Waldorf largo User Manual
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Waldorf largo User Manual

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  • Page 2: Foreword

    Foreword Foreword Hint Thank you for purchasing the Waldorf Largo. You now own Waldorf Music GmbH is not liable for any erroneous a synthesizer with real Waldorf DNA featuring a wide range information contained in this manual. The contents of this of unique sounds of high quality.

  • Page 3: Largo Development Team

    Foreword We would like to thank Largo Development Team Christian Bacaj, Karsten Dubsch, Willie Eckl, Joachim Software: Wolfram Franke, Stefan Stenzel Flor, Michael von Garnier, Frank Schneider, Kurt “Lu”   Wangard, 吴海彬 and anyone we have forgotten. 64 Bit and...

  • Page 4: Table Of Contents

      The Edit Menu ............... 15   Hint ................. 2   Sound Selection ............. 16   Largo Development Team ..........3   The Sound Browser ............16   We would like to thank ........... 3   Program Table ............... 17  ...
  • Page 5 Content     The Comb Filter Types ........... 76 Tips & Tricks ..............86     Envelope Types in the Largo .......... 81 Controller Numbers ............88     FM Sources ..............84 Glossary ................. 93     Modulation Sources ............84 Product Support .............

  • Page 6: Overview

    Overview Overview User Interface Head-up section Module parameter section Main parameter section Virtual Keyboard and Part parameter Largo User´s Manual...

  • Page 7: Introduction

    All of the Largo´s buttons, controls and parameters are To avoid confusion, the terminology in this manual is highlighted in bold letters throughout the manual. based on the Largo parameter names. You will find a Example: glossary at the end of this manual; it explains the various terms used.

  • Page 8: Installation

    System Requirements for Windows 1. Start your computer and launch your operating system. In order to be able to use the Largo, you will need at least: Insert the Largo CD-ROM into your DVD/CD-ROM drive. If you have enabled the Autostart function in Windows, A PC with a Pentium IV or AMD Athlon 1 GHz •...

  • Page 9: System Requirements For Mac Os X

    Please also observe the system requirements of your host application! System Requirements for Mac OS X In order to be able to use the Largo, you will need at least: Largo runs within 32 bit as well as 64 bit host applications.

  • Page 10: Activation Of Largo

    Installation 3. Double click on the Largo Installer icon to load the Activation of Largo installation software. Follow the instructions on the screen. Largo uses a software based copy protection called eLicenser. Largo can only run with an activated license.
  • Page 11 Control Center Online Help how to perform this optional step. If you want to use Largo on different computers or if you want to remove the soft license from your current computer or if you need to reinstall your computer system you must transfer the Largo eLicense to an eLicenser USB Key.

  • Page 12: Basic Operation

    Basic Operation General Operation Basic Operation Largo has been optimized for a screen resolution of at least 1024x768 pixels. If your resolution is smaller, you Worth Knowing about Parts either have to scroll your window. Largo offers a sound structure with four parts. All four Largo has various on-screen controls, the behavior of parts are always saved for each sound program.

  • Page 13: Control Elements

    Basic Operation Control Elements Switches Using Largo’s controls is simple. There are some different Switches are represented by “LEDs”. If types of control elements: a function is active, its “LED” will be lit red and all others within the function Dials block will be dark.

  • Page 14: Sound Parameter

    Overview of Functions numerical value of the parameter are displayed. The Waldorf Largo consists of numerous sound-shaping 6. The Waldorf logo is clickable and opens a window components. The following pages describe all parameters with vitally important information about the Largo.

  • Page 15: The Edit Menu

    Program arranges all sound programs based on the categories from to the actual program. Init Program initializes the current sound and set all • parameter to standard values. Copy Part copies the current selected part into the • clipboard. Largo User´s Manual...

  • Page 16: Sound Selection

    The Sound Browser Please note that some host applications as Steinberg Cubase 4 or newer use an additional sound data Largo offers a comprehensive window for selecting, managment. It offers you an alternative way to load searching and managing sound programs.

