Kurzweil K2661 Musician’S Reference Manual Download

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Triple Modular Processing

Algorithm Reference

12-29

Layer-3 Algorithms (101–126)

Algorithm:101

|||||||6|||||||||||||||||||||||||||||||

||||||||0wwerwwwwwwerwwtqwwerwwtqwwerwt|
||||||||K||||||||||||||gk||||||gk|||||gh
||||||||CVVVVVVVVVVVVVVBCVVVVVVBCVVVVVB|

Algorithm:102

|||||||6|||||||||||||||||||||||||||||||

||||||||0wwerwwtqwwerwwtqwwerwwtqwwerwt|
||||||||K||||||gk||||||gk||||||gk|||||gh
||||||||CVVVVVVBCVVVVVVBCVVVVVVBCVVVVVB|

NONE

AMP

LOPAS2 GAIN

AMP

HIPAS2 GAIN

LOPASS

BAND2 GAIN

HIPASS

NOTCH2 GAIN

ALPASS

LP2RES GAIN

GAIN

SHAPE2 GAIN

SHAPER

LPGATE GAIN

DIST

PARA MID

SINE

LFSIN

SW+SHP

SAW+

SW+DIST

LPCLIP

SINE+

NOISE+

NONE

AMP

LOPASS

HIPASS

ALPASS

GAIN

SHAPER

DIST

SINE

LFSIN

SW+SHP

SAW+

SW+DIST

LPCLIP

SINE+

NOISE+

Algorithm:103

|||||||6|||||||||||||||||||||||||||||||

||||||||0wwerwwtqwwerwwwwwwerwwtqwwerwt|
||||||||K||||||gk||||||||||||||gk|||||gh
||||||||CVVVVVVBCVVVVVVVVVVVVVVBCVVVVVB|

Algorithm:104

|||||||6|||||||||||||||||||||||||||||||

||||||||0wwerwwtqwwerwwtqwwerwwtqwwerwt|
||||||||K||||||gk||||||gk||||||gk|||||gh
||||||||CVVVVVVBCVVVVVVBCVVVVVVBCVVVVVB|

NONE

AMP

LOPAS2 GAIN

LOPASS

HIPAS2 GAIN

HIPASS

BAND2 GAIN

ALPASS

NOTCH2 GAIN

GAIN

LP2RES GAIN

SHAPER

SHAPE2 GAIN

DIST

LPGATE GAIN

SINE

PARA MID

LFSIN

SW+SHP

SAW+

SW+DIST

LPCLIP

SINE+

NOISE+

NONE

AMP

LOPAS2

LOPASS

HIPAS2

HIPASS

LPGATE

ALPASS

LP2RES

GAIN

SHAPE2

SHAPER

DIST

SINE

LFSIN

SW+SHP

SAW+

SW+DIST

LPCLIP

SINE+

NOISE+

Summary of Contents for K2661

Page 1: ...ion ADAT is a registered trademark of Alesis Corporation All other products and brand names are trademarksorregistered trademarks oftheirrespectivecompanies Productfeaturesandspecificationsaresubjectt...

Page 2: ...d service personnel when A The power supply cord or the plug has been damaged B Objects have fallen or liquid has been spilled into the product C The product has been exposed to rain D The product doe...

Page 3: ...les and the point where they exit from the appa ratus 11 Only use attachments accessories specified by the manufacturer 12 Use only with a cart stand tripod bracket or table specified by the manu fact...

Page 4: ...x 82 2 2108 5729 A N D Music Corp P O Box 99995 Lakewood WA 98499 0995 USA Tel 253 589 3200 Fax 253 984 0245 Young Chang Canada Corp 250 Victoria Park Ave Suite 105 Toronto Ontario Canada M2H 3P7 Tel...

Page 5: ...and Sliders A H 1 4 PSw1 PSw2 Buttons 9 and 10 1 4 Record Play Pause Stop 1 4 Special Button Functions 1 4 Special Button Functions Double Button Presses 1 6 Chapter 2 LFOs LFO Shapes 2 1 Chapter 3 D...

Page 6: ...DI Sample Dump 6 7 SMDI Sample Transfers 6 8 Chapter 7 System Exclusive Protocol K2661 System Exclusive Implementation 7 1 Common Format 7 1 Messages 7 3 Master Parameters 7 7 Button Press Equivalence...

Page 7: ...es for DSP Functions 12 39 Special Cases 12 39 Appendix A Specifications K2661 Features A 1 Environmental Specifications A 2 Temperature Ranges A 2 Relative Humidity Ranges Non condensing A 2 Physical...

Page 8: ...pendix F SD Piano ROM Option SmartMedia Contents F 1 Sympathetic Vibrations F 1 Modifying SD Piano Programs F 1 Controller Assignments for SD Piano Programs F 2 Appendix G Vintage Electric Pianos ROM...

Page 9: ...ere you can edit the currently selected setup Chapter 7 in the Musician s Guide describes the Setup Editor Quick Access mode enters the Quick Access Editor where you can change the program or setup as...

Page 10: ...alue Pressing Clear is equivalent to pressing 0 without pressing Enter For Alphabetic Characters When naming objects you can use the alphanumeric pad to enter letters instead of numbers If you re rena...

Page 11: ...adjustment knobs on the rear panel of the K2661 Solo Button Mutes all zones in setup except the current one The button of the zone being soloed glows red Mixdown Button Brings up the Mixdown page as...

Page 12: ...setup Buttons 1 8 control either zone muting or KB3 features depending on the value of the value of the Mutes parameter on the COMMON page in the Setup Editor The SLIDER and SLID 2 pages configure the...

Page 13: ...Previous Pg Gain Successive presses take you back to four most recent editor pages 5th press takes you to ALG page Successive presses take you back to four most recent editor pages 5th press takes yo...

Page 14: ...list Move cursor to end of name in naming dialog up down cursor buttons Clear all selections in a list Move cursor to beginning of name in naming dialog Program Editor Chan Bank Select Layer 1 Keymap...

Page 15: ...th Rise S Positive Rising Sawtooth Rise Falling Sawtooth Fall S Positive Falling Sawtooth Fall 3 Step 3 Step Positive 3 Step 3 Ste 4 Step 4 Step Positive 4 step 4 Ste 5 Step 5 Step Positive 5 Step 5 S...

Page 16: ...1 1 90 180 270 0 360 0 Rising Sawtooth 1 1 90 180 270 0 360 0 Positive Rising Sawtooth 1 1 90 180 270 0 360 0 Falling Sawtooth 1 1 90 180 270 0 360 0 Positive Falling Sawtooth 1 1 90 180 270 0 360 0 3...

Page 17: ...6 Step 7 Step 1 1 90 180 270 0 360 0 Positive 7 Step 1 1 90 180 270 0 360 0 8 Step 1 1 90 180 270 0 360 0 Positive 8 Step 1 1 90 180 270 0 360 0 10 Step 1 1 90 180 270 0 360 0 Positive 10 Step 1 1 90...

Page 18: ...2 4 LFOs LFO Shapes...

Page 19: ...vvvvb PITCH HIFREQ STIMULATOR PARAMETRIC EQ STEEP RESONANT BASS 4POLE LOPASS W SEP 4POLE HIPASS W SEP TWIN PEAKS BANDPASS DOUBLE NOTCH W SEP NONE AMP Algorithm 2 errR rrterrR rrrrrrR rrterrR rrtYrrR r...

Page 20: ...R 2POLE ALLPASS NONE BAL AMP AMP U AMP L 2PARAM SHAPER Algorithm 4 errR rrterrR rrrrrrR rrterrR rrterrR rrt d gk gk gk gh cvvvvvvbcvvvvvvvvvvvvvvbcvvvvvvbcvvvvvvb PITCH AMP LOPASS HIPASS ALPASS GAIN S...

Page 21: ...PASS PARA BASS PARA TREBLE PARA MID NONE PITCH AMP BAND2 NOTCH2 LOPAS2 HIPAS2 LPGATE NONE 2PARAM SHAPER SHAPE2 LP2RES Algorithm 6 errR rrterrR rrrrrrR rrterrR rrtYrrR rrt d jk gk u gh cvvvvvvm M M vvv...

Page 22: ...SIN SW SHP SAW SW DST NONE x AMP AMP 2PARAM SHAPER LPCLIP SINE NOISE AMP Algorithm 8 errR rrterrR rrterrR rrterrR rrterrR rrt d gk gk gk gk gh cvvvvvvbcvvvvvvbcvvvvvvbcvvvvvvbcvvvvvvb PITCH LOPASS HI...

Page 23: ...SAW NONE SINE LF SIN SAW LF SAW SQUARE LF SQR WRAP LOPASS HIPASS ALPASS GAIN SHAPER DIST SW SHP SAW NONE SW DST x AMP AMP LPCLIP SINE NOISE AMP Algorithm 9 errR rrterrR rrterrR rrterrR rrterrR rrt d...

Page 24: ...F SQR WRAP PITCH LOPASS HIPASS ALPASS GAIN SHAPER DIST SINE LF SIN SW SHP SAW NONE SW DST x AMP AMP LPCLIP SINE NOISE AMP Algorithm 12 errR rrterrR rrterrR rrterrR rrtYrrR rrt d gk jk gk u gh cvvvvvvb...

Page 25: ...AW LF SAW SQUARE LF SQR WRAP LOPASS HIPASS ALPASS GAIN SHAPER DIST SW SHP SAW NONE WRAP Algorithm 14 5rrrrrrrr6 errR rrterrR rrTerrR rrt7rrR rrrrrrR rrty d jk u i GH cvvvvvvm M vvvvvvbNvvvvvvvvvvvvvvb...

