pulse2 manual

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ANALOG SYNTHESIZER


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Content

Pulse 2 User Manual 2

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Foreword............................................................................................................................. 4

The Pulse 2 Development Team ...................................... 5

We would like to thank ................................................... 5

Control Features and Connections ......................................................... 6Front Panel ...................................................................... 6Connections .................................................................... 7

Introduction...................................................................................................................... 8

About this Manual ........................................................... 8Symbols .......................................................................... 8

Highlighted Control Features and Parameters .................. 8

General Safety Guidelines ............................................... 9

Suitable Operating Conditions ....................................... 9Power Supply .................................................................. 9Operation ....................................................................... 9Maintenance ................................................................. 10Proper Use .................................................................... 10

Setup and Connection........................................................................................ 11Inventory ....................................................................... 11Setup ............................................................................. 11

Connection ................................................................... 11The USB Connection ..................................................... 13

Basic Operation........................................................................................................ 14Switching on/ off ............................................................ 14The Volume ................................................................... 14

Selecting Sounds ............................................................ 14Editing Parameters ......................................................... 15Editing Parameter Controls ............................................. 15Storing Sounds ............................................................... 16

Sound Parameter..................................................................................................... 18Overview of Functions ................................................... 18The Oscillator Section (OSC 1-3) ................................... 19

The LFO Section ............................................................ 24

The Envelope Section (ENV F and ENV A) ..................... 26 The Arpeggiator Section (ARP) ....................................... 28The Filter Section (VCF) ................................................. 34The Amplifier Section (VCA) .......................................... 36The Modulation Matrix Menu (Mod) .............................. 38The Sound Menu ........................................................... 39

Additional Settings ......................................................................................... 40

The Global Menu .......................................................... 40The Utility Menu ........................................................... 45


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Content

3 Pulse 2 User Manual

Sound Synthesis Basics................................................................................... 47

Oscillators Introduction ................................................. 47Filter Introduction .......................................................... 52

ppendix.......................................................................................................................... 54Updating the Firmware .................................................. 54

Sending & Receiving System Exclusive Data .................. 55Modulation Sources....................................................... 56Modulation Targets........................................................ 57Tips & Tricks ................................................................. 58Technical Data .............................................................. 60MIDI Controller Numbers .............................................. 61Glossary ........................................................................ 64

Declaration of Conformity ............................................. 69Product Warranty & Support .......................................... 72


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Foreword


ForewordThank you for purchasing the Waldorf Pulse 2 Synthesizer.

You now own a compact analog synthesizer with an asto-nishing sound. And of course, a very exceptional feature setas for example the paraphonic modes and the APW wave-form. If you do decide to read the following quick start ma-nual we can promise you a lot of fun while reading it andespecially afterwards working with the Pulse 2.

Your Waldorf-team

Hint

Waldorf Music is not liable for any erroneous informationcontained in this manual. The contents of this manual maybe updated at any time without prior notice. We made everyeffort to ensure the information herein is accurate and thatthe manual contains no contradictory information. WaldorfMusic extends no liabilities in regard to this manual otherthan those required by local law.

This manual or any portion of it may not be reproduced in

any form without the manufacturer's written consent.Waldorf Music GmbH, Landskroner Strae 52, D-53474 BadNeuenahr, Germany


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Foreword


The Pulse 2 Development Team

Hardware: Frdric Meslin, Frank Schneider,

Stefan StenzelSoftware: Stefan Stenzel, Frdric Meslin

Design: Axel Hartmann

Manual: Holger Steinbrink

Revision: 1.0, September 2013

Please visit our website pulse2.waldorfmusic.de . Here

you will find the latest firmware version as well asother downloads for the Pulse 2.

We would like to thank

Christian Bacaj, Willie Eckl, Joachim Flor, Michael von Gar-

nier, Karsten Dubsch, Kurt "Lu" Wangard,

, and not toforget, the Sound programmers: Jrgen Driessen, ChristianGritzner, Till Kopper, Dirk Krause, Rob Lee, Dr. Ingo Weid-ner.


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Control Features and Connections



Front Panel

Display

Selection Buttons

Selection Dial

Volume Dial

MIDI Input Indicator

Parameter Matrix

Parameter Matrix Buttons

Shift Button

Parameter Matrix Dials


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Connections

Stereo headphone jack

Audio line output left/right (only right: mono)

Audio line mono input

CV/Gate outputs

MIDI Out jack

MIDI In jack

Locking slot

USB port

Power switch

Power supply socket


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Introduction


Introduction

About this Manual

This manual was written to help you become familiarwith the Pulse 2 synthesizer. It will also aid experiencedusers with routine tasks.

To avoid confusion, the terminology in this manual isbased on the Pulse 2 parameter names. You will find aglossary at the end of this manual; it explains the variousterms used.

Important terms are highlighted in bold letters.

Symbols

Caution The comments that follow this symbolwill help you avoiding errors and malfunctions.

Info Additional information on a given topic.

Instruction Follow these guidelines to execute a

desired function.

Example Real-world examples to try out.

Highlighted Control Features and Parameters

All of the Pulse 2 buttons, controls and parameters arehighlighted in bold letters throughout the manual.

Example:

Press the VCFbutton at the Parameter matrix.

Move the Cutoffknob.

The Pulse 2 different modes and parameter pages areillustrated in a depiction of the display.


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Introduction


General Safety Guidelines

Please read the following safety tips carefully!They include several precautions you should al-

ways observe when dealing with electronicequipment. Read all of the instructions beforeoperating your device

Suitable Operating Conditions

Use the device indoors only. Outside it could berainy or humid as well as too hot or too cold.

Never use the device under damp conditions such

as in bathrooms, washrooms or around indoorswimming pools.

Do not use the device in extremely dusty or dirtyenvironments in order maintain the surface fi-nishing of the Pulse 2.

Make sure that adequate ventilation is available onall sides of the device. Do not place the device ne-ar heat sources such as radiators.

Do not expose the device to direct sunlight, even ifyou have a suitable sunscreen.

Do not expose the device to extreme vibrations.

Power Supply

Never use a different power cable than the one thatcame with the Pulse 2.

Unplug the device when you are not using it forlonger periods.

Never touch the plug with wet hands.

Always pull the plug when unplugging the device,never the cable.

Operation

This device, used on its own or with amplifiers,speakers or headphones, can generate volume levelsthat may result in irreparable damage to your hea-ring and/or speakers and amplifiers. For this reasonyou should always keep the volume at appropriatelevels.

Never place objects containing liquids on or nearthe device.

Always place the device on a stable base only. Make sure no foreign objects find their way into the

chassis. If for some reason this should occur, switch


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Introduction


the power off, unplug the device and consult a qua-lified repair center.

Maintenance

Do not open the device or remove the cover. Referall service and repair tasks to qualified personnel.There are no user serviceable parts inside the chas-sis.

Use only a dry, soft cloth or brush to clean the de-vice. Never use alcohol, cleaning solutions or simi-lar chemicals. They will damage the surface of thechassis.

Proper Use

This device is designed exclusively to produce low-frequency audio signals for the purpose of generatingsound. Any other use is prohibited and voids the war-ranty extended by Waldorf Music. Waldorf Music is notliable for damages due to incorrect use.

Do not leave your Pulse 2 near children, mothers-in-law or pets. This could lead to critical interac-tions.


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Setup and Connection



Inventory

The Waldorf Pulse 2 package comes complete with:

the Waldorf Pulse 2 Synthesizer

an external power supply with 12V / 500mA

a printed Quick Start manual

Please ensure all the items above were included. Ifsomething is missing, contact your local dealer.

We recommend that you save the original packing ma-terial for future transport.

Setup

Place the Pulse 2 on a clean, even surface.

Connections

In order to get started with your Pulse 2 you will need

an AC power outlet. For the connection of the audiooutput you will need either a mixing console or anaudio interface. You can also use a suited headphone.

Last but not least you will mostly likely need a MIDImaster keyboard.

You can also use a computer or hardware sequencer to

make use of the Pulse 2 MIDI features. To connect the devices:

1.

Turn all units off.

2.

Connect the Pulse 2 audio output to yourmixing console or your computer audio inter-face. Optionally connect a suited stereoheadphone to the Pulse 2s headphone output. If you want to use a mono output only,

connect only the Stereo Out Right/Mono out-put only with a !inch mono plug.

3.

To play the Pulse 2 you need a MIDI masterkeyboard. Connect its MIDI Out jack to thePulse 2s

MIDI input

.

4. If you want to use a computer with a MIDI in-terface, connect your interfaces MIDI Out jackto the Pulse 2 MIDI In jack .

5.

Optionally you can connect the Pulse 2 USBport

with a USB cable to your computer. Af-


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ter that the Pulse 2 is automatically available asa MIDI unit.

6.

Connect the power supply cable or the power

cable that came with the Pulse 2 with the Pow-er supplyjack.

7. If you want to use the external audio input,please connect it to a line output of your si-gnal source or a guitar or microphone.

8. If you want to control other devices viaCV/Gate, please connect them to the CV/Gateoutputs

of the Pulse 2.

