Waldorf Rocket
Contents
1. eses sees soovosoeneseessnnnannnannnanoss 11 GCONNECIIONS are 11 The USB Connection uueesseeeeeenssseeennsssennnnnsnnnnnnnnnenen 13 Basie OperallON unseren 14 Switching On Ol nee ee ee 14 SIONO UNO sa raa da 14 Where are the Presets eeeseeeeeeeeeeeeennneeeo 14 F ltine Paramelers ss sangan ka Emaus 14 The Launch Button sse a a ars 14 Sound ez G E 15 Overview of FUNCtiONS eeesssssseesssaeeeeneos 15 Oscillator SectiOm ssp Ed 15 VEF Eilter SOCION salat 18 Envelope Section ENV anne 19 EPO AA SCHON se 21 Additional Functions sssssssssssssssnsnnnnnnnununnnnnnnnnnnnnnnnnnnnnnnnnne 24 MID Channel eines 24 Sending and Receiving Sound Data 24 Sound Synthesis Basics usssereronnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn 25 Oscillators Introduction ccccccceeeseeceesseeceeeeneeeeeens 25 FILET WA OCUCTIOR cae tee een 29 Truo Fy T 31 Updating the Firmware eeeeeeeeeeeeenenton 31 Issues during Firmware Upgrade Process 32 Filter Cal ND pe NE EO o ek 32 Teenie Diesen ee ee 33 MIDI Controller Numbers uueneneessnneeeenenn 34 Content SO een ee 36 Declaration of Conformity 222uusseeeeeeeeeeenennnnennen 41 FCC Information U S A o c ccccccccecceccececcececceccecaececescusens 43 ee ee ee 43 Other Standards Rest of Worl2. Eu N 5 Lo S L 0 9 D Q X 6 e San English Saja un lar amp er fnnaj Mo Men jags gt Lua Foreword Foreword Thank you for purchasing the Waldorf Rocket synthesizer You now own a very compact analog synthesizer with an extraordinary look and astonishing sound We know that already and you will know soon too You have our word What to read The biggest problem with any manual is to find a way to cover both the needs of an absolute expert and a beginner alike There are people who read a manual cover to cover while others don t even touch it The latter is the worst choice especially when the manual describes a Waldorf instrument If you do decide to read the following manual we can prom ise you a lot of fun while reading it and especially afterwards working with the Waldorf Rocket Your Waldorf team Hint Waldorf Music is not liable for any erroneous information contained in this manual The contents of this manual may be updated at any time without prior notice We made every Rocket User s Manual effort to ensure the information herein is accurate and that the manual contains no contradictory information Waldorf Music extends no liabilities in regard to this manual other than 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 Stra e 52 D 53
3. all others are dampened A band stop filter does just the opposite i e it dampens only the frequencies around the cutoff frequency The most common type is the low pass filter Filter Cutoff Frequency The filter cutoff frequency is a significant factor for filters A low pass filter dampens the portion of the signal that lies above this frequency Frequencies below this value are allowed to pass through without being processed High Pass Filter A high pass filter dampens all frequencies below its cutoff frequency Frequencies above the cutoff point are not affected LFO LFO is an acronym for low frequency oscillator The LFO generates a periodic oscillation at a low frequency and features variable waveshapes Similar to an envelope an LFO can be used to modulate a sound shaping compo nent WAI Rocket User s Manual Appendix Low Pass Filter Synthesizers are often equipped with a low pass filter A low pass filter dampens all frequencies above its cutoff frequency Frequencies below the cutoff point are not affected MIDI The acronym MIDI stands for musical instrument digital interface It was developed in the early 1980s so that diverse types of electronic musical instruments by diffe rent manufacturers could interact At the time a commu nications standard for heterogeneous devices did not exist so MIDI was a significant advance It made it pos sible to link all devices with one another through simple unif
4. Appendix Envelope An envelope is used to modulate a sound shaping com ponent within a given time frame so that the sound is changed in some manner For instance an envelope that modulates the cutoff frequency of a filter opens and closes this filter so that some of the signal s frequencies are filtered out An envelope is started via a trigger usu ally a fixed trigger Normally the trigger is a MIDI Note The classic envelope consists of four individually variab le phases Attack Decay Sustain and Release This se quence is called an ADSR envelope Attack Decay and Release are time or slope values and Sustain is a variable volume level Once an incoming trigger is received the envelope runs through the Attack and Decay phases until it reaches the programed Sustain level This level remains constant until the trigger is terminated The envelope then initiates the Release phase until it reaches the mini mum value Filter A filter is a component that allows some of a signal s frequencies to pass through it and dampens other fre quencies The most important aspect of a filter is the filter cutoff frequency Filters generally come in four catego ries low pass high pass band pass and band stop A low pass filter dampens all frequencies above the cutoff 37 frequency A high pass filter in turn dampens the fre quencies below the cutoff The band pass filter allows only those frequencies around the cutoff frequency to pass
5. dampens frequencies in the stop band with a certain slope The following picture shows the basic principle of a low pass filter 29 Sound Synthesis Basics Level Frequency Cutoff The Rocket s filter also features a resonance parameter Resonance in the context of a low band or high pass filter means that a narrow frequency band around the cutoff point is emphasized The following picture shows the effect of the resonance parameter on the filter s fre quency curve Rocket User s Manual Sound Synthesis Basics Level Resonance Frequency Cutoff If the resonance is raised to a great extent then the filter will begin to self oscillate i e the filter generates an audible sine wave even when it does not receive an incoming signal Rocket User s Manual 30 Appendix Updating the Firmware The Rocket has a service friendly feature that makes it possible to update the system software without changing any parts All firmware updates come in the form of a standard MIDI file that can be read by nearly any sequencer The fastest way to get this file is by downloading it from our web site at i Possibly there will be a zip file containing the I http rocket waldorfmusic de new firmware as well as a manual addendum Updating Rocket s firmware e Load the respective Standard MIDI File into your sequencer Follow the instructions from your sequencer s manual e The MIDI file co