Page 26: ...N PWM SAW LF SAW SQUARE LF SQR WRAP LOPASS HIPASS ALPASS GAIN SHAPER DIST SW SHP SAW NONE SINE LF SIN SAW LF SAW SQUARE LF SQR WRAP AMP U AMP L BAL AMP Algorithm 16 errR rrterrR rrterrR rrrrrrR rrterr...

Page 27: ...ASS GAIN SHAPER DIST SW SHP SAW NONE SINE LF SIN PWM SAW LF SAW SQUARE LF SQR WRAP AMP MOD OSC SHAPE MOD OSC NONE Algorithm 18 errR rrterrR rrtYrrR rrrrrrR rrterrR rrt d jk u gk gh cvvvvvvm M vvvvvvvv...

Page 28: ...NONE SHAPE MOD OSC NONE Algorithm 20 errR rrterrR rrtYrrR rrterrR rrterrR rrt d jk u gk gk gh cvvvvvvm M vvvvvvbcvvvvvvbcvvvvvvb SW DST x GAIN GAIN XFADE AMPMOD PITCH LOPASS HIPASS ALPASS GAIN SHAPER...

Page 29: ...SIN SAW LF SAW SQUARE LF SQR WRAP x GAIN GAIN XFADE AMPMOD NONE NONE LP2RES SHAPE2 Algorithm 22 5rrrrrrrr6 errR rrterrR rrTYrrR rrt7rrR rrtYrrR rrt d jk u JU u gh cvvvvvvm M vvvvvvm M vvvvvvb SW DST...

Page 30: ...SIN SAW LF SAW SQUARE LF SQR WRAP x GAIN GAIN XFADE AMPMOD NONE LOPASS HIPASS ALPASS GAIN SHAPER DIST SW SHP SAW SINE LF SIN NONE AMP LPCLIP SINE NOISE Algorithm 24 errR rrterrR rrtYrrR rrterrR rrtYr...

Page 31: ...vvvm M vvvvvvbNvvvvvvvvvvvvvvbn PITCH AMP U AMP L BAL AMP LOPASS HIPASS ALPASS GAIN SHAPER DIST SW SHP SAW NONE SINE LF SIN SAW LF SAW SQUARE LF SQR WRAP x GAIN GAIN XFADE AMPMOD NONE Algorithm 26 err...

Page 32: ...vvbcvvvvvvbcvvvvvvb SW DST AMP SYNC M SYNC S LOPASS HIPASS ALPASS GAIN SHAPER DIST SW SHP SAW SINE LF SIN NONE LPCLIP SINE NOISE Algorithm 28 errR rrterrR rrterrR rrterrR rrt d d gk gk gh cvvvvvvbcvvv...

Page 33: ...x AMP AMP SINE LF SIN SYNC M SYNC S LPCLIP SINE NOISE AMP Algorithm 30 errR rrterrR rrtYrrR rrtYrrR rrt d jd G u gh cvvvvvvm ML M vvvvvvb SYNC M SYNC S LOPASS HIPASS ALPASS GAIN SHAPER DIST SW SHP SA...

Page 34: ...3 16 DSP Algorithms...

Page 35: ...rol source is assigned as the value for the MWhl parameter on the MIDI mode RECEIVE page Of course you can program the MWhl parameter to send any available control source signal in response to MIDI 01...

Page 36: ...ontrol signals internally and might be called software control sources They either run automatically like A Clock and RandV1 or they re programmed to generate their signals according to parameters of...

Page 37: ...lmost every control source from the MIDI Control Source list with the exception of Data Inc Data Dec and Panic which belong exclusively to the MIDI Control Source list The list for the FUNs also inclu...

Page 38: ...eceding the name of each control source can be entered on the alphanumeric pad to select the control source directly press Enter after typing the numeral Many of the MIDI control sources are assigned...

Page 39: ...MIDI Controller number for continuous control foot pedals It s the default value for the CPedal control assignment parameter so a control pedal on your MIDI controller which sends MIDI controller 04...

Page 40: ...l assignment parameter FtSw1 is set by default to MIDI Controller 64 so a switch pedal on your MIDI controller that sends MIDI 64 will send sustain messages to the K2661 by default The K2661 will alwa...

Page 41: ...rameter is set to Master and the FX Channel parameter is set to a specific MIDI channel the K2661 will respond to this message when it is received on the FX channel It responds by adjusting the Wet Dr...

Page 42: ...r controller s keys assuming it sends mono pressure Maximum pressure value 127 would transpose the layer up an octave while a pressure level of 64 would leave the pitch unchanged 35 Pitch Wheel Messag...

Page 43: ...ed GLFO2 The functions of LFOs are explained in the Musician s Guide This control source does not appear in the Control Source list for parameters whose functions are local 42 Global FUN 4 GFUN4 When...

Page 44: ...otes are playing so with only one note playing its value is near 0 which causes the DptCtl parameter to generate a value near its minimum 72 cents in this case If you want to increase the depth of the...

Page 45: ...ey St This is a unipolar control source that responds to the motion of your MIDI source s keys or other note trigger It switches to 1 when a key is pressed and switches to 0 when the key is released I...

Page 46: ...the VTRIG page in the Program Editor When a VTRIG s Sense parameter is set to normal it switches to 1 when a note plays at a dynamic level exceeding the dynamic level set for its Level parameter See...

Page 47: ...l source parameter over time See Chapter 6 of the Musician s Guide 121 122 Envelopes 2 and 3 ENV2 ENV3 These are programmed in the same way as AMPENV but they can be bipolar 123 Loop State Loop St Thi...

Page 48: ...m any controller works like an on off switch you can set the assigned controller s threshold value or range of values from 0 127 thus defining the controller s active range where it will enable the la...

Page 49: ...0 99 201 0 09 134 0 98 202 0 10 135 0 97 203 0 12 136 140 0 96 to 0 92 204 0 14 141 0 91 205 0 16 142 0 90 206 210 0 18 to 0 26 143 145 0 88 to 0 84 211 215 0 28 to 0 36 146 150 0 82 to 0 74 216 220...

Page 50: ...ressure 35 Pitch Wheel 36 Bipolar Mod Wheel 38 Global ASR ASR 2 39 Global FUN FUN 2 40 Global LFO LFO 2 41 Global LFO Phase 42 Global FUN 2 FUN 4 47 A Clk4 48 A Clk4 49 B Clk4 50 B Clk4 51 A Clk2 52 A...

Page 51: ...t a 2 octave kit and the General MIDI kits The keymap 30 General MIDI Kit adheres as closely as possible to the General MIDI standard for placement of timbres As a rule programs that use this keymap c...

Page 52: ...el on Dry Kit 1 60 61 C4 C 4 Hi Snare dual vel on Dry Kit 1 62 64 D 4 E 4 Closed HiHat 65 67 F 4 G 4 Slightly Open HiHat 68 69 G 4 A 4 Open HiHat 70 71 A 4 B 4 Open to Closed HiHat 72 C 5 Foot closed...

Page 53: ...3 F 3 Mid Tom 54 F 3 Cowbell 55 G 3 Mid Tom 56 G 3 Timbale 57 A 3 High Tom 58 A 3 Snare Sidestick 59 B 3 High Tom 60 61 C4 C 4 Snare dual velocity 62 D 4 Closed HiHat 63 D 4 Ride Cymbal Rim and Bell 6...

Page 54: ...5 4 MIDI Note Numbers Note Numbers for Percussion Keymaps...

Page 55: ...ngth add the lengths of all SCSI cables plus eight inches for every external SCSI device connected No single cable length in the chain should exceed eight feet 2 The first and last devices in the chai...

Page 56: ...our hardware simply by operating it There are a few hazards you should be aware of however The only damage that usually occurs to SCSI hardware comes from static electricity discharging to SCSI connec...

Page 57: ...before using a K2661 formatted disk in the drive The Mac will basically ignore the disk if it s not in Mac format but once you insert a Mac formatted volume the Mac owns it Don t forget inserting a di...

Page 58: ...DI Standard Sample Dump To load a sample into the K2661 from an external source such as a computer or sampler first connect the MIDI Out port of the sampler or computer to the K2661 s MIDI In port and...

Page 59: ...bove On the source K2661 go to the Sample Editor and select the sample you wish to transfer To do this start in Program mode and press Edit followed by the KEYMAP soft button Now you should be on the...

Page 60: ...e the parameters you change when you press Exit Once the sample is adjusted to your liking you can assign it to any Keymap Troubleshooting a MIDI Sample Dump This section will help you identify what h...

Page 61: ...because more sample editing programs create this offset than do not If you find that the K2661 is sending samples with higher IDs than the ones you requested you can compensate by requesting the sampl...

Page 62: ...nc com Mark Of The Unicorn s Digital Performer http www motu com Dissidents Sample Wrench http www dissidents com Sonic Foundry s Sound Forge http www sonicfoundry com Propellerhead s ReCycle http www...

Page 63: ...661 System Exclusive Protocol messages are notated as field length where field is the name of the particular information field in the message and length is either 1 2 3 or n representing the number of...

Page 64: ...which is packed in the data field Binary data in the data field are sent in one of two formats according to the value of the form field If the form field equals zero the data are transmitted as 4 bits...

Page 65: ...data size describes how many bytes should be dumped starting from the offset form indicates how the binary data are to transmitted 0 nibblized 1 bit stream The response is a LOAD message LOAD 01h typ...

Page 66: ...s like the message sequence DEL followed by NEW followed by a LOAD of one complete object data structure It first deletes any object already existing at the same type ID If no RAM object currently exi...

Page 67: ...en if the sender chooses not to wait for the DACK before sending the next message it may be necessary to preserve the 50ms delay between the WRITE messages Due to the large amount of incoming data dur...

