Waldorf Blofeld User Manual
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Waldorf Blofeld User Manual

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  • Page 2: Foreword

    Waldorf Music GmbH, Neustrasse 12, D-53498 Waldorf, If you decide to read the following manual we promise you a Germany lot of fun while reading about and working with the Waldorf Blofeld. Your Waldorf Team Blofeld User´s Manual...

  • Page 3: Blofeld Development Team

    Foreword We would like to thank Blofeld Development Team Willie Eckl, Joachim Flor, Michael von Garnier, Florian Software: Stefan Stenzel, Wolfram Franke Gypser, Frank Lauterbach, Achim Lenzgen, Kurt “Lu” Wangard, and anyone we have forgotten. Hardware/ Housing: Frank Schneider Design: Axel Hartmann Manual/ Layout: Holger Steinbrink...

  • Page 4: Table Of Contents

    Content Maintenance..............13 Content Proper Use..............13 Foreword .................... 2 Setup and Connection ..............14 What to read?..............2 Inventory ............... 14 Setup ................14 Hint ................2 Connections ..............14 Blofeld Development Team..........3 We would like to thank........... 3 The USB connection............
  • Page 5 Content Multi Part Parameter............24 Modulation Matrix Parameter Controls ......60 Modulation Matrix Edit Menu ........61 Menu Pages Overview ..............29 Modifier.................61 Sound Parameters ................35 Amplifier Edit Menu............63 Overview of Functions ..........35 Effects Parameter Controls..........64 Oscillator Section............35 Effects Edit Menu ............64 Oscillator Parameter Controls........
  • Page 6 Content Receiving System Exclusive Data ........87 Updating the System Software ........109 Tips & Tricks..............111 Sound Synthesis Basics..............89 Oscillators Introduction..........89 Technical Data ............112 Filter Introduction ............96 Controller Numbers ............. 113 The Comb Filter Types ..........98 Glossary ..............

  • Page 7: Control Features And Connections

    Control Features and Connections Control Features and Connections Front Panel Blofeld Desktop Display System Volume Dial Parameter Matrix Display Parameter Dials Selection Dial with Play button Blofeld User´s Manual...

  • Page 8: Connections Blofeld Desktop

    Control Features and Connections Connections Blofeld Desktop Power supply socket MIDI In jack USB port for connection to a suited computer Stereo audio output left/right (only left: mono, only rights: stereo) Stereo Headphone jack Power switch Blofeld User´s Manual...

  • Page 9: Front Panel Blofeld Keyboard

    Control Features and Connections Front Panel Blofeld Keyboard Display Display Parameter Dials Parameter Matrix Pitch Bend Wheel and Modulation Wheel Selection Dial with Play button Octave Up and Down Button System Volume Dial Free Button Blofeld User´s Manual...

  • Page 10: Connections Blofeld Keyboard

    Control Features and Connections Connections Blofeld Keyboard Power supply socket Power switch MIDI In jack MIDI Out jack USB port for connection to a suited computer Pedal input Stereo audio output left/right (only left: mono, only rights: stereo) Stereo Headphone jack Blofeld User´s Manual...

  • Page 11: Introduction

    Introduction ☞ Introduction Instruction – Follow these guidelines to execute a desired function. About this Manual ✻ Example – Real-world examples to try out. This manual was written to help you to become familiar Highlighted Control Features and Parameters with the Blofeld synthesizer. It will also aid experienced users with routine tasks.

  • Page 12: General Safety Guidelines

    Introduction Power Supply General Safety Guidelines Never use a different power cable than the one that • came with the Blofeld. Please read the following safety tips carefully! They include several precautions you should always Unplug the device when you are not using it for •...

  • Page 13: Maintenance

    Any other use is prohibited and voids the warranty extended by Waldorf Music. Waldorf Music is not liable for damages due to incorrect use. Don´t let your Blofeld beside children, mothers-in- law or pets.

  • Page 14: Setup And Connection

    AC power outlet, a mixing console, an amp or/ and an Inventory audio monitor such as a speaker cabinet and last but not The Waldorf Blofeld comes complete with: least a MIDI master keyboard for the Blofeld Desktop. the Waldorf Blofeld (Keyboard) Synthesizer You can also use a computer or sequencer to make use of •...

  • Page 15: The Usb Connection

    Setup and Connection (Windows PC or Apple Mac). After that the Before connecting and disconnecting the Blofeld to Blofeld is automatically available as a MIDI unit. a power supply source, turn your amp’s volume control all the way down to avoid damage due to 6.

  • Page 16: The Blofeld Keyboard Controls

    Setup and Connection Pitch Bend Wheel Keep in mind that you use a USB 2 port of your computer and a USB 2 suited cable to avoid Use this wheel to alter the pitch of the played notes. It will problems with data transmission.
  • Page 17 Setup and Connection behaviour to this in the Global Menu. Please refer to the corresponding chapter. Octave Down/Up Buttons Although the MIDI standard requires 128 keys, Blofeld offers only 49 of those. To compensate this limitation, we added these buttons to enable you to reach more keys that physically accessible.