6. folgende Ubergangsfristen Im Juli 2007 wird die bisher geltende Richtli nie 89 336 EWG aufgehoben Die bergangsfrist zur Anwen dung der neuen Richtlinie 2004 108 EG endet am 20 Juli 2009 Normen f r Audio EN 55013 EN 55020 EN 61000 3 2 EN 61000 3 3 EN 55013 Ton und Fernseh Rundfunkempf nger und verwandte Ger te der Unterhaltungselektronik Funkst reigenschaften Grenzwerte und Messverfahren IEC CISPR 13 2001 modifiziert A1 2003 Deutsche Fassung EN 55013 2001 A1 2003 EN 55020 Ton und Fernseh Rundfunkempf nger und verwandte Ger te der Unterhaltungselektronik St rfestigkeitseigenschaften Grenzwerte und Pr fverfahren IEC CISPR 20 2002 Al 2002 Deutsche Fassung EN 55020 2002 A1 2003 Rocket User s Manual 42 EN 61000 3 2 Elektromagnetische Vertraglichkeit EMV Teil 3 2 Grenzwer te Grenzwerte f r Oberschwingungsstrome Ger te Eingangsstrom 16 A je Leiter IEC 61000 3 2 2000 modifi ziert Deutsche Fassung EN 61000 3 2 2000 EN 61000 3 3 Elektromagnetische Vertr glichkeit EMV Teil 3 3 Grenzwer te Begrenzung von Spannungs nderungen Spannungs schwankungen und Flicker in ffentlichen Niederspannungs Versorgungsnetzen f r Ger te mit einem Bemessungsstrom 16 A je Leiter die keiner Sonderanschlussbedingung unterliegen IEC 61000 3 3 1994 A1 2001 Deutsche Fassung EN 61000 3 3 1995 Corrigendum 1997 A1 2001 Andere Normen unter h
7. 474 Bad Neuenahr Germany The Rocket Development Team Hardware Oliver Rockstedt Frank Schneider Software Oliver Rockstedt Stefan Stenzel Wolfram Franke Design Axel Hartmann Manual Layout Holger Steinbrink Revision 1 0 February 2013 i Please visit our website http rocket waldorfmusic de It is possible a newer operating system is available as a download for your Rocket Foreword We would like to thank Karsten Dubsch Willie Eckl Joachim Flor Michael von Garnier Erik Heirman Fr d ric Meslin Kurt Lu Wangard SENS and anyone we have forgotten Rocket User s Manual Content Content Foreword etme ete esr Ser rn ere What to read s s sssss s s s s s sss sscssusasssss The Rocket Development Team ccceeeeeeeeeeeeeeeeeeeees We would like to thank ne eeeeseeeeeeeeeeeoo Control Features and Connections ccccccccccccsssssssssseeeeess Front Panel 00 ee ConnectionS einen een PUTO CIC TOWN conania About this MaNUAl neuere DV eo TTA TRTRTTETTTTTT TEE Highlighted Control Features and Parameters General Safety Guidelines sasa kosako enpro keas Suitable Operating Conditions ccc eeseeseeteeeeeeeeeeeeeees FONOFORO een ODE ON reset ee MAaINEN ICO ner kak SJ BOGE ISG nee nee ee Rocket User s Manual LJ Sellip and CONNECIION sus issumasiu sssonmgusueisuiicienisii ti Package Contents
8. MIDI in A terface connect your interfaces MIDI Out jack to the Rocket s MIDI In jack To check the correct reception of MIDI data send any MIDI event to the Rocket the Launch button LED will light up on any incoming MIDI mes 5 Optionally you can connect the Rockets s USB sage If this is not the case please check the MIDI port with a USB cable to your computer Af connection to the Rocket By default the Rocket ter that the Rocket is automatically available as will receive MIDI data on MIDI channel 1 a MIDI unit and will also receive power via the RR GUSP connection i If you do not choose to connect a mixing console you can patch the Rocket s output signals directly 6 Without a computer you need to connect the to an amp or an audio interface Use an input USB power supply that came with the Rocket to usually called Line Aux or Tape input the USB port of the Rocket After that the Rocket is ready for work A Before connecting and disconnecting the Rocket to a power supply source turn your amp s volume control all the way down to avoid damage due to on off switching noise The Rocket produces a high 7 If you want to use the external filter input plea se connect it to a line output of your signal an level output signal Please take care that the 8 Then switch on the computer if connected the connected playback device is suitable for the high mixing console and finally the amplifier or acti level of an el
9. Synthesizer e an external USB power supply as well as an USB cable e a CD ROM with the complete PDF manual and other tools i You own a computer without a CD drive Don t worry you can download all necessary data here http rocket waldorfmusic de Please ensure all the items above are included If some thing is missing contact your local dealer We recommend that you keep the original packing mate rial for future transport a H wie a ge wu 7 2 zu ms RS SZ ae ma ees WW Se na SE wu lt m nm num wwe s se se es TV AATAS 5 Setup and Connection Connections In order to get started with your Rocket you will need an AC power outlet or a suitable computer with an USB port For the connection of the audio output you will need either a mixing console or an audio interface You can also use a suitable headphone Last but not least you will mostl likely need a MIDI master keyboard You can also use a computer or hardware sequencer to make use of the Rocket s MIDI features EZ To connect the devices 1 Turn all units off 2 Connect the Rocket s audio output to your mixing console or your computer audio inter face Optionally connect a suited stereo headphone to the Rocket s headphone output 3 To play the Rocket you need a MIDI master keyboard Connect its MIDI Out jack to the Ro cket s MIDI input Rocket User s Manual Setup and Connection 4 If you want to use a computer with a
10. Wave This parameter offers different functions based on the knob position Pulse Saw Pulse selects the pulse waveform A Pulse waveform with a pulsewidth of 50 has only the odd harmonics of the fundamental frequency present This waveform produces a hollow metallic sound Saw selects the sawtooth waveform A Sawtooth wave has all the harmonics of the fundamental fre quency in descending magnitude diverse functions Saw Sync Mode This mode is acti ve if the Osc switch is set to Saw and the Wave knob is in the first half It is indicated in green colour on both knobs Within the range from leftmost to center position you can control the sync envelope time from infini ty to quite short values Within the range from center position to rightmost you can add up to eight Rocket User s Manual Tune This parameter offers different functions based on the knob position sawtooth waves This feature is for fat poly saw cluster sounds If Pulse is selected From leftmost to center position the pulsewidth can be adjusted from 0 to 50 No te that a pulswidth of zero results in silence which can be useful if you want to use the audio input A pulsewidth of 50 is also known as square wave which consists of only odd harmonics and pro duces a hollow metallic sound From center to rightmost position you can set a pulse width modu lation First with adjustable depth further on with increasing speed diverse
11. a H pr qu T ARA e ws za su am so u za na YY arnan When ARP is selected the switch sets the direction that is used to play back the arpeggio e If Up is selected the note list is played forward and the octaves are transposed upward The arpeggio starts in the original octave and goes up to the highest octave Then the arpeggio is repeated e If Alternate is selected the note list is first played backward and the octaves are transposed down ward The arpeggio starts in the highest octave After reaching the first note of the note list in the original octave the note list is played forward and the octaves are transposed upward up to the last note of the note list in the highest octave to play Then the arpeggio is repeated e If Random is selected the note list is played ran domly Speed This knob offers two modes depending on whether LFO or Arpeggiator is active a H wie E o ge wu 7a 2 zu ms RS SZ ae ma ees WW Se na SE wu lt m nm num wwe s se se es TV AATAS 5 Sound Parameters In LFO mode Speed sets the frequency of the LFO At low settings it might take several minutes for the LFO to perform a complete cycle while higher settings are up to the audible range from 0 05 Hz to 50 Hz The center position is about 1 Hz When MIDI clock is received you can adjust Speed in musical values e g 1 4 in reference to the frequency i Whe
