Waldorf mini Works 4pole User manual

User’s Manual
4 pole
mini
WORKS

EG-Konformitätserklärung
Declaration of Conformity
Für das folgend bezeichnete Erzeugnis
For the following named product
Waldorf 4-pole
Serien-Nr. / Serial No. 95500395 - 96521500
wird hiermit bestätigt, daß es den Schutzanforderungen entspricht, die in der
Richtlinie 89/336/FWG des Rates zur Angleichung der Rechtsvorschriften der
Mitgliedstaaten über die elektromagnetische Verträglichkeit festgelegt sind;
außerdem entspricht es den Vorschriften des Gesetzes über die
elektromagnetische Verträglichkeit von Geräten (EMVG) vom 30. August 1995.
will be hereby declared that it conforms to the requirements of the Council
Directive 89/336/FWG for radio frequency interference. It also complies with
the regulations about radio interference of electronic devices dated on August
30th, 1995.
Zur Beurteilung des Erzeugnisses hinsichtlich der elektromagnetischen
Verträglichkeit wurden folgende einschlägige harmonisierte Normen
herangezogen:
The following standards have been used to declare conformity:
- DIN EN 55013:08-1991, DIN EN 50081-1:03-1993, DIN EN
55020:05-1995,
DIN EN 50082-1:03-1993
Diese Erklärung wird verantwortlich für den Hersteller abgegeben:
T his declaration is given responsible for the manufacturer:
Waldorf Electronics GmbH
Neustraße 12
D-53498 Waldorf
Waldorf, 01.12.95
Wolfgang Düren, Geschäftsführer
Wolfgang Düren, Managing Director

Waldorf Electronics assumes no responsibility for any errors which may appear in
this manual. The content of this manual is for informational purposes and is
subject to change without notice. Considerable effort has been made to ensure
that this manual is free of inaccuracies and omissions. Waldorf Electronics makes
no warranty of any kind including but not limited to any implied warranties of
merchantability and fitness for particular purpose with regard of this manual.
No Part of this manual may be copied without the express written permission of
Waldorf Electronics, Neustraße 12, D 53 498 Germany
Software Development
Stefan Stenzel
Hardware Development
Thomas Kircher
Design
Axel Hartmann
Special Thanks to :
Andreas Busse, Phillip Dahlhausen, Wolfram Franke, Jens Hoffmann, Joachim Lenz,
the Maier brothers, Erna Moormann, Georg Müller, Martin Neideck, Oliver
Rockstedt, Frank Schneider, Erik Wiegand and all people at TSI, esp. Lu.
© Waldorf Electronics 1995
E4

Table of Contents
1. Introduction... E 6
1.1 Conventions and Terminology.. E 6
2. Applications.. E 7
2.1 The 4-Pole and Electric Guitars... E 7
2.2 The 4-Pole and Electronic Drumpads... E 8
2.3 The 4-Pole and Synthesizers/Samplers... E 9
2.4 The 4-Pole as a Denoiser... E 9
2.5 The 4-Pole as an Effects Device... E 10
3. Control Features... E 11
4. Operating the 4-Pole... E 12
4.1 Cable Connections and Powering Up... E 12
4.2 Selecting Programs... E 12
4.3 Selecting an Edit level... E 12
4.4 Editing Parameters... E 13
4.5 Knob Mode... E 13
4.6 Viewing Parameters... E 14
4.7 The Compare Function... E 14
4.8 The Store Function... E 15
5. The Parameters... E 15
5.1 Edit Level 1, VCF Envelope... E 15
5.2 Edit Level 2, VCA Envelope... E 16
5.3 Edit Level 3... E 16
5.4 Edit Level 4, Modulations... E 18
5.5 Edit Level 5... E 19
5.6 Edit Level 6... E 19
6. Modulation Sources... E 23
7. MIDI Control... E 24
7.1 Program Change... E 24
7.2 Note On/Off... E 24
7.3 Controller... E 25
7.4 Pitch Bend, Aftertouch... E 25
7.5 Sending System Exclusive Data... E 25
7.6 Receiving System Exclusive Data... E 26
8. System Exclusive Data Format... E 27
8.1 Program Dump... E 27
8.2 Program Bulk Dump... E 28
8.3 All Dump... E 29
8.4 Program Dump Request... E 31
8.5 Program Bulk Dump Request... E 32
8.6 All Dump Request... E 32
9. Controller Number... E 33
10. Glossary... E 34
11. MIDI Implementation Chart... E 39
E5