  • Page 17: Program Table

    (AU version). pasting, importing and exporting among other functions. It offers the following mouse and keyboard functions: Copy – copies the selected Programs to the • system clipboard. This allows copying and pasting Programs between different Largo instances. Largo User´s Manual...
  • Page 18 Swap – Drag and Drop entries inside the Program • email application to easily share Largo Programs with Table swaps the selected Programs with the ones other musicians. starting at the drop location.

  • Page 19: File Browser

    Please note that we have changed the location of the importing and exporting among other functions. Only Largo factory sounds. They are installed in the Local known file types are presented, files that Largo doesn't Library folder as written below. If you like, you can understand are not added to the tree.

  • Page 20: Working With The File Browser

    Program Double-Click on a file loads that file into Largo. A File. Folders have a small disclosure triangle to their left to •...
  • Page 21 Largo's preferences when Add... – shows a file select dialog to select files • Largo is closed and they are added to the File that are copied into the selected folder or the Browser automatically on subsequent launches.

  • Page 22: Oscillator Section

    Note: the files and folders are *moved*, so they are *removed* from their original location and The Largo offers three oscillators that nearly use the same created at their new location. If you don't want that, parameters for editing.
  • Page 23 68 Wavetables based on classic wavetables of • Waldorf synthesizers can be found in oscillator 1 and 2 only. An introduction to the Wavetables can be found in the Appendix of this manual. When a Pulse...
  • Page 24 Set Octave to 4’ if you are programming strings or The variety of tones among all Waveforms in the other high pitched sounds. Largo are nearly inexhaustible. When you use an Oscillator to modulate other Left-click and hold on the Shape display and move...
  • Page 25 A low value of ±1 results in a slow and soft Flanger use values in the range 0%…+75% or even negative effect. settings for one oscillator while leaving the second at +100% Keytrack. Mid-ranged settings of ±5 are perfect for pads and other fat sounding programs. Largo User´s Manual...
  • Page 26 Oscillator 3 and Sync is activated. To avoid unusable (Square) (Impulse) detune, use a triangular or sine waveform for the FM A pulse width of 50% can be used for flute sounds Source. or very hollow bass sounds. Largo User´s Manual...
  • Page 27 To avoid this behaviour, set Keytrack wavetables, this parameter does not have any effect. The of the used LFO to a positive setting between 50% modulation source that affects the pulsewidth is selected and 100%. by the source parameter described above. Largo User´s Manual...
  • Page 28 Clipper). A value of 64 is nearly similar to the relict from the former PPG Wave and Microwave brilliance of the oscillators produced by the Waldorf Q synthesizers. If you don ́ t want to use these waveforms, use and microQ synthesizers.
  • Page 29 Sources” synchronization in a simplified way: Selects the source of the pitch modulation for all oscillators. A common source for pitch modulation is an LFO whose strength is controlled by the modwheel or aftertouch. Largo User´s Manual...

  • Page 30: Mixer Section

    The result of this operation is a waveform that contains the sums and the 0...127 Osc Level differences of the source frequency components. Since the Controls the volume of the selected Oscillator. ring modulation generates disharmonic components, it Largo User´s Manual...
  • Page 31 Envelope. This creates spacy effect 0...127 Noise Level sounds. Volume of the noise generator Noise is a fundamental source for any kind of analog-type percussion. Also, wind. Largo User´s Manual...