9.

Then switch on the computer (if connected),your Pulse 2, the mixing console and finallythe amplifier or active monitor speakers.

To check the correct reception of MIDI data sendany MIDI event to the Pulse 2; the MIDI / USBLED will light up on any incoming MIDI mes-sage. If this is not the case please check the MIDIconnection to the Pulse 2 as well as the GlobalMIDI configuration.

If you do not choose to connect a mixing conso-le, you can patch the Pulse 2 output signals

di-rectly to an amp or to an audio interface. Use aninput usually called Line, Aux or Tape input.

Before connecting and disconnecting the Pulse 2to a power supply source, turn your amps volumecontrol all the way down to avoid damage due toon/off switching noise. The Pulse 2 produces ahigh level output signal. Please take care that theconnected playback device is suitable for the highlevel of an electronic instrument. Never use themic or phono input of the connected amp!


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The USB Connection

Using a USB cable you can connect the Pulse 2 to yourcomputer observing the following system requirements:

Windows PC: Windows XP or newer is recom-mended, a USB port

Linux PC, a USB port

Apple: Intel Mac with Mac OS X 10.5 or newer, aUSB port

Apple iPad with iPad Camera Connection Kit

The USB connection of the Pulse 2 allows:

transmitting and receiving MIDI data

dumping of firmware updates to the Pulse 2

Sounds / Global parameters backup and recallwith suitable computer software.

Make sure to use a computer USB port as well asa USB cable to avoid problems with data trans-mission.

Keep also in mind that we often offer new firm-ware updates. Please read also the chapter "Up-dating the Firmware".


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Basic Operation


Basic Operation

Switching on / off

The Pulse 2 is equipped with a Power switch. Flickit to switch on the Pulse 2. The display is lit andshows the installed firmware version. After that, thePulse 2 is ready for some action. Flick the Powerswitchagain to switch off the Pulse 2.

Dont forget to save an edited sound program,before switching off the Pulse 2. Otherwise, youredits are lost forever.

The Volume

The Volume dial controls the Pulse 2 master volu-me. The volume setting is global and affects the level ofthe audio outputs and the headphone output.

Selecting Sounds

The Pulse 2 offers 500 sound programs. Use the

Selection dial

or the Selection buttons toselect these sounds. Turning the dial clockwise or pres-sing the right button increases the sound program num-

ber, turning the dial counterclockwise or pressing theleft button decreases it. When you are at the end of thelast sound program and turn the Selection dial further,you will jump to sound program 001 again.

Everytime you select sound program 500, thePulse 2 will automatically create a random soundpatch.

If you turn the Selection dial while pressingthe Shiftbutton, you can select a desired soundcategory (class), e.g. ARP or POLY. This is perfectfor a faster selection of sounds. To select allsounds without limitation, you need to set Class

to ALL.


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Basic Operation


Editing Parameters

In order to change or edit a sound in the Pulse 2, youmust access the appropriate parameters. In spite of the

Pulse 2 compactness it uses a sophisticated user inter-face allowing fast editing of any parameter. The changeof any value is done with the dials in the Parametermatrix.

The dials control all parameter values. Turning a dialclockwise increases the corresponding value; turning itcounterclockwise decreases it. The dials have a built-indynamic response feature. If you turn the control slowly,the value changes very smoothly, too. If you turn it

faster, it accelerates as well. This gives you the chanceof adjusting the whole value range in just one turnwithout losing accurate control when necessary.

Editing Parameter Controls

The basic sound programming of the Pulse 2 is done viathe so-called Parameter Matrix which has all im-portant parameters silkscreened on the machines frontpanel. Changing the parameters is done with the six

endless Parameter Matrix dials . Changing the editlevel is done with the five Parameter Matrix buttons. This sounds more complex than it is. With a simple

example you will understand the structure of the Pulse 2handling easily.

Would you like to change the Cutoffof the Pulse filter?Please proceed as follows:

To access a specific panel parameter:

1. Locate the section that contains the desiredparameter on the front panel. For example, ifyou want to change Cutoff, refer to the VCFsection. To do this please press the VCFPa-rameter Matrix button until the LED lightsup.

2.

With the first endless dial you can now chan-ge Cutoffparameter.

3.

Whenever you change a parameter by mo-ving a dial, the display shows the edited pa-rameter and its current value.

Keep in mind that based on the selected Oscilla-tor Shape some parameters are not accessible.This will be remarked in the further sections of

this manual.


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Basic Operation


Storing Sounds

After you have finished editing a sound, you must storeit if you intend to use it again. Any of the Pulse 2 memo-

ry locations are available for this purpose.

To store a sound program:

1.

Press theShift + Storebuttons to activatethe Store page.

2. Use the Selection dialto select the desti-nation program number. The default value isthe currently selected sound but you maywant to store your edits in a different lo-cation.

3.

Edit the sound name (if wished). First pressthe right Selection buttonto navigate to thenaming function. A sound name can use up

to 14 characters. Use the Selection dial tochange the setting of the first character. Usethe six Parameter Matrix buttonsto changethe next six characters. Use the right

Selection buttonto switch to the next sevencharacters. Here you can use the same con-trols as for the first seven characters.

4.

Now you can select the category class ofyour sound. It is strongly recommended toselect an appropriate category class for yoursound program. This helps you finding yoursound later. Use the right Selection button

to switch to the class selection. With the

Selection dial you can choose the corres-ponding class.

5.

Finally press Shift + Storeto store the soundto the selected location.

6.

By pressing any button before performing thestep 5, you can discard the storing process atany time

Whenever you store a sound, the selected memo-ry location is overwritten. Therefore, any pre-viously stored sound at this location will be era-sed and there is no way to get it back. So, you


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should do backups of the sounds regularly. If youwant to restore the factory presets, you candownload them as a Standard MIDI File from ourwebsite.

Use the Store function also if you want to copysounds. There is no need to edit a sound beforestoring it. When receiving individual soundsthrough sysex transfer, they must be store ma-nually in the Pulse 2.


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Sound Parameter


Sound Parameter

Overview of Functions

The Waldorf Pulse 2 consists of numerous sound-shaping components

Is the Pulse 2 your first synthesizer? Are you curi-ous about sound synthesis? If so, we recommendto read the chapter "Sound Synthesis Basics" inthis manual.

You should know that the Pulse 2 consists of two diffe-rent types of components for sound generation andsound shaping:

Sound Synthesis: Oscillators, Filter, Amplifier withsaturation: These modules represent the audio signalflow. Sound generation actually occurs within theOscillators and and the Noise generator. These pro-duce various waves as for example square andsawtooth. The Filter then shapes the sound by ampli-fying (boosting) or attenuating (dampening) certainfrequencies. The Amplifier is located at the end ofthe signal chain. It sets the overall volume of the si-gnal and can add some saturation.

Modulators: The Modulators are designed to mani-pulate or modulate the sound generating compo-nents to add dynamics to the sound. The Low-frequency Oscillators (LFO) are designed for pe-

riodic or recurring modulations while the Envelopesare normally used for modulations that occur once.


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Sound Parameter


The Oscillator Section (OSC 1-3)

The Pulse 2 offers three oscillators that nearly use similarparameters for editing.

All controls of the oscillators can be found in the OSCparameter matrix.

Selecting an Oscillator

Choose the desired oscillator with the button. The LEDof the corresponding Oscillator will light up.

A detailled introduction of the oscillators can befound in the chapter "Sound Synthesis Basics".

Keep in mind that based on the selected Oscilla-tor Shape some parameters are not accessible.This will be remarked in the further sections!

Shape diverse

Sets the type of waveform to be generated by the Oscil-lator.

Keep in mind: Some shapes are not available forall of the three oscillators.

The following shapes are currently available:

PWM (only OSC 1 and OSC 2) selects the pulsewaveform. This waveform produces a hollow / me-tallic sound. If the PWMwaveform is selected, theparameter Pulsewidth is used to change the pul-sewidth of the waveform.

SQR (only OSC 3)selects a square wave with a fixpulsewidth of 50%.

SAW selects the sawtooth waveform. A Sawtoothwave has all the harmonics of the fundamentalfrequency in descending magnitude.

TRI selects the triangular waveform. The trianglemainly consists of the odd harmonics with verylow magnitudes and sounds close to a sine wave.

APW (only OSC 1) means"Alternate Pulse Wave".The positive effect is that you get PWM like sounds


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Sound Parameter


but with constant energy, at the cost of having totolerate a subharmonic one octave below.

UNISON M (only OSC 1) creates an unison inmono mode by using a cluster of eight pulse oscil-lators at once. So if you play a single note, all eightoscillators play this note, slightly detuned to enrichthe sound. Detuning (UNISON DETUNE) can becontrolled with Keytrack.

UNISON P (only OSC 1)creates an unison in po-lyphonic mode by using a cluster of eight pulseoscillators. If you trigger one note only, all eightoscillators will be played with the same root pitch.If you trigger eight different notes, every oscillatorsplays its own pitch. Detuning (UNI-DETUNE) canbe controlled with the Keytrackparameter.