  • Page 18: Basic Operation

    Basic Operation ☞ Basic Operation To select a Program with the Selection dial Make sure that the Play Sound mode is shown in • the display . If not, press the Play button Switching on/ off shortly. The Blofeld ist equipped with a power switch. Use the Selection dial to select an •...

  • Page 19: Category Search

    Basic Operation Category Search Category Search doesn’t change any program numbers. It only filters out all patches not belonging The Blofeld offers a special function to enable easy to the selected category. Scrolling through patches searches for sounds of similar categories. If you’re with this function is much faster because only searching for pad sounds, only these sounds will be patches belonging to the selected category are...

  • Page 20: Editing Parameter Controls

    Basic Operation as the value 0 is reached, the sweep is stopped for a short section button until the LED for Filter 2 lights up period to make it easier to edit the Blofeld. in the Filter section. 2. With the first endless rotary you can now change Editing Parameter Controls the Cutoff parameter of Filter 2.

  • Page 21: Viewing Parameter Values Without Change

    Basic Operation 3. Use the left display parameter dial to edit the You can edit the parameters while holding the Octave parameter of Oscillator 1. buttons. Now you should be able to choose the 5 edit levels with Release the button to end the parameter the navigation buttons viewing.

  • Page 22: Recalling Edited Programs

    Basic Operation Use the Selection dial to select the mneu You can only view the original settings. If you select page Store Sound 1/3. a new program while the Compare function is active, the Compare status is automatically terminated. No Edit the program name (if wished).
  • Page 23 Basic Operation In this case the name of the chosen Sound Press Shift + Utility to activate the Multi Store Program is temporarily shown and you can page. choose to overwrite the old sound or not. The following procedure is identical to the Finally press Shift + Store to store the Sound storing procedure.

  • Page 24: Multi Mode

    Multi Volume to 0, you Multi Mode won´t hear anything. The Waldorf Blofeld offers a 16 part Multi mode. As soon Multi Volume is used to set several Multi programs as you want to do multi track recordings in a studio, you...
  • Page 25 Multi Mode . The display shows you the actual part dial This Volume parameter sets the maximum output in the left top corner. volume of the selected Instrument. If you use MIDI Controller #7 (Channel Volume) to change the To edit a Multi program, press Play and use the Selection volume of the Instruments that receive on this MIDI to go through the many parameters of Multimode dial...
  • Page 26 Multi Mode global means that the selected Instrument receives and -48…+48 • Transpose sends on the MIDI channel set up in the Global Transposes the Instrument in semitone steps. I.e., a value menu. This setting is recommended for a Multi that is of –12 means that the Instrument sounds one octave lower intended for use in a live performance.
  • Page 27 Multi Mode 1…127 receive / ignore High Vel High Vel is the counterpart to the LowKey parameter. Determines if incoming USB messages are received or ignored. Only notes with a key number lower or equal to the selected value are passed through. Set this parameter to G8 if you want to use the full keyboard range.
  • Page 28 Multi Mode receive / ignore Sustain Determines if incoming sustain pedal data is received or ignored. receive / ignore Edits Determines if incoming parameter edits are received or ignored. receive / ignore Prg Change Determines if incoming program changes are received or ignored.

  • Page 29: Menu Pages Overview

    Menu Pages Overview Oscillator 3 Menu Pages Overview (1/6) Octave / Balance (2/6) Pulsewidth / PWM Amount Here you find an overview of all Blofeld parameter and (3/6) PWM Source / PWM Amount menu pages. (4/6) Brilliance (5/6) FM Source / FM Amount Oscillators (6/6) Keytrack / Bend Range Parameter matrix:...
  • Page 30 Menu Pages Overview Filter 1 (3/3) Decay 2 / Sustain 2 (1/6) Keytrack / Env Velocity Amp Envelope (2/6) Mod Source / Mod Amount (1/3) Trigger / Mode (3/6) FM Source / FM Amount (2/3) Allocation / Attack Level (4/6) Drive / Drive Curve (3/3) Decay 2 / Sustain 2 (5/6) Pan (6/6): Pan Source / Pan Amount...
  • Page 31 Menu Pages Overview (3/4) Start Phase / Keytrack (2/2) Mod Source / Mod Amount (4/4) Delay / Fade Effects LFO 2 (1/4) Shape / Speed Parameter matrix: (2/4) Sync / Clocked Mix 1, Mix 2 (3/4) Start Phase / Keytrack Menu pages (up to 5 pages, depending on the selected (4/4) Delay / Fade effect type)
  • Page 32 Menu Pages Overview Arpeggiator Sound (1/6) Mode / Clock (1/2): Bank / Sound (2/6) Tempo / Pattern (2/2): Cat. Filter (3/6) Direction / Octave Mixer (4/6) Length / Overlap Volume / Pan (5/6) Timing Factor / Velocity (6/6) Pat. Length / Pat. Reset Receive Channel / Status Arpeggiator Step...
  • Page 33 Menu Pages Overview Compare Sound Utility Menu (Shift + Utility) Recall Sound Menu pages: Init Sound Store Multi Randomize Sound (1/2): Position / Char Dump Sound (2/2): Dest. Multi Store Arrangement Dump Sound Bank Position / Char Dump All Sounds Init Multi Dump All Dump Multi...
  • Page 34 Menu Pages Overview Global Menu (Shift + Global) Menu pages: Global Display (1/2) Contrast / Popup Time (2/2) Auto Edit Global Tune Master Tune / Transpose Global MIDI (1/3) MIDI Channel / Device ID (2/3) Vel Curve / Clock (2/3) Ctrl Send / Ctrl Receive Global Controls (1/2) Control W / Control X (2/2) Control Y / Control Z...