1. Introduction
Thank you for purchasing the Waldorf miniworks 4-pole filter! This
device lets you filter any type of signal via a 24dB lowpass filter
featuring resonance. This filter is identical to the one the
MicroWave is equipped with. In addition to the filter frequency
and resonance, you can manipulate volume and position within
the stereo signal via complex modulations. A comprehensive MIDI
implementation provides comfortable handling via your keyboard
and sequencer.
1.1 Conventions and Terminology
For the sake of simplicity, all technical terms in this manual
correspond to the parameter names we used for the 4-Pole. You
will find a glossary in the final chapter of this manual; it includes a
brief definition of all pertinent terms.
E6

2. Applications
Because its trigger-function can be activated manually, via MIDI, a
separate trigger-signal, and the actual audio-signal, the 4-Pole is
suitable for a wid range of applications. The following sections
illustrate a few typical applications. You of course can select any
other desired configuration; just let your imagitnations be your
guide.
2.1 The 4-Pole and Electric Guitars
If your rig includes several effects processors, patch in the 4-Pole
between your distortion unit and reverb or delay unit in the signal
chain.
Use the envelope signal to control the cutoff frequency at a
medium resonance to generate an automatic wah-wah effect. As
an alternative to the signal envelope, you can of course use the
LFO.
The factory programs 21 to 24 were programmed specifically for
electric guitars.
E7
Guitar
4 pole
VCF
VCA
4-Pole
Mixer Amp
Synthesizer
Expander / Sampler
Drumpad
Audio
Out
Audio
In
Audio
Out
Line
In
Line
In
Out
Trigger
In
MIDI
Out
MIDI
In

2.2 The 4-Pole and Electronic Drumpads
You may use an electronic drumpad to trigger the 4-Pole’s
envelopes. Connect the pad’s output to the <Trigger In> jack and
adjust the signal level via the <Trigger Level> control.
You can trigger any signal you have patched into the <Audio In>
jack. You can also connect a MIDI sound generator to the <MIDI
Out> jack and play its sounds via your drumpad. You will probably
have to assign the MIDI channel and the note number (Section
5.6).
Program 25 was programmed specifically for use with drumpads;
for this program, the signal envelope is used to control the cutoff
frequency. The filter resonance is tuned so that the filter oscillates
and produces a sound much like the early drum synthesizers.
E8
Guitar
4 pole
VCF
VCA
4-Pole
Mixer Amp
Synthesizer
Expander / Sampler
Drumpad
Audio
Out
Audio
In
Audio
Out
Line
In
Line
In
Out
Trigger
In
MIDI
Out
MIDI
In

2.3 The 4-Pole and Synthesizers/Samplers
Connect the synthesizer’s MIDI output to the <MIDI In> jack and
the Audio output to the 4-Pole’s <Audio In> jack.
The envelopes can be triggered via the MIDI notes that you or the
device are play. The filter can be modulated via envelopes, the
LFO, etc. in the same manner as with an analog synthesizer, which
is an especially interesting feature when you are using samplers
and sound generators that are not equipped with analog filters.
2.4 The 4-Pole as a Denoiser
Let the appropriate envelopes control the volume and cutoff
frequency. Use the envelopes for a short attack and a relatively
long release time and set the Audio Trigger to Single Trigger
Mode (refer to Section 5.6). As an alternative, you can also use the
signal envelope to control the cutoff frequency. Program 26 is an
example of a noise suppression program.
E9
4 pole
VCF
VCA
4-Pole
Mixer Amp
Synthesizer
Audio
Out
Audio
In
Audio
Out
Line
In
Line
In
MIDI
Out
MIDI
In
Guitar
4 pole
VCF
VCA
4-Pole
Mixer Amp
Audio
Out
Audio
In
Audio
Out
Line
In
Line
In