12. ace objects containing liquids on or near the 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 the power off unplug the device and consult a quali fied repair center This device used on its own or with amplifiers spea kers or headphones can generate volume levels that may result in irreparable damage to your hearing and or speakers and amplifiers For this reason you should keep the volume at appropriate levels at all times Rocket User s Manual Introduction Maintenance e Do not open the device or remove the cover Refer all service and repair tasks to qualified personnel There are no user serviceable parts inside the chassis e Use only a dry soft cloth or brush to clean the de vice Never use alcohol cleaning solutions or similar chemicals They will damage the surface of the chas sis Proper Use This device is designed exclusively to produce low frequency audio signals for the purpose of generating sound Any other use is prohibited and voids the warran ty extended by Waldorf Music Waldorf Music is not liable for damages due to incorrect use AN Do not leave your Rocket near children mothers in law or pets This could lead to critical interac tions Rocket User s Manual Setup and Connection Package Contents The Waldorf Rocket package comes complete with e the Waldorf Rocket
13. agnitudes In a digital synthesizer infinitely necessarily means one sample The pulse wave is an artificial wave which means that it doesn t occur in nature It was built into synthesizers because it can create a lot of different timbres with a minimum of technical effort However certain pulse widths sound very close to the timbres of acoustic or semi acoustic instruments i e a guitar or bass guitar an e piano or even a flute The most powerful feature of the pulse wave is the ability to change its width while sounding This is called pulse width modulation When the pulse width is changed the waveform starts to sound thicker This happens because the effect is very similar to what you hear when you have two oscillators running with slightly different frequencies They interfere and create irregular troughs in the resulting waveforms Filter Introduction Once the audio signal leaves the oscillator it is sent to the filter The filter is a component that has significant influence on the Rocket s sound characteristics For now we ll 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 a specified cutoff frequency Frequencies below this threshold are hardly affected The frequency below the cutoff point is called the pass band range the frequencies above are called the stop band range The Rocket s filter
14. ci es both below and above the cutoff point As a re sult the sound character gets thinner Use these fil ter types when programming effect and percussion like sounds Rocket User s Manual e The HP Highpass is useful to thin out a sound s bass frequencies It cuts frequencies below the cutoff point Keytrack Off 50 100 Sets how much the cutoff frequency de pends on the MIDI note number The reference note for Keytrack is C3 note Keytrack number 60 en Cutoff Cutoff the frequency for the lowpass and highpass filter type and the center frequency for the band pass N e When the lowpass type is selected via the Type switch all frequencies above the cutoff frequency are damped e When the highpass type is selected all frequenci es below the cutoff frequency are damped e When the bandpass type is selected only fre quencies near the cutoff setting will be passed through raj H rer ei a a du FA 2 m m UWE base Se SE Sms se Se na SE a a ee ee nm mm vuan se na sm YY ARA TATA A You can bring more movement into the sound by modu lating the cutoff frequency via the LFO the envelope or the Keytrack parameter of the filter At center position 100 Keytracking and maximum Resonance level the then self oscillating filter can be played in a tempered scale Resonance Resonance is the emphasis around the corner frequency Use lower values to give more brilliance to a sou
15. d 0 00 43 Product Warrants 44 Product SUPPO un 44 Rocket User s Manual Control Features and Connections Control Features and Connections Front Panel Rocket User s Manual 6 OOOOH Headphone Volume Dial Oscillator Controls Filter Controls Launch Button MIDI Input Indicator LFO Arpeggiator Controls Envelope Controls Connections 4 4 4 0900 MIDI Channel Selection Button MIDI Out Jack MIDI In Jack SODO USB Port for power supply and connection to a suited computer Control Features and Connections 141 SEC 9 Audio Line Output Mono Jack Q VCF Audio Line Input Mono Jack Q Stereo Headphone Jack Rocket User s Manual Introduction Introduction About this Manual This manual was written to help you become familiar with the Rocket synthesizer It will also aid experienced users with routine tasks To avoid confusion the terminology in this manual is based on the Rocket parameter names You will find a glossary at the end of this manual it explains the various terms used Important terms are highlighted in bold letters Symbols AN Caution The comments that follow this symbol will help you avoid errors and malfunctions i Info Additional information on a given topic 3 Instruction Follow these guidelines to execute a desired function Example Real world examples to try out Rocket User s Manual Highlighte
16. d Control Features and Parameters All of the Rocket s buttons controls and parameters are highlighted in bold letters throughout the manual Example e Press the Launch button e Move the Cutoff knob The Rocket s different modes and parameter pages are illustrated in a depiction of the display General Safety Guidelines A Please read the following safety tips carefully They include several precautions you should al ways observe when dealing with electronic equipment Read all of the instructions before ope rating your device Suitable Operating Conditions Use the device indoors only Outside it could be rainy or humid as well as too hot or too cold Never use the device under damp conditions such as in bathrooms washrooms or around indoor swimming pools Do not use the device in extremely dusty or dirty environments in order maintain the surface fi nishing of the Rocket Make sure that adequate ventilation is available on all sides of the device Do not place the device near heat sources such as radiators Do not expose the device to direct sunlight even if you have a suitable sunscreen Do not expose the device to extreme vibrations Introduction Power Supply If not connected to a computer via USB please use only the supplied USB power supply Unplug the device when you are not using it for longer periods Always pull the plug when unplugging the device never the cable Operation Never pl
