Kurzweil ALGORITHMS1 Reference Manual Download Page 48

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FXAlg #135: Spectral 4-Tap ¥ FXAlg #136: Spectral 6-Tap

Algorithm Reference-48

Fdbk Image

Sets the amount the stereo image is shifted each time it passes through the feedback line.

Tap

Delay

Adjusts the length of time, in 1/24ths of a beat, each output tap is delayed.

Tap

Shapr

Adjusts the intensity of the shaper at each output tap.

Tap

Pitch

Adjusts the frequency in semitones of the comb Þlter at each output tap.

Tap

PtAmt

Adjusts the intensity of the comb Þlter at each output tap.

Tap

Level

Adjusts the relative amplitude of each output tap.

Tap

Bal

Adjusts the left/right balance of each output tap. Negative values bring down the right
channel, and positive values bring down the left channel.

Summary of Contents for ALGORITHMS1

Page 1: ...ndKDFX are trademarks ofYoung Chang Co Hammond and Leslie are trademarks of Hammond Suzuki USA SRS is a trademark of SRS Labs Inc All other products and brand names are trademarks or registered tradem...

Page 2: ...st when Diff Scale Size Scale and Density are set to the default values of 1 00x If you want a reverb to sound perfect immediately set the Diff Scale Size Scale and Density parameters to 1 00x pick a...

Page 3: ...idly delocalize acoustic images in the reverberance Since maintaining image placement in the reverberation is so unusual you will have to carefully consider whether it is appropriate for your particul...

Page 4: ...t dry level Room Type Changes the con guration of the reverb algorithm to simulate a wide array of carefully designed room types and sizes This parameter effectively allows you to have several differe...

Page 5: ...oom s dimensions are changing Density A multiplier which affects the density of the reverb At 1 00x the room density will be the normal carefully set amount for the current Room Type Altering this par...

Page 6: ...in open for the time set by the Gate Time parameter At the end of the Gate Time the gate closes When the signal rises above threshold it opens again What is happening is that the gate timer is being c...

Page 7: ...es above threshold Gate Atk The attack time for the gate to ramp from closed to open reverse if Gate Duck is on after the signal rises above threshold Gate Rel The release time for the gate to ramp fr...

Page 8: ...nt of delay lines to disperse the sound By using feedback in conjunction with the ambience generator a reverb tail is produced The length of this reverb tail is controlled by the Rvrb Time parameter i...

Page 9: ...ore the reverb has a chance to become diffuse They add realism when emulating real rooms and halls The starting point when creating a new reverb preset should be the Room Type parameter This parameter...

Page 10: ...all adjusted with E DiffAmt The late reverb and early reflection portions are independently mixed together with the Late Lvl and EarRef Lvl controls The wet signal is passed through a final high shel...

Page 11: ...Scl 0 00 to 2 00 x Size Scale 0 01 to 2 00x DiffLenScl 0 00 to 2 00 x InfinDecay On or Off LFO Rate 0 01 to 10 00 Hz LFO Depth 0 0 to 100 0 ct TrebShlf F 16 to 25088 Hz LF Split 16 to 25088 Hz TrebShl...

Page 12: ...sociated with each delay line in a way that changes the characteristic of the onset of the early reflections Negative amounts create a slower onset while positive amounts create a faster onset The lat...

Page 13: ...to 100 EarRef Lvl 100 to 100 HF Damping 0 to 25088 Hz Late Lvl 100 to 100 L Pre Dly 0 0 to 230 0 ms R Pre Dly 0 0 to 230 0 ms Room Type Hall1 TrebShlf F 16 to 25088 Hz Size Scale 0 00 to 2 50x TrebSh...

Page 14: ...00 to 2 00 x DiffLenScl 0 00 to 2 50 x LF Split 16 to 25088 Hz LFO Rate 0 01 to 10 00 Hz LF Time 0 50 to 1 50 x LFO Depth 0 0 to 100 0 ct Inj Build 100 to 100 Inj LP 16 to 25088 Hz Inj Spread 0 00 to...