Page 68: ...RANSMIT page in MIDI mode is set to On Each button press is 3 bytes in the message The PANEL message can include as many 3 byte segments as necessary For efficiency multiple button presses should be h...

Page 69: ...Type ID decimal ID hex ID hex type field Program 132 84h 01h 04h Keymap 133 85h 01h 05h Studio 113 71h 00h 71h Song 112 70h 00h 70h Setup 135 87h 01h 07h Soundblock 134 86h 01h 06h Velocity Map 104 68...

Page 70: ...us 16 Program 40 Minus 17 Setup 41 Plus and Minus 1E Quick Access 42 Chan Bank Inc 14 Effects 47 Chan Bank Dec 15 Midi 44 Chan Bank Inc Dec 1C Master 43 Cursor Left 12 Song 46 Cursor Right 13 Disk 45...

Page 71: ...creen was in the middle of redrawing and you should request the display again The reply to PARAMVALUE will be a variable length ASCII text string Some values like keymaps programs samples etc include...

Page 72: ...7 10 System Exclusive Protocol K2661 System Exclusive Implementation...

Page 73: ...rface Try to minimize the amount of dust in the environment The K2661 s RAM backup battery along with any sample RAM or ROM block options you may install are the only user serviceable parts in the K26...

Page 74: ...off your K2661 and disconnect the power cable 3 Carefully place your K2661 upside down on a padded level surface with the front of the instrument toward you Use soft sturdy foam under the ends of the...

Page 75: ...amic range of any instrument in your studio The following tips will enable you to make the most of this and optimize the K2661 s audio interface to your other equipment Setting your audio levels appro...

Page 76: ...rthermore although using these adapters may reduce low frequency hum high frequency line noise such as motor switching noise is likely to get worse in this case since the K2661 s AC noise filter will...

Page 77: ...omputer based equipment and the building s power Floodlights large power amplifiers and motor operated devices should use a separate extension cord preferably they should be plugged into a separate ci...

Page 78: ...re about audio configurations in Chapter 19 of the Musician s Guide Also check that your amplifier mixer and speaker connections are correct 4 MIDI volume has been assigned to a control source which h...

Page 79: ...e of the top line of the display in Song mode and Disk mode Figure 9 1 Disk mode page showing Sample RAM and Program RAM Program RAM is battery backed so anything that s stored there will be preserved...

Page 80: ...n Press the Objects soft button and a list of RAM objects will appear Use the Alpha Wheel to scroll through the list of objects You ll see the type ID name and size in bytes of each object Choosing an...

Page 81: ...roof bag 6 Place the new SIMM into the sample RAM socket There s only one way that a SIMM will fit into the socket Be sure the clips at the sides of the sockets snap into place 7 Check the setting of...

Page 82: ...9 4 Upgrading Sample Memory Choosing and Installing a SIMM for K2661 Sample Memory...

Page 83: ...KDFX Reference In This Chapter 10 1 Chapter 10 KDFX Reference In This Chapter KDFX Algorithms 10 2 FX Presets 10 3 KDFX Studios 10 5 KDFX Algorithm Specifications 10 6...

Page 84: ...r Chor Dly 723 Pitcher Flan Dly 790 Gate Cmp EQ Vrb 792 Gate TubeAmp ID Name 724 Mono Distortion 725 MonoDistort Cab 726 MonoDistort EQ 727 PolyDistort EQ 728 StereoDistort EQ 729 TubeAmp MD Chor 730...

Page 85: ...Chorus Comeback 152 Chorusier 153 Ordinary Chorus 154 SlowSpinChorus 155 Chorus Morris 156 Everyday Chorus 157 Thick Chorus 158 Soft Chorus 159 Rock Chorus 160 Sm Stereo Chorus 161 Lg Stereo Chorus 1...

Page 86: ...With A Mic 881 Chorus PanDelay 882 Flange Delay 883 TubeAmp DlyChor 884 StChor 3vs2Delay 885 TubeAmp DlyChor2 886 Drum Crusher 887 Bass Env Filt 2 900 Basic Env Filter 901 Phunk Env Filter 902 Synth...

Page 87: ...101 auxFlLsr SwHall 102 auxEnh4Tap Hall 103 EnhcChorCDR Hall 104 EnhChorChDl Hall 105 EnhcChor Plate 106 CompFlgChor Hall 107 ChorChorFlg Hall 108 ChapelSRS Hall 109 ChapelSRS Hall2 110 Chapel Room Ha...

Page 88: ...oom Type incorporates different diffusion room size and reverb density settings The Room Types were designed to sound best when Diff Scale Size Scale and Density are set to the default values of 1 00x...

Page 89: ...ven in the reverb tails This is pretty unusual behavior for a reverb since even real halls will rapidly delocalize acoustic images in the reverberance Since maintaining image placement in the reverber...

Page 90: ...Likewise the wet signal will be more audible if delayed and thus you can get by with a dryer mix while maintaining the same subjective wet dry level Room Type Changes the configuration of the reverb a...

Page 91: ...s parameter will change the size of the room and thus will cause a subtle coloration of the reverb since the room s dimensions are changing Density A multiplier which affects the density of the reverb...

Page 92: ...quite discrete and at higher settings the early reflections are seamless Density controls how tightly the early reflections are packed in time Low Density settings have the early reflections grouped c...

Page 93: ...with the dry sound When set fully dry 0 the gate is still active Out Gain An overall level control of the effect s output applied after the Wet Dry mix Rvrb Time The reverb time displayed is accurate...

Page 94: ...ch 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 parameter will change the density of the reverb which may...

Page 95: ...only affects the late reverb in algorithms that have early reflections Lopass Controls the cutoff frequency of a 1 pole 6dB oct lopass filter at the output of the reverb This only affects the late rev...

Page 96: ...e gain of a high shelving filter at the output of the late reverb BassShlf F Adjusts the frequency of a low shelving filter at the output of the late reverb BassShlf G Adjusts the gain of a low shelvi...

Page 97: ...y reflection network This is influenced by E PreDlyL and E PreDlyR E Dly Scl Scales the delay lengths inherent in the early reflection network E Build Adjusts the envelope of the onset of the early re...

Page 98: ...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 99: ...important in getting a good reverberation effect For impulsive sources such as percussion instruments or plucked strings increase the size setting until discrete early reflections become audible and...

Page 100: ...eration at mid point in the time sequence and the right end as the last signal to drive the reverberator At settings near 0 the see saw is tilted down on the right the reverberation starts abruptly an...

Page 101: ...break up patterns and to increase density in the reverb tail Using the LFO Rate and Depth controls carefully with longer decay times can be beneficial But beware of the pitch shifting artifacts which...

Page 102: ...evel Adjust decay time according to the tempo and articulation of the music and to taste HF Damping Adjusts low pass filters in the reverberator so that high frequencies die away more quickly than mid...

Page 103: ...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 the time sequence and the right end as the las...

Page 104: ...hambers Plates were bright and diffused built up echo density rapidly Curiously when we listen to a vintage plate today we find that the much vaunted brightness is nothing like what we can accomplish...

Page 105: ...he reverberant background Especially helpful with vocals or classical music Decay Time The reverberation decay time mid band RT60 the time required before the reverberation has died away to 60dB below...

Page 106: ...y broken into three mixers an early middle and late mixer Each mixes its share of taps and then applies the submix to a low pass filter cut only and a simple bass control boost and cut Finally the thr...

Page 107: ...ate mono delay tap used to simulate the dry source of a reverse reverb effect This same tap is used for feedback Rvb Env The Rvb Env control selects 27 cases of envelope gains for the taps Nine cases...

Page 108: ...back line 1 feeds the signal back to the delay input of the same channel while feedback line 2 feeds the signal back to the opposite channel Feedback line 2 may also be referred to as a ping pong feed...

Page 109: ...00 wet Out Gain Off 79 0 to 24 0 dB Feedback 0 to 100 L Diff Dly 0 to 100 ms FB2 FB1 FB 0 to 100 R Diff Dly 0 to 100 ms HF Damping 16 to 25088 Hz Diff Amt 0 to 100 L Fdbk1 Dly 0 to 2600 ms R Fdbk1 Dly...

Page 110: ...the left channel s delay input L Fdbk2 Dly Adjusts the delay length of the left channel s feedback tap fed back to the right channel s delay input R Fdbk1 Dly Adjusts the delay length of the right ch...

Page 111: ...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 DelayScale parameter allows you to change the lengths of all the ta...

Page 112: ...r Algorithm 131 4 Tap Delay Page 1 Page 2 Page 3 Wet Dry The relative amount of input signal and delay signal that is to appear in the final effect output mix When set to 0 the output is taken only fr...

Page 113: ...Tapn Level The amount of signal from each of the taps n 1 4 which get sent to the output With the Loop Lvl control you can give different amounts of emphasis to various taps in the loop Tapn Bal The...

Page 114: ...is given in beats bts The delay length in seconds is calculated as beats tempo 60 sec min Tapn Delay The delay lengths of the taps n 1 4 as tempo beat durations The tempo is specified with the Tempo...

Page 115: ...e DelayScale parameter which is common to all taps The DelayScale parameter allows you to change the lengths of all the taps together A repetitive loop delay is created by turning up the Fdbk Level pa...

Page 116: ...put 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 Wet Dry 0 to 100 wet Out Gain...

Page 117: ...Tapn Crs The coarse delay lengths of the output taps n 1 8 The resolution of the coarse adjust is 20 milliseconds but finer resolution can be obtained using the Tapn Fine parameters The maximum delay...

Page 118: ...beats tempo 60 sec min Tapn Delay The delay lengths of the taps n 1 8 as tempo beat durations The tempo is specified with the Tempo parameter and the delay length is given in beats bts The delay leng...

