ,he leng,h o1 ,he Delay ,apB !"#$% !h#$%s Mix ()*&&&+), Sp$ea. Con,rols ,he *iD level o1 ,he Chorus e11e?,B "preads ,he le1, and righ, delay ou,pu, ,o hal1 o1 ,he delay ,i*e *aDi*u*B "e,,ings 1ro* >NO or PNQ ?rea,e a ,ypi?al !"#$%...
  • Page 60 Sets the length of the Delay tap in note values. A K-L the signal isn9t filtered, while lower settings filter the high behind the number means a triplet note value while a K,L frequencies of the feedback signal. behind it means a dotted note. Blofeld 0ser2s Manual...

  • Page 61: Reverb

    3o5Pa22 stepless changes of these reverb types. Lower settings simulate a more natural reverb while higher settings Determines the frequency where the higher frequency simulate a plate reverb. parts are divided from the effect signal. This parameter Blofeld User4s Manual...

  • Page 62: Arpeggiator

    Sound Parameter !"#$% De#$% Arpeggiator Determines the len9th of the rever; refle<tions= >o Fn Frpe99iator is a devi<e that splits an in<omin9 MGDG simulate a ;i9 room <hoose hi9her De<a? settin9s@ to <hord into its sin9le notes and repeats them rh?thmi<all?= simulate a smaller room <hoose loAer settin9s= Different seCuen<e modes <an ;e defined for the Frpe99iator to <over a Aide ran9e of appli<ations= Gn...
  • Page 63 Sound Para*eter rhyth*8 Con:er3ely; a3 3oon a3 you add another for playing difficult chord38 Bt alloG3 you to note to the e<i3ting chord; it i3 in3erted into the create arpeggio3 in the 3eMuence of played arpeggio8 Ahen you relea3e all note3; the note38 Nou can e:en hit the 3a*e note arpeggiator 3top38 3e:eral ti*e3 and it Gill appear in the note...
  • Page 64 !"#$% '()(*+,+) ! ! 6/ !"" 71 1+.+8,+%9 ,:+ ();+<<7(,") ;.(=1 >(8? ( Pattern 9 10 11 12 13 14 15 16 8"$,7$#"#1 1+@#+$8+ "/ $",+1 A7,: ,:+ 8#))+$, l l l l l l l l l !lock 1+,,7$<B l l l ! ! #$%&...
  • Page 65 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. Blofeld 2ser4s Manual...
  • Page 66 0 off O/er0a) Due to the various !en$th 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 1MN. Blofeld 0ser2s Manual...
  • Page 67 Pattern is set to Off or if one of the ROM patterns is selected. Note that <ou can onl< edit a particular step in the Step Data pages when its position is within the range of the Pattern Length parameter. Blofeld User4s Manual...

  • Page 68: Arpeggiator Step Data Pages

    !"#$% '()(*+,+) '"1>,>"$ E()(*+,+) >1 1>*>.() "$ +(?A ()E+HH>(,") 1,+E !"#$%&#'( %(,( E(H+F 01+ ,A+ !+.+?,>"$ %>(. ," 1+.+?, C+,B++$ !,+E@ )*#' <6 : <6 : N??+$,@ :.>%+@ G>*>$H ($% P+$H,AF Arpeggio with Pattern Reset set to 1on2 Q"# ?($ "$.D 1+.+?, ,A+ 1,+E1 ,A(, ()+ >$ ,A+ )($H+ 1+, CD !at.
  • Page 69 So$nd 'ara*eter 61 !prev%o's i3 3elected9 the Arpeggiator pla>3 the note o1 the eJi3ting note li3tB Dhe note li3t i3 not 3a*e note a3 it had to pla> in the previo$3 3tep advancedB that @a3 3et to A nor*al or - rando*B Cith thi3 *%s3ellaneo's step data !""#$% 3etting9 >o$ can repeat a partic$lar note o1 the note...
  • Page 70 !"#$% '()(*+,+) ."6+)+% (77")%8$9.:; <") +=(*>.+ ( >.(:+% *+($1 ,D(, 8, 81 >.(:+% +().8+); GD+ "?+)(.. 1,)+$9,D "/ ,D81 ?+."78,: "/ @A 9+$+)(,+1 ( /8$(. ?+."78,: "/ BC >()(*+,+) 81 1+, H: '#(#)*& +,-./0; N/ '#(#)*& +,-./0 81 6D+$ 1+, ," !" ($% ECF 6D+$ 1+, ," #"; 1+, ,"...
  • Page 71 Negative values '()*+(,+&-".+(/) shorten the length of the notes of this step. 6f 0 is selected, the step is held for the time set in the !"#$%& parameter. Positive values '1/*+ 1,*+ 1)) e<tend the note duration of this step. Blofeld 2ser4s Manual...