17. d when experimenting with the Arpeggiator as it can pro duce surprising results The Launch Button More about this button can be found in the chapter Ba sic Operation LFO ARP Section In addition to the main oscillator the Rocket is equipped with a low frequency oscillator LFO that can be used for modulation purposes The LFO generates a periodic waveform with adjustable frequency and shape Alterna tively this section offers an Arpeggiator that splits inco ming MIDI chords into its single notes and repeats them rhythmically i Hint The Modulation Wheel of your MIDI master keyboard can be used to control the vibrato inten sity with an additional internal LFO You can change the speed of this LFO by using MIDI CC 80 21 Sound Parameters The Target Switch OSC VCF ARP Sets the modulation destination for the LFO Also activates the Arpeggiator OSC selects oscillator pitch as the des tination for the LFO modulation The Arpeggiator is inactive in this position Target VCF selects the filter cutoff as the destination for the LFO modulation The Arpeggiator is automati cally deactivated in this setting Rocket User s Manual Sound Parameters e ARP activates the Arpeggiator The LFO is auto matically deactivated in this setting i If the Arpeggiator is selected Glide is controlled by the selected arpeggiator pattern i Aftertouch if your MIDI master keyboard is able to send this data
18. ective communautaire 89 336 EC Dette apparat overholder det EF direktiv vedr rendareadiost j Diese Ger te entsprechen der EG Richtlinie 89 336 EC gaeldenda Rocket User s Manual Appendix Product Warranty Thank you for choosing this Waldorf product It is a dependable device and is designed to last However the potential for defects in material or workmanship cannot be eradicated completely This is why we provide an extended warranty for you This warranty covers all defects in material and workmanship for a period of one year from the date of original purchase During this time Waldorf Music will repair or replace the product without charge for materials or labor provided the product was first inspected and found faulty by Waldorf Music or an author ized service center You must first contact your dealer or distrib utor by telephone Products that were mailed without prior agreement cannot be exchanged or repaired free of charge The unit must be insured and sent prepared in its original package Please include a detailed description of the defect Products that were not send prepared or in the original package will be re turned unopened Waldorf Music reserves the right to upgrade the unit with the latest technological advances if necessary This warranty does not cover defects due to abuse operation under other than specified conditions or repair by unauthorized per sons The warranty covers only those malfunction
19. ectronic instrument Never use the ve monitor speakers mic or phono input of the connected amp Rocket User s Manual 12 A Waidori The USB Connection Using a USB cable you can connect the Rocket to your computer observing the following system requirements Windows PC Windows XP or newer is recom mended a USB port e Linux PC a USB port e Apple Intel Mac with Mac OS X 10 5 or newer a USB port The USB connection of the Rocket allows e Power supply via USB without using an additional power supply when connected to a suitable compu ter e Power supply via the USB power supply e transmitting and receiving MIDI data e dumping of firmware updates to the Rocket e data exchange with suitable computer software i Make sure to use a suited computer USB port as well as a USB suited cable to avoid problems with data transmission a H wie E o ge wu 7a 2 zu ms 2aA Sf Ris ma ww WW Se na SE wu lt m nm num wwe s se se es TV AATAS 5 i Keep also in mind that we offer new firmware updates from time to time Please read also the chapter Updating the Firmware Rocket User s Manual Basic Operation Basic Operation Switching on off The Rocket is ready to operate after the connection to the USB power supply or via USB cable to a suitable computer System Volume What do you know The Headphone Volume knob Q controls the Rocket s headphone volume The main audio output always del
20. equip ped devices can be plugged together while active The recognition is made automatically Volume The term describes a sound s output level Rocket User s Manual 40 EG Konformit tserkl rung Declaration of Conformity des Herstellers of the manufacturer Waldorf Music GmbH Landskroner Str 52 53474 Bad Neuenahr Germany Verantwortliche Person Responsible person Stefan Stenzel erklart hiermit dass das Produkt will be hereby declared that the following named product Waldorf Rocket Ger tetyp Device type Synthesizer Ger tenummer Device number 426012638040 in bereinstimmung mit den Richtlinien conforms to the requirements 2004 108 EG und 2006 95 EG in Verkehr gebracht wurde F r die Konformit tserkl rung wurde nachstehende Norm angewandt a H wie E o ge wu 7a 2 zu ms RS SZ ae ma ees WW Se na SE wu lt m nm num wwe s se se es TV AATAS 5 Appendix The following standards have been used to declare con formity EN 55013 Heppingen 10th of December 2012 Stefan Stenzel Gesch ftsf hrer NTA KUNA Stefan Stenzel Board Of Managment Rocket User s Manual Appendix Am 15 12 2004 wurde die berarbeitete Richtlinie 2004 108 EG zur Elektromagnetischen Vertr glichkeit von der Europ ischen Kommission ver ffentlicht AB L 390 2004 Sie ersetzt die bisher geltende EMV Richtlinie 89 336 EWG Im Zusammenhang mit dieser berarbeitung gelten
21. er s Manual Sound Parameters without a Sustain phase while the amplifier envelope offers a switch for Sustain Everytime a note comes in both envelopes are triggered with an Attack rate of zero Boost on off Boost saturates the signal If set to off no saturation will be added or in other words the signal will remain clean If set to on har monics will be added to the signal resulting in a warm distorted character suitable for harder lead sounds and effects For your in formation The saturation stage is located behind the filter module Boost is well suited for sounds that use some fil ter resonance Sustain Boost If Sustain is set to on the envelope will remain at the maximum level as long as the note is played Otherwise it will fade towards zero with a rate according to Decay Sustain Rocket User s Manual 20 Release on off If Release is set to on the envelope will fade to zero using the Decay rate when the note is stopped Otherwise the envelope stops with a decay rate of zero which results in immediate silence e Release Decay Decay is the rate used for the envelope to go down to zero according to both Sustain and Release settings i If both Sustain and Release are set to on the envelope will not be retriggered when the pitch changes because one key has been released Otherwise the envelope will always be triggered whenever pitch changes Keep this in min