Page 15: ...ifferently The diffuser is just inside the ambience generation loop so changes in diffusion create changes in the reverb decay The Diffuse reverbs also offer DiffExtent and Diff Cross parameters DiffE...

Page 16: ...HF Damping 0 to 25088 Hz Lopass 16 to 25088 Hz L Pre Dly 0 0 to 230 0 ms R Pre Dly 0 0 to 230 0 ms Room Type Hall1 DiffExtent 1 to 7 x Size Scale 0 01 to 2 50x Diff Cross 100 to 100 InfinDecay On or...

Page 17: ...w shelving and high shelving filters Signal flow of OmniVerb and OmniPlace PAGE 1 OmniVerb PAGE 1 OmniPlace Wet Dry 100 to 100 Out Gain Off 79 0 to 24 0 dB Rvrb Time 0 00 to 60 00 s HF Damping 0 to 25...

Page 18: ...ortion of the reverb image and make it seem wider This only affects the late reverb in algorithms that have early re ections Lopass Controls the cutoff frequency of a 1 pole 6dB oct lowpass lter at th...

Page 19: ...FX Modulation using a switch pedal as a source LF Split Used in conjunction with LF Time This controls the upper frequency limit of the low frequency decay time multiplier Energy below this frequency...

Page 20: ...channel while negative values delay the left channel E DiffAmt Adjusts the amount of diffusion applied to the early re ection network E DfLenScl Adjusts the length of diffusion applied to the early r...

Page 21: ...ration and spacing of the early reflections are influenced by Room Size and Build Time while the number and relative loudness of the individual reflections are influenced by Build Env When Build Env i...

Page 22: ...ut does not modify the decay time Reduce the bass for a less muddy sound raise it slightly for a more natural acoustic effect Room Size Choosing an appropriate room size is very important in getting a...

Page 23: ...uild Env as setting the position of a see saw The left end of the see saw represents the driving of the reverberation at the earliest time the pivot point as driving the reverberation at mid point in...

Page 24: ...cts only on the wet signal and can be used to smooth out the reverb high end without modifying the reverb decay time at high frequencies Simplified block diagram of Stereo Hall Within the reverberator...

Page 25: ...es the effect of more reverberation and of greater distance from the source Out Gain The overall output level for the reverberation effect and controls the level for both the wet and dry signal paths...

Page 26: ...to 100 You can think of BuildEnv as setting the position of a see saw The left end of the see saw represents the driving of the reverberation at the earliest time the pivot point as driving the rever...

Page 27: ...dry signal into the plate sending sound vibrations into the plate in all directions At one or two other locations a pickup is placed sort of like a dynamic microphone whose diaphragm is the plate itse...

Page 28: ...ccommodates the Room Size and Decay Time controls An output mixer assembles dry and wet signals Parameters PAGE 1 PAGE 2 Wet Dry The amount of the stereo reverberator wet signal relative to the origin...

Page 29: ...plate reverb this control is typically set to 5920Hz LF Damping Adjusts hipass lters in the reverberator so that low frequencies die away more quickly than mid and high frequencies This shapes the re...

Page 30: ...fed back for special effects Fdbk Lvl and HF Damping tailor the gain and spectrum of the feedback signal Despite the complex reverb like sound of the tapped delay line the Feedback tap is a pure delay...

Page 31: ...eo and the delayed mono signal arriving after the reverb has ended simulating the dry source in the reverse reverb sequence The amount of the delayed signal mixed to the Wet signal is separately adjus...

Page 32: ...Rvb Length Sets the length in milliseconds from start to nish of the reverberation process This parameter is essentially the decay time or RT60 for the Rvb Env cases R1 where there is only one repetit...

Page 33: ...channel it can be considered ping pong feedback Relative levels for each feedback line can be set with the FB2 FB1 FB control where 0 only allows FB1 to be used and 100 only allows FB2 to be used The...

Page 34: ...the diffusers Diff Amt Adjusts the diffuser intensity L Fdbk1 Dly Adjusts the delay length of the left channel s feedback tap fed back to the left channel s delay input L Fdbk2 Dly Adjusts the delay l...