  • Page 35: Sound Parameters

    Overview of Functions are designed to manipulate or modulate the sound generating components to add dynamics to sounds. The Waldorf Blofeld consists of numerous sound-shaping The Low-frequency Oscillators (LFO) are designed for components. The following pages describe all parameters periodic or recurring modulations while Envelopes are in detail.

  • Page 36: Oscillator Parameter Controls

    Sound Parameter ☞ Pulse selects the pulse waveform. A pulse waveform • Selecting an Oscillator with a pulse width of 50% has only the odd Choose the desired oscillator with the button. The LED of harmonics of the fundamental frequency present. the corresponding Oscillator will light up.
  • Page 37 The Wavetable generators can create 68 different • ✻ The Sine shape is also perfectly suited for ring wavetables from earlier Waldorf synthesizers. A modulation or as FM Source. complete list can be found in the chapter „Sound The wavetables are perfect for very vivid sounds.

  • Page 38: Oscillator Edit Menu

    Sound Parameter -64...+63 Detune Oscillator 1, 2 and 3 Fine-tunes the oscillator in steps of 1/128th of a semitone. The following parameters refer to the selected oscillator. The audible result of detuned oscillators is a Chorus or Flanger effect. Use a positive setting for one oscillator and 128´...1/2´...
  • Page 39 Sound Parameter modulations while high settings might add a bell waveform other than Pulse or the wavetables, this character to the timbre. parameter does not have any effect. The following picture illustrates the effect of the pulsewidth parameter: ✻ Ultra-low settings like 128’ can create very nice rhythmic changes when...
  • Page 40 Sound Parameter like the modulation wheel or aftertouch can create nice slow running LFO to PWM Source to sweep effects as well. through the whole wavetable. To create a thick oscillator sound, use a triangular ✻ -64...+63 PWM Amount LFO as PWM Source with full PWM Amount and a Pulsewidth of around 80.
  • Page 41 Oscillator 2 is used as FM Source for PPG Wave and Waldorf Wave. The Waldorf Microwave Oscillator 3 and Sync is activated. To avoid unusable II/XT offers a similar parameter called „Quantize“.
  • Page 42 Sound Parameter off / on If you want to bias FM over the keyboard so that Sync To O3 (only for Osc 2) ✻ higher notes aren’t modulated as strongly as lower Enables or disables oscillator synchronization. When notes, use the Modulation Matrix and apply enabled, Oscillator 2 acts as a slave that is controlled by Keytrack to the respective oscillator FM with a Oscillator 3, the master.

  • Page 43: Oscillator Common

    Sound Parameter Sync can also be very interesting on arpeggio ✻ When Mono is selected and you have set up a sounds. Apply a slow clocked LFO to Oscillator 2 decaying volume envelope for the selected Sound, pitch and the arpeggio starts to move. you might not hear anything after playing several notes because of the envelopes decaying to 0.
  • Page 44 Sound Parameter character to the sound. High values will result in a long Please note that the chosen number of unisono glide time of up to several seconds which can be useful voices will respectively lower the number of for solo and effect sounds. available voices.

  • Page 45: Ringmodulation

    Sound Parameter 0...127 ✻ To create a common pitch vibrato that is controlled Level by the modwheel, set Pitch Source to LFO1*MW Volume of the ring modulation between Oscillator 1 and with Pitch Amount set to around +20. 2. From a technical point of view ring modulation is the multiplication of two oscillators’...

  • Page 46: Noise

    Sound Parameter decrease the amount of signal that feeds Filter 1. If set to Ring Modulation can result in unwanted low mid, both filters will receive the same signal level. If set to frequencies when the pitches of oscillator 1 and 2 F2 63, the signal is sent to Filter 2 only.

  • Page 47: The Filter Section

    Sound Parameter and notch filter types, and the delay length of the comb -64...+63 Colour filter types. Colourizes the noise signal. A value of 0 produces White When a low pass type is selected via the Type Noise while positive values lower the bass area. Negative •...
  • Page 48 Sound Parameter the sound character gets thinner. Use these filter 0...127 Resonance types when programming effect and percussion-like Controls the emphasis of the frequencies around the cutoff sounds. point. Use lower values in the range of 0…80 to give HP 24dB / HP 12dB High Pass are useful to thin out more brilliance to the sound.
  • Page 49 Sound Parameter Comb+ / Comb- Filter differ from the other filter • To learn more about the comb filters please refer to types greatly, because they don’t actually damp any the corresponding paragraph in the chapter „Sound part of the signal, but instead add a delayed version Synthesis Basics“.