22. functions If Saw is selected and the Oscillator sync mode is active Wave has to be set between eftmost and center positi on Here the start frequency of the sync slave oscillator is set It will go down to the frequency of the master within the time set by the Wave knob Ka at la da Go pa rane If Saw is selected and the Wave knob is in the exact center position a single sawtooth is genera ted If the Wave knob is increased further the sound is enriched by more sawtooth oscillators up to a maximum of eight oscillators Within the range of leftmost to center position you can control the amount of detune of the poly saw oscillators in cents Within the range of center position to right most you can create predefined musical intervals and chords Special case Unison Mode This special mode is active if Saw is selected and both Tune and Wave knobs are in their rightmost position In unison mo de all eight sawtooth oscillators sound with fre quencies according to the held notes So if you play a chord with up to eight notes that chord is played by the oscillators If you play a single note all eight oscillators play this note slightly detuned to enrich the sound Note that this is not yet polyphony be cause individual envelopes and filters are missing but it allows you to play chords nevertheless If Pulse is selected Within the range from leftmost to center position you can control the detune of the pulse
23. is always routed to filter cutoff Diverse Depth Range This knob offers two modes depending on whether LFO or Arpeggiator is active When LFO is active the knob controls the modulation depth for the selected LFO modulation The basic principle The higher the values the more intensive the LFO modulation i Exception If oscillator pitch is modulated settings between center and rightmost position will vary the modulation depth in semitones When ARP mode is active you can set the range of notes in octaves with settings from leftmost to center position You can select up to 4 octaves When it is set to 1 Octa ve the note list will be played back in the same octave Rocket User s Manual 22 as original Higher settings mean that the note list is repeated in higher or lower octaves From center to rightmost position eight rhythmic patterns can be selected Square Triangle Sawtooth Diverse The Shape Direction Switch This switch offers two modes depending on whether LFO or Arpeggiator is active If LFO is selected the switch sets the LFO waveform e The Square shape can be interesting for hard changes and special effects e The Triangle shape is perfect for smooth pitch or filter modulations e The Saw downwards shape can generate interes ting filter changes i For your information Oscillator pitch modulation by the LFO Square shape is unipolar It oscillates in only one direction
24. ivers a line level signal Where are the Presets Presets are absent by design Because of the very clear controls we can assure you that you will be able to set an universe of sounds within seconds i Take a look at page 24 of this manual Here you will learn how to save sound parameters to your computer Rocket User s Manual 14 Editing Parameters In order to edit a sound you must access the appropriate parameters In spite of the Rocket s compactness it uses a sophisticated user interface allowing fast editing of any parameter Turning a dial clockwise increases the corresponding value turning it counterclockwise decreases it Unbe lievable Switching a switch does exactly switch this switch Keep in mind that some switches offers more than two states The Launch Button A short tip on the Launch button sends out MIDI note C3 MIDI note number 60 Use this button in case no MIDI keyboard is connected i The Launch button memorizes the last note recei ved via MIDI and will use it for further triggering until a new MIDI note arrives Incoming MIDI data is indicated by blinking of the Launch LED i Another function of the Launch button will be explained on page 24 of this manual ae H ee qu FA 2 m m UWE base Se SE Sms se Se na SE a a ee ee nm mm vuan se na sm YY ARA RA TASA A Sound Parameters Overview of Functions The Waldorf Rocket consists of numerous sound shaping co
25. lation influences a given parameter Amplifier An amplifier is a component that influences the volume level of asound via a control signal This control signal is often generated by an envelope or an LFO Arpeggiator An arpeggiator is a device that splits an incoming chord into its single notes and repeats them rhythmically Most arpeggiators 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 Rocket User s Manual 36 and the clock which means the repetition interval Some arpeggiators also feature preset or programmable rhythm patterns Band Pass Filter A band pass filter allows only those frequencies around the cutoff frequency to pass Frequencies both below and above the cutoff point are damped Control Change Controllers MIDI messages enable you to manipulate the response of a sound generator to a significant degree This message essentially consists of two components e The Controller number which defines the element to be influenced It can be between O and 120 e The Controller value which sets the extent of the modification Controllers can be used for effects such as slowly swelling vibrato and influencing filter frequency Decay Decay describes the descent rate of an envelope once the Attack phase has reached its zenith and the envelope drops to the level defined for the Sustain value
26. le wave in a classic synthesizer because its shape and therefore its harmonic content can be changed in real time This is done by changing the width of the upper and lower portion of the waveform cycle These portions are called pulses hence the name pulse width The width of the first pulse is used to distinguish between different pulse waves and it is measured in percent The following picture shows sever al pulse waves with different pulse widths Rocket User s Manual Sound Synthesis Basics 50 Pulse Square Wave 7 9 11 13 15 33 Pulse LO LI 7 9 11 13 15 L_ 1 3 5 7 9 111315 Additive components of Pulse wave with different pulse widths 25 Pulse LI LI lt 1 Pulse Impulse E The first fact you can probably observe is that the lower part of the wave has a narrower excursion This is becau se the energy of the wider pulse is higher than the one 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 harmonic content of a 50 pulse wave is a special case It has a Rocket User s Manual 28 very symmetrical harmonic content while all other pulse widths create peaks or troughs at certain frequencies Another special case is a pulse wave with a very narrow pulse width in the above picture labelled as lt 1 An infinitely thin pulse creates a spectrum that has all har monics with equal m
