Content by Products
Q series microQ series MicroWave II / XT series
MicroWave I & WaveSlave WAVE Pulse series
RackAttack Attack (VSTi Plug-In) PPG 2.v (VSTi Plug-In)
4 Pole X-pole EQ-27
Gekkos Midibay MB-15 AFB-16


mQ series mQ (classic)  >  Q: What's the difference between the mQ and the mQlite?
 >  Q: How does FX2 work?
 >  Q: Howcome when in MultiMode things mess up so badly with output settings? How do I know from what output the FX returns come?
 >  Q: How to reset the mQ CPU clock ?
 >  Q: How to enter the factory test mode?
 >  Q: Anybody know what 'watchdog timeout' means on a microQ screen?
 >  Q: Problem/bug using the W to Z controllers multimode ?
 >  Q: What kind of funny humourous words are on the back of a mircoQ keyboard?
 >  Q: How to get into the mircoQ's factory test, service, erease data mode?
 >  Q: What's the difference between the Q and µQ series of synths?
 >  Q: What can I do when "Reorganizing Memory" appears?
 >  Q: How to make the Q(r) sounds work on a mQ(k)?
 >  Q: Setting up the vocoder
 >  Q: What are the altwaves?
 >  Q: How to save a multi
 >  Q: How to set up a multi?
 >  Q: Are Alt 1 and Alt 2 different wavetables or are they the same?
 >  Q: How to export patterns via MIDI?
 >  Q: Filter drive
 >  Q: Lag processor
 >  Q: Modulation Trick
 >  Q: Note trigger needed for External In and Vocoder Sounds
 >  Q: External Input Mix
 >  Q: External Input Gain
 >  Q: External Input
 >  Q: Reviewing sounds dry
 >  Q: How to Update the Q/mQ O.S.
 >  Q: How To Load Q/mQ Sounds
 >  Q: How To Save Q Sounds
 >  Q: Multimode For Live Performance (Tutorial)
 >  Q: Q/mQ Amp Clip Reduction
 >  Q: About "Multi Volume"
 >  Q: Volume Levels
 >  Q: Setting up a Multi for MIDI use (Tutorial)
 >  Q: Understanding Multimode and Instruments
 >  Q: Arpeggiator Pattern Edit does not work ?
 >  Q: Worked just a second ago and is now dead
 >  Q: Q/mQk is swamped with MIDI messages
 >  Q: Vocoder, RingMod or FX gets no signal
 >  Q: No Sound (due to Modulation Matrix or Multi Volume) ?
 >  Q: I thought the Q/mQ was supposed to make noise, mine doesn't
 >  Q: How to load a full soundset?
 >  Q: How to use the arpeggiator in drum maps?
 >  Q: How can I switch between sounds and multis from MIDI?
 >  Q: Is there a Mac OS Qrack or mQ editor available?
 >  Q: Is the One-Shot envelope working?
 >  Q: What can I do with the binary modifiers?
 >  Q: Do you have some examples for using the modifiers?
 >  Q: Where to find Q, XT or microQ spare part encoders?
 >  Q: Checksum Error on OS dump?
 >  Q: Why do some synths produce clicks?
 >  Q: What freeware software to load updates and sounds to Waldorf synths?
 >  Q: were do we find Waldorf support technicians worldwide?
 >  Q: Where to find the Waldorf FTP server now?
Q: What's the difference between the mQ and the mQlite?

A: The microQ lite is all of a microQ, except for:
* Maximum of 12 voices
* No reverb Effect
* No surround Delay Effect
* Cannot use as an effects unit ("Mix In to" disabled)
* Not expandable to 75 voices
* Can be upgraded to a full microQ via software.    ^ 
Q: How does FX2 work?

A: There is only one global FX 2 on the mQ.
In single mode (PLAY) you can select in the GLOBAL menu which FX 2 setting will be used. I use Instr. 1 setting as Global FX 2 most of the time.
When you built a multi, you should choose the sound with the FX 2 that you need most urgently on Instrument #1 slot. When you in multi edit, you are able to choose FX 2 level (remember: FX 2 of the instrument set acording to the GLOBAl setting will be used) for all instruments. And FX 1 for Instruments 1-4.    ^ 
Q: Howcome when in MultiMode things mess up so badly with output settings? How do I know from what output the FX returns come?