Page 35: ...Tapn Dly Adjusts the delay length of the left and right channel s three output taps L Tapn Lvl L Tapn Lvl Adjusts the listening level of the left and right channel s three output taps L Tapn Pan L Ta...

Page 36: ...ignal from the Loop tap may be fed back to the delay input Left Channel of 4 Tap Delay The delay length for any given tap is the sum of the coarse and fine parameters for the tap multiplied by the Del...

Page 37: ...ome HF Damping the delay will eventually die out Parameters PAGE 1 PAGE 2 PAGE 3 Wet Dry The relative amount of input signal and delay signal that are to appear in the nal effect output mix When set t...

Page 38: ...is added to Loop Crs coarse to get the actual delay length Delay Scale Multiplies all tap times by a common factor Tapn Crs The coarse delay lengths of the output taps n 1 4 The resolution of the coar...

Page 39: ...length of a delay loop in seconds can be calculated as T beats tempo 60 Tapn Delay The delay lengths of the taps n 1 4 as tempo beat durations The delay length is speci ed as a fraction or multiple of...

Page 40: ...s Left Channel of 8 Tap Delay The delay length for any given tap is the sum of the coarse and fine parameters for the tap multiplied by the DelayScale parameter which is common to all taps The DelaySc...

Page 41: ...ect output mix When set to 0 the output is taken only from the input dry When set to 100 the output is all wet Out Gain The overall gain or amplitude at the output of the effect Fdbk Level The percent...

Page 42: ...e second is fully left At 0 equal amounts of the left and right taps pass to their respective outputs The following parameters are in 133 8 Tap Delay only Loop Crs The coarse delay length of the Loop...

Page 43: ...turned up this parameter sets the repeating delay loop length The loop length is speci ed as a fraction or multiple of the tempo in beats The length of a delay loop in seconds can be calculated as T b...

Page 44: ...to simple 4 and 6 tap delays with feedback but have their feedback and output taps modified with shapers and filters In the feedback path of each channel are a diffuser hipass filter lowpass filter an...

Page 45: ...ass and lowpass are also in the feedback path The hipass filter roll off frequency is controlled with LF Damping and the lowpass filter roll off frequency is controlled by HF Damping The imager found...

Page 46: ...0 to 100 Out Gain Off 79 0 to 24 0 dB Fdbk Level 0 to 100 Tempo System 0 to 255 BPM HF Damping 16 to 25088 Hz Diff Delay 0 to 20 0 ms LF Damping 16 to 25088 Hz Diff Amt 100 to 100 LoopLength On or Of...

Page 47: ...I clocks When it is set to System sources FUNs LFOs ASRs etc will have no effect on the Tempo parameter Diff Dly The length that the diffuser smears the signal sent to the input of the delay Diff Amt...

Page 48: ...p is delayed Tap n Shapr Adjusts the intensity of the shaper at each output tap Tap n Pitch Adjusts the frequency in semitones of the comb lter at each output tap Tap n PtAmt Adjusts the intensity of...

Page 49: ...quency oscillators LFOs are used modulate the positions of output taps from a delay line The delay line tap modulation causes the pitch of the signal to shift up and down producing the required detuni...

Page 50: ...of left channel of Dual Chorus 2 Right channel is similar Chorus 1 uses just 1 PAU and has a single delay tap Block diagram of left channel of Chorus 1 Right channel is the same Dry Delay Channel Fro...

Page 51: ...s filter HF Damping before going entering the delay line The Wet Dry control is an equal power cross fade The Output Gain parameters affect both wet and dry signals For each of the LFO tapped delay li...

Page 52: ...ursion will be moved up and again cause signal discontinuities However if enough Tap Dly is specified Depth and Rate will be modulated smoothly As the LFOs sweep across the delay lines the signal will...

Page 53: ...1 Dpth 0 0 to 50 0 ct LFO2 Dpth 0 0 to 50 0 ct LFO3 Dpth 0 0 to 50 0 ct L Wet Dry 100 to 100 wet R Wet Dry 100 to 100 wet L Out Gain Off 79 0 to 24 0 dB R Out Gain Off 79 0 to 24 0 dB L Fdbk Lvl 100 t...