  • Page 72: Global Parameters

    !"o$a" Pa(a)ete( Global Parameter P(ess an. ho". the Shift $4tton an. a-te( that the &lobal $4tton to ente( the !"o$a" )en4. !"o$a" pa(a)ete(s a(e settings that a--e;t the ,"o-e".<s /se the "e-t .isp"a? pa(a)ete( .ia" to ;hange gene(a" (esponse. >he? a(e @a"i. -o( a"" p(og(a)s $4t the Jont(ast to a .esi(e.
  • Page 73 "#$%&# '&(&)ete( the c$((e29$n0:ng <0:t )en6 =$n3t &cce22e0> ?/ omni, 1...16 M-D- Channel @$6 9(e22 the %6tt$n &=h:#eA the c$((e29$n0:ng Oet2 the %&2:c 2en0 &n0 (ece:Be ch&nne# /$( the .#$/e#0> <0:t )en6 :2 &cce22e0> off :2 /$( &0B&nce0 62e(2> Fh:2 2ett:ng :2 B&#:0 /$( &## O$6n0 9($g(&)2> ?/ omni :2 ?/ 2et t$ on the .#$/e#0 &ct2 &2 /$##$=2C Dhen @$6 2e#ecte0A the .#$/e#0 2en02 $n ch&nne# P &n0 (ece:Be2 $n 9(e22 $ne $/ the '&(&)ete( )&t(:E %6tt$n2 2h$(t#@...
  • Page 74 93 +>* H(8*::9%+#( )*34G :+to )*%30 +>%+ +>* ,"#-*". %4+#)%+9A%""< !f $ou have onl$ one Blofeld, leave "#$%&# '" on 0<3A0 +# 93A#)93: 2B?B N"#AM 9- 9+ 90 0*3+ +# 9+ !. 1here is no need at all to change this setting to $<...
  • Page 75 "l$%&l '&r&)eter 072&08&nt&ge 72 & l&rger &)$6nt $/ 0&t& th&t 72 I$ntr$ller n6)%er th&t 72 62e0 Ahen C$6 &227gn 7t2 tr&n2/erre0; p&r&)eter &2 )$06l&t7$n 2$6r=e 7n the 4$07/7er2 $r the 4$06l&t7$n 4&tr7D; Hhe h7ghe2t p$227%le I$ntr$ller </ !"#$%&s() 72 2ele=te0> &ll S$6n0 p&r&)eter2 A7th & n6)%er 72 120 %e=&62e &ll h7gher n6)%er2 &re re2er8e0 0e07=&te0 =$ntr$ller &227gn)ent &re 2ent &2 /$r n$nGre&lGt7)e p6rp$2e2;...

  • Page 76: Tility Menu

    !"#$%" '%(%)*+*( K9*3 >#4 838+8%"8J* % ;(#B(%)= %"" %?+8#3 +%L*0 ;"%?* Utility Menu 8308.* %3 *.8+ $4--*(@ F9*(*-#(* 3# .%+% D8"" $* "#0+ 43+8" >#4 0+#(* +9* ;(#B(%)@ 708.* -(#) +9* .8--*(*3+ 28.8 :4); <;+8#30= +9* /+8"8+> 2*34 ?#3+%830 -4(+9*( 9*";-4" -43?+8#30@ Randomize Sound 838+8%"8J*0 %""...