A: Workaround:

1. Never mix anything into FX2 that does not go to the same physical output as FX2.

2. Always set FX2 to link to Inst.1, and always send it to MainOut. Remember to zero FX2 mix whenever you set the Output to one of the SubOuts.

3. Set up Inst.1...4 to produce no sound (also set their status to off in Multi Edit so that they don't consume extra voices) so that you can use the four sounds just as storage for the FX settings (keep these seperate, they won't be of any use in single mode). Then route everything through Inst.1-4 FX or the physical output associated with FX2.    ^ 
Q: How to reset the mQ CPU clock ?

A: Boot your microQ with the Multi/Compare button pressed, hold this button until the display reads "DSP clock reset" on the lower line.

You don't need ever to do so if you didn't changed the CPU clock before.    ^ 
Q: How to enter the factory test mode?

A: Power the microQ with both Inst.1 and Global buttons pressed.
You exit this mode by pulling the Q's main plug.

BE CAREFULL: YOU MIGHT LOOSE SOUNDS OR NEEDED DATA IF YOU DON'T KNOW WHAT YOU ARE DOING IN THIS MODE.    ^ 
Q: Anybody know what 'watchdog timeout' means on a microQ screen?

A: This comes up, when the DSP spends more time in a routine, or hangs, than
expected by the host processor.

To fix it try the following:

1. Reset the DSP clock by pressing during startup
Multi = Service mode + DSP clock default

If this is not working out, do the full package:

1. Backup all patches and stuff in the machine.
2. Erase Memory by pressing during startup
Global + Inst.3 = Clear Flash File System
3. Redump the latest OS by pressing during startup
Global + Shift = wait for system dump
4. Reset the DSP clock by pressing during startup
Multi = Service mode + DSP clock default

If you still get the timeout, then it would look like a hardware
failure.
   ^ 
Q: Problem/bug using the W to Z controllers multimode ?

A: The controllers should not be used on more than one midi channel per multi. When the controller is sent on a midi channel, it will heraticly trigger the same controller on the sounds on the other midi channel as well.
Besides, using the breath controller (cc2) and foot controller (cc4) have no effects.
Instead of using the ctrlW...Z at all, I am using the modulation wheel (cc1), pitch bend, and channel pressure (aka channel or mono aftertouch) messages. (works great on their own or with the two predifined modulations source modWheel*LFO1 and pressure*LFO2).

(thanks to Mathieu for his contribution to this FAQs)    ^ 
Q: What kind of funny humourous words are on the back of a mircoQ keyboard?

A: "This device complies to the FCC rules part 15. It is also a wonderful instrument ant it is great fun to play around with it. It took years of research and development and millions of Deutschmarks to finally produce it, so please be careful and don't take it with you in the bath tub. Also you should avoid getting it dirty or giving it away to friends who don't understand the real meaning of addiction to music and synthesizers."    ^ 
Q: How to get into the mircoQ's factory test, service, erease data mode?

A: Power up holding these buttons will get your Waldorf into this mode:

Inst.1+Global = Factory Test
Inst.3+Global = Erase Data Flash
Multi = DSP clock reset + Service Mode
Global = Service Mode

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Only do this if you know what you do!
You will loose all your sounds!
You might break your synth doing so!
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *    ^ 
Q: What's the difference between the Q and µQ series of synths?