Page 119: ...feedback path hipass and lopass The hipass filter roll off frequency is controlled with LF Damping and the lopass filter roll off frequency is controlled by HF Damping The imager found on PARAM2 shif...

Page 120: ...n tempo is set to 250 BPM each 1 24th of a beat is equivalent to 10ms of delay Figure 10 9 Spectral 6 Tap R Input R Output R Dry Delay Imaging Individual Shaper Comb and Gain for Taps 2 6 Shaper Comb...

Page 121: ...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 Off Tap2 Delay 0 to 32 bts Fdbk Image 100 to 100 Tap2 Sha...

Page 122: ...h On or Off Tap2 Delay 0 to 32 bts Fdbk Image 100 to 100 Tap2 Shapr 0 10 to 6 00 x Tap1 Delay 0 to 32 bts Tap2 Pitch C 1 to C8 Tap1 Shapr 0 10 to 6 00 x Tap2 PtAmt 0 to 100 Tap1 Level 0 to 100 Tap2 Le...

Page 123: ...er is set to System the tempo is locked 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 Diff D...

Page 124: ...in the delay path The distortion parameters are on the PARAM4 page with the compressor parameters Degen Regen BPM uses all 4 PAUs available for insert effects With the resources of all 4 PAUs availabl...

Page 125: ...mping 8 to 25088 Hz LF Damping 8 to 25088 Hz LoopLength 0 to 32 bts Mid1 Gain 79 0 to 24 0 dB LFO Period 1 24 to 32 bts Mid1 Freq 8 to 25088 Hz Bass Gain 79 0 to 24 0 dB Mid1 Width 0 010 to 5 000 oct...

Page 126: ...basis for the delay lengths as referenced to a musical tempo in bpm beats per minute When this parameter is set to System the tempo is locked to the internal sequencer tempo or to incoming MIDI clocks...

Page 127: ...ervals of one semitone Treb Gain The amount of boost or cut in dB that the treble shelving filter should apply to the high frequency signal components Every increase of 6 dB approximately doubles the...

Page 128: ...to the left or right output channels A pan setting of 100 is fully left while 100 is fully right Comp Atk The time for the compressor to start to cut in when there is an increase in signal level atta...

Page 129: ...rter triplet and 1 bts is a quarter note duration Dividing the quarter note into 24ths allows delay lengths based on the most common note lengths To determine a delay length in seconds divide the leng...

Page 130: ...his parameter is set to System the tempo is locked to the internal sequencer tempo or to incoming MIDI clocks In this case FXMods FUNs LFOs ASRs etc will have no effect on the Tempo parameter Pan The...

Page 131: ...If the DecayRate for the delay is low or Max Fdbk is On this parameter sets the repeating delay loop length for this delay The delay length is specified as a fraction or multiple of the tempo in beats...

Page 132: ...xcursion LFO Mode Adjusts the LFO excursion type In Flange mode the LFO is optimized for flange effects and LFO Dpth adjusts the excursion amount In ChorTri and ChorTrap modes the LFO is optimized for...

Page 133: ...g the detuned copies back with the original Low frequency 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...

Page 134: ...is similar The dual mono choruses are like the stereo choruses but have separate left and right controls Dual mono choruses also allow you to pan the delay taps between left or right outputs Figure 10...

Page 135: ...or the wet output signal The summed tap outputs weighted by their level controls are used for feedback back to the delay line input The input and feedback signals go through a one pole lowpass filter...

Page 136: ...ap Dly will produce unwanted zipper noise If you increase the LFO modulation depth or reduce the LFO rate to a point where the LFO excursion exceeds the specified Tap Dly the center of LFO excursion w...

Page 137: ...Dly 4 0 to 1000 0 ms LFO1 Rate 0 01 to 10 00 Hz LFO1 LRPhs 0 0 to 360 0 deg LFO2 Rate 0 01 to 10 00 Hz LFO2 LRPhs 0 0 to 360 0 deg LFO3 Rate 0 01 to 10 00 Hz LFO3 LRPhs 0 0 to 360 0 deg LFO1 Dpth 0 0...

Page 138: ...ain Off 79 0 to 24 0 dB L Fdbk Lvl 100 to 100 R Fdbk Lvl 100 to 100 Xcouple 0 to 100 L Tap1 Lvl 100 to 100 R Tap1 Lvl 100 to 100 L Tap2 Lvl 100 to 100 R Tap2 Lvl 100 to 100 L Tap3 Lvl 100 to 100 R Tap...

Page 139: ...ing to your output signal The triangular Triangle Pitch Env setting does allow smooth rate modulation provided you ve specified enough delay LFO Depth The maximum depths of detuning of the LFO modulat...

Page 140: ...nger 1 is a 1 processing allocation unit PAU multi sweep Thru zero flanger effect with two LFOs per channel Figure 10 19 Simplified block diagram of the left channel of Flanger 1 right channel is simi...

Page 141: ...quency spectrum These notches are equally spaced in linear frequency at multiples whose wavelengths are equal to the time delay The result is generally referred to as a comb filter the name arising fr...

Page 142: ...rough 120 complete cycles in a minute or 2 cycles per second 2 Hz Increasing the LFO Period increases the period of the LFOs slows them down An LFO Period setting of 16 will take 4 measures in 4 4 tim...

Page 143: ...order to produce a more intense resonant effect The signal which is fed back is from the first LFO delay tap LFO1 but with its own level control Fdbk Level In phase spectral components arriving at th...

Page 144: ...vel 100 to 100 LFO2 Phase 0 0 to 360 0 deg StatDlyCrs 0 0 to 228 0 ms StatDlyFin 127 to 127 samp Xcurs1 Crs 0 0 to 228 0 ms Dly1 Crs 0 0 to 228 0 ms Xcurs1 Fin 127 to 127 samp Dly1 Fin 127 to 127 samp...

Page 145: ...rate based on the Tempo determined above the number of beats corresponding to one period of the LFO cycle For example if the LFO Period is set to 4 the LFOs will take four beats to pass through one o...

Page 146: ...sample Dly n Crs The delay to the center of LFO tap range The maximum delay will be this delay plus the LFO excursion delay The minimum delay will be this delay minus the LFO excursion delay Since de...

Page 147: ...llpass filter suggests the filter by itself does not change the amplitude response of a signal passing through it An allpass filter does not cut or boost any frequencies An allpass filter does cause s...

Page 148: ...notch can be modulated with the notch LFO The notch LFO is completely independent of the frequency LFO The rates of the LFOs may be different The relative phases of the notch and frequency LFOs N F P...

Page 149: ...e effect At 100 In Width left input is processed to the left output and right to right Lower In Width values narrow the input stereo field until at 0 the processing is mono Negative values reverse lef...

Page 150: ...inal 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 Depth to 100 NLFO Depth The excursion of the notch depth LFO in units...

Page 151: ...response no amplitude changes but phase changes centered about the center frequency CenterFreq The nominal center frequency of the phaser filter When configured for a maximum notch Notch Dry is 100 t...

Page 152: ...er filter 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 Rate Scale A rate multiplier value which may...

Page 153: ...rect output Figure 25 An allpass phaser A phaser uses a special filter called an allpass filter to modify the phase response of a signal s spectrum without changing the amplitude of the spectrum Okay...

Page 154: ...ent frequency arrangements changing the sign of the feedback Fdbk Level parameter and different input sources drums are a good starting point Parameters Page 1 Wet Dry The amount of phaser wet signal...

Page 155: ...like a wet dry mix where 0 means that only the algorithm input dry signal is fed into effect B putting the effects in parallel and 100 means only the output of effect A is fed into effect B putting th...

Page 156: ...parameters 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 parame...

Page 157: ...and B determined 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...

Page 158: ...rameters Refer to Flange documentation Parameters with a 1 or 2 correspond to LFO taps organized as described above Delay The Delay is a basic tempo based dual channel delay with added functionality i...

Page 159: ...of a 1 pole 6dB oct slope lopass filter in the feedback path The filter is heard when either Dly Fdbk or LsrCntour is used Dly FBImag Controls the amount of image shifting during each feedback regene...

Page 160: ...Verb Tap1 Delay 0 to 8 bts Tap3 Delay 0 to 8 bts Tap1 Level 100 to 100 Tap3 Level 100 to 100 Tap1 Bal 100 to 100 Tap3 Bal 100 to 100 Tap2 Delay 0 to 8 bts Tap4 Delay 0 to 8 bts Tap2 Level 100 to 100 T...

Page 161: ...e chorus and effect B is the delay 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 bal...

Page 162: ...much of the A effect is mixed with dry and fed into the B effect A and B are determined by the A B cfg parameter This works like a wet dry mix where 0 is completely dry and 100 is effect A only Indiv...

Page 163: ...unless both rates are set to the same speed Then the phase value is accurate only after the LFOs are reset LFOs can be reset by either changing the LFO cfg parameter or loading in the algorithm by sel...

Page 164: ...rt each signal be setting them to negative values Figure 10 28 LFO delay taps in the configurable chorus and flange Figure 10 29 LFO control in Dual1Tap mode Figure 10 30 LFO control in Link1Tap mode...

Page 165: ...to 100 Ch Fdbk R 100 to 100 Ch Xcouple 0 to 100 Ch HF Damp 16 to 25088 Hz Fl LFO cfg Dual1Tap Fl LRPhase 0 to 360 deg Fl Rate 1 0 01 to 10 00 Hz Fl Rate 2 0 01 to 10 00 Hz Fl Xcurs 1 0 to 230 ms Fl X...