  • Page 77: Receiving System Enclusive Data

    "#$%&# '&(&)*+*( ! ! 6. Dump Sound 71 1*#*8+*/9 +:* 85((*4+ ! ! M:*8@ $5+ +:* <&(&)*+*( D e v i c e I D ? C&+& ;$54/ <($=(&) >7## %* 1*4+? +(&41)7117$4 >7## $4#D %* *H*85+*/ 1588*11.5##D 7. 7. +:* 1*4/*( &4/ (*8*7B*( 1*++74=1 )&+8:? ! ! 6.

  • Page 78: Sound Synthesis Basics

    !oun% !'nt)esis -asics Sound Synthesis Basics !"# %&'# ()*# 8)e !ine Ha?e is t)e purest tone t)at can be :enerate%. It consists onl' of one )ar@onic, t)e fun%a@ental, an% )as Oscillators Introduction no o?ertones. 8)e folloEin: picture s)oEs t)e sine Ea?e an% its frequenc' representationQ 8)e oscillator is t)e first buil%in: bloc;...
  • Page 79 !"#$%&!'$()*+,+&-.+,/+ 8'&()*&*.5&("&%*(*59,$*&()*&:,(/)&"3&()*&("$*;&<),+&:.5(,.2 ,+& /.22*%& fundamental;& =22& "()*5& :.5(,.2+& .5*& /.22*% 1st Harmonic Magnitude 1 overtones;&!">&()*&+*/"$%&:.5(,.2&,+&()*&3,5+(&"?*5("$*; @'/2,/& A.?*3"59+& +#/)& .+& ()*& A.?*3"59+& ,$& ()*& -2"3*2% "$2'&3*.(#5*&+,$*&A.?*+&,$&,$(*B*5&35*C#*$/'&5.(,"+&("&()* 2nd Harmonic 3#$%.9*$(.2&2,D*&%"#82*&35*C#*$/'>&(5,:2*&35*C#*$/'&.$% Magnitude 1/2 +"&"$;&<)"+*&:.5(,.2+&.5*&/.22*%& harmonics&8*/.#+*&()*,5 35*C#*$/'&,+&.&).59"$,/&9#2(,:2*&"3&()*&3#$%.9*$(.2; 3rd Harmonic @"$3#+,$BE& F*(G+& B*$*5.2,H*& ,(& ("& /'/2,/& A.?*3"59+I& . Magnitude 1/3 /'/2,/&A.?*3"59&2,D*&+.A(""()>&+C#.5*&*(/;&"$2'&/"$+,+(+ "3&...
  • Page 80 Harmonics waveI !dditive co*+onent- o. t/e -012re 42ve 4it/ 567 +1l-e 4idt/ The square wave was thought as an abstraction of wind instruments like a panflute or a recorder. They consist of a Blofeld User4s Manual...
  • Page 81 So#n% Synt)*s,s -.s,/s t#8* t).t /.n /ont.,n . /*5t.,n .9o#nt of .,5. ;)* <l.y*5 8lo=s .,5 t)5o#>) t)* t#8* ,n . =.y s#/) t).t t)* .,5 st.5ts 50% Pulse to ?,85.t*. ;),s ?,85.t,on ,s .l9ost /o9<l*t*ly (Square Wave) sy99*t5,/.l@ 5*s#lt,n> ,n . )ollo= t,985*. 9 11 13 15 !"#$%&'(#$)*+# 33% Pulse...
  • Page 82 Jhe magnitude of each Jhe reason why the triangle wave is so popular in classic harmonic is divided by the power of its number. Jhis synthesizersQ It could act as a suboscillator wave, to Blofeld User4s Manual...
  • Page 83 Wavetable Synthesis in the Blofeld Different waves can be played depending on key The sound generation of the wavetables in the Blofeld is velocity. based on wavetable synthesis. Although wavetable synthesis is not a form of "sample playback", you should...
  • Page 84 !ound !'nt)e+i+ -.+i/+ Ao0.ted 8BUt<ent' !"#$%&'%()*+$),-+#%.#+/%"0%$1+%2-&'+-/ Vr.n+ient G.vetrip8 $a&'(a)l' $a&'(a)l' W0e/tri/A ;> G.vetrip= A0t 8 !.<!'n/8 ?oIoti/ G.vetrip: A0t = :> !.<!'n/= !tronPKrm G.vetrip7 ?e+on.nt !.<!'n/: Aer/TrP.n M.0eXoi/e ?e+on.nt= Au0!'n/8 => Q0ip!<eep >F Yo< Ai.no M.00et!'n Au0!'n/= ?e+oK.rm+ >8 ?e+o!<eep >...

