A virtual analog synthesizer module equipped with a graphic display and, most importantly, the unique Waldorf sound. Beneath the robust metal casing with high-quality buttons and an elegant polar appearance lie the cores of the most successful synths from the brand's past. The synthesis base is identical to that used in the ancestor PPG Wave (developed by the German company PPG in the late '70s with the help of the guys from the band Tangerine Dream).
Two of the three oscillators are equipped with wavetables entirely taken from the Waldorf Wave, Microwave II/XT series and partially from PPG Wave. The modulation possibilities are varied: FM modulation across all three oscillators via the white noise generator or LFOs, ring modulation between oscillators 1 and 2.
The two filters (with switchable characteristics between 12/24 dB/octave for all possible types: LP, BP, HP, and notch) are extensive and include a "comb" filter first introduced in the Waldorf Q.
The effects section includes an overdrive/distortion section that can control both filters from saturation effects to harsh digital distortion. The remaining effects can be set on two slots. In multi mode, the first slot is unique for all 16 parts, while the second slot is global. The effects list includes: chorus, flanger, delays, reverb, and a special effect called "Triple FX". The envelopes and various types of triggering are also more extensive than standard: extended ADSR with adjustable attack level and two positions for decay and sustain, 2 loop modes, and the possibility of "one shot" triggering, ideal for percussive sounds.
The number of 3 LFOs was not enough; additional features were added to their control: switching for monophonic or polyphonic synchronization, scaling the oscillation frequency according to the played MIDI notes (keyfollow), and various types of fade in/out through which unique effects can be created. The upper frequency limit of the LFOs is already in the audible range, allowing the LFOs to be used as additional FM sources. The modulation matrix is complex. 16 slots allow interaction between sources and destinations, even allowing recursive routing.
polyphony of up to 25 voices
multitimbral up to 16 tones
>1000 presets
3 oscillators
FM between oscillators
all oscillator models from Waldorf Q
all wavetables from Microwave II/XT/TXk
arpeggiator with programmable rhythms in 16 steps
robust metal casing
128 x 64 pixel graphic display; white LED backlit
MIDI in
USB connection for MIDI input and output
external power supply
stereo output
headphone output
Interface
Preset selection
Seven infinitely rotatable steel buttons offer in-depth exploration of the power of the Blofeld. Browsing through the preset sounds is done by rotating the knob above the play button. Changing the bank used is done via the left button under the screen. The button to the right filters the sounds browsed by their category.
Editing
The most frequently used parameters are arranged on the front panel. Select the button on the left of the proposed parameter row, and with the 4 rotary buttons, you can directly modify the parameter in the matrix. This matrix allows direct control over: the waveforms of the oscillators, semitone transposition, fine tuning, and levels (filter cutoff, resonance, filter type, and winding amplitude), parameters from two of the four winders, LFO frequency and waveform (two out of three in total), modulation matrix, effects mixing, operating mode, and arpeggiator measure.
When the rotary button is pressed, the screen changes to the detailed editing page of the corresponding section.
Oscillators
Selecting one of the oscillators displays the corresponding oscillator type page on the screen. Each oscillator, the ring modulator, and the noise generator can be freely mixed into the input of the two independent multi-mod filters.
A special overview page shows the routing, levels, and waveforms of the generators.
Filters
Of course, the two filters have dedicated pages for displaying the response curves. Here you see an example of the 24dB low-pass filter. Even the comb filter is graphically displayed.
The two filters can be routed in series or parallel, the latter mode allowing independent panning of the two filters.
Envelopes and LFOs
The envelopes can be classic, ADSR, looped, or without the Hold and Release stages (one-shot). However, we have 5 types of envelopes.
The three low-frequency oscillators (LFO) offer separate parameters for delay and fade in/out. Here we have an example.
Modulations
What can we do with all these envelopes, LFOs, and other control sources? Instead of using them as direct modulation sources, we can easily connect them to other modulation destinations in the matrix.
And if all this is not enough: we can create new modulation sources by modifying an existing one through algorithmic operations. Sounds complicated? Maybe. But it’s fun even if you don’t understand what you’re doing.
The modifier in the image creates a gradual modulation based on the continuous waveform of LFO1, whatever the waveform may be.
Arpeggiators
Last but not least, let’s not forget one of the most fascinating arpeggiators in VA synths, first introduced in the Waldorf Q. In addition to standard possibilities (measure division selection, shuffle variations setting, range of up to 10 octaves, directions), different notes lengths with different accents can also be set. But it opens up the maximum area of possibilities through the added step sequencer for editing arpeggiator patterns.
Spectre
Spectre is a tool for creating and transferring samples into the Waldorf Blofeld with the License SL extension and Waldorf Blofeld Keyboard. This application is compatible with Windows and Mac and is available for free to anyone from the official Waldorf website.
I have one too, I'm VERY satisfied with how it sounds, looks, and handles.
The only downsides:
1) It has a knob that goes crazy if you move it quickly. I've seen that this problem is quite common. If you have a separate controller, it's not an issue. But it's annoying to pay 1800RON for a new product and have it be defective.
2) I work a lot in Multi mode. I have MIDI clips in Ableton Live and basically all the tracks of the project are on the Blofeld. The problem is when you want to save patches. It's very difficult, and the fact that there isn't a decent patch editor (like a VST for Virus) is annoying.
I've seen that there are a few editors for Windows, but they're weak.
Anyway, it's worth every penny.
The person before me said it well. You need patience.
This is what you need to fully utilize the Blofeld. I've had one for two months and I feel like I haven't even grasped 10% of its power. It's not exactly a VA for beginners; the interface is relatively accessible, but the best results come from those who know what they're doing and where they want to go.
It takes a lot of time to explore its possibilities. I haven't even touched the multitimbral aspect of the Blofeld simply because what can be achieved using a single 'part' is already very complex.
As a specialty, I don't think it fits into any category. It can produce anything from drums to organic, atmospheric sounds, from 'classic' analog sounds to the madness of the modular world of digital (notes the 16 slots in the matrix).
The sonic vastness of the Blofeld is provided by the 'wave packets' or wavetables, numbering 68, including those taken from the Waldorf Q.
One flaw I've noticed so far: the headphone output is quite noisy. But for everything it offers, it's ridiculously cheap.
I hope I was as clear as possible. Don't let the price mislead you; I dare say it can compete with a Prophet 08 or a Virus Snow.