UNIAPW M (only OSC 1) creates an unison inmono mode (same as UNISON M) by using acluster of eight APW oscillators at once.

UNIAPW P (only OSC 1) creates an unison inpolyphonic mode (same as UNISON P) by using acluster of eight APW oscillators at once.

Keep in mind: If one of the Unison shapes isselected, the Keytrack parameter controls thedetuning of the poly pulse oscillators.

If one of the Unisonmodes is selected as Shape,you cannot use OSC 2and OSC 3. Both oscilla-tors are not accessible then.

Para-8 (only OSC 1) creates a special paraphonicmode where all eight PWM oscillators sound withfrequencies according to the held notes. So if youplay a chord with up to eight notes, that chord isplayed by the oscillators. In this special case, thethe Keytrackparameter controls the fading of the

pulsewidth modulation. The rate also depends onAttack and Release of the amplifier envelope ENVA.

Keep in mind: If Para-8is selected as Shape, youcannot use OSC 2 and OSC 3. Both oscillatorsare not accessible then.

Keep also in mind: The signal path of the Pulse 2is mono. All eight voices need to use one VCFand one VCA.


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Sound Parameter


Para-4 (only OSC 1)ist he same as Para-8. But twooscillators per note are used. This will reduce thepolyphony to four voices. You can set up pulse-width, pitch and fade individually.

Keep in mind: When Para-4is selected as Shapeyou cannot use OSC 3. This oscillator is not ac-cessible then.

X3-PWM (only OSC 2)creates a PWM crossmodu-lation. Crossmodulation is a XOR combination ofthe waveshapes of OSC 2and OSC 3which canbe used for creating very complex sounds with un-harmonic frequency proportions.

X1-PWM (only OSC 2) creates a PWM crossmo-dulation. Crossmodulation is a XOR combinationof the waveshapes of OSC 2 and OSC 1 whichcan be used for creating very complex sounds withunharmonic frequency proportions.

Although Oscillator 1's or 3's square waveshapeis used for crossmodulation, it does not mean thatthis square waveshape must be used as thesource signal. Because the crossmodulation is pu-

rely internal, you can select another waveshapefor Oscillator 1 or 3 if you so desire. Please notethat you can also modulate Oscillator 2's pulse-width at any time. Additionally, you can switchsynchronization on and off independently.

EXT (only OSC 3)switches off OSC 3 and enablesthe external audio input for routing its signalthrough the Pulse 2 synthesis path.

Please keep in mind, that an incoming signal canget to the output section only when the VCA en-velope is triggered or the VCA is open. Thismeans that the volume envelope ENV Ahas tobe started by an MIDI note. This can be achievedby playing on a keyboard or by activating thebuilt-in arpeggiator.

FB (only OSC 3)creates a feedback from the driveoutput back to the mixer. Depending on the filter

settings this can create interesting resonance ef-fects that cannot be realized with the regular Re-sonanceparameter.


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Sound Parameter


Pulsewidth (only Osc 1 and 2) 0...127

Sets the pulse width of the PWM/ APWwaveform. Thevalue 0is equivalent to a pulse ratio of < 1%, the value127 is equivalent to 50%. If you select any waveformother than PWM, this parameter does not have anyeffect. The following picture illustrates the effect of thepulsewidth parameter:

A pulse width of around 30% can be used for e-piano or fat bass sounds.

Keep in mind that a value of 0 leads for sure toan unhearable signal. In that case, please in-crease the pulsewidth.

Routing (only OSC 3) Mix / Level 2 / VCF / Drive

Sets the routing behaviour of OSC 3:

Mix is the default setting and sends the signal toge-ther with OSC 1 and OSC 2 to the regular oscilla-tor mixer and further to the VCF and VCA.

Level 2 adds the signal of OSC 3 to the controlvoltage of the OSC level. Hereby, OSC 3 controlsthe amplitude of OSC 2, the OSC 3 level controlsthe modulation amount.

VCF adds the signal of OSC 3 to the control volta-ge of the VCF. This enables a frequency modula-tion of the filter by OSC 3, which level controls themodulation amount.

Drive sends the signal from OSC 3 as modulationsignal into the drive circuitry to modulate the driveintensity.

Semitone -48...+48

Sets the pitch of the oscillator in semitone steps. Thestandard setting for this parameter is 0, but there arecases where different values are interesting as well.

Lead and Solo sounds might sound interestingwhen you set one Oscillator to e.g. a fourth (+5semitones).


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Sound Parameter


Detune -64...+63

Fine-tunes the oscillator in steps of 1/128th of a semito-ne. The audible result of detuned oscillators is a Chorusor Flanger effect. Use a positive setting for one oscillatorand an equivalent negative setting for another.

A low value of 1results in a slow and soft Flangereffect.

Mid-ranged settings of 5are perfect for pads andother fat sounding programs.

Keytrack (only OSC 1 and 2) ON / OFF

Determines how much the pitch of the selected oscilla-tor depends on the MIDI note number. The referencenote for Keytrack is E3, note number 64. A setting of ONcorresponds to a 1:1 scale, e.g. when an octave isplayed on the keyboard the pitch changes for the sameamount. A setting of OFF dont change the pitch re-gardless of the played MIDI note.

Keep in mind: If one of the four Unison wave-forms is selected as oscillator Shape, a setting ofKeytrack is not possible. Instead, this parameterlets you control the overall detune of the polyoscillators.

Keep in mind: When Para-8or Para-4is selectedas oscillator Shape a setting of Keytrack is notpossible. Instead, this parameter controls the fadeprocess done by ENV A. This is also valid for

OSC 2when Para-4is selected.

Sync (only for OSC 3) OFF / ON

Enables or disables oscillator synchronization. Whenenabled, Oscillator 2 acts as a slave that is controlled byOscillator 3, the master. Each time Oscillator 3 starts anew cycle, it sends a trigger signal to Oscillator 2, for-cing it to restart its waveform cycle, too. As a result,

interesting sound effects may be generated, especiallywhen both oscillators are operating at different pitchsettings. Using additional pitch modulation by envelo-pes, LFO, or Pitch bend will lend further movement tosync sounds. The following picture illustrates the prin-ciple of oscillator synchronization in a simplified way:


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Sound Parameter


Use Syncfor Lead or Solo sounds. Set Oscillator 2to play one octave and 7 semitones higher, applyan envelope to its pitch with positive amount andyou get a screaming sync sound.

Sync can also be very interesting on arpeggiosounds. Apply a slow clocked LFO to Oscillator 2pitch and the arpeggio starts to move.

Level 0...127

Controls the volume of the selected Oscillator.

The LFO Section

In addition to the main oscillators, the Pulse 2 is equip-ped with two low frequency oscillators (LFO) that canbe used for modulation purposes. LFO 1 generates aperiodic waveform with adjustable frequency andshape. LFO 2 always creates a triangle wave and offersan additional delay function.

Speed (LFO 1 and LFO 2) 0...127 or 32...1/96

Determines the frequency of LFO 1 and LFO 2. At lowvalues, it might take several minutes (exactly 4 minutesand 38 seconds) for the LFO to perform a completecycle while higher values can sppe up to 100 Hz.

If one of the clocked LFO shapes is selected forLFO 1, you can adjust the Speed in musical va-lues.

Shape (only LFO1) SINE / TRI / SAW / SQR / S&H

Sets the type of waveform generated by LFO 1:


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Sound Parameter


The Sineshape is best suited for oscillator or panmodulations.

The Triangle (TRI) shape is perfect for smoothpitch, filter or volume modulations.

The Sawtooth (SAW) shape can generate inte-resting filter or volume changes.

The Square (SQR) shape can be interesting forhard pan modulations or special effects

S&H (Sample & Hold) samples a random valueand holds it until the next value is generated. IfSpeed is set to 0, a random value is generated

on each new note.For LFO 1 there is an additional Clocked mode, which isused to synchronise the LFO Speed to incoming or in-ternal clock. Therefore LFO 1 can follow a given songtempo and all tempo changes are recognised, too.

C SIN creates a sine wave.

C TRIcreates a triangle wave.

C SAWcreates a sawtooth wave.

C SQRcreates a square wave.

C S&Hcreates sample & hold values.

Delay (only LFO 2) OFF / 0...127

Delay delays the start of LFO oscillation after an in-coming MIDI note has beenreceived.

The amount delay before oscillation sets in de-pends on the parameter setting for ENV F Trig-ger; in other words, the trigger mode of the filterenvelope. In the two Single Trigger modes, LFO 2oscillation is not delayed at all when you play le-gato notes. Use this effect for typical keyboardsolos.

Glide

"Glide" describes the continuous gliding from one noteto another. This effect can be created on fretless stringedinstruments or brass instruments. It is very common onsynthesizers and used throughout all music styles.


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Sound Parameter


Rate OFF / 0...127

Sets the glide time. Low settings will give a short glidetime in a range of milliseconds that gives a special cha-racter to the sound. Higher settings will result in a longglide time of up to several seconds which can be usefulfor solo and effect sounds. With the setting OFF, theGlidefunction is deactivated.

