Waldorf Design: The Case of Quantum

For over 30 years, Waldorf Music has been synonymous with high-quality synthesizers. Since the release of the Microwave in 1989, a wavetable synthesis-based instrument that revived the spirit of the legendary PPG Wave series, itself one of the most coveted high-end synths of the early eighties, Waldorf has been recognized for its premium sound, build quality, and meticulous approach to design.

Today we want to dedicate this space to discuss this commitment to quality and design. And to begin, we might first ask ourselves: what exactly defines “premium” quality in a musical instrument? And how does design play into that?

To explore these questions, we spoke with two individuals whose perspectives offer a very rich and complementary view into the heart of Waldorf’s design philosophy and build process.

Axel Hartmann (Axel Hartmann Synthesizer Design), Waldorf’s long-time industrial designer and one of the most influential figures in modern synthesizer aesthetics. Our conversation with Axel provided a professional and historical view of Waldorf’s design philosophy.

Matej Isak, high-end audio expert and founder of Mono & Stereo (M & S | Ultimate High-Fidelity), an independent publication that for 25 years has provided in-depth reviews and insights for audiophiles and music enthusiasts.

Recently, we learned that Matej chose the Quantum MK2 to channel his passion for sound, and this sparked our curiosity to learn more about his experience and thoughts. Matej Isak is not a synthesizer artist in the traditional sense; he comes from the world of ultra-high-fidelity audio, where each component is judged on its ability to convey the subtlest musical details. His very specific user profile is what inspired this conversation. After all, how does design take on special significance in the hands of a high-end audio expert? While our conversation with him centres on his experience with the Quantum, it also opens a broader discussion that we wanted to deepen by adding Axel’s perspective. What’s the essence of Waldorf’s design spirit?

As we can see in the pictures from his studio that Matej himself made for this conversation, his personal Quantum MK2 lives in a unique environment where it does become part of a broader philosophy of experiencing the sound. In his ultra high-end studio-listening room, legendary German audio high-quality brands like Zellaton and TIDAL Audio coexist with Waldorf.

“The studio was built from the ground up, inspired and based on Golden ratio/Fibonacci sequence room size calculations, with absolute left and right room mirroring, precisely calculated, implemented, and managed room acoustics and room modes (including active devices when needed), star shaped copper grounding in the concrete floor, electric line from transformer substation, etc. […] This 7+ digit, carefully curated system, was depicted from the ground up to perfectly work in tune with the studio acoustics, all the electronics and related products were hand-picked for their technical and music propensities and selected after a long trial and error to meet the needed system balance.” – Matej Isak, interview with Waldorf Music.

What captivated our interest from the beginning was that when Matej chose the Quantum MK2, it wasn’t just because of its sound capabilities. It was also the design language, the tactile feel, and the sense of intentionality in every shape and interface decision that won him over.

“Among many synths that I own, my favourite is the Quantum MK2 for many reasons. Genuine premium feel (super rare these days), design, sound, ergonomics, ease of use, software upgradability… it’s such a well-thought-out device with almost no afterthoughts. For me, it reflects what Made in Germany stands for. People too often think only about the industrial part of German manufacture heritage, but there is also musical, emotional legacy that is intimately linked to the musical instruments.” – Matej Isak, interview with Waldorf Music.

In Matej’s world, as for us, design isn’t surface-level, it’s not just about specs or features; it’s about form following function in a way that resonates emotionally. It’s about intention. And that’s something we truly care about here at Waldorf. We often talk about how instruments are not just tools, they’re creative partners, a mindset that should be central in every process of building them. This is also where the idea of “premium” comes in. As Matej puts it, defining what makes a “premium” instrument today means considering everything:

“The story, heritage, industrial design, and production quality start with packaging, manual, website, social media presence, and proper, proud standing as a brand. Premium also is and should always be closely connected with the actual performance.

I own many synths, drum machines, and both analog and digital paraphernalia of various kinds, but there are only a few notable candidates when it comes to that special, tactile premium feeling that oozes quality, calls for exploration with a refined level of hands-on ergonomic operation of the instrument.

Premium also cannot the separated from the exquisite materials (or how they are implemented) and from the very first eye-glance, even before touching the solid knobs and reaching towards the controls and screen, or pressing the keys on the keyboard, the Quantum MK2 looks and feels and look like a top-tier state of the art product.”

In Matej’s world, as for us, design isn’t surface-level, it’s not just about specs or features; it’s about form following function in a way that resonates emotionally. It’s about intention. And that’s something we truly care about here at Waldorf. We often talk about how instruments are not just tools, they’re creative partners, a mindset that should be central in every process of building them. This is also where the idea of “premium” comes in. As Matej puts it, defining what makes a “premium” instrument today means considering everything:

“The story, heritage, industrial design, and production quality start with packaging, manual, website, social media presence, and proper, proud standing as a brand. Premium also is and should always be closely connected with the actual performance.

I own many synths, drum machines, and both analog and digital paraphernalia of various kinds, but there are only a few notable candidates when it comes to that special, tactile premium feeling that oozes quality, calls for exploration with a refined level of hands-on ergonomic operation of the instrument.

Premium also cannot the separated from the exquisite materials (or how they are implemented) and from the very first eye-glance, even before touching the solid knobs and reaching towards the controls and screen, or pressing the keys on the keyboard, the Quantum MK2 looks and feels and look like a top-tier state of the art product.”