2.5 The 4-Pole as an Effects Device
The LFO is capable of producing frequencies in the audio range.
Its highest frequency is 261.6 Hz, which is equivalent to a C note.
If you modulate the cutoff frequency or volume via one of these
LFOs, you will generate an ringmodulation like effect. For an
example, check out Program 28.
You can also achieve audible effects by panning (refer to Section
5.4 PAN MOD) via an LFO or envelope. You can generate
everything from a slow right/left wavering effect to a stereo
amplitude modulation. For an example, check out Program 29.
You can also generate compression when the signal envelope,
preceded by a minus sign, modulates the volume. Check out
Program 30.
Undoubtedly you have already realized that with the Waldorf and
just a little imagination, you can create an untold number of other
effects or effect combinations based on these examples.
E10
Guitar
4 pole
VCF
VCA
4-Pole
Mixer Amp
Audio
Out
Audio
In
Audio
Out
Line
In
Line
In

3. Control Features
E11
Dump
Attack Decay Sustain Release
Mode
Gate Time Source/Trigger MIDI Control MIDI ChannelTrigger
Level
Gain
Audio In Trigger In L R
Out
ThruIn OutAC 9V MIDI
Cutoff Mod/Src Reso Mod/Src Volume Mod/Src Pan Mod/Src
VCF Env Cutoff VCA Env Volume LFO Speed/Shape Cutoff Resonance Volume Panning
Manual Trigger
Attack Decay Sustain Release
4
pole
0 off 1 LFO 2 LFO • ModW. 3 LFO•Aftertouch 4 LFO •VCA Env 5 VCF Env 6 VCA Env 7 Signal Env
8 Vel• VCA Env 9 Velocity 10 Keytrack 11 Pitchbend 12 Modwheel 13 Aftertouch 14 Breath Ctr 15 Foot Ctr
Device ID
Shift
Store
Compare
MODULATION SOURCES
mini
WORKS
Speed Mod/Src
MIDI Note
VCF
VCA
GLOBAL PARAMETERS

4. Operating the 4-Pole
4.1 Cable Connections and Powering Up
The 4-Pole’s <Audio In> is a monophonic circuit whereas the
outputs (<Out L> and <Out R>) constitute a stereophonic circuit.
In order to exploit the 4-Pole’s potential to the fullest we
recommend you connect it in stereo mode. All audio in/outputs
and the trigger input were implemented as 1/4” jacks.
Connect the <Audio In> jack to your signal source’s output and
<Out L> and <Out R> to an amp/mixing console’s input. If you
want to use a 1/4” stereo plug to access the 4-Pole’s output
signal, you must insert it into the <Out L> jack. The mono master
signal is routed to the <Out R> jack, assuming you have not
plugged a cable into the <Out L> plug.
Connect the included powerpack to the 9V socket located on the
rear panel of the device. Then plug the powerpack into a wall
socket. Your 4-Pole is now ready to roll.
4.1 Selecting Programs
Use the <Up> and <Down> keys to select programs. The display
indicates the program you have selected. Programs 1-20 are
freely programmable whereas programs 21-40 feature non-user
programmable fixed factory programs.
When you initially switch on the 4-Pole the first 20 programs are
identical to the other twenty factory programs.
4.3 Selecting an Edit level
Select any of the six different edit levels via the <Mode> key. The
diverse levels are indicated by the Mode LEDs.
You can also press and hold the <Mode> key and then select an
edit level via the <Up/Down> key. At the 6th level, the first five
Mode LEDs function as a display for the signal envelope (refer to
Chapter 6).
When you select a level, the current program number is
displayed, and is usually preceded by the letter “P”. The letter “E”
indicates that this program was edited. “C” indicates the program
is in Compare mode (refer to Section 4.7).
E12