  • Page 50: Filter Edit Menu

    Sound Parameter +100%. On most bass sounds lower settings in the range Filter Edit Menu +50…+75% are optimal to keep the sound smooth at To access the Filter Edit Menu press the filter button higher notes. shortly (if Auto Edit is set to on) or for some time (if Auto Edit is set to off).
  • Page 51 Sound Parameter words, the signal will remain clean. Lower values will add see table „ModulationSources“ Mod Source some harmonics to the signal, resulting in a warm Selects the source of the cutoff modulation for the character. Increasing the value will bring in more and selected filter.

  • Page 52: Filter Common

    Sound Parameter source, i.e. the oscillators, the ring modulator, and -64...+63 Pan Amount the noise generator has an individual Balance Determines the amount of panorama modulation for the control. By means of these controls you can selected filter. determine what portion of each source’s signal is routed to the inputs of Filter 1 and Filter 2.

  • Page 53: Modulation Section

    Sound Parameter Two additional Envelopes, Env 3 and Env 4. These Modulation Section • envelopes can be used freely to perform additional The most important controls for the envelopes, the modulations on any module. modulation matrix and the three LFOs can be found in the Modulation parameter matrix.

  • Page 54: Envelopes Edit Menu

    Sound Parameter Envelopes Edit Menu ADSR / ADS1DS2R / One Shot / Loop S1S2 / Mode Loop All To access the Envelope Edit Menu press the Modulation Switches between the various envelope types. Please refer button shortly (if Auto Edit is set to on) or for some time (if to the Appendix for detailled explaination of all the types.

  • Page 55: Amp Envelope

    Sound Parameter parameter affects the envelope types ADS1DS2R, One The standard envelope parameter Attack, Decay, Shot, Loop S1S2 and Loop All only. Sustain and Release are accessable directly via the parameter controls. Amp Envelope Poly/ Mono Allocation The following parameters are valid for the amplifier This parameter is similar to the Allocation parameter in envelope.
  • Page 56 Sound Parameter 0...127 ADSR / ADS1DS2R / One Shot / Loop S1S2 / Sustain 2 Mode Loop All Sets the second Sustain level. As soon as this level is Switches between the various envelope types. Please refer reached, the envelope goes into the Release phase. This to the Appendix for detailled explaination of all the types.

  • Page 57: Lfo Parameter Controls

    Sound Parameter 0...127 Decay 2 Only LFO1 and LFO2 can be edited via the Parameter Controls. LFO 3 is completely accessable Determines the decay rate or amount of time it takes for a through the LFO Edit Menu. signal to reach the Sustain 2 level. This parameter affects the envelope types ADS1DS2R, One Shot, Loop S1S2 and Sine/ Triangle/ Square/ Saw/ Random/ S&H Shape 1...

  • Page 58: Lfo Edit Menu

    Sound Parameter The Sawtooth shape can generate interesting filter Sine/ Triangle/ Square/ Saw/ Random/ S&H • Shape 2 or volume changes. If you need a modulation with See Shape 1. inverted slope, just apply the Sawtooth shape with negative amount. 0...127 or 1280 bars...1/48 Speed 2 The Random shape generates random values and...
  • Page 59 Sound Parameter off, on -200%...+196% Sync Keytrack When Sync is set to on, the LFO phases of all voices are Determines how much the speed of the LFO depends on MIDI note number. The reference note for Keytrack is E3, synced so that they sound as one LFO.

  • Page 60: Modulation Matrix Parameter Controls

    (Pressure) and Polyphonic Pressure. amount. The Modulation Matrix (Mod Matrix) is the key of the power of each Waldorf synthesizer, so start For the so-called bipolar modulation sources, the • experimenting with it right now.

  • Page 61: Modulation Matrix Edit Menu

    Sound Parameter Modulation Matrix Edit Menu 1...4 Modifier Modifiers allow you to apply mathematical functions on To access the modulation Matrix Edit Menu press the modulation signals. Depending on the function type Modulation button shortly (if Auto Edit is set to on) or for selected, calculation will affect two source signals or a some time (if Auto Edit is set to off).
  • Page 62 Sound Parameter - Returns the difference of Source A and Source see table Operation • Determines which kind of operation will be performed on * Returns the product of Source A and Source B. the selected input sources. The following types are •...

  • Page 63: Amplifier Edit Menu

    Sound Parameter higher velocities. This gives an atypical character suitable Amplifier Edit Menu for effect sounds. As the Amplifier always works in To understand the operation of this unit, it is important to conjunction with the Amplifier Envelope, this parameter know that the Amplifier Envelope is always acting as a actually determines the envelope velocity amount.

