When Waldorf released the Q in 1999, they positioned it as a complete workstation that could hold its own against hardware twice its price, and nearly three decades later it still commands respect among sound designers and live performers who value hands-on control over menu diving.
The Q is built around a virtual analog engine with up to 32 voices of polyphony spread across 16 multitimbral parts, making it equally at home layering complex textures or splitting the keyboard for live performance. Each voice gets three oscillators with standard waveforms plus access to PPG wavetable algorithms, feeding into a pair of digitally modeled filters that can be routed in series, parallel, or morphed between both configurations. The filter section includes low-pass, high-pass, band-pass, notch, and comb filter types, all with switchable 12dB or 24dB slopes and built-in FM and distortion. Modulation comes from three LFOs capable of rates up to 2600Hz, four loopable ADSR envelopes, and a 16-slot modulation matrix split between fast audio-rate slots and standard control-rate slots. The sequencer offers four banks of eight steps each for a maximum 32-step sequence, with each step capable of holding chords up to 10 notes plus velocity and filter cutoff automation.
What really sets the Q apart is its 58 to 59 knobs—nearly everything is directly accessible without menu navigation, which made it legendary for live tweaking and real-time sound design. The 61-key semi-weighted keyboard connects to six audio outputs, two analog inputs, S/PDIF digital out, expression pedal inputs, and footswitch jacks. It stores 300 single programs and 100 multis, all fully MIDI controllable. The community has consistently praised its filter modeling and modulation flexibility, though some note the two-line LCD display feels dated even by 1999 standards. For anyone seeking a workhorse synth with deep analog character and immediate hands-on control, the Q remains a compelling choice on the used market.