A: This list is probably quite a bit longer than you expect. As a general guideline the microQ seems to have just the things that a typical sequencer->tone generator setup needs, while the Q is a performance synthesizer where many of the features won't be used or make much sense until you free it from the slavery of the sequencer and let it call the shots. The microQkb and the Qrack are mixed breeds in that respect although they stay true to their ancestry, so the microQkb is still farther from the Q than the Qrack is and the Qrack is nowhere near the microQ. Now for the (likely still incomplete) list of differences from the biggies to the weenies (my order, yours would probably look different):
The user interface. I'm not saying that one is better than the other, but that is something you'll notice right away and will in subtle ways shape your style of working with the synth.
The step sequencer (we'll come back to that later). Some folks may not need it, but even if you don't use it for playing notes it can still be used as a modulation source. [I plan to write up a Q-Tip on that as it has to be one of the most often overlooked features of the step sequencer.]
FX architecture. The Q has eight independent FX units arranged in four pairs. The microQ has four independent FX units and one global FX. Based on the questions here in this forum the architecture of the microQ is confusing to many users, as in essence the arrangement in the microQ means that a path will sound more often than not quite different in multimode than in single mode.
The Filter Routing _interpolation_. The filter routing (serial and parallel) itself is there on the microQ, it's the interpolation and associated modulation possibilities that are missing on the microQ. When it's used you won't be able to do even an imitation of the effect on the microQ.
No CV and switch inputs on the microQ (rack). The microQkb has one switch and one CV input vs two of them on the Q.
The PPG filter. There is a certain range of resonance settings where this filter sounds just so much better than the normal lowpass. But understand that the lowpass on the microQ and the Q will also sound different.
The XPhorm. Another trick the Q has up the sleeve that can yield stunning "modulations" that have no chance of being pressed into the ModMatrix.
Fixed vs. dynamic performance architecture. The Q does not care how many of it's voices are in use and how many features are used by each voice. The microQ will have a different number of voices depending on the general complexity of the patches.
Filter self oscillation. The microQ just doesn't, which is often easily worked around. Alongside with that the filter model generally is different from the Q which would be most noticeable at or around the point where self-oscillation would start on the Q.
A few differences in the actual sound dumps, some necessary due to the mentioned differences and some gratuitous, like the scaling of some parameters.
The Q's standard number of 16 firm voices can be doubled to 32, while the microQ's maximum number of dynamic voices can be tripled to 75.
Maximum delay length and reverb room size is smaller on the microQ.    ^ 
Q: What can I do when "Reorganizing Memory" appears?

A: What can I do when "Reorganizing Memory" appears?

1. When dumping data from MIDI: the dump where the message appeared and some later dumps (if it was a complete soundset) were not received correctly. Stop and rewind the sequence a bit and resume when the message is gone from the Q's display.
2. When storing from the Q itself: the last store could not be completed due to fragmented memory. Try to store again right after the message has vanished from the display.

You may have to repeat this procedure a number of times.

Why do I get this message?
Data is stored in so-called Flash memory. Data in Flash can't be overwritten directly. The Flash must first be erased, however the erase will affect a large block or sector of data at once. That sector can then be written over once with new data.
When the Q needs to save data, it looks for already erased space of sufficient size. If it finds space, it writes the data to it and then invalidates the data at the old location, creating a fragment. If it can't find space, it has to collect all valid data in one or more sectors, erase these sectors, write the valid data back (defragmenting it on the way) and check if enough space has been freed by the procedure. This takes some time during which you see the message "Reorganizing Memory".
The propensity of the memory to need reorganization is roughly proportional to the number of store operations and the amount of memory in use. You can not delete memory once you've started using it, except for erasing all user memory. For instance if you ever stored data to C100, that slot will always take up memory, even when it is later initialized.
If there is not enough space to temporarily save the valid data of sectors to be erased, you get the message "Flash hopeless full". It may go away after a power cycle, but usually the only thing you can do at this point is to back up the Q and erase the whole memory.

How can I avoid this message?
1. Avoid fragmentation: Store intermediate edits to QCard or to a seqeuncer instead of directly to the Q. Also try to use always the same slots for edit and use a consecutive range at the end of memory. This helps to keep fragmentation to as few sectors as possible.
2. Keep lots of empty memory: use as few slots in memory as possible. After erasing memory, do not send a complete sound set. For instance if you don't use the sequencer, leave out the patterns. Send only the sounds you plan to use, try using single sounds sent to edit buffers to find out which are the ones you need.
3. Power cycle your Q occassionaly during prolonged edit sessions. The Q checks and reorganizes the memory during boot when fragmentation is over a certain limit. By keeping the number of edits between reboots sufficiently low, the Q is able to keep enough non-fragmented free space around.