Page 54: ...itch Env The pitch of the chorus modulation can be made to follow a triangular Triangle envelope rise fall rise fall or a trapzoidal trapzoid envelope rise hold fall hold L Wet Dry 100 to 100 wet R We...

Page 55: ...have enough delay speci ed with Tap Dly to get the depth you ve dialed up then Tap Dly will be forced to increase which can cause discontinuities if signal is present The LFOs move a tap back and for...

Page 56: ...nger 1 the Right channel is similar Flanger 2 is a 2 PAU multi sweep Thru zero flanger effect with two LFOs per channel Simplified block diagram of the left channel of Flanger 2 the Right channel is s...

Page 57: ...realm of chorusing where the ear begins to perceive the audio output as nearly two distinct signals but with a variable time displacement Comb Filters Solid Line for Addition Dashed Line for Subtracti...

Page 58: ...ys and LFO phases The flanger has a Wet Dry control as well which can further add complexity to the output as the dry signal is added to various delayed wet components for more comb filtering When usi...

Page 59: ...effect of system noise flanging white noise may be added to the input of the flanger signal Flanger 2 only Since white noise has a lot of high frequency content and may sound too bright it may be tame...

Page 60: ...ocked to the internal sequencer tempo or to incoming MIDI clocks When it is set to System sources FUNs LFOs ASRs etc will have no effect on the Tempo parameter LFO Period Sets the LFO rate based on th...

Page 61: ...Fin parameters and you will hear discontinuities in the signal usually in the form of zipper noise The range for all delays and excursions is 0 to 230 ms but for anging the range 0 to 5 ms is most ef...

Page 62: ...ge the amplitude of the frequency response of a signal passing through it it does not cut or boost any frequencies It does cause some frequencies to be delayed a little in time and this small time shi...

Page 63: ...may be different The relative phases of the notch and frequency LFOs N F Phase only has meaning when the LFOs are running at the same rate As with all KDFX LFO phases it is not recommended to directl...

Page 64: ...reo field until at 0 the processing is mono Negative values reverse left and right channels The dry signal is not affected by In Width As described earlier setting Wet Dry to 50 will produce a full no...

Page 65: ...equency while the other channel is at the maximum NotchDepth The nominal depth of the notch The notch depth LFO modulates the depth of the notch For maximum LFO depth set NotchDepth to 0 dB and NLFO D...

Page 66: ...ve and below the center frequency At 200 the output is a pure all pass response no amplitude changes but phase changes centered about the center frequency CenterFreq The nominal center frequency of th...

Page 67: ...quency LFO sweeps the phaser lter above and below the center frequency as a percent LFO Rate The rate of the LFO in Hertz The LFO Rate may be scaled up by the Rate Scale parameter L R Phase Sets the p...

Page 68: ...he algorithm input dry signal is fed into effect B thus putting the effects in parallel and 100 means only the output of effect A is fed into effect B thus putting the effects in series An example of...

Page 69: ...s named A B and Dry C where A B and C correspond to the names of effects A B and C The first parameter mixes effect A and B into a temporary buffer represented by the symbol The second parameter mixes...

Page 70: ...by A B is mixed with the dry signal and fed into effect C 0 is completely dry signal and 100 is completely signal Individual Effect Components Chorus The choruses are basic 1 tap dual choruses Separa...

Page 71: ...nel is determined by Dly Tempo expressed in beats per minute BPM and the delay length Dly Time L and Dly Time R of each channel is expressed in beats bts The tempo alters both channel delay lengths to...

Page 72: ...nd in some cases create ambience Combination 4 Tap Combination 4 Tap is a tempo based 4 tap delay with feedback used in combination algorithms Parameters associated with the 4 tap effect start with 4T...

Page 73: ...e as that found in its standalone version Review the Pitcher section of this book FXAlg 908 for more information Parameters associated with this effect begin with Pt Rv Type Hall1 Rv Time 0 5 to 30 0...

Page 74: ...and the output of the chorus is wired to the input of the delay The amount of effect A fed into effect B is controlled by the A Dry B parameter This controls the balance between effect A output and t...