  • Page 64: Effects Parameter Controls

    Sound Parameter Parameter Controls of the Effects Effects Edit Menu The Blofeld has two effect units. The first effect unit is To access the Effects Edit Menu press the Shift button always part of the Sound Program. The second effect can shortly (if Auto Edit is set to on) or for some time (if Auto be assigned either globally.

  • Page 65: Chorus

    Sound Parameter back into the comb filter. This generates a deeper Chorus detuning and colorizes the signal. With extreme settings A Chorus effect is generated by using Comb filters that you can hear a whistling sound which is very generate slightly detuned copies of the input signal and characteristic of a Flanger effect.

  • Page 66: Phaser

    Sound Parameter 0…127 Phaser Spacing Controls the relative frequencies of the allpass filters. A A Phaser is a combination of several "allpass" filters setting of 0 produces a classic phaser, while higher working in parallel. This generates an effect with equally settings spread out the frequencies of the allpass filters.

  • Page 67: Triple Fx

    Sound Parameter program. The Overdrive effect, for example, works great Please note that the setting of the Mix parameter on Organ or E-Piano sounds. doesn’t affect the strength of the overdrive effect but only the volume of it. Therefore, you can get a very 0…127 Drive strong overdrive with a low volume when you turn...

  • Page 68: Delay

    Sound Parameter 0…127 0…127 Overdrive Depth Controls the amount of distortion of the signal. Please Controls the modulation depth of the Chorus effect. note that the signal might become a little louder when you increase this parameter. Delay This effect type is only available for the Effect 2 unit. Drive Curve Determines the character of the drive.

  • Page 69: Clk. (Clocked) Delay

    Sound Parameter scaled in note values. The Clock Delay effect depends on 0…127 Feedback the internal tempo of the Bloefeld which can be found in Controls the amount of signal that is routed back into the the Arpeggiator menu. Delay line. Lower values therefore produce fewer echoes An important feature of the Blofeld’s Delay effect is that than higher values.

  • Page 70: Reverb

    Sound Parameter room, rather they are an addition to the Blofeld´s sound positive / negative Polarity synthesis to make it more 3 dimensional and expressive. Determines whether the feedback signal is fed back into the delay line as is, or is inverted beforehand. 0…127 HighPass Determines the frequency where the lower frequency...
  • Page 71 Sound Parameter metal or tile wall. Higher settings make a warm and thick 0…127 Damping reverb as if the signal were reflected by a uneven surface. Determines how fast the room simulation dampens the Settings above 100 change the room characteristic even higher reverb frequencies.

  • Page 72: Arpeggiator

    Sound Parameter split up and repeated rhythmically. As soon as you Arpeggiator release a note, it is removed from the arpeggio rhythm. Conversely, as soon as you add another An Arpeggiator is a device that splits an incoming MIDI note to the existing chord, it is inserted into the chord into its single notes and repeats them rhythmically.
  • Page 73 Sound Parameter Press and hold the first key of the chord. off / User / 1…15 • Pattern While holding this key, enter the other keys Sets the rhythm pattern that is used for generating the sequentially. After playing all keys, you can arpeggio.
  • Page 74 Sound Parameter If Up is selected, the note list is played forward • and the octaves are transposed upward. The l l l l l l l l l arpeggio starts in the original octave and goes up to the highest octave. Then the arpeggio is l l l repeated.
  • Page 75 Sound Parameter Note input Range Direction Resulting Arpeggio 1...10 Octave C1 E1 G1 1 Oct C1 E1 G1 | C1 E1 Determines the range of the single notes in octaves. When it is set to 1 Oct, the note list will be played back in the C1 E1 G1 2 Oct C1 E1 G1 | C2 E2...
  • Page 76 Sound Parameter play only one single note on a 16 beat rhythm with Each Note / First Note / Last Note Velocity lengths set to 1/8. / fix 32 / fix 64 / fix 100 / fix 127 Note that this parameter only affects notes of the same Determines how velocity is interpreted in the arpeggio.

  • Page 77: Arpeggiator Step Data Pages

    Sound Parameter arpeggio might now look like this (note the two off / on Pat. Reset C1s in sequence): When all steps of an arpeggio pattern are played back, the pattern is repeated from the beginning so that the arpeggio Pattern Step 1 is looped.
  • Page 78 Sound Parameter if you want to only play the "root note" of a chord miscellaneous step data Step in a bass sound. The note list is not advanced. This parameter can have a pronounced effect on the If  last is selected, the Arpeggiator plays the very resulting arpeggio, so you should read the following •...
  • Page 79 Sound Parameter from the original velocity stored in the note list. However, off / on Glide the generated velocities can never exceed the maximum For each step in the arpeggio pattern you can activate the MIDI velocity 127 or minimum MIDI velocity 1. This glide effect individually.
  • Page 80 Sound Parameter the step by a maximum of half the clock division. This Negative values (-3, -2 oder -1) shorten the length • means that it can move the step by 1/32 forward or of the notes of this step. backward when clock is set to 1/16.