27. mponents i Is the Rocket your first synthesizer Are you curi ous about sound synthesis If so we recommend to read the chapter Sound Synthesis Basics in this manual You should know that the Rocket consists of two different types of components for sound generation and sound shaping e Sound synthesis Oscillator Filter Amplifier with saturation These modules represent the audio signal flow Sound generation actually occurs within the Oscillator It produces square and sawtooth waves The Filter then shapes the sound by amplifying boosting or attenuating dampening certain fre quencies The Amplifier is located at the end of the signal chain It setss the overall volume of the signal and can add some saturation 15 Sound Parameters Modulators The Modulators are designed to manipu late or modulate the sound generating components to add dynamics to the sound The Low frequency Os cillator LFO is designed for periodic or recurring modulations while the Envelope is normally used for modulations that occur once Oscillator Section OSC It looks like the Rocket offers only a single oscillator But there is more to know and more to hear ip N s za 8 Wave Tune I unison a i A detailled introduction to oscillators can be found in the chapter Sound Synthesis Basics Rocket User s Manual Sound Parameters The Osc Switch Sets the type of waveform generated by the Oscillator
28. n Speed is turned fully counter clockwise the LFO stops and each note generates a random out put value In ARP mode Speed sets the speed of the arpeggiator in BPM with 1 8th note steps The range goes from 24 up to 600 BPM When external MIDI clock is received you can adjust Speed in musical values e g 1 4 in refe rence to the frequency i When external MIDI clock becomes inactive LFO Arp will remain on last Speed value until another speed is set i By the way The LED above the Speed knob is pulsating rhythmically to the LFO frequency If in Arp mode the LED will be blinking when arpeg giator notes are generated Rocket User s Manual Additional Functions Add itional Fu nctions I Activation of the sound dump function e To send the data press and hold the Launch button MIDI Channel Settings for around one second By using the MIDI Channel Selection button on the e The corresponding MIDI controller data will automa Rocket s backside you can simultaneously set the desired tically be sent and can be easily recorded MIDI transmitting as well as receiving channel i If you are working with the Rocket in a recording e Send any MIDI note from your MIDI master key data at the beginning of the Rocket MIDI track board The Rocket will identify the MIDI channel of This enables Lam to hear the right Rocket sound in the sending device and set it as its own receiving and VONE RUSC POLUCIO transmitting channel 5 Receivi
29. nd At higher values a J sound gets the typical filter character with a ER strong boost around the cutoff frequency BE When the setting is raised to maximum the filter starts to self oscillate generating a pure sine wave This feature can be used to create analog style effects and percussion like electronic toms kicks zaps etc Env Mod Envelope Mod Amount Sets the amount of influence the envelope has on the cutoff frequency For higher settings the filter cutoff frequency is increased by the modulation of the envelope Use this parameter to change the timbre of the sound over time Sounds with a hard N N Env Mod Sound Parameters attack usually have a envelope amount that makes the start phase bright and then closes the filter to get a darker sustain phase By the way the envelope amount also depends on the played velocity Use this feature to give a more expressi ve character to the sound When you hit the keys smoothly only minimal modulation is applied When you hit them harder the modulation amount also gets stronger i If you want to process an external audio signal by the Rocket s filter you should set the OSC switch to Pulse and the Wave knob to minimum Envelope Boost Section ENV O z Launch Sustain Release The Rocket offers two envelopes for filter and volume Both envelopes are using the same Decay and Release settings The filter envelope is using Decay Release Rocket Us
30. ng a sound dump Sending and Receiving Sound Data e Send the recorded MIDI controller data to the Rocket l The sound data will be automatically resumed The sound dump function lets you send the actual sound parameter data of the Rocket via MIDI or USB FA Keep in mind If sending sound data to the Rocket After activation all sound parameters of the Rocket are all actual sound parameter edits will be lost sent as MIDI controller data to a connected computer A Here you can record this data with a suitable software e g a sequencer application The following parameters can not send MIDI Con troller data Headphone Volume Filter Type switch Boost switch and the Launch button Rocket User s Manual 24 ZI waldor Sound Synthesis Basics Oscillators Introduction The oscillator is the first building block of a synthesizer It delivers the signal that is transformed by all other com ponents of the synthesizer In the early days of electronic synthesis engineers found that most real acoustic instru ment waveforms can be reproduced by using abstracted electronic versions of these waveforms They weren t the first who came to that conclusion but they were the first in recreating them electronically and building them into a machine that could be used commercially What they implemented into his synthesizer were the still well known waveforms sawtooth and square For sure this is only a minimal selection of the endless variety of
31. nsists of one single track with several sysex messages in it Make sure that this track is assigned to the Rocket so that it can receive the data 31 Appendix Make sure that any Cycle or Loop mode is switched off Also make sure that any Met ronome clicks and MIDI Clock are switched off Start the sequencer playing the file and send the track data to the Rocket The Launch button will blink rapidly during this procedure After the file is received correctly the Ro cket burns the new firmware into its Flash memory i You can perform a firmware update only via the A USB connection After a successfull firmware update the Rocket may perform an automatical filter calibration Re duce the volume of your audio system to avoid damage Don t disconnect the Rocket and computer during firmware upgrade process If this happens please read the next chapter Rocket User s Manual Appendix Issues during Firmware Upgrade Process If you have any problems during firmware upgrade pro cess please proceed as follows Disconnect the Rocket from the USB connection Press and hold the MIDI Channel Selection button of the Rocket Reconnect the USB connection of the Rocket This starts the Bootloader mode automatically Send the firmware again Follow the instructions of the previous chapter Filter Calibration The analog filter of the Rocket is calibrated at the factory Tuning is very stable over a wide