Mode NORM / FNGR / FNON / FNOFF

Determines the way the Glide effect works.

NORMmeans that a continuous glide is performed

on all new notes. FNGRmeans that a continuous glide is performed

only when notes are played legato. Staccato play-ed notes start on the exact pitch of their note.

FNON is similar to FNGR, but it only glides whenlegato notes are triggered.

FNOFF is similar to FNGR, but it glides back to theformer played note when releasing the actual note.

The Envelope Section (ENV F and ENV A)

The Pulse 2 envelopes allow you to manipulate soundparameters via rate or timed modulations. The Pulse 2offers two independent programmable envelopes withlinear attack and exponential decay and release forevery sound:

A Filter Envelope (ENV F). This envelope is fixedto control the filter but can also be used for othermodulations.

An Amplifier Envelope (ENV A). This envelope isfixed to control the sound volume, but can also beused for other modulations.

Attack 0...127

Determines the attack rate or amount of time it takes fora signal to go from zero to the maximum level.

Decay 0...127Determines the decay rate or amount of time it takes fora signal to reach the Sustain level.


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Sound Parameter


Sustain 0...127

Determines the sustain level which is held until a noteends.

Release 0...127

Once the note has ended, the release phase begins.During this phase, the envelope fades to zero at the ratedetermined by the Release value.

Loop OFF / A-D / D-D

The Loop mode can be used to use an envelope as anadditional LFO. The following settings can be used:

OFFcreates no loop.

A-D loops attack and decay phases without reset-ting to 0 until the release phase starts.

D-D lets alternate the envelope from full scale tozero to full. Sustain controls the speed.

Trigger SNG1 / SNG2/ RET 1 / RET 2 / RET 3

Five different types of triggers determine how and whenan envelope is started.

With the setting of SNG 1, the first note starts theenvelope. All other notes do not restart while anote is sustained. The release phase is not starteduntil all keys are released. SNG 2 works in the

same way, except that the envelope is started atthe current value rather than reset to zero atevery new start.

With the setting of RET 1, the envelope isrestarted with every incoming note. With RET 2,the envelope is restarted with every incomingnote, but is not reset to zero. Finally, RET 3 trig-gers the envelope with every note on. Whileholding the note, the envelope is not restarted

and wont be retriggered when a note is relea-sed.


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The Arpeggiator Section (ARP)

An Arpeggiator is a device that splits an incoming MIDIchord into its single notes and repeats/reorder themrhythmically. Different sequence modes can be definedfor the Arpeggiator to cover a wide range of applica-tions. In addition to the synthesis features, the Pulse 2offers a Arpeggiator for every sound.

If you press the Arp Parameter Matrix button,the display changes automatically to the Arpeg-

giator parameter page.

Arpeggiator Display Parameter

The Arpeggiator display parameter can be edited withthe Selection buttons and the Selection dial.

Use the Selection buttons to select the desired para-meter, which can be edited with the Selection dial.

The Step Editor parameters are different to edit.Please read the corresponding manual section.

ARP Step Duration 12...1600%

Sets the length of the step length in relation to ARPClock.

ARP Swing 0%...100%

Determines how much the timing affects an arpeggiostep. If ARP Swing is set to 50% (default setting), thearpeggio is played back without any shuffled timing. Asetting of 66% creates a ternary shuffled rhythm. Set-tings between 50%and 66% are perfect for finetuningof this groove, settings besides this can be used for expe-rimental grooves.


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ARP Delay -50%...+50%

Moves the playback time of an arpeggio forward (positi-ve values) or backward (negative values). Forwardmeans that an arpeggio is played later while backward

means that it is played earlier. This parameter lets youset up an offset for an incoming MIDI clock.

Keep in mind that this parameter is useful whenthe arpeggiator is synchronized to an externalMIDI clock or to compensate various delay dueto MIDI/Audio interfaces.

Pattern Length 1...16

Sets the length of the rhythm pattern. Note that you canonly edit a particular step in the Step Editorwhen itsposition is within the range of the Pattern Lengthparameter.

Accent Control multiple targets

Determines the modulation source for modulating theinput velocity. However, the generated velocities cannever exceed the maximum MIDI velocity 127 or mini-

mum MIDI velocity 0. In conjunction with SOFT youcan create very lively arpeggios.

A complete table of all available Accent Controlsources (same as Modulation Sources) can befound in the Appendix.

Arpeggiator Step Editor

To edit the single steps, you need to press the ARP/Modbutton first. In the display, a horizontal line with doublearrows informs you about the active step edit mode.Press the ARP button again to edit the regular ARPparameter. In the display, two vertical arrows informsyou about this edit mode.

The editing process of the following arpeggiator parame-

ters is nearly similar. Use the Parameter buttons toselect the desired step and change its condition with theParameter dial.

Here is a step by step guide how to edit the arpeg-giator step data:

Press the ARPbutton to enter the step edit mo-de. The EVENT parameter will be automaticallyselected.

Use the Parameter buttonsand the Parame-ter dialto edit the steps as desired.


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Sound Parameter


Press the ARPbutton again. Now press the rightParameter button once to select the TIMEfunction.

Press the ARP button again to go back to thestep edit mode. Now you can edit the steplenght of each step separately with the Parame-ter buttonsand the Parameter dial.

Press the ARPbutton again. Now press the rightParameter button once to select the GLIDEfunction.

Press the ARP button again to go back to thestep edit mode. Now you can switch on the

Glide function for each step separately with theParameter buttonsand the Parameter dial.

Note that you can only edit a particular step inthe Step Editorwhen its position is within therange of the Pattern Length parameter. If youhave set Pattern Length to 8 you cannot selectstep 9or higher.

Event multiple step data

This parameter can have a pronounced effect on theresulting arpeggio, so you should read the followingparagraphs carefully. Eventbasically determines which

note of the note list is played at a particular step.

If OFF is selected, the Arpeggiator plays nothingat this step position.

If SOFTis selected, the correspondig step will beplayed with a reduced velocity.

If NORM is selected, the correspondig step willbe played with its regular velocity.

If HARD is selected, the correspondig step willbe played with a higher velocity.

If EVEN is selected, the step will be played onlywith every second arpeggio cycle.

If ODD is selected, the step will be played onlywith every second odd arpeggio cycle. Keep inmind that the arpeggio starts counting with zero.

If OCT+ is selected, the corresponding step will

be played one octave higher that the originalpitch.


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If 1ST is selected, only the first incoming notewill be played.

If RESET is selected, the note index (not the pat-tern) will be resetted and plays from start with

the first played note.

Time 25% / 50% / 75% / 100%

Changes the length of the note of a particular step. Theoverall length of the arpeggio depends on the StepDuration setting (100% is the original length of thestep). You can create very nice staccato and legatoeffects with this parameter.

Glide OFF / ON

For each step in the arpeggio pattern you can activatethe glide effect individually. This gives you the ability tocreate the classic "Bass Line" melody character. Makesure that you set up a reasonable glide effect with theGlide Rateparameter.

If OFF is selected, the glide effect is disabled forthis step.

If ON is selected, the glide effect is enabled forthis step. This means that the previous note gli-

des to the note that has to be played at this parti-cular position in the arpeggio.

The ARP Parameter of the Parameter Matrix

Active OFF / ON / HOLD

This parameter sets the way the Arpeggiator works.

If OFFis selected, the arpeggiator is not active.

If ONis selected, the arpeggiator is active. Whenyou press a note or a chord on the keyboard, it issplit up and repeated rhythmically. As soon asyou release a note, it is removed from the arpeg-

gio rhythm. Conversely, as soon as you addanother note to the existing chord, it is insertedinto the arpeggio. When you release all notes,the arpeggiator stops.

If HOLD is selected, the arpeggiator splits up allplayed notes and generates a continuous arpeg-gio even when the chord is released. This givesyou two ways of entering a chord:

Press all keys of the chord simultaneously.This is the normal procedure you would

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Sound Parameter


follow with the other Arpeggiator Modes,too.

or

Press and hold the first key of the chord.While holding this key, enter the other keyssequentially. After playing all keys, you canrelease the first key. This method is practi-cal for playing difficult chords. It allowsyou to create arpeggios in the sequence ofplayed notes. You can even hit the samenote several times and it will appear in thenote list accordingly.

You can stop playback of the Arpeggiator bysetting Modeto OFFor ON, or by sending an AllNotes Off message from your sequencer

Range 1...10

Determines the number of octave transpositions thearpeggiator generates.

Tempo 46...300

Sets the basic tempo of the arpeggiator in BPM (beatsper minute). If the Pulse 2 receives MIDI Clock data and

the Clock parameter in Global mode is set to Auto orExternal, this parameter has no function.

Clock 1/11/96

Sets the note value for the steps of the rhythm pattern ina range from whole notes to thirty-second triplet notes.Triplets and dotted notes are also available for everynote value.

Pattern OFF / P001...P500

Here you can copy the arpeggio pattern from the desiredsound. Only sounds will be shown which patterns aredifferent from the default settings.