Page 166: ...he delay length Dly Time L and Dly Time R of each channel is expressed in beats bts The tempo alters both channel delay lengths together With the tempo in beats per minute and delay lengths in beats y...

Page 167: ...Dly Fdbk or LsrCntour is used Dly LFDamp Controls the cutoff frequency of a 1 pole 6dB oct slope hipass filter in the feedback path The filter is heard when either Dly Fdbk or LsrCntour is used Dly F...

Page 168: ...ation algorithms Parameters associated with the 4 tap effect start with 4T The control over the feedback tap and individual output taps is essentially the same as the 4 Tap Delay BPM algorithm with th...

Page 169: ...shaper offered in these combination effects have the same sonic qualities as those found in VAST Refer to the section on shapers in the Musician s Guide for an overview Parameters associated with this...

Page 170: ...er at the input of the shaper Shp Out LP Adjusts the cutoff frequency of the 1 pole 6dB oct lopass filter at the output of the shaper Shp Amount Adjusts the shaper intensity This is exactly like the o...

Page 171: ...ne of two values 0 or 1 When we construct a data or signal word out of more than one bit each additional bit will double the number of possible values For example a two bit number can have one of four...

Page 172: ...t too loud then set Headroom to that level You can then change the DynamRange value without worrying about changing the signal level Headroom is a parameter that you set to match your signal level the...

Page 173: ...et very loud Set Headroom to match the amount of digital signal level still available headroom This is easily done by finding the DynamRange level at which the signal starts getting louder and matchin...

Page 174: ...olarity invert the signal Setting the tap level to 0 turns off the delay tap FlStatDlyC The nominal length of the flanger static delay tap from the delay input The name suggests the tap is stationary...

Page 175: ...table by the LFO Mode parameter Both flavors of chorus pitch envelopes are offered ChorTri for triangle and ChorTrap for trapezoidal pitch shifting Refer to the Chorus section for more information on...

Page 176: ...ntrated around multiples of a fundamental frequency The graphs below show Pt PkSplit going from 0 to 100 for a Pt Pitch of 1 khz approx C6 and Pt PkShape set to 0 Figure 10 35 Response of Pitcher with...

Page 177: ...n yes it takes all of KDFX to get three to produce chordal output A vocoder like effect can be produced although in some sense it works in exactly an opposite way to a real vocoder A real vocoder will...

Page 178: ...L Triangle or Trapzoid Ch Rate L 0 01 to 10 00 Hz Ch Rate R 0 01 to 10 00 Hz Ch Depth L 0 0 to 100 0 ct Ch Depth R 0 0 to 100 0 ct Ch Delay L 0 0 to 720 0 ms Ch Delay R 0 0 to 720 0 ms Ch Fdbk L 100 t...

Page 179: ...he 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 down from the next higher position Pt Offset An...

Page 180: ...of Mono Distortion Mono Distortion sums its stereo input to mono performs distortion followed by a highpass filter and sends the result as centered stereo Figure 10 38 Block diagram of MonoDistort EQ...

Page 181: ...d from measurments of real cabinets The distortion algorithm will soft clip the input signal The amount of soft clipping depends on how high the distortion drive parameter is set Soft clipping means t...

Page 182: ...r MonoDistort EQ Page 1 Page 2 Parameters for StereoDistort EQ Page 1 Wet Dry 0 to 100 wet Out Gain Off 79 0 to 24 0 dB Dist Drive 0 to 96 dB Warmth 16 to 25088 Hz Highpass 16 to 25088 Hz Wet Dry 0 to...

Page 183: ...to choose a larger distortion algorithm Mono Distortion Cabinet HP A highpass filter which controls the low frequency limit of a simulated loudspeaker cabinet MonoDistort EQ and StereoDistort EQ Cabin...

Page 184: ...the signal at the specified frequency MonoDistort EQ and StereoDistort EQ Mid Freq The center frequency of the mid parametric filter in intervals of one semitone The boost or cut will be at a maximum...

Page 185: ...stage is followed by a one pole LP filter There is also a one pole LP in front of the first stage After the distortion there is a 4 band EQ section Bass Treble and two Parametric Mids Figure 10 42 Bl...

Page 186: ...we are already doing a lot of low pass filtering inside the distortion itself Possible EQ settings you can try are Treble 20 dB at 5 Khz Bass 6 dB at 100 Hz Mid1 wide 6 dB at 2 kHz Mid2 wide 3 dB at...

Page 187: ...bass shelving filter should apply to the low frequency signals in dB Every increase of 6 dB approximately doubles the amplitude of the signal Positive values boost the bass signal below the specified...

Page 188: ...e distortion algorithm will soft clip the input signal The amount of soft clipping depends on how high the distortion drive parameter is set Soft clipping means that there is a smooth transition from...

Page 189: ...n a sound source moves toward or away from you the listener In a rotating speaker the Doppler shift will sound like vibrato As well as Doppler shift there will be some acoustic shadowing as the speake...

Page 190: ...sed In Out In or Out Out Gain Off 79 0 to 24 0 dB VibChInOut In or Out Dist Drive 0 to 96 dB Vib Chor V1 DistWarmth 16 to 25088 Hz Roto InOut In or Out Cabinet LP 16 to 25088 Hz Xover 16 to 25088 Hz L...

Page 191: ...otating speaker effect attempts to model a rotating woofer for the low frequency driver The acoustic radiation pattern of a woofer tends to range from omnidirectional radiates in directions in equal a...

Page 192: ...Lo Res Dly The number of samples of delay in the resonator circuit in addition to the rotation excursion delay This is for the low frequency signal path LoResXcurs The number of samples of delay to s...

Page 193: ...der The distortion never produces hard or digital clipping but it does approach it at high drive settings When you increase the distortion drive parameter you are increasing the gain of the algorithm...

Page 194: ...rsion should be set quite low High levels will give wild pitch shifting Parameters Page 1 Page 2 Page 3 In Out When set to In the algorithm is active when set to Off the algorithm is bypassed Out Gain...

Page 195: ...parameter Assuming microphone angles are set toward the front between 90 and 90 and microphones at positive angles are panned to the right positive pan values then positive rates correspond to clockwi...

Page 196: ...rough the resonator at the rotation rate of the rotating speaker This is for the high frequency signal path ResH LPhs This parameter sets the relative phases of the high and low resonators The angle v...

Page 197: ...ignal bands used to drive the lower and upper rotary speakers It is possible to run these two algorithms as independent effects but the results will be somewhat unusual and therefore not generally rec...

Page 198: ...ely controlled At this point KB3 FXBus has finished its processing and passes the high and low signals to the KB3 AuxFX algorithm which contains the rotating speaker routine The rotating speaker has s...

Page 199: ...e output of the effect For distortion it is often necessary to turn the output gain down as the distortion drive is turned up VibChInOut When set to In the vibrato chorus is active when set to Out the...

Page 200: ...s the lower frequency limit of the output Hi Gain The gain or amplitude of the signal passing through the rotating tweeter high frequency driver The control is also available in KB3 AuxFX Hi Xover The...

Page 201: ...tes in directions in equal amounts to a wide beam You may adjust the beam width from 45 to 360 If you imagine looking down on the rotating speaker the beam angle is the angle between the 6 dB levels o...

Page 202: ...ntage For realism you should use very low settings This is for the low frequency signal path Lo Res Dly The number of samples of delay in the resonator circuit in addition to the rotation excursion de...

Page 203: ...y modeled after the electromechanical vibrato chorus in the B3 The vibrato chorus in the other smaller algorithms use a conventional design which has been set to match the B3 sound as closely as possi...

Page 204: ...wer acoustic beam width dispersion than the low frequency driver and the widths of both may be adjusted Note that it can take up to one full speaker rotation before you hear changes to tremolo when pa...

Page 205: ...while allowing space for more algorithms on other buses VC Dist HiLoRot2 makes different tradeoffs than VC Dist HiLoRotr The distortion is the same as used in Mono Distortion This distortion uses mor...

Page 206: ...t Drive Off 79 0 to 48 0 dB Vib Chor V1 Dist Curve 0 to 127 Roto InOut In or Out DistLPFreq 8 to 25088 Hz In Out In or Out In Gain Off 79 0 to 24 0 dB VibChInOut In or Out Out Gain Off 79 0 to 24 0 dB...

Page 207: ...cludes full control of the rotating speaker including speed size for Doppler shift tremolo acoustic beam width cabinet lowpass filter and resonance and full microphone control for two microphone posit...

Page 208: ...Gain Off 79 0 to 24 0 dB Rate 10 to 10 Hz Size 0 to 250 mm Trem 0 to 100 Beam W 45 0 to 360 0 deg Mic A Pos 180 0 to 180 0 deg Mic B Pos 180 0 to 180 0 deg Mic A Lvl 0 to 100 Mic B Lvl 0 to 100 Mic A...

Page 209: ...ratos V1 V2 and V3 and three choruses C1 C2 and C3 In Out In or Out In Gain Off 79 0 to 24 0 dB VibChInOut In or Out Out Gain Off 79 0 to 24 0 dB Vib Chor V1 Tube Drive Off 79 0 to 60 0 dB Roto InOut...

Page 210: ...in millimeters Affects the amount of Doppler shift or vibrato of signal Tremolo Controls the depth of tremolo of the signal Expressed as a percentage of full scale tremolo Beam Width The rotating spe...

Page 211: ...two pairs of microphones A and B for high and low frequency drivers Mic Lvl The level of the virtual microphone signal being sent to the output There are two pairs of microphones A and B for high and...

Page 212: ...together to match the level of the bypassed dry only signal Adding distortion to the dry signal will increase the output level unless Out Gain is reduced Parameters Page 1 In Out When set to In the d...