  • Page 85: Filter Introduction

    BlofeldDs sound characteristics. Eor a detailed description of the different filter t'pes that are available in the Blofeld, see the section FEilter ?'pesG on page H8. Eor now, weDll e<plain the basic function of a filter discussing the t'pe used most commonl' in s'nthesizersJ the low pass filter.

  • Page 86: The Comb Filter Types

    !"#$%&!'$()*+,+&-.+,/+ The Comb Filter Types *11*/(&"1&()*&3*+"$.$/*&8.3.9*(*3&"$&()*&1,0(*3:+&13*;#*$/' /#3<*= F)*& G"9C& 1,0(*3& ('8*+& %,11*3& 13"9& ()*& "()*3& 1,0(*3& ('8*+ Level ?3*.(0'A&C*/.#+*&()*'&%"$:(&./(#.00'&%.98&.$'&8.3(&"1&()* +,?$.0A&& C#(& ,$+(*.%& .%%& .& %*0.'*%& <*3+,"$& "1& ()*& ,$8#( +,?$.0&("&()*&"#(8#(E&H).(&*@./(0'&,+&.&G"9C&1,0(*3I J&G"9C&1,0(*3&,+&C.+,/.00'&.&<*3'&+)"3(&%*0.'&().(&/.$&C* Resonance /"$(3"00*%& ,$& 0*$?()& .$%& 1**%C./KE& F)*& %*0.'& (,9*& ,+& +" +)"3(&...
  • Page 87 !"#$%&!'$()e+i+&-.+ic+ Level Level Resonance Resonance Frequency Frequency Cutoff determines number of teeth Cutoff determines number of teeth Comb+ Filter Type Comb – Filter Type !"8& .+& 9i()& .22& "()e5& 3i2(e5& (':e+8& ()e& ;"<=& 3i2(e5& i+ c"$(5"22e%&9i()&(9"&:.5.<e(e5+> !u#$%%&c"$(5"2+&()e&%e2.'&2e$?()@ &es$n*n+e&c"$(5"2+&()e&3ee%=.cA&%e:()@ B"98& 9).(& +"#$%& c.$& .& c"<=& 3i2(e5& :5"%#ceC& De5e& .5e +"<e&eE.<:2e+>...
  • Page 88 ;horus instead of using the FP section of the Blofeld. Here are some reasons: !o $et 'p the *om, -ilter to prod'2e a *hor'$4 The FP sections remain free for other purposes.
  • Page 89 !ound !'nthesis -.sics -lo3eld is de3initel' not me.nt to repl.ce . good ph'sic.l !o set u( the Comb filter to (roduce a 4lan6er7 modeling s'nthesiRerQ so 'ou shouldnSt eTpect to get . Ad;ust the 3ilter .s described in the =horus per3ect emul.tion o3 .n .coustic instrument like .
  • Page 90 !"#nd !'nt)esis Basics !omb3 "scillates "ne "ctave )iB)er t)an Oscillator Comb- Comb- !omb-< <= >J! Meed t)e N"GH 1ilter Oit) a siBnal "1 an' =<: <= => kindJ L)e inc"GinB siBnal:s Fitc) isn:t => iGF"rtant 1"r t)e res#ltinB t#ninBC H#t H"t) >6 Fitc) and tiGHre "1 t)e inF#t siBnal a11ect t)e >6...

  • Page 91: Envelope Types

    Sound Synthesis Basics parameter. It then descends at the rate determined by the Envelope Types in the Blofeld ")/.2%value until it reaches the predetermined #34-.5' value. It remains at this value until the key is released. The envelope then descends to zero at the rate !"#$%&'()*+,)
  • Page 92 Bhe Loop SMS2 envelope type loops the envelope looping stops and the envelope goes into its Release between Sustain , and Sustain - as long as a note is phase. held, after has been through the 2ttack phase once. Bhis Blofeld User4s 5anual...
  • Page 93 !o#$% !'$t)e+i+ -.+i/+ Level Key pressed Key released 100% Sustain 2 Attack Level Sustain Loop Time Attack Decay Decay 2 Release !""#$%&&$'()*&"#* -lo3el% 4+er6+ 7.$#.l...