  • Page 32: The Filter Section

    Noise while positive values lower the bass area. Negative values dampens the higher noise frequencies. The Routing function is one of the advanced features of the Largo. Its purpose is to control the signal flow of the The Filter Section filters. In comparison with many other synthesizers where...
  • Page 33 When a notch type is selected, the frequencies • When the Routing parameter is set to parallel, the • around the cutoff frequency are damped. whole output signal of Filter 1 is routed to the filter’s panning unit. This setting is equivalent to a Largo User´s Manual...
  • Page 34 Shaper modulates the level of the signal with a toms, kicks, zaps etc. • sine waver. High levels will be turned down while medium levels will be raised up. Same results with negative levels. A sawtooth wave for example Largo User´s Manual...
  • Page 35 • normal applications. Use the 24dB slope if you want exactly the frequency that is blocked by the filter. to create sounds with a typical audible filtered However, you will still be able to hear slight Largo User´s Manual...
  • Page 36 Largo through Cutoff, while the zero and use the Modulation Matrix for the other used amount of colorization is set by the Comb filter envelope.
  • Page 37 Cutoff Mod Source Selects the source of the cutoff modulation. -64...+63 Cutoff Mod Amount Controls the amount of cutoff modulation. Positive amounts will increase the cutoff frequency when positive modulation is applied, e.g. by pressing the aftertouch on Largo User´s Manual...

  • Page 38: The Amplifier Section

    Negative amounts will decrease the cutoff On / Off Bass Boost frequency when positive modulation is applied. This button activates the typical Waldorf bass emphasis which is located between filter and amplifier. 0...127 Level Controls the volume of the corresponding filter output.

  • Page 39: Parameter Module Section

    Glide effect. "Glide" "Portamento" describes the continuous gliding from one note to another. This effect can be created on fretless stringed instruments or some brass instruments (e.g. trombone). It is very common on synthesizers and used Largo User´s Manual...
  • Page 40 Please note that the chosen number of unisono voices will respectively lower the number of Legato means that a continuous glide is performed • available voices. only when notes are played legato. Staccato played notes start on the exact pitch of their note. Largo User´s Manual...
  • Page 41 Higher values will alternate the voices between a left and right panorama position. Equalizer Largo offers a parametric equalizer to adjust the sound Unisono Spread is perfect to add more width to frequencies to your needs. The equalizer contains four your sound.

  • Page 42: The Lfos

    Sound Parameter 1...256 The LFOs Voices Largo offers up to 256 voices. The number of available voices depends on the available processor power. Control Mode Determines the mouse control for editing knobs in Largo: Auto uses the settings of your host application. Please •...
  • Page 43 With LFO Keytrack set to 100%, a Speed setting The Random shape generates random values and of 122 delivers an 8’ LFO oscillation. 16’ oscillation can • glides to them linearly. therefore be generated with a Speed setting of 110, and so on. Largo User´s Manual...
  • Page 44 After this time, the LFO is faded out to off / on Clock zero. When Clock is activated, the LFO is synced to the song tempo of the host application. The LFO Speed setting changed to offer musically meaningful values. Largo User´s Manual...

  • Page 45: The Envelopes

    With this parameter you can create slowly rising or falling modulations that might create interest when routed to pitch or volume. The Largo envelopes allow you to manipulate sound parameters via rate or timed modulations. The Largo offers four independent programmable envelopes for every 0...127 Contour (LFO 3 only)
  • Page 46 Sustain level. Pop-up menu to switch between the various envelope 0...127 Sustain types. Please refer to the Appendix for detailled explaination of all the types. Determines the sustain level which is held until a note ends. Largo User´s Manual...

  • Page 47: The Modulation Matrix

    Controls the level at each the Attack phase ends and the Modulation Matrix (Mod Matrix) is the key of the power of Decay phase starts. This parameter affects the envelope each Waldorf synthesizer, so start experimenting with it types ADS1DS2R, One Shot, Loop S1S2 and Loop All right now.
  • Page 48 “constant” meaning that the calculation is Modifier performed with a constant value that you can set up with Modifiers allow you to apply mathematical functions on the Constant parameter. modulation signals. Depending on the function type selected, calculation will affect Largo User´s Manual...
  • Page 49 Defines a value for modifier functions that require a constant parameter. See the Operation parameter + Returns the sum of Source A and Source B. • described above for further details. Largo User´s Manual...