Page 213: ...enon caused by having only a limited number of bits with which 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...

Page 214: ...alue without worrying about changing the signal level Headroom is a parameter that you set to match your signal level then leave it alone At very low DynamRange values the quantization becomes very se...

Page 215: ...When the signal has a lot of headroom available signal level before digital clipping turning down DynamRange can cause the amplitude of adjacent quantization levels to exceed the input signal level Th...

Page 216: ...g of signals As might be expected Wet Dry sets the level of the wet Pitcher MiniVerb signal relative to the main dry input signal The Mix Pitcher and Mix Reverb parameters set the amounts of the outpu...

Page 217: ...esigned room types and sizes This parameter effectively allows you to have several different reverb algorithms only a parameter change away Smaller Rv Types will sound best with shorter Rv Times and v...

Page 218: ...tween the start of a sound and the output of the first reverb reflections from that sound Longer predelays can help make larger spaces sound more realistic Longer times can also help improve the clari...

Page 219: ...ve no effect on the signal An infinite ratio will compress all signal levels above the threshold level to the threshold level zero slope For ratios in between infinite and 1 1 increasing the input wil...

Page 220: ...s the compressor output as the side chain source Feedback compression tends to be more subtle but you cannot get an instant attack In the feedback configuration the signal being compressed may be dela...

Page 221: ...thms only a parameter change away Smaller Rv Types will sound best with shorter Rv Times and vice versa Note that since this parameter changes the structure of the reverb algorithm you may not modulat...

Page 222: ...po PAUs 1 or 2 The algorithms listed here are identical in most respects to combination effects elsewhere documented For example St Chorus Delay is closely based on Chorus Delay The difference for alg...

Page 223: ...channels or to gate based on both channels average magnitude Both the gate and compressor have their own side chain processing paths For both the gate and compressor side chain input may be taken from...

Page 224: ...ses above threshold and closes when the gate time expires When set to On the gate closes when the signal rises above threshold and opens when the gate time expires Gate Time The time in seconds that t...

Page 225: ...highly compressed low ratios are moderately compressed Comp Thres The compressor threshold level in dBFS decibels relative to full scale above which the signal begins to be compressed CompMakeUp A gai...

Page 226: ...v Time to Inf creates an infinitely sustaining reverb Rv Type Changes the configuration of the reverb algorithm to simulate a wide array of carefully designed room types and sizes This parameter effec...

Page 227: ...gate only one channel left or right then that channel will be sent to the next stage of the effect and the channel that is not selected will be discarded If you choose both L R 2 the sum mix of both c...

Page 228: ...utput of the entire algorithm GateIn Out When set to In the gate is active when set to Out the gate is bypassed GateSCInp Select the input source channel for gate side chain processing left right or b...

Page 229: ...open to closed reverse if Gate Duck is On after the gate timer has elapsed GateSigDly The delay in milliseconds ms of the signal to be gated relative to the side chain signal By delaying the main sig...

Page 230: ...velope amplitude The frequency range is 0 to 8372 Hz though the minimum setting for Min Freq is 58 Hz Note that the term minimum frequency is a reference to the resonant frequency at the minimum envel...

Page 231: ...ance The resonance level of the resonant filter Resonance sets the level of the resonant peak or the amount of cut in the case of the notch filter Threshold Tthe level above which signal envelope must...

Page 232: ...ies may be set to any combination of frequencies between 58 and 8372 Hz Note that the terms minimum and maximum frequency are a reference to the resonant frequencies at the minimum and maximum envelop...

Page 233: ...The filter resonant frequency is set to the base frequency while the signal envelope is below the threshiold Max Freq The frequency of the resonant filter that can be reached when the envelope followe...

Page 234: ...he trigger level Since the input signal can fluctuate rapidly it is necessary to adjust the rate at which the signal envelope can fall to the retrigger level The rate is provided in decibels per secon...

Page 235: ...lters The filter Resonance level may be adjusted The resonance is expressed in decibels dB of gain at the resonant frequency Since 50 dB of gain is available you will have to be careful with your gain...

Page 236: ...have no effect on the Tempo parameter LFO Period Sets the LFO rate based on the Tempo determined above the number of beats corresponding to one period of the LFO cycle For example if the LFO Period is...

Page 237: ...dpass or Notch Min Freq The minimum frequency of the resonant filter This is the resonant frequency at one of the extremes of the LFO sweep The resonant filter frequency will sweep between the Min Fre...

Page 238: ...no independent controls for left and right The filter type is selectable and may be one of low pass i high pass ii band pass iii or notch iv see figure below Figure 10 71 Resonant Filters i lowpass ii...

Page 239: ...ss Bandpass or Notch Frequency The frequency of the resonant filter peak or notch in Hz The frequencies correspond to semitone increments Resonance The resonance level of the resonant filter Resonance...

Page 240: ...of parameters A and B The parameter Morph A B determines which parameter set is active When Morph A B is set to 0 you are hearing the A parameters when set to 100 you are hearing the B parameters The...

Page 241: ...ROM presets Next set Morph A B to 100 and set the B parameters to a different vowel like sound You can now set up some FXMods on Morph A B to morph between the two sets of parameters perhaps using Fr...

Page 242: ...meters the FreqScale parameters will move each of the four filter frequencies together by the same relative pitch For the two filter sets A B there are four filters 1 2 3 and 4 Freq The center frequen...

Page 243: ...time t having a frequency f is represented as sin ft where is constant phase angle to correct for the sine wave not being 0 at t 0 The sine wave could also be represented with a cosine function which...

Page 244: ...pe Available shapes are Sine Saw Saw Pulse Tri and Expon Figure 4 Sine is simply another sine waveform Tri produces a triangular waveform and Expon produces a waveform with narrow sharp peaks which se...

Page 245: ...matter which input is left and which is right except to note that only the left signal will be passed through as dry L R Pan The output panning of the both wet and dry signals This control is active o...

Page 246: ...the waveform period The pulse is a square wave when the width is set to 50 This parameter is active only in Osc mode and when the Pulse waveform is selected Osc1Smooth Smooths the Saw Saw and Pulse w...

Page 247: ...oduce much output unless the sawtooth frequency and the Pitcher frequency match or are harmonically related because otherwise the peaks in the input spectrum won t line up with the peaks in the Pitche...

Page 248: ...ives a hollow square wavey sound to the output Figure 10 80 100 0 0 0 In Figure 10 80 there are deeper notches between wider peaks Figure 10 81 100 0 0 0 In Figure 10 81 there are peaks on odd harmoni...

Page 249: ...7 Figure 10 82 is like 100 100 100 100 except that all the peaks are at all multiples of half the Pitch frequency Figure 10 83 50 100 100 100 Figure 10 83 is halfway between 0 100 100 100 and 100 100...

Page 250: ...00 100 100 100 and 100 100 100 100 curves Figure 10 85 100 100 100 100 Figure 10 86 100 100 100 100 Figure 10 87 100 100 100 100 The other 1 632 240 792 response curves have been omitted to save space...

Page 251: ...t of the effect Pitch The fundamental pitch imposed upon the input Values are in MIDI note numbers Ptch Offst An offset from the pitch frequency in semitones This is also available for adding an addit...

Page 252: ...Super Shaper provides 6 more sine intervals before starting to zero pin at 2 50x The maximum shaper amount for Super Shaper is 32 00x Figure 10 88 Super Shaper Four Values of the Amount Parameter Para...

Page 253: ...ols provide the same type of shaping as VAST shapers but can go to 6 00x Parameters Page 1 Page 2 In Out When set to In the effect is active when set to Out the effect is bypassed Out Gain The overall...

Page 254: ...f LaserVerb With appropriate parameter settings this effect produces a decending buzz or whine somewhat like a diving airplane or a siren being turned off The descending buzz is most prominent when gi...

Page 255: ...nput channels are summed and run through a single mono LaserVerb The 1 PAU version does not have the cross coupling control but does have output panning Figure 10 90 LaserVerb Parameters for LaserVerb...

Page 256: ...nd right outputs Panning ranges from 100 fully left through 0 centered through to 100 fully right Dly Coarse You can set the overall delay length from 0 to 2 seconds 3 PAU or 0 to 1 3 seconds 2 PAU Le...

Page 257: ...zzy pitch which gets higher as the impulse spacing decreases The following figure is a simplified representation of the Revrse LaserVerb impulse response An impulse response of a system is what you wo...

Page 258: ...o 5 seconds Lengthening the delay will increase the duration or decay time of the reverb Dly Fine The delay fine adjust is added to the delay coarse adjust to provide a delay resolution down to 0 2 ms...

Page 259: ...ns 10 177 Contour Controls the overall envelope shape of the reverb When set to a high value sounds start at a high level and build slowly to the final hit As the control value is reduced sounds start...

Page 260: ...output based on the input signal level or the signal level at the output of the LaserVerb In most cases the gate would be based on the input signal When you gate on the output signal you must wait for...

Page 261: ...ether the gate side chain signal should be taken from the algorithm input or from the LaserVerb output Dly Coarse You can set the overall delay length from 0 to 5 seconds Lengthening the delay will in...

Page 262: ...gate will stay fully on after the signal envelope rises above threshold The gate timer is started or restarted whenever the signal envelope rises above threshold Gate Atk The time for the gate to ram...

Page 263: ...eters Page 1 Page 2 Wet Dry The relative amount of input signal and effected signal that is to appear in the final effect output mix When set to 0 the output is taken only from the input dry When set...

Page 264: ...itcher A and pitcher B may be set independently PchOff AL PchOff AR PchOff BL PchOff BR An offset from the pitch frequency in semitones Not only are the A and B pitchers treated separately the left an...