  • Page 81: Global Parameters

    Global parameters are stored automatically when you You can also send your Blofeld to a qualified Waldorf modify them, so you are not required to save them Service Center. But be sure we will retain your manually.
  • Page 82 You will have to adjust information so this ID is used to distinguish between all your other instruments, too. Don’t forget to set several Blofelds, if you have more than one Waldorf it back again! Blofeld in your setup.
  • Page 83 After you have bought your 128th Blofeld, please by an external device like a sequencer or drum contact Waldorf Music. You will receive a personal machine. If there is no MIDI Clock present, the device number that authorizes you to have dinner Blofeld generates its internal tempo base.
  • Page 84 Global Parameter If Ctl is selected, only controller messages are sent. If On is selected, all Sound Parameter Changes are • • Parameters without a dedicated controller are not received, no matter if they were sent as controller or sent at all. system exclusive messages.
  • Page 85 Global Parameter C. W, X, Y, Z toggle - Emits the assigned controller • The most important Sound parameters of the Blofeld but acts like an on/off switch. can be controlled by MIDI Continuous Controller messages. If you set one of the Ctrl W…Ctrl Z to a mute - mutes Blofeld while pressed.

  • Page 86: Utility Menu

    Global Parameter When you initialize a program, all action takes place Utility Menu inside an edit buffer. Therefore no data will be lost until you store the program. Aside from the different Midi Dump Options, the Utility Menu contains further helpful functions. Randomize Sound initializes all parameters of a Sound Program with random values.

  • Page 87: Receiving System Exclusive Data

    Global Parameter ☞ If Dump Arrangement is selected, the • To activate the dump function in Play mode: current Multi program including all Use the Selection dial to select the desired sound programs will be sent. dump function: If Dump All Multis is selected, all Multi •...
  • Page 88 Global Parameter As soon as the dump from the sending device is activated, the Blofeld will receive data and store these in its memory. If a single Sound dump is received, it is temporarily stored in its respective edit buffer. If you want to keep such edits, you have to store them.

  • Page 89: Sound Synthesis Basics

    However, the sine wave can be an the Waldorf Blofeld gives you exactly these waveforms at interesting oscillator waveform to emphasize a certain hand, plus other classic waveforms like pulse (which is...
  • Page 90 Sound Synthesis Basics partials. In most waveforms, the partial with the lowest frequency is dominant, meaning that this partial is used by the ear to determine the pitch of the tone. This partial is called fundamental. other partials called overtones. So, the second partial is the first overtone. Cyclic waveforms such as the waveforms in the Blofeld only feature sine waves in integer frequency ratios to the fundamental like double frequency, triple frequency and...
  • Page 91 Sound Synthesis Basics bow pulling the string slightly into one direction. At one point, the string abruptly comes off the bow and swings back to its original position. The bow is still moved and so it catches the string again and the procedure is repeated. The result is a waveform that looks like a sawtooth.
  • Page 92 Sound Synthesis Basics tube that can contain a certain amount of air. The player blows air through the tube in a way such that the air starts vibrate. This vibration almost completely symmetrical, resulting in a hollow timbre. The Pulse Wave The Pulse Wave is the most versatile wave in a classic synthesizer because its shape and therefore its harmonic content can be changed in real time.
  • Page 93 Sound Synthesis Basics very symmetrical harmonic content, while all other pulse The Triangle Wave widths create peaks or troughs at certain frequencies. The Triangle Wave is very similar to the square wave. It is Another special case is a pulse wave with a very narrow composed of the same harmonics as the square wave, but pulse width, in the above picture labelled as <1%.
  • Page 94 Sound Synthesis Basics The triangle wave sounds like a woodwind instrument, i.e. a clarinet. It can also be used for mallet instruments like vibraphone, xylophone etc. Wavetable Synthesis in the Blofeld The sound generation of the wavetables in the Blofeld is based on wavetable synthesis.
  • Page 95 Clipper K+Strong1 If you like the sound and possibilities of wavetable synthesis, you should try out the virtual instrument OrganSyn K+Strong2 Waldorf PPG Wave 2.V which is part of the Waldorf SquareSaw K+Strong3 Edition plug-in bundle. Formant1 1-2-3-4-5 Blofeld User´s Manual...

  • Page 96: Filter Introduction

    Sound Synthesis Basics Polated 19/twenty Filter Introduction Transient Wavetrip1 Once the audio signal leaves the mixer, it is sent to the ElectricP Wavetrip2 filters. The Blofeld has two independent filter units, each Robotic Wavetrip3 with its own individual settings. The signal flow in the filters can be controlled via the Routing function.
  • Page 97 Sound Synthesis Basics point is emphasized. The following picture shows the Level effect of the resonance parameter on the filter’s frequency curve: Frequency Cutoff To give you an idea of the extent of damping, consider this example of a low pass filter: A reduction of 24dB reduces the original level one octave above the cutoff point by approx.

