Microwave 2

The Waldorf Microwave II, introduced in 1997, represents both an evolution and a controversial pivot in the history of wavetable synthesis. To understand its significance, one must first look back at the legacy that preceded it. In the early 1980s, Wolfgang Palm's PPG (Palm Products GmbH) revolutionized synthesis with the Wave series, instruments that combined digital wavetable oscillators with analog filters to create entirely new sonic palettes. These machines, used extensively by Tangerine Dream and other pioneering electronic musicians, became legendary for their distinctive, evolving textures that neither subtractive nor FM synthesis could replicate. When PPG ceased operations in the late 1980s, the wavetable synthesis technology nearly faded into obscurity. Enter Waldorf, founded by former PPG engineers and enthusiasts determined to keep this unique synthesis method alive. In 1989, Waldorf released the original Microwave, essentially a rackmount adaptation of the PPG Wave 2.3 that used the same wavetable architecture combined with analog filters and VCAs. The instrument was a critical success, offering the distinctive PPG sound in a more affordable and compact format. For eight years, the Microwave remained in production, building a devoted following among electronic musicians seeking sounds beyond the mainstream. By 1997, digital signal processing (DSP) technology had matured significantly, and Waldorf faced a decision: continue with the hybrid analog/digital architecture or embrace an all-digital approach. The Microwave II chose the latter path, replacing the analog filters and envelopes with digital emulations while expanding polyphony from 8 to 10 voices and adding features like an arpeggiator, effects, and performance knobs. The decision proved contentious. While the Microwave II offered cleaner sound, greater stability, and expanded capabilities, many users missed the warmth and character of the original's analog filters. Critics noted that some of the raw, grungy character that defined the PPG and original Microwave sound had been smoothed away. Nevertheless, the Microwave II was undeniably more powerful and flexible. The new instrument featured 128 wavetables (64 factory, 32 user, 32 reserved), dual oscillators with sync and ring modulation, an expanded modulation matrix with 16 routings, and sophisticated envelope generators. The addition of four performance knobs under the LCD display addressed one of the original Microwave's most significant criticisms: its impenetrable user interface. These knobs allowed real-time tweaking of assigned parameters, making the instrument more accessible for live performance. The Microwave II's arpeggiator was another welcome addition, featuring 16 factory patterns plus user-programmable sequences of up to 16 steps. In Multi mode, up to eight patches could be layered or split, each with its own independent arpeggiator synchronized to MIDI clock. This capability alone made the Microwave II a powerful tool for creating complex, evolving rhythmic textures. Despite the controversy over its digital filters, the Microwave II found its place in studios worldwide. Notable users included Nine Inch Nails, who employed its distinctive textures on several recordings; Hardfloor, the German acid house pioneers; Jimmy Edgar, whose electronic productions showcased the instrument's unique character; Vangelis, the legendary film composer; and Crystal Distortion. The instrument's ability to produce everything from glassy digital pads to screaming analog-style leads made it versatile across electronic music genres. The Microwave II also pioneered a software update approach that has since become industry standard. Operating system updates were distributed as MIDI files that users could play into the instrument, eliminating the need to return the unit to a service center. This forward-thinking approach demonstrated Waldorf's commitment to supporting the instrument throughout its lifecycle. In 1998, Waldorf released the Microwave XT, essentially a Microwave II with a knob-laden front panel and expandable polyphony up to 30 voices. The XT addressed the remaining user interface limitations while maintaining the same core architecture. Both the Microwave II and XT remained in production until the early 2000s, when Waldorf eventually moved on to new designs like the Q series. Today, the Microwave II occupies an interesting position in the vintage synthesizer market. While purists often prefer the original Microwave for its analog filters, the Microwave II's expanded features and cleaner sound have earned it a dedicated following. Its relative affordability compared to original PPG Waves and even the Microwave I has made it an accessible entry point into wavetable synthesis. The instrument stands as a testament to Waldorf's commitment to keeping a unique synthesis method alive, even as they adapted it to changing technologies.