  • Page 50: The Arpeggiator

    Arpeggiator to cover a wide range of applications. In • played notes and plays back an arpeggio. The addition to the synthesis features, the Largo offers a deeply actual length of this arpeggio is set by the Pattern programmable Arpeggiator for every sound program. It Length parameter.
  • Page 51 Length is set to Legato, all arpeggio notes are If Vel Lo>Hi is selected, the notes are sorted from • played without pauses between each step the softest to the loudest velocity. If you press Arpeggiator Length therefore has no effect. Largo User´s Manual...
  • Page 52 Sets the direction that is used to play back the arpeggio. to play. Then the arpeggio is repeated. If Up is selected, the note list is played forward • and the octaves are transposed upward. The arpeggio starts in the original octave and goes up Largo User´s Manual...
  • Page 53 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. Largo User´s Manual...
  • Page 54 Sets the rhythm pattern that is used for generating the arpeggio. Pattern can set to off, User or to one of the 15 ROM patterns. If off is selected, the arpeggiator plays back a • continuous sequence of notes with the current Clock setting. Largo User´s Manual...
  • Page 55 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. Largo User´s Manual...

  • Page 56: Arpeggiator Step Editor

    • to edit it. Depending on whether you click on the step, played, but inaudible. This means that the note list you can change different parameter: is advanced by one note, but you are not able to Largo User´s Manual...
  • Page 57 Changes the length of the note of a particular step. The beforehand, except when you press a new chord. overall length of the arpeggio depends on the Length setting. If Length is set to legato, Arp Length doesn’t Largo User´s Manual...
  • Page 58 This means that you have to play at in the arpeggio. least two notes to hear the effect. Otherwise, you would hear only one note anyway. The note list is not advanced. Largo User´s Manual...

  • Page 59: The Effects

    Arp Glide for individual pattern notes. Otherwise, the glide effect will occur on all notes. The Largo has two similar effect units which are editable separately for each layer. FX Active Switches the corresponding FX unit on or off.
  • Page 60 0…127 Delay A Mix setting of 48 to 96 produces the strongest effect Sets the initial delay that is added to the Chorus delay because both the unaffected signal and the processed line. signal are mixed together. Largo User´s Manual...
  • Page 61 Sets the LFO speed of the Flanger effect. signal are mixed together. 0…127 0…127 Speed Depth Sets the LFO speed of the Phaser effect. Sets the modulation depth of the Flanger effect. Largo User´s Manual...
  • Page 62 Post Gain Determines whether the feedback signal is fed back into Controls the output level of the distorted signal. the Phaser as is, or is inverted beforehand. 0…127 Cutoff Dampens the high frequency output of the Overdrive effect. Largo User´s Manual...
  • Page 63 Dampens the signal produced by the Delay effect. This time maximum. Leftmost and rightmost settings create a filter is routed before the feedback circuitry meaning that typical ping pong delay. adjacent taps of the Delay will be dampened further. This Largo User´s Manual...
  • Page 64 0...127 Shape reverb effects don’t intend to simulate the perfect natural room, rather they are an addition to the Largo´s sound Controls the timing proportion of the early reflections to synthesis to make it more 3 dimensional and expressive. the dimensions of the late reverb. Medium settings roughly result in matching dimensions of the early 0...127...
  • Page 65 Feedback of the reverb network. Recommended settings parts are divided from the effect signal. This parameter works in the same way as the highpass filter in the Largo´s are between 1/4 and half its range. Higher values create audible ringing especially with small Size settings, which sound synthesis.
  • Page 66 Layer determines that all parts can be played • Virtual Keyboard simultaneously regardless of the incoming MIDI channel Use your mouse to click on any of the black or white keys to hear the selected sound program of the largo. Largo User´s Manual...