4.4 Editing Parameters
Select an edit level (e.g. Level 1, VCF Envelope) and manipulate the
corresponding control located in the column of the desired
mode, e.g. <Attack>. The display will immediately indicate the
edited attack value. In several modes, another parameter is
selected when you press the <Shift> key, e.g. LFO Shape. These
are indicated on the control panel via orange markings.
If you change a parameter, the current program is automaticallly
in edit mode, indicated by the letter “E” preceding the program
number. However, the 4-Pole is equipped with just one editing
buffer, so that all changes you have made to a program are
irretrievably lost if you did not save them first (refer to Section
4.8)! These controls have several different functions, as the
following chapter will illustrate.
4.5 Knob Mode
The 4-Pole was equipped with potentiometers featuring right and
left limits because we feel these are the best tools for editing
parameters. They do have a disadvantage: the position of the
knob rarely corresponds to the actual value of a given program’s
parameter. Consequently, we integrated two distinct modes to
give you the opportunity to edit values as you see fit.
If you press and hold the <Mode> key and simultaneously press
the <Manual Trigger> key, “KNOB MODE” will appear in the display.
Knob Mode can be changed again by pressing the <Mode> and
<Manual Trigger> keys again.
JMP - Jump Mode
In Jump Mode, the parameter jumps directly to the value you set
via the knob regardless of the parameter’s original value.
E13

REL - Relative Mode
In contrast to Jump Mode, in Relative Mode the parameter value
change from the original value to new the value reflects precisely
the amount you adjusted via a given control.
4.6 Viewing Parameters
If you just want to take a look at the value of a parameter, simply
press and hold the <Mode> key and manipulate the appropriate
knob. A new edit level is not activated when you release the
<Mode> key. If the current program is in Compare mode (refer to
Section 4.7) then only the original program’s parameter value is
displayed when you manipulate a control.
4.7 The Compare Function
The Compare function lets you compare the edited program
parameters to its original parameters. This feature comes in
handy in a number of situations, for instance when you are not
sure which version you prefer for a particular song.
Press and hold the <Shift> key and simultaneously press the <Up>
key to activate the Compare function. If the current program has
been edited, the original program is retrieved and the program
number diplay is preceded by the letter “C.” If the Compare
function was already active for this program, then the edited
version is retrieved and the display will read “E”. If the current
program is not identical to the one you last edited, then the one
you last edited is retrieved. You cannot edit parameters in
Compare mode. You can also exit Compare mode by selecting
another program.
E14

4.8 The Store Function
The Store function lets you save an edited program for later use.
Press and hold the <Shift> key and simultaneously press the
<Down> key to activate the Store function. When you first
activate this function, the program number and a flashing “S” are
displayed. If the current program number is between 1 and 20,
the appropriate program number is displayed. If the current
program number is greater than 20, then 20 is automatically
subtracted from the number. Programs 21 through 40 are not
user-programmable. Use the <Up> and <Down> keys to select a
new program number. Press <Shift-Down> again to store the
current program at the program number’s memory location. All
Editing or Compare modes are deactivated automatically. The
<Mode> key terminates the Store function.
5. The Parameters
5.1 Edit Level 1, VCF Envelope
This is where you can adjust the VCF envelope’s parameters. The
attack phase of the envelope is activated via a MIDI Note On
message or an audio trigger. The release phase is activated via a
MIDI Note Off message or at the point when the trigger signal’s
decay value drops lower than a specific defined value. The current
volume level is used as the reference value. In other words, the
level is not automatically set to “0” at the start of the envelope.
You can start envelopes at any time via the <Manual Trigger> key.
The VCF envelope is used primarily to control the cutoff
frequency (refer to Section 5.5, <Cutoff>), but it can also be used
to modulate other parameters (refer to Chapter 6).
Attack
Value range of 0...127
<Attack> describes the ascent rate of the envelope. At an initial
level of zero, the value of 0 is equivalent to approx. 2 milliseconds;
64 equals one second; 127 equals approx. one minute.
E15

