![]() Those knobs which control discrete parameters (oscillator octaves and semitones, filter types, wavetable selection and LFO waveforms) have subtle notches for more accurate editing. This is superb for live work, and easily the best solution I've seen since synths first got patch memories. There are no more sudden leaps because the knob's real position doesn't match the stored one - the stored value simply increments or decrements smoothly. The rest are continuous, a design which makes tweaking filter, envelopes and so on a real pleasure. Only one of the knobs, Main Volume, is of the traditional 'absolute' variety. The addition of 40 more knobs, plus three additional switches and a dedicated volume control is nothing short of luxury, providing direct access to all the Microwave's major features. These features are carried through unchanged to the XT. Under this display, four continuous knobs were used to make all edits, and could also be freely assigned as 'Play Access' controls in each patch. In fact, the Microwave II was already very easy to program with its simple matrix, alpha dial and 2x40‑character display. A Programmer's DreamĮveryone's rediscovering knobs these days, and Waldorf obviously believe that a more 'hands on' interface will bring their wavetable synthesis to the masses. So what else makes the XT the hottest Microwave yet? Well, its D/A convertors are 20‑bit (as opposed to the Microwave II's 18 bits) but, for now, let's concentrate on what really sets the XT apart from its smaller sibling. These are quite impressive as freebies, but Waldorf must have felt the urge to show off with some new hardware as well, and thus the XT was born. The DSP effects include Chorus, Flangers 1 and 2, AutoWah (Low Pass and Band Pass), Overdrive, Amplitude Modulation, Delay, Pan Delay and Chorus Delay. I really should mention the filters which are: Waveshaper (a 12dB low‑pass filter combined with a wave‑shaping filter, the wave selected from the current wavetable), a Parallel Low Pass/Band Pass filter, an FM filter (whose frequency can be modulated by the output of Oscillator 2) and the Sample and Hold filter (which lowers the sampling rate of the signal before routing it through a low‑pass 12dB filter). The improvements include Oscillator FM, a new wavetable - True PWM, an extra 6dB output boost (for the XT only), a patch randomiser (which creates great 'starting points' and strange sound effects), four new filter types and DSP effects. These enhancements have been provided over the last year free of charge, in the form of simple MIDI files. Since that review, Waldorf have been busy (as is their wont), upgrading and improving the operating system. As it shares a common operating system with the Microwave II, please read the review from July 1997's Sound On Sound for a reminder of the joys of its wavetable synthesis, digital filters and extensive MIDI control. The Waldorf Microwave XT is a 10‑note polyphonic digital synth sturdily housed in a large rack/desktop case (if racked it occupies five spaces). ![]() The mad scientists in Waldorf castle have created a monster - the head of a Microwave II grafted onto the body of a knobby analogue‑style synthesizer. Why orange? I can't say, but it certainly stands out in a rack - it positively demands attention! If you are a lover of small black boxes full of piano samples, stop reading now, because you won't like the XT. Brashly elbowing the more demure Microwave II from its 'top Microwave' spot, the XT is the newest, biggest and most orange member of the family ever. ![]() Paul Nagle finds out if the future's bright as well as orange.īoasting possibly the most extravagant colour scheme yet seen on a synthesizer, the Waldorf Microwave XT is no shrinking violet. The latest addition to Waldorf's Microwave family certainly advertises its presence. ![]()
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