  • Page 67: Appendix

    However, the sine wave can be an the Largo gives you exactly these waveforms at hand, plus interesting oscillator waveform to emphasize a certain other classic waveforms like pulse (which is the father of...
  • Page 68 So, the second partial is the first overtone. 2nd Harmonic Magnitude 1/2 Cyclic waveforms such as the waveforms in the Largo only feature sine waves in integer frequency ratios to the fundamental like double frequency, triple frequency and 3rd Harmonic so on.
  • Page 69 Additive components of the square wave with 50% pulse how the individual harmonics build up the sawtooth width wave: The square wave was thought as an abstraction of wind instruments like a panflute or a recorder. They consist of a Largo User´s Manual...
  • Page 70 If this were not compensated, the overall signal would have an unwanted 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 Largo User´s Manual...
  • Page 71 This happens because the effect is very similar to what you hear when you have two oscillators running with slightly different frequencies. They interfere and create irregular troughs in the resulting waveforms. Largo User´s Manual...
  • Page 72 Wavetable Synthesis in the Largo 3rd Harmonic Magnitude 1/9 The sound generation of the wavetables in the Largo is based on wavetable synthesis. Although wavetable synthesis is not a form of "sample playback", you should 5th Harmonic...
  • Page 73 Clipper K+Strong1 If you like the sound and possibilities of wavetable OrganSyn K+Strong2 synthesis, you should try out the virtual instrument Waldorf PPG Wave 2.V which is part of the Waldorf SquareSaw K+Strong3 Edition plug-in bundle. Formant1 1-2-3-4-5 Largo User´s Manual...

  • Page 74: Filter Introduction

    ClipSweep Low Piano For a detailed description of the different filter types that ResoHarms ResoSweep are available in the Largo, see the section “Filter Types”. 2 Echoes Xmas Bell For now, we’ll explain the basic function of a filter Formant2...
  • Page 75 The Largo’s filter also features a resonance parameter. Resonance in the context of a low, band or high pass filter means that a narrow frequency band around the cutoff...

  • Page 76: The Comb Filter Types

    The frequency of the colorization is set by the delay length, which is controlled in the Largo through Cutoff, while the amount of Frequency colorization is set by the Comb filter feedback, which is Cutoff determines number of teeth controlled in the Largo through Resonance.
  • Page 77 Resonance controls the feedback depth. • you get the desired Chorus effect. Now, what sound can a comb filter produce? Here are You can also use both filters to create a Chorus and some examples: pan them to different stereo positions. Largo User´s Manual...
  • Page 78 You might ask why you should use a Comb filter type to To set up the Comb filter to produce a Flanger: produce Chorus instead of using the FX section of the Largo. Here are some reasons: Adjust the filter as described in the Chorus paragraph above.
  • Page 79 16’ violin out of the Largo. However, the Comb filter enables 8’ you to create abstractions of those sounds that can be 4’...
  • Page 80 Also try to set up envelopes to control the levels of the input signal, i.e., use a short percussive signal that only triggers the comb filter briefly. The filter then oscillates to produce the resulting tone. Largo User´s Manual...

  • Page 81: Envelope Types In The Largo

    Appendix Level Key pressed Key released 100% Envelope Types in the Largo ADSR Envelope Most traditional synthesizers feature ADSR envelopes. These envelopes are made up of four parameters that determine their response: Attack, Decay, Sustain and Release. The other parameters of the Envelope section Sustain have no function, so they can not be edited.
  • Page 82 This allows parameter set of the ADS1DS2R envelope. 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. Largo User´s Manual...
  • Page 83 Release phase, the envelope restarts from zero and goes through all its phases again. As soon as the note is released, the looping stops and the envelope goes into its Release phase. Largo User´s Manual...

  • Page 84: Fm Sources

    Modifier Delay No modulation Modifier 1...4 Result of Modifier 1...4 LFO1 LFO 1 Signal Minimum constant for minimum modulation LFO1*ModWheel LFO 1 Signal shaped by Modwheel (equals 0) LFO2 LFO 2 Signal Maximum constant for maximum modulation Largo User´s Manual...