Mode diverse

Sets the direction that is used to play back the arpeggio.

If UP is selected, the notes are played as theywere entered and the octaves are transposedupward. The arpeggio starts in the original octa-ve and goes up to the highest octave. Then thearpeggio is repeated.

If DOWN is selected, the note list is playedbackward and the octaves are transposed down-ward. The arpeggio starts in the highest octave

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Sound Parameter


and goes down to the original octave. Then thearpeggio is repeated.

If ALT is selected, the note list is first played for-ward and the octaves are transposed upward. Af-

ter reaching the last note of the note list in thehighest octave to play, the note list is playedbackward and the octaves are transposed down-ward down to the first note of the note list in theoriginal octave. Then the arpeggio is repeated.

If RAND is selected, the note list will be playedrandomly.

If #UP is selected, a maximum number of 16 no-

tes will be played upwards, according to theirincoming order.

If #DWN is selected, a maximum number of 16notes will be played downwards, according totheir incoming order.

If #ALT is selected, a maximum number of 16notes will be played upward and downwards.

The Pulse's Arpeggiator can be used as a master as well

as a slave via the MIDI Clock:

When you use the Arpeggiator as the master, setits speed via the Tempoparameter. The TX ArpNotes as well as the TX Arp Clock parametersin the Global menu should be set to ON. The

Pulse 2 will send the Arpeggiator notes and theMIDI Clock signal via MIDI Out and USB MIDIOut.

When you use the Arpeggiator as a slave, an ex-ternal device (e.g. sequencer) determines thetempo of the Arpeggiator. The Clock parameterin the Globalmenu should be set to AUTO orEXTERN. Here too notes and MIDI Clock infor-mation can be activated to control other devices.

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Sound Parameter


The Filter Section (VCF)

The Pulse 2 offers a multimode filter.

A detailed introduction of the filters can be foundin the chapter "Sound Synthesis Basics" of thismanual.

We recommend to tune the filter periodically toensure settings reliability. Read more about thisin the chapter "Utility Menu".

Cutoff 0...127

Cutoff the frequency for the lowpass and highpass filtertype and the center frequency for the band pass.

When the lowpass type is selected via the Typeswitch, all frequencies above the cutoff fre-quency are progressively damped.

When the highpass type is selected, all frequen-

cies below the cutoff frequency are damped.

When the bandpass type is selected, only fre-quencies near the cutoff setting will passedthrough.

You can bring more movement into the sound by modu-

lating the cutoff frequency via the LFO, the envelope orthe Keytrack parameter of the filter. At 100% Key-tracking and maximum Resonancelevel, the then self-oscillating filter can be played in a tempered scale.

Resonance 0...127

Resonance is the emphasis around the corner frequency.Use lower values to give more brilliance to a sound. Athigher values a sound gets the typical filter character

with a strong boost around the cutoff frequency. Whenthe setting is raised to maximum, the filter starts to self-oscillate, generating a pure sine wave. This feature canbe used to create analog-style effects and percussion,like electronic toms, kicks, zaps etc.

ENV F Mod -64...+63

(= Envelope Mod Amount). Sets the amount of influencethe envelope has on the cutoff frequency. For highersettings, the filter cutoff frequency is increased by themodulation of the envelope. Use this parameter to

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Sound Parameter


change the timbre of the sound over time. Sounds with ahard attack usually have a envelope amount that makesthe start phase bright and then closes the filter to get adarker sustain phase.

By the way, the envelope amount also depends on theplayed velocity. Use this feature to give a more expres-sive character to the sound. When you hit the keyssmoothly, only minimal modulation is applied. Whenyou hit them harder, the modulation amount also getsstronger

Type LP24 / LP12 / BP12 / HP12

Selects the filter type:

TheLP (Lowpass) cuts frequencies above the cutoffpoint. You can choose a slope of 12 or 24 dB/Octave.

BP (Bandpass) removes frequencies both belowand above the cutoff point. As a result, the soundcharacter gets thinner. Use these filter types whenprogramming effect and percussion-like sounds.

HP (Highpass) is useful to thin out a sounds bassfrequencies. This may also give interesting resultsin conjunction with cutoff frequency modulation.

By doing this you can e.g. "fly-in" a sound startingat its high harmonics and then coming up to its fullfrequency range.

Keytrack -64...+63Determines how much the cutoff frequency depends onthe MIDI note number. The reference note for Keytrackis E3, note number 64. For positive settings, the cutofffrequency rises on notes above the reference note, fornegative settings the cutoff frequency falls by the sameamount, and vice versa. A setting of +32% correspondsto a 1:1 scale, so e.g. when an octave is played on akeyboard the cutoff frequency changes by the same

amount. If you want to play the filter in a temperedscale, e.g. for a solo sound with self-oscillation, set thevalue to +32%. On most bass sounds lower settings inthe range +16+24% are optimal to keep the soundsmooth at higher notes. With Cutoff is set to 45 andKeytrack to 32%, the filter is tuned on C and pitchmatches oscillators (when Semitoneis set to 0).

Velocity -64...+63

Determines the amount of influence the filter envelopehas on the cutoff frequency, based on key velocity. Thisparameter works similarly to the ENV F Amountpara-

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Sound Parameter


meter with the difference that its intensity is velocitybased. Use this feature to give a more expressive charac-ter to the sound. When you hit the keys smoothly, onlyminimal modulation is applied. When you hit themharder, the modulation amount also gets stronger.

The overall modulation applied to the filterscutoff frequency is calculated as the sum of boththe ENV F Amountand Filter Velocityparame-ters. Therefore you should always bear this totalin mind, especially when the filter does not be-have as you expect. You can also create inte-resting effects by setting one parameter to a posi-tive and the other to a negative amount.

The Amplifier Section (VCA)

To understand the operation of this unit, it is importantto know that the Amplifier Envelope (ENV A) is alwaysacting as a modulation source for the volume. Thismeans that an audio signal can only pass through if theAmp Envelope is triggered and opened.

Drive 0...127

Determines the amount of saturation that is added to the

signal. If set to 0, saturation will be minimum or, inother words, the signal will remain nearly clean. Lowervalues will add some harmonics to the signal, resultingin a warm character. Increasing the value will bring inmore and more distortion, suitable for harder leadsounds and effects.

Is Drive Curveset to NONE, this parameter hasno effect.

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Sound Parameter


Drive Curve Diverse

Determines the character of the drive. The followingdrive curves are available:

NONEdeactivates the drive curve. TUBE generates a warm and vintage sound with an

asymetrical distortion.

FUZZ generates a hard and noisy symmetricaldistortion.

Panning L64...CNT...R63

Determines the position in the stereo panorama. When

the setting is L64, the sound is panned far left; when thesetting is R63, it is panned far right. If you want to situa-te the sound in the middle of the stereo panorama, usethe CNTsetting. To give further movement to the sound,set this parameter to a basic value and apply some mo-dulation to it via a LFO.

Noise 0...127

Volume of the noise generator.

Volume 0127

Determines the overall volume of the sound program.

Velocity -64+63

Specifies how much volume will be affected by key-board velocity. Use this feature to give more expressionto the sound. With a setting of 0, velocity will have noeffect on the volume. Classic organs work in this waybecause they do not have dynamic response. For positi-ve settings, the volume rises with higher velocities. Thisis the most commonly used setting, which gives a piano-like character. With negative settings, the volume de-creases at higher velocities. This gives an atypical cha-

racter suitable for effect sounds. As the Amplifier alwaysworks in conjunction with the Amplifier Envelope, thisparameter actually determines the envelope velocityamount. The following picture illustrates this functionali-ty:

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Sou d a a ete


The Modulation Matrix Menu (Mod)

A modulation can be described as a signal-generatingunits influence upon a sound parameter. The termsused in this context are "Source" and "Target". The Pulse

2 offers 8 independent modulation assignments (slots)each with individual settings of source, destination andamount. The Modulation Matrix (Mod Matrix) is the keyof the power of each Waldorf synthesizer, so start expe-rimenting with it right now.

A complete table of all available sources andtargets can be found in the Appendix.

Hold the Shift button and press the Mod button to

access the Modulation Matrix menu.

All modulation parameters can be edited with theSelection buttonand the Selection dial.

Use the Selection buttons to select the desired modu-lation source, target or amount, which can be edited

with the Selection dial.

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The Sound Menu

Here you will find additional parameters for the selectedsound program.

Hold the Shift button and press the Sound button toaccess the Sound menu. Use the Selection buttons toselect the desired parameter, which can be edited withthe Selection dial.

Bend Upwards 0...36

Determines the intensity of the pitchbend via MIDIPitchbend messages in semitones for the selected oscil-lator, when it will be moved upwards.

Bend Down 0...36

Determines the intensity of the pitchbend via MIDIPitchbend messages in semitones for the selected oscil-lator, when it will be moved downwards.

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g


Additional SettingsGlobal parameters are settings that affect the Pulse 2general response. Global parameters are stored automat-

ically when you leave the Global menu, so you are notrequired to save them manually.