  • Page 98: The Comb Filter Types

    Sound Synthesis Basics The Comb Filter Types The Comb filter types differ from the other filter types greatly, because they don’t actually damp any part of the signal, but instead add a delayed version of the input signal to the output. What exactly is a Comb filter? A Comb filter is basically a very short delay that can be controlled in length and feedback.
  • Page 99 Sound Synthesis Basics The Comb filter as a Chorus This is the most basic way to use the Comb filter. A Chorus in fact is made of one or several Comb filters, so this is an easy task to set up manually. ☞...
  • Page 100 Sound Synthesis Basics ✻ You can also pan the original, i.e. low pass filtered The Comb filter as a Flanger signal, to one stereo side and route 50% into Filter 2, A Flanger is almost the same as a Chorus. The only producing a Chorus effect that is panned to the other difference is that it has feedback circuitry to change the stereo side.
  • Page 101 Sound Synthesis Basics Now you need to know how to set up Cutoff. Filter Cutoff The Comb filter used to simulate a string or a is scaled in semitone steps, and you only have to find the tube Cutoff value where the filter oscillates with standard pitch. The Comb filter is one of the most basic building blocks of The following table gives you these settings: “Physical Modeling”, which is the term for an algorithmic...
  • Page 102 Sound Synthesis Basics Turn up Filter Keytrack to +100% to have Filter Cutoff change with equal-tempered scaling. Set Cutoff to 23, 35, 47 or 59 to have it oscillating same pitch oscillator´s usually tuning. Please note that Comb+ oscillates one octave higher than Comb-.

  • Page 103: Envelope Types

    Sound Synthesis Basics Envelope Types in the Blofeld ADSR Envelope Most traditional synthesizers feature ADSR envelopes. These envelopes are made up of four parameters that determine their response: Attack, Decay, Sustain and Release. The other parameters of the Envelope section have no function, so they can not be edited.
  • Page 104 Sound Synthesis Basics Decay and Sustain pair. With these additional parameters, you can create much more complex envelopes. One Shot Envelope ADS1DS2R Envelope Loop S1S2 Envelope One Shot Envelope The Loop S1S2 envelope type loops the envelope The One Shot envelope type is designed for percussive between Sustain 1 and Sustain 2 as long as a note is sounds that don’t need a stage maintained as long as a held, after has been through the Attack phase once.
  • Page 105 Sound Synthesis Basics Loop S1S2 Envelope Loop All Envelope Loop All Envelope The Loop All envelope type is similar to the Loop S1S2 envelope type but it loops through all envelope stages as long as a note is held. This means that it goes through all envelope stages first, and if it ended with the Release phase, the envelope restarts from zero and goes through all its phases again.

  • Page 106: Appendix

    Appendix LFO1*MW LFO 1 Signal shaped by Modwheel Appendix LFO2 LFO 2 Signal LFO2*Prs. LFO 2 Signal shaped by Aftertouch FM Sources LFO3 LFO 3 Signal FM Source: Description: FilterEnv Filter Envelope Signal No modulation AmpEnv Amplifier Envelope Signal Osc1 Oscillator 1 Signal Env3 Envelope 3 Signal...

  • Page 107: Modulation Destinations

    Appendix (equals 0) F1 Cutoff, F2 Cutoff Cutoff of Filter 1…2 MAXIMUM constant for maximum modulation F1 Reson., F2 Reson. Resonance of Filter 1…2 (equals +1) F1 FM, F2 FM FM Amount modulation of Filter 1…2 Modulation Destinations F1 Drive, F2 Drive Drive of Filter 1…2 Modulation Description:...
  • Page 108 Appendix Envelope 3 E3 Sust. Sustain (and Sustain 2) level of Envelope 3 E3 Rel. Release rate of Envelope 3 E4 Attack Attack rate of Envelope 4 E4 Decay Decay (and Decay 2) rate of Envelope 4 E4 Sust. Sustain (and Sustain 2) level of Envelope 4 E4 Rel.

  • Page 109: Updating The System Software

    Appendix ☞ To update the Blofeld’s system software: Updating the System Software Load the respective Standard MIDI File into • your sequencer. Follow the instructions from The Blofeld has a service-friendly feature that makes it possible to update the system software without changing your sequencer’s manual.
  • Page 110 Appendix You can dump an operating system update via MIDI input as also via USB 2 port. We recommend the use of the USB port for updating your Blofeld. Do not under any circumstances turn off the Blofeld while this step is in progress. A complete loss of data may occur and it will be impossible for you to make your machine work again! Blofeld User´s Manual...

  • Page 111: Tips & Tricks

    Appendix each other to create extremely complex timbres. Just keep in mind that the LFOs have a maximum Tips & Tricks speed of around 2500 Hz and that they can Noise as FM Source for an oscillator gives a • produce aliasing side effects.

  • Page 112: Technical Data

    Appendix Technical Data Power Supply Nominal voltage: DC 12V Supply Voltage 100 – 240 V Maximum current consumption: 0.3 A Maximum power consumption: Dimensions and Weight Blofeld Desktop Width: 304 mm Depht: 132 mm Height (including knobs): 54 mm Total weight: 1,3 kg Dimensions and Weight Blofeld Keyboard Width:...