  • Page 94: Appendix

    !""#$%&' Appendix AB9> AB9 > <&=$2) AB9>EK/.L AB9 > <&=$2) .G2"#% HI !+8#/8*3:G AB9? AB9 ? <&=$2) FM Sources B&)8#/C$D B&)8#/ C$D#)*"# <&=$2) FM Source: Description: !7"C$D !7")&+&#/ C$D#)*"# <&=$2) 6* 7*%3)28&*$ C$D? C$D#)*"# ? <&=$2) 9.:; 9.:&))28*/ ; <&=$2) C$D5 C$D#)*"# 5 <&=$2) 9.:>...

  • Page 95: Modulation Destinations

    Appendi' MA67M/M constant for ma'imum modulation F> FME FF FM FM Amount modulation of Filter ;e<uals =>? >HF F> DriveE FF Drive Drive of Filter >HF Modulation Destinations F> @anE FF @an @an of Filter >HF Modulation Description: Uolume Amplifier output volume Destination: LFO>-E LFOF-E LFOG- Speed of LFO >HG...
  • Page 96 !""#$%&' 67 8#)9 8#)#2.# /2:# *+ 6$;#)*"# 7 6< !::2=> !::2=> /2:# *+ 6$;#)*"# < 6< ?#=2@ ?#=2@ A2$% ?#=2@ BC /2:# *+ 6$;#)*"# < 6< D3.:9 D3.:2&$ A2$% D3.:2&$ BC )#;#) *+ 6$;#)*"# < 6< 8#)9 8#)#2.# /2:# *+ 6$;#)*"# < 1E !F*3$: 1*%3)2:&*$ 2F*3$: *+ 1E 1B !F*3$:...
  • Page 97 !""endi' 3o /p*(te t!e 6)o-e)*70 080tem 0o-t&(re$ Updating the System Software Poad the res"ecti8e Standard 3CDC Qile into ;our seEuencerB Qollow the instructions from 6he *lofeld has a ser8ice-friendl; feature that makes it ;our seEuencerOs manualB "ossi?le to u"date the s;stem software without changing an;...
  • Page 98 !ppendi' !" $"% &$'() *$+ ,-),&./%*$,(/ %&)$ "00 %1( 23"0(3' 41-3( %1-/ /%(5 -/ -$ 5)"6)(//7 8 ,".53(%( 3"// "0 '*%* .*+ ",,&) *$' -% 4-33 9( -.5"//-93( 0") +"& %" .*:( +"&) .*,1-$( 4"): *6*-$; (lofeld -ser0s Manual...
  • Page 99 !""endi' s"eed of around KVWW Xz and that theE can "roduce aliasing side effectsA Tips & Tricks Use the wa;eta>les as F2 sourcesA Lf a QFI 5oise as F2 Source for an oscillator gi;es a modulates the wa;eta>le at the same time, Eou colored noise out"ut whose character can >e will create rea$$y amazing soundsA changed with F2 !mount, the oscillator wa;eform...
  • Page 100 !""en%i' Technical Data !o#er Su))l+ 6ominal 8oltage; <C 12? @u""lA ?oltage 100 B 240 ? 1a'imum Durrent Donsum"tion; 0E3 ! 1a'imum "oGer Donsum"tion; ,imensions and 3eig5t Ii%tJ; 304 mm <e"Jt; 132 mm KeigJt LinDlu%ing MnobsO; 54 mm Potal GeigJt; 1,3 Mg (lofel% -ser0s 1anual...
  • Page 101 ! not used ! undefined ! not used ! 0…127 Pan* L64…R63 ! not used ! Expression ! not used ! 0…9 Arp Range 1…10 octaves 0…15 Arp Length 1…16 steps 0…3 Arp Active off, on, one shot, hold Blofeld User´s Manual...