E16
Decay
Value range of 0...127
<Decay> is the descent rate of the envelope until it reaches the
defined sustain value. If the sustain value is equal to zero, then
the attack values pertain.
Sustain
Value range of 0...127
<Sustain> is the level at which the envelope remains constant
until the start of the release phase.
Release
Value range of 0...127
<Release> is the rate at which the value descends to zero. If the
sustain value is 127, then the attack values pertain.
5.2 Edit Level 2, VCA Envelope
This is the volume envelope. The information discussed above the
VCF envelope’s parameters also pertains to the VCA parameters.
The VCA envelope can also be used for modulations. Additionally,
the product of the VCA envelope and the LFO is also available for
use as a modulator (see chapter 6.).
5.3 Edit Level 3
This is where you set the amount of effect the VCF envelope has
on the VCF, VCA and LFO parameters.
VCF Env Cutoff
Value range of -64.. +63
Determines the amount of effect the VCF envelope has on the
cutoff frequency. Negative values lower the cutoff frequency.
VCA Env Volume
Value range of -64.. +63
Determines the amount of effect the VCA envelope has on the
volume. Negative values lower the volume.

LFO Speed
Value range of 1.. 127
Determines the frequency of the low-frequency oscillator, also
called the LFO. Its frequency range is from approx. 0.008 Hz to
261,6 Hz.
LFO Shape
Determines the LFO’s waveshape.
Sin - Sine
Tri - Triangle
SA. - Sawtooth
PLS - Pulse (Square)
E17

S-H Sample & Hold
Speed Mod
Determines the depth of the LFO´s modulation which can be fixed
by the modulation source parameter <Speed Mod Src> (see
chapter 6.)
5.4 Edit Level 4, Modulations
You can define the modulations for cutoff, resonance, volume
and stereo panning at this level. Press <shift> and use the
appropriate knob to select the source of the modulation and
<LFO Speed Mod Src>.
Cutoff Mod
Value range of -64.. +63
Determines the extent of the cutoff frequency modulation
generated by the modulation source you defined via <Cutoff Mod
Src>.
Reso Mod
Value range of -64.. +63
Determines the extent of the resonance modulation generated
by the modulation source you defined via <Reso Mod Src>.
Volume Mod
Value range of -64.. +63
<Volume Mod> determines the extent of the volume modulation
generated by the modulation source you defined via <Volume
Mod Src>.
E18

Pan Mod
Value range of -64.. +63
<Pan Mod> determines the extent of the stereo panning
modulation generated by the modulation source you defined via
<Pan Mod Src>.
5.5 Edit Level 5
You can define the values for the cutoff frequency, resonance,
volume and stereo panning at this level.
Cutoff
Value range of 0.. 127
Determines the filter cutoff frequency.
Resonance
Value range of 0.. 127
Determines the amount of amplification in the range of the
cutoff frequency, which is called the resonance. High values cause
self-oscillation and an audible tone. This effect is not an error, it is
supposed to happen.
Volume
Value range of 0.. 127
Determines the basic volume. You of course must lower the
volume when you want to make volume changes via the VCA
envelope.
Panning
Value range of -64.. +63
Determines the position within in the stereo panorama. -64 is the
far left position and +63 the far right.
5.6 Edit Level 6
At this level, you can define the diverse parameters that
determine how the two envelopes are triggered during the attack
phase. The controls on the right are used to set global parameters
that apply equally to all 40 programs.
E19

Gate Time
Value range of 000.. 508, 1.00...1.02
<Gate time> is the duration following a trigger during which no
new triggers are accepted. This time is displayed in milliseconds
(000 to 508).
Source
<Source> determines how the envelopes are triggered.
Aud - Triggering via audio. If you have not inserted a plug in the
<Trigger In> jack, the 4-Pole accesses the <Audio In> signal.
MID - Triggering via MIDI Note On/Off messages sent through the
designated channel (refer to Section 5.6, <MIDI Channel>).
ALL - Triggering via both audio and MIDI.
E20

Trigger
<Trigger> determines the envelope trigger mode.
Mul - Triggers are accepted at all times.
SnG - Triggers are accepted only when the envelopes have run
their course or when they are in the release phase.
MIDI Control
This global parameter determines the type of MIDI messages that
are sent.
OFF - Program Change, Note On/Off for audio/manual triggers
and System Exclusive data are sent.
Ctr - Additionally, Controllers are sent when program parameters
are changed (refer to Chapter 9).
E21