Page 265: ...ery similar to Ring Modulator which is a dual side band modulator If you set the up and down level parameters to match the output will be quite close to the Ring Modulator output Unlike Ring Modulator...

Page 266: ...p as you increase the frequency of the input sound The downward modulation is a difference subtraction in frequencies If the difference drops to negative values the frequency will start to rise again...

Page 267: ...y Two independent gain controls left and right to adjust the amplitude of the input signals See Wet Gain Wet Gain The gain or amplitude of the modulated wet signal The Wet Gain parameter and the In Ga...

Page 268: ...ned to the left or right algorithm outputs 100 sends the signal to the left output and 100 sends the signal to the right output UpOffsPan The up modulated signal may be panned to the left or right alg...

Page 269: ...LFO rates the pitch shifting is quite clean though you will hear some flanging However longer delay line lengths are needed at slower LFO rates for a given amount of pitch shift The delays can get qu...

Page 270: ...adjust to the pitch shift amount from 24 to 24 semitones The algorithm performs best when the amount of pitch shift is small Shift Fine A fine adjust to the pitch shift amount from 100 to 100 cents hu...

Page 271: ...effects in KDFX carefully manage levels on feedback loops to prevent instability In a digital system uncontrolled instability will usually rapidly enter digital clipping with full scale signal output...

Page 272: ...t together as the Chaos algorithm the interactions become very complex and many of the old rules don t seem to apply Keep plugging at it Parameters Page 1 Page 2 In Out When set to In the effect is ac...

Page 273: ...resonating turning up the highpass frequency will cause high frequencies to be emphasized Lowpass The lowpass filter removes frequencies above the specified cut off frequency The filter is first orde...

Page 274: ...shold level zero slope For ratios in between infinite and 1 1 increasing the input will increase the output but by less than it would if there was no compression The threshold is expressed as a decibe...

Page 275: ...the compressor will rapidly clamp down on the level The release time controls how long it takes the compressor to respond to a reduction in signal levels At long release times the signal may stay comp...

Page 276: ...e signal as a result of compression Parameters Page 1 Page 2 In Out When set to In the compressor is active when set to Out the compressor is bypassed Out Gain The output gain parameter may be used to...

Page 277: ...h the output of the compressor s envelope detector Smoothing will affect the attack or release times when the smoothing time is longer than one of the other times Signal Dly The time in ms by which th...

Page 278: ...control the rate at which compression changes in response to changing signal levels with the attack and release time controls With the attack time you set how fast the compressor responds to increase...

Page 279: ...igured as feed forward or feedback compressors For feed forward set the FdbkComprs parameter to Out for feedback compression set it to In The feed forward configuration uses the input signal as the si...

Page 280: ...ile the signal is reduced by more than the release threshold setting Rel Time B The time for the compressor to stop compressing when there is a reduction in signal level release from a signal level ab...

Page 281: ...moderately compressed Comp Thres The compression threshold level in dBFS decibels relative to full scale above which the signal begins to be compressed MakeUpGain Provides an additional control of th...

Page 282: ...ession is based on the sum of the magnitudes of the left and right channels A compression ratio of 1 1 will have no effect on the signal An infinite ratio will compress all signal levels above the thr...

Page 283: ...short attack and release times the compressor is almost able to keep up with the instantaneous signal levels and the algorithm will behave more like distortion than compression In addition to the att...

Page 284: ...er in the control signal path It is intended to smooth the output of the expander s envelope detector Smoothing will affect the attack or release times when the smoothing time is longer than one of th...

Page 285: ...ll scale and all other available values are negative Figure 10 106 Expander To determine how much to expand the signal the expander must measure the signal level Since musical signal levels will chang...

Page 286: ...o Out the expander is bypassed Out Gain The output gain parameter may be used to increase the gain by as much as 24 dB or reduce the gain to nothing Note that the Out Gain parameter does not control t...

Page 287: ...actually rises Ratio The expansion ratio High values 1 17 max are highly expanded low values 1 1 min are moderately expanded Threshold The expansion threshold level in dBFS decibels relative to full s...

Page 288: ...a parametric mid range filter Figure 10 108 Compressor with side chain equalization Using side chain equalization allows you to compress your signal based on the spectral frequency content of your si...

Page 289: ...i e side chain pre delay This allows the compression to appear to take effect just before the signal actually rises Ratio The compression ratio High ratios are highly compressed low ratios are modera...

Page 290: ...e SCMidGain The amount of boost or cut that the side chain parametric mid filter should apply in dB to the specified frequency band Every increase of 6 dB approximately doubles the amplitude of the si...

Page 291: ...For ratios between infinite and 1 1 increasing the input will increase the output but by less than it would without compression The compressor is a soft knee compressor so the transition from compres...

Page 292: ...the upper threshold the signal is compressed even further by the ratio corresponding to the upper threshold You may use the upper segment as a limiter infinite compression or you may use the two comp...

Page 293: ...actually happens or releasing the expander before the attack happens This feature works whether the side chain is configured for feed forward or feedback A meter is provided to display the amount of...

Page 294: ...pe detector Smoothing will affect the attack or release times when the smoothing time is longer than one of the other times Signal Dly The time in ms by which the input signal should be delayed with r...

Page 295: ...ncy signals in dB Every increase of 6 dB approximately doubles the amplitude of the signal Positive values boost the treble signal above the specified frequency Negative values cut the treble signal a...

Page 296: ...uld if there was no compression The threshold is expressed as a decibel level relative to digital full scale dBFS where 0 dBFS is digital full scale and all other available values are negative Figure...

Page 297: ...chain source Feedback compression tends to be more subtle but you cannot get an instant attack The signal being compressed may be delayed relative to the side chain compression processing The delay al...

Page 298: ...r parameters 1 and 2 set the frequencies which divide the three compression frequency bands The two parameters are interchangeable so either may contain the higher frequency value Atk Low Mid or High...

Page 299: ...in processing When you select both channels the sum of the left and right input amplitudes is used The gate is opened when the side chain amplitude rises above a level that you specify with the Thresh...

Page 300: ...il the envelope of the side chain signal falls below the threshold and rises above threshold again Since an envelope follower is used you can control how fast the envelope follows the signal with the...

Page 301: ...hain signal There are controls for a bass shelf filter a treble shelf filter and a parametric mid filter By filtering the side chain you can control the sensitivity of the gate to different frequencie...

Page 302: ...below the threshold At short times the gate can reopen rapidly after it has closed and you may find the gate opening unexpectedly due to an amplitude modulation of the side chain signal For long times...

Page 303: ...ubles the amplitude of the signal Positive values boost the signal at the specified frequency Negative values cut the signal at the specified frequency SCMidFreq The center frequency of the side chain...

Page 304: ...vide punch The transfer applied to the hipass signal can be used to generate additional high frequency content when set to a non zero value As the value is scrolled away from 0 harmonic content is add...

Page 305: ...r cut of the high shelving filter Hi Delay Adjusts the number of samples the hipass signal is delayed Hi Mix Adjusts the output gain of the hipass signal Lo Delay Adjusts the number of samples the lop...

Page 306: ...f the input signal giving it more definition Conversely delaying the higher bands relative to the lower bands brings out the low frequency transient information which can provide punch Figure 10 117 O...

Page 307: ...n a dry output signal Drive Low Mid and High Adjusts the input into each transfer Increasing the drive will increase the effects Xfer Low Mid and High Xfer1 and Xfer2 for Mid and High Adjusts the inte...

Page 308: ...metering L R Phase flips the LFO phase of the left channel for auto balancing applications The 50 Weight parameter bends the LFO shape up or down relative to it s 6dB point Figure 1 At 0dB there is n...

Page 309: ...For Tremolo BPM This parameter shifts the phase of the tremolo LFO relative to an internal beat reference It is most useful when Tempo is set to System and LFO Phase controls the phase of the LFO rela...

Page 310: ...iable center attenuation and a rate scaler that scales LFO rate into the audible range for a new flavor of amplitude modulation effects Final image placement can be monitored on the lower right of the...

Page 311: ...ogram material before it is auto panned At 0 the input image is shrunk to a single point source allowing maximum panning excursion At 100 the original width is maintained leaving no room for panning e...

Page 312: ...dth parameter is a percentage of the available excursion space after Origin is adjusted If Origin is set to full left 100 or full right 100 then there will be no room for LFO excursion Control of six...

Page 313: ...ing excursion Pan Width The amount of auto pan excursion This value represents the percentage of total panning motion available after Origin is set CentrAtten Amount the signal level is dropped as it...

Page 314: ...will cause a dip in level at the center LFO Shape The waveform type for the LFO Choices are Sine Saw Saw Pulse Tri and Expon PulseWidth When the LFO Shape is set to Pulse this parameter sets the pulse...

Page 315: ...the image and may have different optimal settings depending on the amount of stereo content in the inputs To match the optimal settings specified by SRS Labs the bass and treble gains should be set to...

Page 316: ...ting only the low frequencies of the difference signal you can greatly improve your sense of stereo envelopment without destroying your stereo sound field Envelopment is the feeling of being surrounde...

Page 317: ...f the difference signal if you suspect one channel is delayed with respect to the other RMS Settle Controls how fast the RMS meters can rise or fall with changing signal levels DiffBassG By boosting t...

Page 318: ...f the signal that contains stereo spatial information The Stereo Image algorithm has controls to change the relative amounts of sum or center versus difference signals By increasing the difference sig...

Page 319: ...ting the low frequency components of the difference signal of the intermediate stereo result you can increase the sense of acoustic envelopment the sense of being surrounded by an acoustic space DiffB...

Page 320: ...to 24 dB The frequency response of all the bands is shown in the Figure 1 The dual graphic equalizer has a separate set of controls for the two mono channels see Stereo Graphic Equalizer Figure 10 125...