And here is where things start to get interesting 😉 We know that no matter how advanced the technology, an instrument’s true value comes alive in the hands of the player. The way it feels, the way it responds, and the ease with which ideas can flow, these are all part of its quality value. In this sense, Matej’s thoughts on the importance of tactile, visual, and ergonomic qualities in the creative and listening process are clear:

“This is where the product makes it or breaks it. The key for me is hands-on immediacy, and if this is hampered, broken, or badly executed in the first place, it’s far harder to sync with the machine, gel with aural network, and ignite the creative flow. A lot of synthesizers have such great, often niche, encapsulated ideas, but fail considerably with tactility, visual appeal, and ergonomic. Even some in a similar ballpark and far above.

Instruments should inspire creation and not slow it down. Especially in the era, where everything is fast-paced, and everyone uses a synthesizer; no matter whether pro musicians, hobbyists, sound designers, sonic explorers, they all crawl for a seamless integration of controls, intuitive use, and seamlessly efficient, yet elegant design that doesn’t induce fatigue.

While I love computers, software, and all related, coming from the generation that started the journey with Sinclair ZX81, I simply crave to escape from the computer to find much-needed creative solitude and equilibrium and Quantum MK2 is one of those rare devices that can engage this hypnotic, meditative kind of state.”

This perspective underlines what we’ve always believed: an instrument shouldn’t interrupt the creative process but enhance it.

That’s what sets it apart in a world where many instruments look great but don’t always feel intuitive. But translating that feeling into a physical object starts at the drawing board. And that’s where design takes importance, and Axel Hartmann’s role becomes essential. As the industrial designer behind the Quantum, Iridium, and many other iconic instruments, he works with us on approaching the process with a focus on how form, layout, and tactile feedback will build a musician’s connection with their instrument. In his words:

“The quality, if you talk about design, is when you touch it, how it feels. […] How does it feel in your hands? How do the knobs feel? Is there the right distance? Can I understand the user interface when I look at it? Do I understand the workflow, just by looking at it? It’s like, when you are a good musician and you read the score of a song, you can recognize if the song is good […]. I think, when you are a synthesizer player, and you know a bit about the technology, and you look at the user interface, you can understand it. […] I always try to keep that. I think that’s a huge and very important part of a high-quality design: serious recognition or serious support of the workflow, giving the user instant understanding of what a machine can do. Even if it’s such a complex machine like what we are building with Waldorf today, like the Iridium or the Quantum. They are very complex instruments, but they are still readable.”

Axel’s and Matej’s perspectives remind us that caring deeply about design and quality material is not only about polish; it’s about respecting the musician’s experience, and about building something that invites you to explore, create, and feel connected every time you power it on. From this perspective, design becomes more than beauty, it is directly linked to the ergonomics, tactility, and flow that allow this deeper connection. In this sense, coming back to our conversation with Matej, through his lens, the Quantum MK2 could be more than a synthesizer: an object of inspiration that invites exploration.

“I use Quantum in different ways. […] Quantum serves as my digital detox escapade. Perhaps, the therapeutical side of synthesizer/music making is not propagated enough. Along with music creations, many enjoy merely getting lost in the vast, endless micro and macro universes that allow perpetual aural explorations. Similar to listening to the music. And there is nothing wrong with this! If it feels good, its good!” – Matej Isak, interview with Waldorf Music.

In a world saturated with musical instruments, few designs truly stand out, not just for how they look, but for how they feel and resonate. For Matej Isak, the Quantum MK2 caught his eye not only for its sound capabilities but also for the way it looks, feels, and communicates quality from the very first glance. Quantum was designed and developed in Germany. All essential components have been designed, manufactured and assembled here in Germany and Italy. This has allowed us to achieve an unparalleled build quality that reflects the core of our small company.

“What is the overall view [from Waldorf design] […] is that every product is designed. So, we don’t leave anything unplanned or not designed. And that’s something that not all companies do. […] But this was our attitude from the very first moment. We want everything to be designed. We use a familiar font for everything that we produce, we follow the rules, the golden rules of German industrial design:

the right distance for the user elements, for the fingers to fit in, and things like that. So, [Waldorf] it’s a very German design, I would say. If there’s a history going back to the Bauhaus and to these days, […] I think that’s in every Waldorf product. Plus, the idea of producing these products in Europe. It’s also something that helps us create instruments that have sustainability and value for a long time. I think that was always very important for me when designing an instrument, that it’s not something that you buy and leave […]. I always wanted Waldorf to be a company that gives the user a product he can fall in love with, work with, learn it, and keep it, because it has a good value. And I think we captured that with a lot of the products that there are on the market, you know? And that’s probably the philosophy today: showing the workflow, having an elegant, nice design. […] These are all elements that define every Waldorf product.” – Axel Hartmann, interview with Waldorf Music.

We would like to take this opportunity to thank a world-class array of sound designers that have contributed to a multi-facetted factory sound set for the Quantum family:

Richard Devine, Howard Scarr, Reinhold Heil, BT, Matt Johnson, Joerg Huettner, Kevin Schroeder, Sascha Dikiciyan, Kurt Ader, Mike Huckaby, Thorsten Quaeschning, and many others.