Page 75: ...horus and effect B is 4 tap This is used in conjunction with the A Dry B parameter A Dry B This parameter controls how much of the A effect is mixed with dry and fed into the B effect A and B are dete...

Page 76: ...mode Fig 2 each control set independently controls one tap in each channel This is useful for dual mono applications where separate control over left and right channels is desired Control set 1 contro...

Page 77: ...each signal by setting them to negative values Chorus Flange PAGE 1 Ch LFO cfg Dual1Tap Ch LRPhase 0 to 360 deg Ch Rate 1 0 01 to 10 00 Hz Ch Rate 2 0 01 to 10 00 Hz Ch Depth 1 0 0 to 100 ct Ch Depth...

Page 78: ...d in beats bts The tempo alters both channel delay lengths together With the tempo in beats per minute and delay lengths in beats you can calculate the length of a delay in seconds as beats tempo 60 s...

Page 79: ...is heard when either Dly Fdbk or LsrCntour is used Dly LFDamp Controls the cutoff frequency of a 1 pole 6dB oct slope hipass lter in the feedback path The lter is heard when either Dly Fdbk or LsrCnt...

Page 80: ...algorithm see FXAlg 132 in this book with the exception that the delay times will pin at the maximum delay time instead of automatically cutting their times in half Additionally the feedback path may...

Page 81: ...ters controlled by the Shp Inp LP and Shp Out LP respectively There is an additional output gain labeled Shp OutPad to compensate for the added gain caused by shaping a signal Shp Inp LP Adjusts the c...

Page 82: ...h to represent signal amplitudes finite precision You are probably aware that a bit is a number which can have only one of two values 0 or 1 When we construct a data or signal word out of more than on...

Page 83: ...s added to counteract the cut used to quantize the signal Find the DynamRange level at which the output starts to get too loud then set Headroom to that level You can then change the DynamRange value...

Page 84: ...l at which the signal starts getting louder and matching Headroom to that value dc Offset Adds a positive dc Offset to the input signal By adding dc Offset you can alter the position where digital zer...

Page 85: ...y tap from the delay input The name suggests the tap is stationary but it can be connected to a control source such as a data slider a ribbon or a V A S T function to smoothly vary the delay length Th...

Page 86: ...lay length in milliseconds is the center of LFO excursion LFO excursion is controlled by the LFO Dpth parameter in percent LFO Depth is an arbitrary value and is the percentage of available excursion...

Page 87: ...be panned The Wet Dry parameter controls the ratio between the sum of both moving delay elements on that channel regardless of pan position and the input dry signal Out Gain like Wet Dry adjusts the...

Page 88: ...L HF Damp 16 to 25088 Hz R HF Damp 16 to 25088 Hz L Wet Dry 100 to 100 wet R Wet Dry 100 to 100 wet L Out Gain Off 79 0 to 24 0 dB R Out Gain Off 79 0 to 24 0 dB L1 Mix 100 to 100 R1 Mix 100 to 100 L2...

Page 89: ...y Adjusts the delay time for each moving delay circuit which is the center of LFO excursion L LFO Mode R LFO Mode Ln LFO Mode Rn LFO Mode Adjusts the LFO excursion type In Flange mode the LFO is optim...

Page 90: ...quency all the way up to 24 kHz When applied to a sound with a noise like spectrum white noise with a flat spectrum or cymbals with a very dense spectrum of many individual components an output is pro...

Page 91: ...he peaks in the input spectrum won t line up with the peaks in the Pitcher filter If there are enough peaks in the input spectrum obtained by using sounds with noise components or combining lots of di...

Page 92: ...Inp Bal 100 to 100 Pt Out Pan 100 to 100 Pt Pitch C 1 to G 9 Pt Offset 12 0 to 12 0 ST Pt PkSplit 0 to 100 Pt PkShape 1 0 to 1 0 ChPtchEnvL Triangle or trapzoid ChPtchEnvL Triangle or trapzoid Ch Rat...

Page 93: ...original unsplit position one going up and the other down in frequency At 0 there is no splitting all peaks are at multiples of the fundamental At 100 the peak going up merges with the peak going dow...

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