How can I defragment memory?
When fragmentation exceeds a certain limit, the Q is unable to reorganize the memory sufficiently well and you'll get this message more and more often. To recover, back up all user data ("Dump All" Sound, Multi, DrumMap, Pattern and Global) first. If you've just edited a handful of slots and the rest is straight from the factory set, you could also save these as single dumps.
Make sure your backup is received by the Q when sent back and note the setting of DevID in Global Menu. Then cycle power and press the Multi (not Multimode) button during boot. You will be asked if it's OK to erase the DATA Flash. Press Play/OK to confirm. You have to set the DevID to the value you've noted. Send back the Global data backup now to get the rest of the global setup right.
Now the difficult part: you should not send the complete backup as it is, but only those dumps that you are going to use! Otherwise you end up using more memory then before. Usually you would want to use all sounds, so this backup can be sent right away to fill all slots from A001 to C100. For Multis, Drum Maps and Patterns only the first few slots in each bank are used. One solution is to stop the sequencer after sending the first few entries. The better solution is to use a bank manager like SoundDiver and just send the entries that are of interest. You can also edit the event list in your sequencer and delete the superfluous dumps. If you've backed up single dumps, re-load the appropriate factory soundset (skipping any unnecessary slots) and then send each of your backups back to the Q and store them by hand.    ^ 
Q: How to make the Q(r) sounds work on a mQ(k)?

A: If you dump a mQ sound into a Q check the following Q parameters:

* The waveshape of the oscillators might be invisible due to the fact that the mQ allows you to switch oscillators off (to save voices). You will have to select any waveshape you like and turning the volume of this oscillator to zero. Check for modulation of the oscillator volume and cancel these.
* The oscillator PWM modulation on alt-waves is much to high. You will have to lower it drastically. I would reduce the value of 42 to something like 4 or 5. Just use your ears to do so. There is no chart for this yet. BTW: +63 equals +63 on both engines.
* You might want to adjust the filter cutoff and the env-vel a tiny bit. But this isn't a major issue.


If you dumped a Q sound into a mQ:

* chack the FX first. The mQ allows you to use the reverb and Delay FX only on FX2 (which might not be audible depending on the FX2 setting in the global menu). If the Q sound uses Delay and Reverb or two delays or Reverb, you are out off luck. - You will have to rise the mQ PWM modulation on alt-waves drastically. values like 4 or 5 will have to change to something like 42. Trust your ears. There is no chart for this yet. BTW: +63 equals +63 on both engines.
* If the original Q sound used in-between Filter-Routing you have to tryserial or paralell filter routing to match the sound a bit more. There is no dynamical filter routing on the mQ. Also all modulations on filterrouting will be useless. You might want to clear up these in the Mod Matrix. But there is no technical need to do so, because the desiny filter routing will be set to off.
* The mQ doesn't feature the PPG filter clone. Try a 12 db low pass or the 24 db low pass with a bit raised cutoff to came a bit closer to the original. You might have to lower the resonance too, because the resonace sounds VERY different on the PPG filter clone. Actually it does sound like the real SSM used in the PPG waves and early Prophet 5s.    ^ 
Q: Setting up the vocoder

A: There is a very fine tutorial in the latest versions of both manuals written by Holger "Tsching" Steinbrink.

When using the Vocoder, don't forget that the Vocoder wants two signals, analysis (often the External In) and synthesis. If you forget the synthesis signal, you may be frustrated by a very silent vocoder. You can check by setting the mix for the Vocoder to zero, then you will only hear the synthesis signal. Set the Vocoder mix back to some high value when done. :-)

 ftp://ftp.waldorf-gmbh.de/micro_q/manauals/mQ_Addendum2.0.pdf 
 ftp://ftp.waldorf-gmbh.de/q/docs/docs_english/Q_ManaulVers3.0.pdf     ^ 
Q: What are the altwaves?

A: THEY ARE:
* 2 different wavetables on oscillators 1 & 2 of the Q & mQ
* you are able to select them independently. On most other wavetable synth you have to use the same wavetable for all (both) oscillators.
* each wavetable is made up of 128 wave shape positions
* the transition from waveshape to waveshape is VERY smooth