32. orm connections Essentially this is how MIDI works One sender is connected to one or several receivers For instance if you want to use a computer to play the Rocket then the computer is the sender and the Rocket acts as the recei ver With a few exceptions the majority of MIDI devices are equipped with two or three ports for this purpose MIDI In MIDI Out and in some cases MIDI Thru The sender transfers data to the receiver via the MIDI Out jack Data are sent via a cable to the receiver s MIDI In jack Rocket User s Manual 38 MIDI Thru has a special function It allows the sender to transmit to several receivers It routes the incoming signal to the next device without modifying it Another device is simply connected to this jack thus creating a chain through which the sender can address a number of recei vers Of course it is desirable for the sender to be able to address each device individually Consequently there is a rule which is applied to ensure each device responds accordingly MIDI Channel This is a very important element of most messages A receiver can only respond to incoming messages if its receive channel is set to the same channel as the one the sender is using to transmit data Subsequently the sender can address specific receivers individually MIDI Chan nels 1 through 16 are available for this purpose MIDI Clock The MIDI Clock message sets the tempo of a piece of music It serves to synchroni
33. oscillator in cents Within the range of center 17 Sound Parameters position to rightmost you can control the pitch of the pulse oscillator in a musical range i Pitch Bend uses a value range of 12 semitones Glide Glide or Portamento describes the con tinuous gliding from one note to another This effect can be created on fretless strin ged instruments or some brass instruments It is very common on synthesizers and used throughout all music styles Please note that Glide only works if you play the Rocket legato i Dear friend of electronic club music Use Glide to produce a typical pitch bass and pitch lead sound Glide sets the glide time Low settings will give a short glide time in a range of milliseconds that gives a special character to the sound Higher settings will result in a long glide time of up to several seconds which can be useful for solo and effect sounds In the leftmost setting the Glide function is deactivated i If the Arpeggiator is selected Glide is controlled by the selected arpeggiator pattern Rocket User s Manual Sound Parameters VCF Filter Section 4 4 e Resonance Env Mod The Rocket offers a multimode filter i A detailed introduction of the filters can be found in the chapter Sound Synthesis Basics of this manual Type LP BP HP Selects the filter type e The LP Lowpass cuts frequencies above the cutoff point e The BP Bandpass cuts frequen
34. s caused by Rocket User s Manual 44 material or work manship defects that occur during normal operation Product Support If you have any questions about your Waldorf product feel free to contact us via one of the four options listed below D Send us an email message This is the most efficient and fastest way to contact us Your questions will be forwarded immediately to the resident expert and you will quickly receive an answer support waldorfmusic de 2 Send us a letter It will take a bit longer but it is just as de pendable as an email Waldorf Music GmbH Landskroner Str 52 53474 Bad Neuenahr Germany Waldorf Music GmbH e Landskroner Stra e 52 e D 53474 Bad Neuenahr 2013 Waldorf Music GmbH All rights reserved www waldorfmusic de d dy Sn Ne pramon m D hj ha o
35. sonance is an important filter parameter It emphasizes a narrow bandwidth around the filter cutoff frequency by amplifing these frequencies This is one of the most po pular methods of manipulating sounds If you substantial ly increase the resonance i e to a level where the filter begins self oscillation then it will generate a relatively clean sine waveform Sustain An envelope parameter The term Sustain describes the level of an envelope that remains constant after it has run through the Attack and Decay phases Sustain lasts until the trigger is terminated System Exclusive Data System exclusive data allow access to the heart of a MIDI device They enable access to data and functions that no other MIDI messages are able to address Exclusive in this context means that these data pertain only to one device type or model Every device has unique system exclusive data The most common applications for SysEx Rocket User s Manual Appendix data include transfer of entire memories and complete control of a device via a computer Trigger A trigger is a signal that activates events Trigger signals are very diverse For instance a MIDI note or an audio signal can be used as a trigger The events a trigger can initiate are also very diverse A common application for a trigger is its use to start an envelope USB The Universal Serial Bus USB is a serial bus system to connect a computer with an external device USB
36. temperature range so it is not necessary to use this function frequently The Rocket will generate high volume output during calibration so turn headphones volume down as well as the volume of your speakers or alternatively disconnect the audio output Disconnect anything connected to the VCF input Switch Filter Type to LP Rocket User s Manual 32 Switch Boost to off Send the MIDI tune request OxF6 with a suited MIDI software to the Rocket Calibration progress can take up to 30 seconds The Launch button LED will light up in a dimmed mode while calibration is in progress a H rer ei mo a a qu 7a 2 m msn u Wang bas Se 5 Sms 5s Se as SS a a lt m ee um mm vuan se na sm YY AA RA TASA A Technical Data Power Supply Maximum current consumption Dimensions and Weight Width Depht Height including knobs Total weight Factory Settings MIDI Receive Channel MIDI Transmit Channel Appendix 500 mA 185 mm 185 mm 65 mm 0 9 kg 33 Rocket User s Manual Appendix 80 0 127 Vibrato Mod LFO 0 127 MIDI Controller Numbers 18 127 LFO Target 0 Arp 1 Cutoff De The following controls can not send MIDI Controller ich data Headphone Volume Filter Type switch Boost switch and the Launch button 75 ENV Decay 103 0 127 ENV Sustain O E 1 on Ctrl Alt Control Controller or Value Range 7 0 127 ENV Release ET Ctrl le Range Sound Parame
37. ter 5 0 127 Glde 0 127 1 0 127 Modulation omP Wheel 14 0 127 Arp Tempo OI o 127 Osc Wave o 127 12 0 127 Arp Range Oiol ali Zo 31 0 127 Osc Shape 0 Saw 1 zer Te Bulea 64 0 127 Sustain Pedal u silence 70 0 127 Resonance 0 127 121 Reset All Control Resets Mod 73 0 127 IZ we Wired Sms 72 0 127 0 off 1 Pedal After half 2 full touch Pitch 16 0 127 LFO Speed IU Bend 50 PEL LFO Depth Depth OI 122 gt Local Control OR on 27 15 0 127 LFO Shape O on down 1 I ug All Notes Off releases all Tri 2 Pulse voices Rocket User s Manual 34 7 walidaor A The standard controller assignment can be found in the column Ctrl the alternative assignment in the column Alt Ctrl This alternative assign ment can be used by sending a SysEx command to the Rocket It enables you to use the Rocket as controller for other Waldorf synthesizer e g the Blofeld The Rocket SysEx documentation can be found here http rocket waldorfmusic de 35 Appendix Rocket User s Manual Appendix Glossary Aftertouch The majority of contemporary MIDI keyboards are cap able of generating aftertouch messages On this type of keyboard when you press harder on a key you are al ready holding down a MIDI Aftertouch message is gene rated This feature is used to control the Cutoff frequency of the Rocket Amount Describes to which extent a modu