The Global Menu

All Global parameters are located in the Global Menu.Hold the Shift button and press the Global button toaccess the Global menu. Use the Selection buttons toselect the desired Global parameter, which can be edi-ted with the Selection dial.

Mastertune 430...450

Controls the Pulse 2 overall pitch in Hertz. The valuespecified here is the reference pitch for MIDI note A3.The default setting is 440Hz, which is commonly used

by most instruments.

You should only change this setting if you reallyknow what youre doing. You will have to adjustall your other instruments, too. Dont forget toset it back again!

Transpose -24...+24

Allows a global pitch transposition for the tone genera-

tor. Incoming MIDI notes are shifted by the number ofsemitones.

MIDI Channel OMNI / 1...16

Sets the basic send and receive channel for the Pulse 2.This setting is valid for all Sound programs. If omni isselected, the Pulse 2 sends on channel 1 and receiveson all channels.

Please use omni only for test purposes if youwish to check the basic MIDI send and receivefunctionality. As soon as you know that the Pul-

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se 2 receives MIDI properly, set MIDI Channelto any other value than omni.

MIDI Thru OFF / ON

Activates the MIDI Thru function of the MIDI Out port.Incoming MIDI data will be automatically sent via MIDIOut port to connected MIDI devices. Additionaly, thePulse 2 will send out its own data via MIDI Out.

Clock AUTO / INTERN / EXTERN

Determines how the Pulse 2 reacts on incoming MIDIClock messages:

AUTO means that the Pulse 2 automaticallysyncs to incoming MIDI Clock if it is sent to itby an external device like a sequencer ordrum machine. If there is no MIDI Clockpresent, the Pulse 2 generates its internaltempo base. This is the recommended settingthat works in almost all situations.

INTERN means that the Pulse doesnt reacton incoming MIDI Clock nor does it send

MIDI Clock. The Pulse 2 only syncs to itsown tempo base that is set by ARP Tempo.

EXTERN means that the Pulse 2 syncs to in-coming MIDI clock only.

TX Arp Clock OFF / ON

Determines whether Arpeggiator tempo is sent out asMIDI clock data over USB MIDI and MIDI.

TX Arp Notes OFF / ON

Determines whether Arpeggiator notes are sent by thePulse 2 over USB MIDI and MIDI.

TX Parameter OFF / CC / SYSEX / CC+SYS

Determines how Real-Time Sound Parameter Changesare sent by the Pulse 2.

If OFF is selected, no data is sent.

If CCis selected, only controller messages are sent.Parameters without a dedicated controller are notsent at all.

If SYSEX is selected, all Sound parameters are sentas system exclusive messages. The disadvantage is

a larger amount of data that is transferred.

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If CC+SYSis selected, all Sound parameters with adedicated controller assignment are sent as con-troller messages. This is the recommended setting.

Control X 0...119This parameter is used to define an arbitrary MIDI Con-tinuous Controller as modulation sources for sounds.Each value represents a MIDI Continuous Controllernumber that is used when you assign its parameter asmodulation source in the Modulation Matrix. The hig-hest possible Controller number is 119because all hig-her numbers are reserved for non-real-time purposes.

Nearly all Sound parameters of the Pulse 2 canbe controlled by MIDI Continuous Controllermessages. If you Control X to a controller that isalso used for a Sound parameter, the Pulse 2 dis-ables this Controller as Sound parameter Control-ler and uses it exclusively for Control X. This isan important issue when you send Sound para-meter changes by tweaking parameters on thefront panel. The Sound parameter is sent out asController but cant be received as long as you

dont change Control X to another MIDI Conti-nuous Controller message.

Device ID 0...126

Defines the device identification number for systemexclusive data transmission.

System Exclusive data contains no MIDI channel infor-mation so this ID is used to distinguish between severalWaldorf Pulse 2, if you have more than one Pulse 2 inyour setup.

Transmission will only be executed successfully if thesender and receiver are set to the same ID. ID 127 is aso-called broadcast ID that addresses all connectedBlofelds. The Pulse 2 can receive Sysex data broadcastfrom other devices, but cannot send it itself. This func-tion is limited to special computer software.

Firmware updates are stored with a Device ID of127, so you dont need to change theDevice IDon your Pulse 2 when you want to update it to anewer firmware.

If you have only one Pulse 2, leave Device IDon 0. There is no need at all to change this set-ting to any other value.

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After you have bought your 127th Pulse 2, pleasecontact Waldorf Music. You will receive a perso-nal device number that authorizes you to havedinner with our Managing Director. Be sure we in-vite you for some french fries at our favorite burgercompany.

Input Gain -13...+20dB

Determines the sensitivity of the external audio input.For high level signals the Input Gain should be reduced,for low level signals increased.

Microphones or guitars can be directly connected

to the Pulse 2, but we recommend to use a suitedpre ampflifier. Low signal level instrumentsshould be amplified by a special pre-amplifierbefore they are routed to the Pulse 2 External In.

P1 Legacy OFF / ON

Activates the controller assignment of the former Pulse 1model.

By default, Pulse 2 do not map MIDI controllersfrom 32 to 43 which are reserved by MIDI . WithP1 Legacymode, you can use them as they we-re used on original Pulse.

LCD Contrast 0...127

Sets the display contrast.

CV Mode V/OCT / V/Hz

Selects the desired CV mode:

V/OCT selects 1 Volt per Octave (exponentialscale).

V/Hz selects Volt per Hertz (linear scale).

Hint: CV ranges from 0 to 5 Volt.

CV Amp PITCH / UNIPOL / BIPOL

Determines the CV output:

IfPITCH is selected, pitch will be send via CVwhen a note is played or the arpeggiator gene-rates notes.

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UNIPOLsets the basic value for sending unipo-lar modulation sources as envelopes or velo-city. The default value is 0 V and can be modi-fied in the Modulation matrix.

BIPOL sets the basic value for sending bipolarmodulation sources as LFOs. The default valueis middle voltage and can be modified in theModulation matrix.

CV Tune -64...+63

Scale/slope adjusting parameter for the CV output. Aspread from 1.5 to 2.5 is possible.

CV Adjust -64...+63

Determines a fixed value which will be added to thecontrol voltage.

Gate Mode HIGH / LOW

Setting of the polarity of Gate Out.

HIGHis 3.3 V, high with active trigger.

LOWis 0 V, low with active trigger

A value will be triggered, when the ENV Aenve-lope is also triggered. When a retrigger mode isset, Gate will be set to inactive for nearly onemilli second to trigger a new impulse within the

receiver.

The Utility Menu

Aside from the different Midi Dump Options, the Utilitymenu contains further helpful functions.

Hold the Shift button and press the Utility button toaccess the Utility menu. Use the Selection buttons or

the Selection dial to select the desired Utility parame-ter.

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Hold again the Shiftbutton and press Utilityto activatethe selected utility function.

Init Sound

Use the Init function to initialize a sound to its basicparameter settings. This is useful if you want to startprogramming a sound from the scratch.

When you initialize a sound, all action takesplace inside an edit buffer. Therefore no data willbe lost until you store the sound.

Recall Sound

The Recall Sound function allows you to void edits atany time and return to the original stored program. Keepin mind that all edits will be gone by using this function.

Compare Sound

The Compare Soundfunction allows you to comparethe currently edited sound to its original stored versionin the internal memory. Using Compare Soundseveraltimes, this function swaps from edited (E) to compared

(C) sound.

Dump Sound

When you activate the Dump Sound function, the Pulse2 sends the actual sound via USB MIDI and MIDI outport to a connected computer or sequencer. Using a

sequencer software or a special sound editor program,you can record and archive this data.

Keep in mind that you receiving device should beable to record and save MIDI sysex data.

Init Global Parameters

This function sets back all Global settings to defaultvalues.

Dump All Sounds

When you activate this function, the Pulse 2 sends thecontents of its memory via MIDI USB and MIDI out portto a connected computer.

The data dump may take some time. The Pulse 2cannot be played during this time.

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Filter Tune - Loud!

The filter is tuned at the factory prior to shipping and, asa rule, is very stable. However, the Pulse 2 is an actualanalog synthesizer, so diverse factors may cause slight

tuning problems. Therefore we recommend that you re-calibrate it from time to time. On demand, the Pulse 2executes this function automatically.

The Pulse 2 will generate high-volume outputduring calibration, so turn volume down as wellas the volume of your speakers or alternativelydisconnect the audio output

Information

This functions displays the actual installed firmwareversion as well as the serial number of your Pulse 2.

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Oscillators Introduction

The oscillator is the first building block of a synthesizer.It delivers the signal that is transformed by all othercomponents of the synthesizer. In the early days ofelectronic synthesis, engineers found that most realacoustic instrument waveforms can be reproduced byusing abstracted electronic versions of these waveforms.They werent the first who came to that conclusion, butthey were the first in recreating them electronically andbuilding them into a machine that could be used com-mercially. What they implemented into his synthesizer

were the still well-known waveforms sawtooth andsquare. For sure, this is only a minimal selection of theendless variety of waveforms, but the Waldorf Pulse 2gives you exactly these waveforms at hand.

