AudioPilz vs. Waldorf Microwave XT: Orange Fury Unleashed

The Waldorf Microwave XT doesn’t just walk into the room—it kicks the door off its hinges in a blaze of orange. AudioPilz wastes no time pointing out that, unlike some synths that age like milk, this one’s still turning heads decades on. The XT’s 1998 vintage is clear in both its chunky design and its unapologetically bold look, which makes Roland’s Aira Green seem like a shy cousin at a punk gig.

But it’s not just about looks. The XT is a wavetable synth from the era when virtual analog was the new black, and it’s got the knobs (some 3D-printed replacements, mind you) to prove it. AudioPilz sets the stage for what’s to come: a deep dive into a synth that’s as much about attitude as it is about sound, and one that’s still got plenty of fight left in it.

Once you get past the orange glare, the Microwave XT’s oscillators are where the real action starts. With two oscillators forced to share a single wavetable, you’re not getting Serum-level flexibility, but you are getting a lo-fi flavour that’s all its own. AudioPilz is quick to point out the limitations—genre-defining edge isn’t the XT’s strong suit, but if you want late-90s sci-fi FX or pseudo-analog grit, you’re in the right place.

There’s a whole arsenal of digital tricks up its sleeve: anti-aliasing off for extra filth, time quant for that first-gen harshness, and a mixer that’ll clip in all the right (wrong) ways. FM, ring mod, and a noise generator round out the chaos. It’s a sound designer’s playground, but not without a few broken swings and rusty slides.

After the oscillators have had their fun, the XT’s filter section steps in like a bouncer at a dodgy club. Filter 1 is the main event, offering not just your standard low, band, and high passes, but also a quirky wave-shaping mode that’s perfect for creative sonic vandalism. If you’re after clean, clinical filtering, look elsewhere—this is all about character and chaos.

Filter 2 is more basic, but in serial with Filter 1, it adds another layer of grime. The modulation options are deep, with multi-stage envelopes and LFOs all wrangled through a 16-slot mod matrix. Sure, you’ll be menu-diving like you’re searching for the last chip at the bottom of the bag, but AudioPilz assures us the interface is surprisingly painless once you get the hang of it. The result? A filter section that’s more punk squat than posh studio.

This is where the Microwave XT really bares its teeth. AudioPilz throws it into a couple of live jams—first a techno workout, then an electro throwback, and finally a downtempo chill session. The XT doesn’t try to sound like your kid’s softsynth; it’s gritty, digital, and full of artefacts that would make most plugin developers cry into their lattes.

The jams show off the synth’s ability to cut through a mix with brash, unapologetic tones. It’s not for everyone, and AudioPilz admits he wouldn’t want to make every patch with it, but when you want to bring some N64-era filth or late-night rave energy to your track, the XT delivers. If you want to hear just how gnarly this thing gets, you’ll have to watch the video—words alone can’t do justice to the digital carnage.