38. ttp www ce zeichen de nsp htm 2006 95 EG Elektrische Betriebsmittel Niederspannungsrichtli nie FCC Information U S A 1 IMPORTANT NOTICE DO NOT MODIFY THIS UNIT This product when installed as indicated in the instructions con tained in this Manual meets FCC requirements Modifications not expressly approved by Waldorf may void your authority granted by the FCC to use this product 2 IMPORTANT When connecting this product to accessories and or another product use only high quality shielded cables Cable s supplied with this product MUST be used Follow all installation instructions Failure to follow instructions could void your FCC authorization to use this product in the USA 3 NOTE This product has been tested and found to comply with the requirements listed in FCC Regulations Part 15 for Class B digital devices Compliance with these requirements provides a reasonable level of assurance that your use of this product in residential environment will not result in harmful interference with other electronic devices This equipment generates uses radio frequencies and if not installed and used according to the instructions found in the users manual may cause interference harmful to the operation of other electronic devices Compliance with FCC regulations does not guarantee that interference will not occur in all installations If this product is found to be the source of interference which can be de terminated b
39. veform that looks like a sawtooth The same is true for a brass instrument The string in this case are the lips while the bow is the air The lips are moved by the air to a certain extent and abruptly move back to their original position The Square Wave The Square Wave is a pulse waveform with 50 pulse width This means that the positive part of the waveform has the same length as the negative part The pulse wave form can have other pulse widths as you will read later For now we ll talk about the square wave as a unique waveform The square wave consists of all odd harmo nics in which the magnitude of each harmonic descends by the factor of its position This means that the first harmonic has full magnitude the third harmonic has a third magnitude the fifth harmonic has a fifth magnitude and so on The following picture shows how the indivi dual harmonics build up the pulse wave H ee du 7 SS mn UWE base Se SE Sms se Se na SE a a ee ee nm mm vaan se na sm YY AA RA TASA A 1st Harmonic Magnitude 1 3rd Harmonic Magnitude 1 3 Do o Magnitude 1 5 7th Harmonic Magnitude 1 7 Amplitude Magnitude Time F 13 5 7 9 1113 15 un Harmonics Additive components of the square wave with 50 pulse width La H wie a ge wu 7 2 zu ms RS SZ ae ma ees WW Se na SE wu lt m nm num wwe s se se es TV AATAS 5 Sound Synthesis Basics The Pulse Wave The Pulse Wave is the most versati
40. wave forms but the Waldorf Rocket gives you exactly these waveforms at hand Now you probably know how these waveforms look and sound but the following chapter gives you a short intro duction into the deeper structure of these waveforms The Sawtooth Wave The Sawtooth wave is the most popular synthesizer waveform It consists of all harmonics in which the mag 25 Sound Synthesis Basics nitude of each harmonic descends by the factor of its position This means that the first harmonic the funda mental has full magnitude the second harmonic has half magnitude the third harmonic has a third magnitude and so on The following picture shows how the individual harmonics build up the sawtooth wave Rocket User s Manual Sound Synthesis Basics 1st Harmonic Magnitude 1 2nd Harmonic Magnitude 1 2 3rd Harmonic Magnitude 1 3 Ath Harmonic Magnitude 1 4 Il Amplitude Magnitude Time i Frequency 1 4 8 12 16 Harmonics Additive components of the Sawtooth wave The sawtooth wave was thought as an abstraction of the timbre of string and brass instruments You can easily understand that when you think of a violin Imagine a bow pulling the string slightly into one direction At one point the string abruptly comes off the bow and swings Rocket User s Manual back to its original position The bow is still moved and so it catches the string again and the procedure is repea ted The result is a wa
41. y turning the unit OFF and ON please try to eliminate the problem by using one of the following measures Relocate either this product or the device that is being affected by the interference Utilize power outlets that are on branch Circuit breaker or fuse circuits or install AC line filter s In the 43 Appendix case of radio or TV interference relocate reorient the antenna If the antenna lead in is 300 ohm ribbon lead change the lead in to co axial type cable If these corrective measures do not pro duce satisfactory results please contact the local retailer author ized to distributed this type of product The statements above apply ONLY to products distributed in the USA Canada The digital section of this apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus set out in the radio interference regulation of the Canadian Department of Communications Le present appareil numerique n emet pas de briut radioelectri ques depassant les limites aplicables aux appareils numeriques de la Classe B prescrites dans la reglement sur le brouillage radioelectrique edicte par le Ministre Des Communications du Canada Ceci ne s applique qu aux produits distribu s dans Canada Other Standards Rest of World This product complies with the radio frequency interference requirements of the Council Directive 89 336 EC Cet appareil est conforme aux prescriptions de la dir
42. ze processes based on time Modulation A modulation influences or changes a sound shaping component via a modulation source Modulation sources include envelopes LFOs or MIDI messages The modula tion destination is sound shaping component such as a filter or a VCA Note on Note off This is the most important MIDI message It sets the pitch and velocity of every generated note The time of arrival is simultaneously the start time of the note Its pitch is derived from the note number which lies between O and 127 The velocity lies between 1 and 127 A value of 0 for velocity is similar to Note Off Pitchbend Pitchbend is a MIDI message Although pitchbend mes sages are similar in function to control change messages they are a distinct type of message The reason for this distinction is that the resolution of a pitchbend message is substantially higher than that of a conventional Con troller message The human ear is exceptionally sensitive to deviations in pitch so the higher resolution is used because it relays pitchbend information more accurately Release An envelope parameter The term Release describes the descent rate of an envelope to its minimum value after a trigger is terminated The Release phase begins immedia tely after the trigger is terminated regardless of the enve 39 Appendix lope s current status For instance the Release phase may be initiated during the Attack phase Resonance Re
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