Now, you probably know how these waveforms lookand sound, but the following chapter gives you a shortintroduction into the deeper structure of these wave-forms.

The Sawtooth Wave

The Sawtooth wave is the most popular synthesizerwaveform. It consists of all harmonics in which themagnitude of each harmonic descends by the factor of

its position. This means that the first harmonic (the fun-damental) has full magnitude, the second harmonic hashalf magnitude, the third harmonic has a third magnitu-de and so on. The following picture shows how theindividual harmonics build up the sawtooth wave:



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Additive components of the Sawtooth wave

The sawtooth wave was thought as an abstraction of thetimbre of string and brass instruments. You can easily

understand that when you think of a violin. Imagine abow pulling the string slightly into one direction. At onepoint, the string abruptly comes off the bow and swings

back to its original position. The bow is still moved andso it catches the string again and the procedure is repea-ted. The result is a waveform that looks like a sawtooth.The same is true for a brass instrument. The string in thiscase are the lips while the bow is the air. The lips are

moved by the air to a certain extent and abruptly moveback to their original position.

The Square Wave

The Square Wave is a pulse waveform with 50% pulsewidth. This means that the positive part of the waveformhas the same length as the negative part. The pulsewaveform can have other pulse widths as you will readlater. For now, well talk about the square wave as a

unique waveform. The square wave consists of all oddharmonics in which the magnitude of each harmonicdescends by the factor of its position. This means thatthe first harmonic has full magnitude, the third harmonichas a third magnitude, the fifth harmonic has a fifthmagnitude and so on. The following picture shows howthe individual harmonics build up the pulse wave:



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Additive components of the square wave with 50%pulse width

The Pulse Wave

The Pulse Wave is the most versatile wave in a classicsynthesizer because its shape and therefore its harmoniccontent can be changed in real time. This is done by

changing the width of the upper and lower portion ofthe waveform cycle. These portions are called pulses,hence the name pulse width. The width of the first pulseis used to distinguish between different pulse waves andit is measured in percent. The following picture showsseveral pulse waves with different pulse widths:



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Additive components of Pulse wave with different pulsewidths

The first fact you can probably observe is that the lowerpart of the wave has a narrower excursion. This is be-cause the energy of the wider pulse is higher than theone of the narrower pulse. If this were not compensated,the overall signal would have an unwanted DC offset.

As you have read in the previous chapter, the harmoniccontent of a 50% pulse wave is a special case. It has a

very symmetrical harmonic content, while all otherpulse widths create peaks or troughs at certain frequen-cies. Another special case is a pulse wave with a verynarrow pulse width, in the above picture labelled as


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The Triangle Wave

The Triangle Wave is very similar to the square wave. Itis composed of the same harmonics as the square wave,but with different magnitude ratios. The magnitude of

each harmonic is divided by the power of its number.This means that the third harmonics magnitude is aninth, the fifth harmonic is a twenty-fifth and so on. Thefollowing illustration shows the harmonic content:

Additive components of the Triangle wave

The reason why the triangle wave is so popular in clas-sic synthesizers: It could act as a suboscillator wave, toemphasize certain frequencies or to frequency modulateother oscillators.



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Filter Introduction

Once the audio signal leaves the oscillator, it is sent tothe filter. The filter is a component that has significantinfluence on the Pulse 2s sound characteristics.

For now, well explain the basic function of a filter dis-cussing the type used most commonly in synthesizers:the low pass filter

The low pass filter type dampens frequencies above aspecified cutoff frequency. Frequencies below thisthreshold are hardly affected. The frequency below thecutoff point is called the pass band range, the frequenci-es above are called the stop band range. The Pulse 2sfilter dampens frequencies in the stop band with acertain slope. The following picture shows the basicprinciple of a low pass filter: The Pulse 2s filter also features a resonance parameter.

Resonance in the context of a low, band or high passfilter means that a narrow frequency band around thecutoff point is emphasized. The following picture showsthe effect of the resonance parameter on the filtersfrequency curve:



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If the resonance is raised to a great extent, then the filterwill begin to self-oscillate, i.e. the filter generates anaudible sine wave even when it does not receive anincoming signal.

Appendix


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Appendix

Updating the Firmware

The Pulse 2 has a service-friendly feature that makes itpossible to update the system software without changingany parts.

All firmware updates come in the form of a standardMIDI file that can be read by nearly any sequencer. Thefastest way to get this file is by downloading it from ourweb site at:

pulse2.waldorfmusic.de

There will be a .zip file containing the new firm-ware as well as a manual addendum.

Updating Pulse 2 firmware:

Load the respective Standard MIDI File intoyour sequencer. Follow the instructionsfrom your sequencers manual. Keep inmind that your sequencer should be able toplayback MIDI sysex data.

The MIDI file consists of one single trackwith several sysex messages in it. Make su-

re that this track is assigned to the Pulse 2so that it can receive the data

Make sure that any Cycle or Loop mode isswitched off. Also make sure that any Me-

tronome clicks and MIDI Clock are swit-ched off.

Start the sequencer playing the file, andsend the track data to the Pulse 2. TheMIDI/USB LED will blink during this proce-dure.

After the file is received correctly, the Pulse2 burns the new firmware into its Flashmemory.

You can perform a firmware update via USBMIDI as well as the regular MIDI input.

Dont disconnect the Pulse 2 or computer duringfirmware upgrade process.

Appendix


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Receiving System Exclusive Data

You are not required to activate a special receive modeof the Pulse 2 in order to receive system exclusive datathrough MIDI or USB. However, there are a few things

you should check before you transmit system exclusivedata to the Pulse 2:

Make sure none of the Pulse 2s sounds is in editmode. The edit buffer might be cleared or over-ridden depending on the type of dump that issent to the Pulse 2.

Check out the parameter DeviceID. Data trans-mission will only be executed successfully if ifthe sender and receiver settings match.

As soon as the dump from the sending device is acti-vated, the Pulse 2 will receive data and store these in itsmemory.

If a single sound dump is received, it is temporarilystored in its respective edit buffer. If you want to keepsuch edits, you have to store them. Otherwise they arediscarded when you switch the Pulse 2 off.

Appendix


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Modulation Sources

Source: Description:

OFF No modulation

LFO1 LFO 1 Signal

LFO1xMODW LFO 1 Signal shaped byModwheel

LFO1xPRS LFO 2 Signal shaped by After-touch

LFO2 LFO 2 Signal

LFO2*ENVA LFO 2 Signal shaped by Envelope2

ENVF Filter Envelope Signal

ENVA Amplifier Envelope SignalVELOCITY MIDI Velocity

KEYTRACK MIDI note number

PITCH FLW Same as KEYTRACK, but withconsideration of portamento andpitchbend

PITCHBEND MIDI pitchbend signal

MODWHEEL MIDI modulation wheel (CC #1)

PRESSURE MIDI channel pressure

BREATH CT MIDI breath control (CC #2)

CONTROL-X assignable MIDI controller X

V.RELEASE Velocity Release

M-ACCU Sums up several modulations

M-PRODUCT All assigned values will be multi-

pliedM-DELAY Modulation Delay

M-SMOOTH Value is lowpass filteres accordingto amount

M-MIN Minimum of all assigned values

M-MAX Maximum of all assigned values

K-HIGHEST The highest note that is pressed

K-LOWEST The lowest note that is pressed

Appendix


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Modulation Targets

Destination: Description:

PITCH Global pitch of all Oscillators

OSC 1/2/3 PITCH Pitch of Oscillator 13

PULSEWIDTH 1/2 Pulse width of Oscillator 13OSC 1/2/3 LEVEL Level of Oscillator 13

NOISE LEVEL Level of Noise

CUTOFF Filter Cutoff

RESONANCE Filter Resonance

VOLUME Overall volume

PANNING Panning of the audio output

LFO 1 SPEED Speed of LFO1

MOD 1 AMOUNT Mod amount of Modulation 1

DRIVE Drive intensity

GLIDE RATE Glide rate

ENVF RATES Intensity of filter envelope

ENVA RATES Intensity of amplifier envelope

UNISON DET Detune of the Unison voices

PARA FADE 1 Fade out of amplifier envelope inPara-8 mode

PARA FADE 2 Fade out of amplifier envelope inPara-4 mode

ARP SWING Swing parameter oft he arpeggia-tor

CV OUT CV output value

M-ACCU Sums up several modulations

M-PRODUCT All assigned values multipliedtogether

M-DELAY Value is delayed before control-ling target according to theamount value

M-SMOOTH Value is lowpass filtered accord-ing to the amount

M-MIN Minimum of all assigned values

M-MAX Maximum of all assigned values

Appendix

Ti & T i k


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Tips & Tricks

Here are a few tips that will help you make the most ofyour Pulse 2.

The lower the input signal, the greater the effect

the filter has on the overall sound. If you want aheavily filtered sound, set the oscillators' volumeparameters to low values in the mixer. On theother hand, high oscillator levels produce purersounds.