  • Page 113: Controller Numbers

    Appendix Ctrl Controller Range Controller name Value Range Controller Numbers or Sound Parameter Controllers marked with * don’t change the Sound - not used - Bank Select MSB - not used program but can perform temporary modulations or other tasks. 0…127 Modulation 0…127...
  • Page 114 Appendix sawtooth, 0…127 Osc 1 Detune -64…+63 random, S&H 0…127 Osc 1 FM 0…127 0…127 LFO 1 Speed 0…127 or 256 0…5 Osc 1 Shape pulse, saw, bars…1/96 triangle, sine, 0…1 LFO 1 Sync off, on alt 1, alt 2 0…127 LFO 1 Delay 0…127...
  • Page 115 Appendix alt 1, alt 2 0…127 Noise Level 0…127 0…127 Osc 3 PW 0…127 0…127 Noise Balance 64…mid…F2 0…127 Osc 3 PWM -64…+63 0…1 Sync off, on 0...127 Noise Colour 0...127 0…127 Pitchmod -64…+63 - not used - undefined - not used - 0…9 Glide Mode siehe “Glide...
  • Page 116 Appendix 0…127 Filter 1 FM off, 1…127 0…127 Amp Mod -64…+63 0…127 Filter 1 Pan L64…center… 0…127 FX 1 Mix 0…127 0…127 FX 2 Mix 0…127 0…127 Filter 1 Panmod -64…+63 0…127 FE Attack 0…127 0…10 Filter 2 Type See Filter types 0…127 FE Decay 0…127...
  • Page 117 Appendix 0…127 E4 Decay 0…127 0…127 E4 Sustain 0…127 0…127 E4 Decay 2 0…127 0…127 E4 Sustain 2 0…127 0…127 E4 Release 0…127 - not used - undefined - not used - All Sound Off* immediate silence Reset All resets all Controllers* controllers 0…127...

  • Page 118: Glossary

    Appendix Arpeggiator Glossary An arpeggiator is a device that splits an incoming chord into its single notes and repeats them rhythmically. Most Aftertouch arpeggiators feature different sequence modes to cover a wide range of applications. Typical controls for an The majority of contemporary keyboards are capable of arpeggiator are the octave range, the direction, the speed generating aftertouch messages.
  • Page 119 Appendix Clipping Envelope Clipping is a sort of distortion that occurs when a signal An envelope is used to modulate a sound-shaping exceeds its maximum value. The curve of a clipped signal component within a given time frame so that the sound is is dependent of the system where the clipping takes place.
  • Page 120 Appendix frequency. A high pass filter in turn dampens the Low Pass Filter frequencies below the cutoff. The band pass filter allows Synthesizers are often equipped with a low pass filter. A only those frequencies around the cutoff frequency to low pass filter dampens all frequencies above its cutoff pass, all others are dampened.
  • Page 121 Appendix MIDI Thru has a special function. It allows the sender to include envelopes, LFOs or MIDI messages. The transmit to several receivers. It routes the incoming signal modulation destination is sound-shaping component such to the next device without modifying it. Another device is as a filter or a VCA.
  • Page 122 Appendix through the Attack and Decay phases. Sustain lasts until Program Change the trigger is terminated. These are MIDI messages that switch sound programs. Program numbers 1 through 128 can be changed via System Exclusive Data program change messages. System exclusive data allow access to the heart of a MIDI device.
  • Page 123 Insofar it is identical with a Sample that is looped after one single wave pass. In contrast to 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 124: Declaration Of Conformity

    EN 55013 des Herstellers / of the manufacturer: Waldorf, 28.08.2007 Waldorf Music GmbH Neustrasse 12 53498 Waldorf / Germany Verantwortliche Person / Responsible person: Stefan Stenzel erklärt hiermit, dass das Produkt / will be hereby declared Stefan Stenzel, Geschäftsführer that the following named product...
  • Page 125 Appendix Am 15.12.2004 wurde die überarbeitete Richtlinie 2004/108/EG EN 61000-3-2 zur Elektromagnetischen Verträglichkeit von der Europäischen Elektromagnetische Verträglichkeit ( EMV) – Teil 3-2: Grenzwerte Kommission veröffentlicht (AB. L 390/2004). Sie ersetzt die bisher – Grenzwerte für Oberschwingungsströme Geräte- geltende EMV-Richtlinie 89/336/EWG. Eingangsstrom £...

  • Page 126: Fcc Information

    Manual, meets FCC requirements. Modifications not product. expressly approved by Waldorf may void your authority, granted The statements above apply ONLY to products distributed in the by the FCC, to use this product.

  • Page 127: Product Warranty

    Product Support Diese Geräte entsprechen der EG-Richtlinie 89/336/EC. If you have any questions about your Waldorf product, feel free to contact Product Warranty us via one of the four options listed below: Send us an email message. This is the most efficient and fastest way to Thank you for choosing this Waldorf product.

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