I noticed a few days back that Waldorf Music re-designed their website. It’s simple, clean and easy to navigate.
They pulled the phonetic bad German accent marketing copy from the Blofeld desktop page :^(. If you wait long enough, there is still a Blofeld villain picture on the page :^). Also note they’ve added a new music player with samples.
Mark Mosher
www.MarkMosherMusic.com
www.Modulatethis.com
Posted on September 08, 2010 in Blofeld | Permalink
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Modulate This reader Deman recently commented on a post from February entitle "Blofeld LFOs Gone Mad" - One Patch Performance Series. Deman wanted to know which I preferred, the Blofeld or the Tetra.
Well Deman, while I’ve only played the Blofeld, I did consider the Tetra so I did some research on both before going with Blofeld. I’ve put together a table highlighting the major differences below.
Update 3/3/2013: Updated pricess since original Post
| Blofeld | Tetra | |
| Price | ||
| Sound Generation | Circuit-models of analog waveforms: Pulse with variable pulse-width, sawtooth, triangle, sine wave, wavetables that were introduced by the Waldorf Q and appeared shortly thereafter in the Micro Q series. | 100% analog signal path. 2 - analog sawtooth, triangle, saw/triangle, square with variable pulse width. |
| Synthesis Types | Subtractive/FM/Wavetable | Subtractive |
| Multi-Mode | 16 Splits/Layers with 2 outs | Four-part multitimbral capability with four separate outputs. |
| Polyphony | 25 | 4 |
| Display | 128x64 LCD | 2 line LED |
| Non-Volatile Sample Playback Memory |
64 Meg of Non-Volatile Ram wih SL Option |
No |
| FX | 2 Independent FX Processors | None |
| USB | Yes, Third-Party Editors | Yes, Manufacturer supplied editor |
Arpeggiator
Both synths have strong arpeggiator/step-sequencer capabilities. Here is a summary as described by the manufacturers:
Blofeld Arpeggiator (From the Blofeld Web Site)
Okay, Blofeld's arpeggiator could very well become the biggest chapter of this page but let's try to keep it short...
It features variable clock divisions from 1/64 triplets to more than 1000 bars, with variable swing/shuffle, a range of up to 10 octaves. Up, down and alternate figures, selectable play order from low to high note, low to high velocity, as played or reversed, variable note length, different velocity modes. And Hold or One-Shot, if you like.
But more importantly, it has the most powerful Pattern Editor we have ever seen.
You can set each Step to either play the note it would do so anyway, to pause, to play the previous note again, play the first or the last note, play those together, play a chord consisting of all held notes or a randomly selected note.
Then you can adjust the Accent of each step (including silence), activate or deactivate Glide for each step, set the timing to play a step ahead or behind its nominal time, and finely adjust the note length between short staccato and full legato.
No wonder this arpeggiator had great reviews when it first appeared in the Waldorf Q. It will take you straight to arpeggiator-heaven, as has already happened to thousands of Waldorf customers. Dig it!
Tetrai Arpeggiator (From the Tetra Manual P. 35)
Tetra features a 4 x 16 “analog-style” step sequencer that can generate four separate sequence tracks of up to 16 steps each. Each of the 4 voices has its own sequencer. Individual sequencer tracks can be routed to any standard modulation destination (see the table on page 35). Using VCA Envelope as a destination, for example, varies the volume of each step; a destination of Filter or Filter Envelope Amount will produce different filter settings per step. Typically, however, at least one sequence is routed to an oscillator to control pitch.
The sequencer is a “gated” sequencer. That is, a note must be played, either from the PUSH IT switch or via MIDI, in order for the sequence to be heard and it will continue to play as long as the note is held (gated).
Note: The PUSH IT switch’s Toggle parameter enables notes (and,
therefore, sequences) to be latched on for sustained playback.The Clock Parameters determine the note value/tempo of the sequencer. The actual gate duration for each step is fixed at half the step time. Use the envelopes to generate notes of longer or shorter duration.
One very useful way to modulate a parameter in sync with a sequence is using LFOs with sync; LFO frequency runs from 0 to 150, after which you can select the sync settings. A setting of 16 Steps for LFO Frequency with a Triangle wave selected and routed to the filter will provide a clean filter sweep over a 16 step
sequence, perfectly in sync! This is much easier (and smoother) than programming a filter sweep using sequence steps.
28.