  • Page 102 0…127 or 256 52…76 Osc 3 Semitone -12…+12 bars…1/96 0…127 Osc 3 Detune -64…+63 0…1 LFO 3 Sync off, on 0…127 Osc 3 FM 0…127 0…127 LFO 3 Delay 0…127 16, 28, 40…112 Osc 1 Octave 128’…1/2’ Blofeld User´s Manual...
  • Page 103 !""#$%&' ;1< * =>5"# "6,1#? 15@? )9(CD T-&1# P#Q#, )9(CD A2&5$B,#? 1&$#? )9(CD T-&1# +5,5$<# 5,A (? 5,A C 879L&%9RC )9(CD ;1< * EF )9(CD )9(CD ;1< * EF4 H879I8* )UUU(CD T-&1# V-,-62 )UUU(CD =K$< -..? -$ - not used - undefined - not used - )9(CD...
  • Page 104 A""en%i' 58127 :ilter 1 <an =>68center8 58127 :U 2 1i' 58127 R>A 58127 :P Attack 58127 58127 :ilter 1 <anC*% D>68E>A F> 58127 :P Decay 58127 5815 :ilter 2 Gy"e See :ilter ty"es 58127 :P Sustain 58127 58127 :ilter 2 Jut*++ 58127 58127 :P Decay 2...
  • Page 105 A""e$%&' )8(9: ;< Su1>5&$ )8(9: Re1e> All re1e>1 5ll J-$>r-ller1H @-$>r-ller1 )8(9: ;< De@5A 9 )8(9: )8(9: K-@5l J-$>r-l K-@5l J-$>r-l G..LG$ )8(9: ;< Su1>5&$ 9 )8(9: All M->e1 G..H rele51e1 5ll < v-&@e1 )8(9: ;< Rele51e )8(9: - not used - GI$&...
  • Page 106 A""en%&' Arpe//iator Glossary An 2r"e@@&2tor &. 2 %ev&=e th2t ."l&t. 2n &n=o9&n@ =hor% &nto &t. .&n@le note. 2n% re"e2t. the9 rh<th9&=2ll<A 1o.t 2r"e@@&2tor. +e2ture %&++erent .eJuen=e 9o%e. to =over 2 A"tertouch D&%e r2n@e o+ 2""l&=2t&on.A 7<"&=2l =ontrol. +or 2n 7he 92:or&t< o+ =onte9"or2r< ke<?o2r%. 2re =2"2?le o+ 2r"e@@&2tor 2re the o=t2ve r2n@eC the %&re=t&onC the ."ee% @ener2t&n@ 2+tertou=h 9e..2@e.A On th&.
  • Page 107 A low pass filter dampens all freKuencies above the cutoff drops to the level defined for the Sustain value. freKuencA. A high pass filter in turn dampens the freKuencies below the cutoff. @he band pass filter allows Blofeld 0ser3s 4anual...
  • Page 108 Appe$%&' o$l7 89ose +re:ue$;&es arou$% 89e ;u8o++ +re:ue$;7 8o +re:ue$;7> Ere:ue$;&es ?eloB 89e ;u8o++ po&$8 are $o8 pass< all o89ers are %a=pe$e%> A ?a$% s8op +&l8er %oes @us8 a++e;8e%> 89e oppos&8e< &>e> &8 %a=pe$s o$l7 89e +re:ue$;&es arou$% 89e ;u8o++ +re:ue$;7> A9e =os8 ;o==o$ 87pe &s 89e loB 9:D: pass +&l8er>...
  • Page 109 ?he time An envelope parameter> ?he term RReleaseR describes the of arrival is simultaneousl= the start time of the note> Ets descent rate of an envelope to its minimum value after a Blofeld 0ser3s Manual...
  • Page 110 In contrast to the trigger is terminated. the samples in a sampler, all Waves in the Waldorf Wave- table Synthesizers have the same lengths and are played back in the same pitch.
  • Page 111 >f the Waves do not differ much, then the Wavetable will probably sound smooth and pleasant. >f they have a completely different structure, this will result in wild spectral changes. Blofeld .ser1s Manual...