If you want a more aggressive sound, simply turnup the oscillator volume levels so that they arejust below the saturation point. The mixer's out-put signal will crosstalk with the filter frequency

and produce a rougher sound.

You can achieve typical analog synthesizerdistortion by overloading the connected mixingconsole's input. You can also experiment by pat-ching effects processors between the Pulse 2 andyour mixer.

Try using an LFO to modulate the panorama po-sition. This produces interesting stereo effects,

especially at high LFO frequencies.

The Pulse 2 output signal is not interrupted whenyou change programs. Try exploiting this featureby using MIDI program change messages to lineup a series of different sounds.

Change the relative pitches of the oscillators atmusical intervals. Thirds (mediant), fifths (domi-nant) and sevenths (subtonic) are suitable for thisapplication.

Self-oscillation of the filter at high resonance va-lues produces sounds that are great for soloing.

Modulate the oscillator's pitch drastically so thatthe upper frequency threshold is exceeded. Thiswill produce interesting results.

Program a pitch modulation in musical intervals.The section entitled "Modulations" contains anassignment table listing the Mod Amount para-meters and the corresponding semitone intervals.For example, you can modulate from a majorchord to a minor chord via the mod wheel.

Assign a Keytrack modulation to the LFO speed.It should modulate the LFO in proportion to the

incoming note. You can thus achieve even fre-

Appendix

fl i id f


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quency fluctuations over a wide range of yourkeyboard.

Modulate the pitch of an oscillator via Keytrack.Set the modulation "Amount" so that this value isnumerically equal to the "Tune" value of theoscillator, but make one value positive and theother negative. This generates frequency fluctua-tions that oscillate at the same speed throughoutthe range of the keyboard. Experiment with diffe-rent Amount values by alternating low and highnotes.

Modulations are processed in sequence, so if youassigned e.g. this

LFO1 -> +63 -> M-MAXM-MAX -> +20 -> OSC1 PITCHLFO2 -> +63 -> M-MAXM-MAX -> +20 -> OSC2 PITCH

The Effect will be that OSC1 will be modulatedby LFO1 only while OSC2 is modulated by ma-ximum of LFO1 and LFO2.

Appendix

Technical Data


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Technical Data

Power Supply

Nominal Voltage: DC 12 V

Supply Voltage: 100 240 V

Maximum current consumption: 400 mA

Maximum power consumption: 6 W

Dimension and Weight

Width: 304 mm

Depth: 132 mm

Height (including knobs): 54 mm

Total weight (excluding power supply): 1,5 kg

Appendix

36 0 127 OSC2 SEMITONE 0 127


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MIDI Controller Numbers

Ctrl #

ControlRange

Controller or SoundParameter

Value Range

1 0127 Modulation Wheel 01275 0127 GLIDE RATE 0127

10 0127 VCA PANNING -64...+6314 0127 ENVF ATTACK 012715 0127 ENVF DECAY 012716 0127 ENVF SUSTAIN 012717 0127 ENVF RELEASE 012783 0127 ENVA ATTACK 012776 0127 ENVA DECAY 012777 0127 ENVA SUSTAIN 012778 0127 ENVA RELEASE 012724 0127 LFO 1 SPEED 012725 0...127 LFO 1 SHAPE 012726 0127 LFO 2 SPEED 012727 0127 LFO 2 DELAY 012729 0127 ENVF TRIGGER 012731

0127 ENVA TRIGGER 012735 0127 OSC1 PULSEWIDTH 0127

36 0127 OSC2 SEMITONE 012737 0127 OSC2 DETUNE 012738 0127 OSC2 SHAPE 012739 0127 OSC2 PULSEWIDTH 0127

40 0127 OSC2 KEYTRACK 012741 0127 OSC3 SYNC 012742 0127 OSC3 SEMITONE 012743 0127 OSC3 DETUNE 012744 0127 OSC3 SHAPE 012745 0127 OSC1 LEVEL 012746 0127 OSC2 LEVEL 012747 0127 OSC3 LEVEL 0127

48 0127 NOISE LEVEL 012749 0127 VCF TYPE 012750 0127 VCF CUTOFF 012751 0127 VCF KEYTRACK 012752 0127 VCF ENVF AMOUNT 012753 0127 VCF VELOCITY 012756 0127 VCF RESONANCE 012757 0127 VCA VOLUME 0127

58 0127 VCA VELOCITY 012762 0127 GLIDE MODE 0127

Appendix

64 0 127 Sustain Pedal 0 127 93 0 127 MOD6 SOURCE 0 127


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64 0127 Sustain Pedal 012770 0127 OSC1 SEMITONE 0127

71 0127 OSC1 DETUNE 012772 0127 OSC3 ROUTING 0127

73 0127 OSC1 KEYTRACK 012774 0127 ENVF LOOP 012775 0127 ENVA LOOP 012776 0127 VCA DRIVE 012777 0127 VCA DRIVE CURVE 012779 0127 ARP ACTIVE 012780 0127 ARP RANGE 012781 0127 ARP TEMPO 0127

82 0127 ARP CLOCK 012783 0127 ARP MODE 012784 0127 STEP DURATION 012785 0127 ARP SWING 012786 0127 ARP DELAY 012787 0127 PATTERN LENGTH 012788 0127 ACCENT CONTROL 012790 0127 MOD5 SOURCE 0127

91 0127 MOD5 AMOUNT 012792 0127 MOD5 TARGET 0127

93 0127 MOD6 SOURCE 012794 0127 MOD6 AMOUNT 012795 0127 MOD6 TARGET 012796 0127 MOD7 SOURCE 0127

97 0127 MOD7 AMOUNT 012798 0127 MOD7 TARGET 012799 0127 MOD8 SOURCE 0127100 0127 MOD8 AMOUNT 0127101 0127 MOD8 TARGET 0127102 0127 UNISON DETUNES 0127103 0127 OSC1 ENVA FADE 0127104 0127 OSC2 ENVA FADE 0127

105 0127 BEND UPWARDS 0127106 0127 BEND DOWN 0127108 0127 MOD1 SOURCE 0127109 0127 MOD1 AMOUNT 0127110 0127 MOD1 TARGET 0127111 0127 MOD2 SOURCE 0127112 0127 MOD2 AMOUNT 0127113 0127 MOD2 TARGET 0127

114 0127 MOD3 SOURCE 0127115 0127 MOD3 AMOUNT 0127

Appendix

116 0 127 MOD3 TARGET 0 127


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116 0127 MOD3 TARGET 0127117 0127 MOD4 SOURCE 0127118 0127 MOD4 AMOUNT 0127119 0127 MOD4 TARGET 0127

120 All Sound Off Immediatesilence121 Reset All Controllers Resets all

controllers123 All Notes Off Releases all

voices

Appendix

Gland the clock, which means the repetition interval.


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Glossary

Aftertouch

The majority of contemporary MIDI keyboards are

capable of generating aftertouch messages. On this typeof keyboard, when you press harder on a key you arealready holding down, a MIDI Aftertouch message isgenerated. This feature can be used to control the Cutofffrequency of the Pulse 2.

Amount

Describes to which extent a modulation influences agiven parameter.

Amplifier

An amplifier is a component that influences the volumelevel of a sound via a control signal. This control signalis often generated by an envelope or an LFO.

Arpeggiator

An arpeggiator is a device that splits an incoming chordinto its single notes and repeats them rhythmically. Mostarpeggiators feature different sequence modes to cover a

wide range of applications. Typical controls for an ar-peggiator are the octave range, the direction, the speed

and the clock, which means the repetition interval.Some arpeggiators also feature preset or programmablerhythm patterns.

Attack

An envelope parameter. "Attack" is a term that describesthe ascent rate of an envelope from its starting point tothe point where it reaches its highest value. The Attackphase is initiated immediately after a trigger signal isreceived, i.e. after you play a note on the keyboard.

Band Pass Filter

A band pass filter allows only those frequencies aroundthe cutoff frequency to pass. Frequencies both below

and above the cutoff point are damped.

Clipping

Clipping is a sort of distortion that occurs when a signalexceeds its the circuitry maximum value. The curve of aclipped signal is dependent of the system where theclipping takes place. In the analog domain, clippingeffectively limits the signal to its maximum level.

Appendix

Control Change (Controllers) Note. The classic envelope consists of four individually


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Control Change (Controllers)

MIDI messages enable you to manipulate the responseof a sound generator to a significant degree.

This message essentially consists of two components:

The Controller number, which defines the elementto be influenced. It can be between 0 and 119.

The Controller value, which sets the extent of themodification.

Controllers can be used for effects such as slowly swel-ling vibrato and influencing filter frequency.

Decay

"Decay" describes the descent rate of an envelope oncethe Attack phase has reached its zenith and the envelo-pe drops to the level defined for the Sustain value.

Envelope

An envelope is used to modulate a sound-shaping com-ponent within a given time frame so that the sound ischanged in some manner. For instance, an envelope thatmodulates the cutoff frequency of a filter open

pulse2 manual

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