Conclusion
In a nutshell, Tetra is a strong choice for those looking for a pure-analog solution in a very small desktop form factor. Blofeld is the choice for those looking for a more versatile solution in the sound design department with a more workstation-like set of features (16 splits/layers, built-in FX, option for non-volatle sample memory…). The large LCD display makes the and MIDI matrix make the Blofeld experience similar to using a soft synth on a computer.
I am in the latter category and was also looking for more bang-for-the-buck so I chose the Blofeld. I also felt the virtual analog was quite good. If I had extra budget for an analog desktop unit would I buy a Tetra? You betcha.
Links
| Blofled | Tetra |
Mark Mosher
Electronic Musician, Boulder CO
Checkout my updated and fresh artist site: www.markmoshermusic.com
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Posted on May 30, 2010 in Blofeld, Tetra | Permalink
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I know, I know, three Blofled posts in two days. Sorry about that. Next post won’t be Blofeld, I promise.
Anyway, Blofeld 1.15 Firmware is now online. Update includes:
I can personally vouch that this update fixes a bug for sending Multi dumps back to the Blofeld. Can't wait to try "Sample/Wavetable start as Modulation Destination ".
Mark Mosher
Electronic Musician, Boulder, CO
www.ModulateThis.com
www.MarkMosherMusic.com
www.REBOOTalbum.com
Posted on April 13, 2010 in Blofeld, Synths & Instruments (Hardware) | Permalink
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I’ve been going on about the Waldorf Blofeld a bit. As you know, I’m pertty much 100% laptop based with piles of VSTs and many have been asking me why I’ve added a hardware synth and why I picked the Blofeld.
To put it simply, there are times when I just don’t want to mess with a computer and I’m looking for instant-on. However, if I was going to go with a hardware synth, I wanted something that would compliment my Ableton Live rig. In a nutshell, a synth that:
While there are a number of instruments in the sub $1,000 range, I found the Blofled to have the richest and widest variety of features at a great price point that met my requirements. After using it for a few months I’m still very happy with my decision.
What are my favorite features? Checkout my top-10 list below.
10 Build Quality/Form Factor - A metal enclosure with 7 endless metal knobs. It’s built like a tank. It’s also heavier than you might think so the weight of the cables won’t pull it off your stand or controller. It’s plenty small enough to fit in a backpack.
9 Quick Editing – The physical parameter matrix with default mappings set to common parameters is fantastic.
8 16 Channel Multi-Mode
Like the Tenori-On 16 layer sequencing model find yourself wishing for an a more aggressive pallet? Blofeld 16 channel Multi-Mode is a great answer. You can setup splits and layers making this perfect for gigging.
6 Computer-Like Display Without a Computer 
The display is fantastic. It’s like using a soft synth. You see immediate feedback of envelopes, waveshapes etc… when you manipulate parameters.
5 Robust Synth Engine
Subtractive, wavetable, FM, adequate sample playback, built-in FX, arpeggiator… there is plenty under the hood for producing a wide variety of sounds and for those who like to program. Ships with more than 1,000 sounds for those who want to play and not program.
4 Ability to Load Your Own Samples and Use them as Oscillator Sources
The keyboard edition, or the desktop edition with the License SL option support 60M of non-volatile sample RAM which can be managed via a software app called – wait for it – Spectre :^)
3 A Killer Modulate Matrix
A 16 slots matrix! Includes the ability to assign custom MIDI CC’s to 4 controls W-Z (see my previous post for more on this).
2 Huge Sonic Palette
I personally love it. It can be warm, harsh, metalic, and you can radically change the character of a sound via the user interface or through MIDI control. I posted this previously, but if you missed it, check out this sample
Blofeld LFOs Gone Mad - One Patch Performance Series.
1 The Name
And my number 1 favorite – why the name of course. I love Waldorf’s tongue-in-cheek naming and Bond branding. Check out the official product page to see what I’m talking about.
Links:
By the way, I’m not affiliated with Waldorf – just a fan :^). I also want to thank Jeff at Sweetwater who answered many questions and did some research for me before I bough the Blofleld – and no, I’m not affiliated with Sweetwater either.
Mark Mosher
Electronic Musician, Boulder, CO
www.ModulateThis.com
www.MarkMosherMusic.com
www.REBOOTalbum.com
Posted on April 13, 2010 in Blofeld, Synths & Instruments (Hardware) | Permalink
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I wanted to create a small couch-friendly setup where I could play the Waldorf Blofeld with my little Akai LPK25 Controller and an AudioCube. Here is how I set it all up.