  • Page 112 9aldor+M,5CURCU5RRY 9aldor+,Music,;<b6 >eustrasse,45 ?@ABC,9aldor+,8,;er<anD EerantFortliche,Herson,8,Responsible person- Ite+an,Itenzel erKlLrt,hier<itM,dass,das,HroduKt,8,4ill be hereby declared Ite+an,ItenzelM,;eschL+ts+Whrer that the follo4ing named product Stefan Stenzel, Board Of Managment Waldorf Blofeld ;erLtetD",8,Device type- S"nthesi)er ;erLtenu<<er,8,Device number:,+,-./,-01..2 in,Obereinsti<<ung,<it,den,QichtlinienM conforms to the requirements 5RRA84RC8S;,und,5RRT8B?8S; in,EerKehr,gebracht,FurdeU,VWr,die,Xon+or<itLtserKlLrung Furde,nachstehende,>or<,angeFandt: Blo+eld,-ser0s,Manual...
  • Page 113 !""#$%&' !6.(78(989::;.<51%#.%&#.=>#141>#&?#?#.@&AB?+&$&#.9::;C(:DCEF E^.U(:::T)T9 G51. E+#H?1,64I$#?&0AB#$. J#1?1KI+&ABH#&?. L,$. %#1. E51,"K&0AB#$ E+#H?1,64I$#?&0AB#.J#1?1KI+&ABH#&?.O.E3JR.f._#&+.)T9Z.F1#$G<#1?# M,66&00&,$.L#1N--#$?+&AB?.O!*8.P.)Q:C9::;R8.S&#.#10#?G?.%&#.>&0B#1 f. F1#$G<#1?#. -=1. g>#10AB<&$I5$I00?1N6#. O. F#1K?#T I#+?#$%#.E3JT@&AB?+&$&#.DQC))UCEVF8 E&$I4$I00?1,6. h. (U. !. i#. P#&?#1R. O. WEa. U(:::T)T9Z. 9:::c W6. X50466#$B4$I. 6&?. %&#0#1. Y>#141>#&?5$I. I#+?#$. -,+I#$%# 6,%&-&G&#1?R.]#5?0AB#.`4005$I.E^.U(:::T)T9Z.9::: Y>#1I4$I0-1&0?#$Z.W6.[5+&.9::\.<&1%.%&#.>&0B#1.I#+?#$%#.@&AB?+&$&# ODQC))UCEVFR. 45-I#B,>#$8. ]&#. Y>#1I4$I0-1&0?. G51. !$<#$%5$I %#1.$#5#$.@&AB?+&$&#.O9::;C(:DCEFR.#$%#?.46.9:8.[5+&.9::Q8 E^.U(:::T)T) ^,16#$.-=1.!5%&,...
  • Page 114 !""#$%&' FCC Information (U.S.A.) 8*//#89&B# <#2.3/#. %* $*9 "/*%38# .29&.+289*/A /#.3)9.: ")#2.# 8*$9289 97# )*82) /#92&)#/ 2397*/&.#% 9* %&.9/&C39#% 97&. 9A"# *+ "/*%389@ 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! 67&. "/*%389: ;7#$ &$.92))#% 2. &$%&829#% &$ 97# &$.9/389&*$. 8*$92&$#% 67# .929#<#$9.
  • Page 115 I+#40# &$:+5%# 4 %#<4&+#% %#0:1&"<&,$ ,- <7# %#-#:<> I1,%5:<0 <74< C#1# $,< 0#$% "1#"41#% ,1 &$ <7# ,1&;&$4+ "4:84;# C&++ @# 1#<51$#% 5$,"#$#%> Waldorf Music GmbH =4+%,1- 350&: 1#0#1A#0 <7# 1&;7< <, 5";14%# <7# 5$&< C&<7 <7# +4<#0< <#:7$,+,;&:4+ 4%A4$:#0 &- $#:#00419> 67&0 C4114$<9 %,#0 $,< :,A#1 %#-#:<0 Neustrasse 12 %5# <, 4@50#D ,"#14<&,$ 5$%#1 ,<7#1 <74$ 0"#:&-&#% :,$%&<&,$0D ,1 1#"4&1 @9...
  • Page 116 © 2007 Waldorf Music GmbH • All rights reserved • Printed in Germany Waldorf Music GmbH • Neustr. 12 • D-53498 Waldorf • Germany http://www.waldorfmusic.de...

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