HISTORIC BACKGROUND:
The alt-waves were into the specs of the Q from the first public announcement Waldorf did. But it took a few month after the Q's release to introduce them in a new and free (as usually) Q OS update. The alt-waves were designed by Stefan Stenzel, the DSP programmer at Waldorf. He selected some of his favorite Micro Wave II waveshapes.
And the Micro Wave II waveshapes were taken from the Micro Wave I. And the Micro Wave I waveshapes included the PPG wavetables #0 to #29, missing the PPG sample wavetable #31 and the upperwavetable.
The alt-wave tables include 64 unique waveshapes. 16 of them origin from the PPG waves (that's quarter of all waveshapes). The shapes included are 4 waves from the PPG wavetable #13 (harsh), 3 from PPG wavetable #15 (# 16 on the Waldorf synths; piano), 7 from the PPG wavetable #24 (# 25 on the Waldorf synths; ) and 2 from PPG wavetable #22 (# 23 on the Waldorf synths; percussive organ).
All other waveshapes are Micro Wave I OS 2 waveshapes. For example: the pulse sync (#38 on the Micro Wave II), the "nein" portion from the "19/20" wavetable. And the Waldorf wavetable #57 and #64. These waveshapes are NOT spread across the tables like on the PPG or Micro Wave tables.
They are just dropped on every fourth wavetable position. There for you need to use very advanced modulations by two or more envelopes (the Q and mQ haven't got a 8 stage envelope) to simulate the featured PPG wavetables.

AND THE TECHNICAL DETAILS ?
Each waveshape is stored as a full single cycle of 128 12 bit sample words.
The highest available harmonic is the 64th.
The Q works very high fidelity in the whole DSP and analog signal path. Therefor you won't get the typical aliasing a PPG did.
The transition from one wave to another in the wavetable is VERY smooth. Also very unlike the PPG waves.    ^ 
Q: How to save a multi

A: When you have set up a multi, you have to press the 'multi' button (at the right side of the display, not the one at below right. Now you will be in the edit menu for your current multi.
NOW is the time where you press shit-store, and now you can choose a location (turn the big red dial), and a name for your multi. Press shift-store once again to confirm the save-process.    ^ 
Q: How to set up a multi?

A: First you have to be in multimode. (Press the 'multimode'-button, at the left side of 'peak').

Now you can edit the sounds in your multi. Press the 'Multi/Compare' button, you are now entering a menu. When you're entering multimode, normally you are editing part 1. So, now let's go through how to select a different patch for part 1. (Note: A patch and a part are two completely different things. A part is info about which patch is selected for a selected part in your multi.)

Now, use the big red dial and turn it to the left, until you see the menu option where you can select a patch. If you turn the right dial under the display, you'll be able to select a patch for your active part. If you want to exit this menu, just push the 'play/ok' button.

So how do you choose patches for the other 15 parts? Read on...

above the display there's four buttons. 

Button 1	Button 2	Button 3	Button 4
--------	---------	---------	---------   	
1/5/9/13	2/6/10/14	3/7/11/15	4/8/12/16


Here you can select which part of your multi you're editing. (Note: you'll be editing the sound which is chosen inside the multi-menu).

So how does this work?

If you push button 2 only, you'll be editing part 2 in your multi.
If you push button 4 only, you'll be editing part 4 in your multi.
Now, if you hold the shift button, and press Button 2, you'll be able to select four new parts. Now, if you press button 1 only, you'll be editing part 5 of your multi. If you press button 4 you'll be editing part 8. The same goes for Button 3 and 4. If you hold shift and press button 3, you'll be able to select part 9/10/11/12.

When you have selected a part that you'd like to have a specific patch, use the method described earlier to find the one you want.    ^ 
Q: Are Alt 1 and Alt 2 different wavetables or are they the same?

A: They are different. you can try this when you create an ini patch and put the modwheel as wave selector in the oscillators menu:

(assuming Alt1 or Alt2 is selected for OSC1)
PWM source = modwheel (Wavetable modulation (WTM) source = modwheel)
PW = 0 (Wavetable (WT) start = 0)
PWM = 63 (Wavetable modulation (WTM) = max)

Now when you play a note and move the modwheel it sweeps thru the table and selects the wave that is played when PW is 0 and you put the modwheel to the very left it should start with the first wave of the table.

You can swap Alt1 / Alt2 to check out the difference.

For further info:  http://www.ee.ed.ac.uk/~ctr/qwaves/     ^ 
Q: How to export patterns via MIDI?

A: Go to the GLOBAL menu and switch "Arp. Send" to ON.
This will start the transmition of patterns notes to the midi out too.    ^ 
Q