AudioCube Configuration
I use Percussa’s MIDI bridge to configure a sensor cube so that face 1-4 send CCs 10-13 (click image to enlarge).
Blofeld Global Configuration
The Blofled supports custom mapping of 4 CCs to controllers that are labeled W,X,Y,Z. Hold down “Shift”+”Global” to access the global params and turn the Display Parameter Dial to access the “Global Controls” page. In my case, i set W-Z to 10-13 respectively to match the CC numbers coming from the AudioCube.
Blofeld Patch Modification
Now I modify any patch to respond to AudioCube modulation by going to the Matrix menu and then setting W-Z as sources. In the example below I map Z (AudioCube Face 4) with Ring Modulation Level.
Ableton Live Configuration Ableton Live 8 is running on a laptop which is the hub that makes this all work. The LPK25, Blofeld, and AudioCube are plugged in via USB and configured as MIDI devices in Live options. I create a Midi Track and specify the Blofeld as the output and arm the track.
At this point MIDI is merged from the LPK 25 and Percussa MIDI Bridge and sent through to the Blofeld allowing me to rock out from the comfort of my couch.
Mark Mosher
Electronic Musician, Boulder, CO
www.ModulateThis.com
www.MarkMosherMusic.com
www.REBOOTalbum.com
Posted on April 12, 2010 in Ableton Live, AudioCubes, Blofeld | Permalink
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Quick post to share this find. 128 sounds from Boele Gerkes and Holger Steinbrink for the Blofeld. Download from here.
Mark Mosher
Electronic Musician, Boulder, CO
www.ModulateThis.com
Posted on April 07, 2010 in Blofeld, Synths & Instruments (Hardware) | Permalink
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I've spent quite a bit of time working with the wonderful Waldorf Blofeld Desktop Synthesizer. I put together a mindmap of things I've learned that will help you understand the differences between the keyboard and desktop version including the License SL sampling option. Along the way I've also found many links and utilities (such as computer editor/librarians) which I've included in the map. This should be a real-time saver for you.
View map on Mindmeister.com | Download Clickable PDF
Mark Mosher
Electronic Music Artist, Composer, Sound Designer
Louisville/Denver/Boulder
http://www.modulatethis.com
http://www.markmoshermusic.com
http://www.twitter.com/markmosher
Posted on March 25, 2010 in Blofeld, Synths & Instruments (Hardware) | Permalink
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In the past I’ve posted “One Patch Performances” series tracks as videos. I decided to add Soundcloud as an additional publishing method for posting these short performances as I really like it’s timeline-based commenting system.
“Blofeld LFOs Gone Mad”
For this performance I am playing Blofeld factory patch H005 DCS3 Bubbles and I’m changing modulation parameters in real-time. This preset has interesting modulation routings in that LFO 1 modulates the speed of LFO2. Mod wheel controls speed of LFO1.
I think this performance also shows off the huge sonic range of the Waldorf Blofeld. Using this one preset and modulation, the Bolfeld produces timbers that are bell-like, bubbly, wet, warm, harsh and metallic. I’m also using knobs and keyboard scaling to control motion. It’s just an amazing synth. See my annotations on what I'm doing across the timeline.
Blofeld LFOs Gone Mad on Soundcloud by MarkMosher. Download embedded MP3.
Mark Mosher
Electronic Music Artist, Composer, Sound Designer
Louisville/Denver/Boulder
http://www.modulatethis.com
http://www.markmoshermusic.com
http://www.twitter.com/markmosher
Posted on February 24, 2010 in Blofeld, ONE PATCH PERFORMANCE, Sound Design | Permalink
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Since 2006 I’ve been working exclusively with virtual synthesizers. Prior to this I spent years, and years – uh, and years working with digital hardware synthesizers and samplers. I’ve officially reentered the programmable hardware synthesis realm when I took delivery of my new Waldorf Blofeld yesterday.
I’ll post more on why I went with Blofeld and what I’ll be doing with it in the future. For now, enjoy some synth porn. Click the pictures below to see larger versions.
Mark Mosher
Electronic Music Artist, Composer, Sound Designer
Louisville/Denver/Boulder
http://www.modulatethis.com
http://www.markmoshermusic.com
http://www.twitter.com/markmosher
Posted on February 13, 2010 in Blofeld | Permalink
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