  • Page 85: Modulation Destinations

    FM Amount modulation of FE Release Release rate of Filter Envelope Oscillator 1…3 AE Attack Attack rate of Amp Envelope O1Level, O2 Level, Level of Oscillator 1…3 AE Decay Decay (and Decay 2) rate of Amp O3 Level Envelope Largo User´s Manual...

  • Page 86: Tips & Tricks

    SubDiv oscillators Use the LFOs as FM Sources. With this technique, • O1 SubVol, O2 Volume of Sub oscillators you get up to six oscillators frequency-modulating SubVol each other to create extremely complex timbres. Largo User´s Manual...
  • Page 87 Now set the Pan parameters of the filters to opposite directions and you should get a very fat sound. You can create further movement by applying an LFO to the comb filter cutoff. Largo User´s Manual...

  • Page 88: Controller Numbers

    Pan* L64…R63 - not used - Expression - not used - 0…9 Arp Octave 1…10 octaves Range 0…15 Arp Length 1…16 steps 0…3 Arp Active off, on, one shot, hold 0…5 LFO 1 Shape sine, triangle, square, Largo User´s Manual...
  • Page 89 0…127 Osc 3 Detune -64…+63 0…127 LFO 3 Delay 0…127 0…127 Osc 3 FM 0…127 16, 28, 40…112 Osc 1 Octave 128’…1/2’ 0…5 Osc 3 Shape pulse, saw, triangle, sine 52…76 Osc 1 Semitone -12…+12 Largo User´s Manual...
  • Page 90 0…127 Filter 1 Env. -64…+63 Amount 0…127 Osc 3 Level 0…127 0…127 Filter 1 Env. -64…+63 0…127 Osc 3 Balance Velocity 64…mid…F2 0…127 Filter 1 -64…+63 CutoffMod 0…127 Noise Level 0…127 0…127 Filter 1 FM off, 1…127 Largo User´s Manual...
  • Page 91 0…127 0…127 Filter 2 Panmod -64…+63 0…127 E3 Sustain 2 0…127 0…127 Filter 2 Level 0…127 0…127 E3 Release 0…127 0…127 Amp Velocity -64…+63 0…127 E4 Attack 0…127 0…127 Amp Mod Amt. -64…+63 0…127 E4 Decay 0…127 Largo User´s Manual...
  • Page 92 - not used - - not used - Omni Mode On - not used - - not used - Poly Mode - not used - On/Off - not used - Poly Mode On - not used - Largo User´s Manual...

  • Page 93: Glossary

    A band stop filter does the opposite of a band pass filter, often generated by an envelope or an LFO. i.e. it dampens only the frequencies around the cutoff point and lets all other frequencies pass through. Largo User´s Manual...
  • Page 94 Attack phase has reached its zenith and the envelope A low pass filter dampens all frequencies above the cutoff drops to the level defined for the Sustain value. Largo User´s Manual...
  • Page 95 Similar to an envelope, an transfers data to the receiver via the MIDI Out jack. Data LFO can be used to modulate a sound-shaping are sent via a cable to the receiver's MIDI In jack. component. Largo User´s Manual...
  • Page 96 Controller message. The human ear is exceptionally Modulation sensitive to deviations in pitch, so the higher resolution is A modulation influences or changes a sound-shaping used because it relays pitchbend information more component via a modulation source. Modulation sources accurately. Largo User´s Manual...
  • Page 97 Wavetable relatively clean sine waveform. One oscillator shape in the Largo bases on waveform sets, Sustain called Wavetables. Wavetables are a collection of up to 128 Waves. The playback sequence of the Waves can be The term "Sustain"...
  • Page 98 Appendix in shape, the result will sound smooth and pleasant. If, however, the shapes are completely different, the result will have wild spectral changes and may sound harsh. Largo User´s Manual...

  • Page 99: Product Support

    Appendix Product Support If you have any questions about your Waldorf product, feel free to contact us via one of the four options listed below: 1. Send us an email message. This is the most efficient and fastest way to contact us. Your questions will be forwarded immediately to the resident expert and you will quickly receive an answer.

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