Page 321: ...to 24 0dB 125Hz G 12 0 to 24 0dB 4000Hz G 12 0 to 24 0dB 250Hz G 12 0 to 24 0dB 8000Hz G 12 0 to 24 0dB 500Hz G 12 0 to 24 0dB 16000Hz G 12 0 to 24 0dB L In Out In or Out R In Out In or Out L 31Hz G 1...

Page 322: ...nd in dB 500Hz G Gain of the left 500 Hz band in dB 1000Hz G Gain of the left 1000 Hz band in dB 2000Hz G Gain of the left 2000 Hz band in dB 4000Hz G Gain of the left 4000 Hz band in dB 8000Hz G Gain...

Page 323: ...eq The center frequency of the bass shelving filters in intervals of one semitone Treb Gain The amount of boost or cut that the filter should apply to the high frequency signals in dB Every increase o...

Page 324: ...of the EQ in intervals of one semitone The boost or cut will be at a maximum at this frequency Midn Width The bandwidth of the EQ may be adjusted You specify the bandwidth in octaves Small values res...

Page 325: ...e values boost the bass signal below the specified frequency Negative values cut the bass signal below the specified frequency Bass Freq The center frequency of the bass shelving filter in intervals o...

Page 326: ...algorithm is a close copy of the V A S T DSP function giving control of the first highpass filter frequency the distortion drive and the amplitude of the result Stim Gain As a bonus the distortion cu...

Page 327: ...onics not including the fundamental or all harmonics Choosing all harmonics is the same as choosing even harmonics at half the frequency Figure 128 HarmonicSuppress filtering at full expansion F marks...

Page 328: ...ackground noise in the absence of signal thus typical expander settings use a fast attack to avoid losing real signal slow release to gradually fade out the noise and the threshold set just above the...

Page 329: ...amental frequency including any dc signal level are expanded with no expansion of the fundamental When set to Odd the odd harmonics including the fundamental are expanded The All setting expands all e...

Page 330: ...r side chain processing i e side chain predelay This allows the expansion to appear to turn off just before the signal actually rises Ratio The expansion ratio High values 1 17 max are highly expanded...

Page 331: ...parameter values are fixed at NoDpth and have no function except to connect sources to meters To use the algorithm save a Multieffect and Studio containing the algorithm then go to one of the FXMod p...

Page 332: ...ssed to the outputs and to the meters what you see on the meters are the signals to which you are listening The Invert parameters provide a quick polarity reversal to the input signals This polarity r...

Page 333: ...e right channel is reversed L Out Mode Determines which signal is to be metered left meter and passed to the left output Choices are L left R right L R 2 normalized sum L R 2 normalized difference and...

Page 334: ...10 252 KDFX Reference KDFX Algorithm Specifications...

Page 335: ...pan the entire range of humanly audible sound Bank There are two types of banks in the K2661 s memory memory banks which store and organize the programs and other objects you create and Quick Access b...

Page 336: ...of parameters used to modify a particular aspect of the K2661 for example the currently selected Program which is modified with the Program Editor The Program Editor spans several display pages which...

Page 337: ...can hold up to 100 objects of each type so we refer to them as the 100s bank the 200s bank and so on The ID of an object determines which bank it s stored in An object with an ID of 399 for example w...

Page 338: ...u save a program you ve created you re writing to program RAM P RAM P RAM is battery backed so it is saved from session to session Compare ROM ROM Read Only Memory one of the two basic types of comput...

Page 339: ...l type and large type views of the current program Value The current setting of a parameter Each parameter has a range of available values one of which you select while editing The Transposition param...

Page 340: ...11 6 Glossary...

Page 341: ...mitless number of possible combinations something like 30 billion depending on how you count In Figure 12 2 for example the processed audio signal from Layer 1 sample playback and or one or more DSP g...

Page 342: ...rs Soloing and muting always affects the entire triple however you can t solo or mute individual layers of a triple KB3 Programs You can t use triples in KB3 programs since KB3 programs don t use the...

Page 343: ...ed to go to one or more inputs in a Layer 3 algorithm 101 127 Some of the Layer 2 algorithms 63 80 begin with pitch blocks and some 81 100 do not Layers that use algorithms 81 100 don t make use of th...

Page 344: ...dding the triple takes a few seconds the display shows you the K2661 s progress 5 Rename and or save the program as desired If you want to use one of your own triples as the template edit the triple i...

Page 345: ...itProg ALG LyrT2 2 3 Algorithm 81 Triple layer 2 of 3 6 0WWWERWWWWWWERWWWWWWERWWTqwwwerwt KNONE kGAIN j cvvvvvVvvvvvvVvvvvvvVvvvbcvVvvvvm more ALG LAYER KEYMAP PITCH more Notice the arrow pointing to...

Page 346: ...ude envelope in Layer 3 Layer 1 s release will continue only as long as Layer 3 s release AMP Blocks in Layers 1 and 2 of a Triple When you put an AMP block in Layer 1 or 2 of a triple that layer uses...

Page 347: ...o revert to the natural amplitude envelope select the word User and change it to Natural by turning the Alpha Wheel one click in either direction Input Locations We mentioned that Layer 2 s amplitude...

Page 348: ...atter what the keymap is changing the keymap doesn t change the amplitude envelope The Natural Amplitude Envelope Look at the AMPENV page for Layer 3 of the triple If you see the default natural ampli...

Page 349: ...emselves using DSP functions like SINE and SAW For some of the Layer 2 algorithms 63 80 the input is the sample playback from Layer 2 mixed at one or more points with the output from Layer 1 For the r...

Page 350: ...rs on the AMPENV page for Layer 3 of the triple as opposed to editing the AMPENV parameters for Layers 1 or 2 For example decreasing the duration of the decay and or release segments reduces your poly...

Page 351: ...t be one of these functions Exploring the Possibilities You may never exhaust the possible combinations of DSP functions available with triple modular processing but keep experimenting We ve found tha...

Page 352: ...FILTER GAIN SHAPER 2POLE ALLPASS SHAPER DIST PARA BASS DIST PWM PARA TREBLE PWM SINE PARA MID SINE LF SIN LF SIN SW SHP SW SHP SAW SAW SAW SAW LF SAW LF SAW SQUARE SQUARE LF SQR LF SQR WRAP WRAP Algor...

Page 353: ...orithm 40 qwwerwwtqwwerwwtqwwerwwtqwwerwwt wwerwt d gk gk jk u j CVVVVVVBCVVVVVVBCVVVVVVM S VVVVVM PITCH NONE NONE NONE NONE AMP AMP AMP AMP LOPASS LOPASS LOPASS LOPASS HIPASS HIPASS HIPASS HIPASS ALP...

Page 354: ...SHP SW SHP SW SHP SAW SAW SAW SAW SAW SAW LF SAW LF SAW LF SAW SQUARE SQUARE SQUARE LF SQR LF SQR LF SQR WRAP WRAP WRAP Algorithm 43 qwwerwwtqwwerwwtqwwerwwt wwerwwtqwwerwt d gk jk u gk j CVVVVVVBCVVV...

Page 355: ...DE 2POLE LOWPASS ALPASS AMPMOD BANDPASS FILT GAIN NOTCH FILTER SHAPER 2POLE ALLPASS DIST PARA BASS PWM PARA TREBLE SINE PARA MID LF SIN SW SHP SAW SAW LF SAW SQUARE LF SQR WRAP Algorithm 47 qwwerwwtqw...

Page 356: ...xGAIN LOPASS LOPAS2 GAIN GAIN HIPASS 2POLE LOWPASS XFADE ALPASS BANDPASS FILT AMPMOD GAIN NOTCH FILTER SHAPER 2POLE ALLPASS DIST PARA BASS PWM PARA TREBLE SINE PARA MID LF SIN SW SHP SAW SAW LF SAW SQ...

Page 357: ...IST DIST PWM PWM SINE SINE LF SIN LF SIN SW SHP SW SHP SAW SAW SAW SAW LF SAW LF SAW SQUARE SQUARE LF SQR LF SQR WRAP WRAP Algorithm 55 qwwerwwtqwwerwwt wwerwwt wwerwwtqwwerwt d jk u u gk j CVVVVVVM S...

Page 358: ...WRAP PITCH NONE NONE NONE 2PARAM SHAPER xGAIN xGAIN LOPAS2 GAIN GAIN GAIN 2POLE LOWPASS XFADE XFADE BANDPASS FILT AMPMOD AMPMOD NOTCH FILTER 2POLE ALLPASS PARA BASS PARA TREBLE PARA MID Algorithm 59 q...

Page 359: ...k j CVVVVVVBCVVVVVVBCVVVVVVBCVVVVVVBCVVVVVM Algorithm 64 6 qwwerwwt7wwerwwtqwwerwwtqwwerwwwwwwerwt d i gk gk j CVVVVVVBCVVVVVVBCVVVVVVBCVVVVVVVVVVVVVM PITCH NONE NONE NONE NONE xGAIN AMP AMP AMP GAIN...

Page 360: ...LPASS GAIN GAIN SHAPER SHAPER DIST DIST PWM SINE SINE LFSIN LF SIN SW SHP SW SHP SAW SAW SW DIST SAW LPCLIP LF SAW SINE SQUARE NOISE LF SQR WRAP Algorithm 67 6 qwwerwwtqwwerwwt7wwerwwtqwwerwwwwwwerwt...

Page 361: ...SHP SW SHP SAW SAW SAW SW DIST SAW SAW LPCLIP LF SAW LF SAW SINE SQUARE SQUARE NOISE LF SQR LF SQR WRAP WRAP Algorithm 71 6 5wwwwwwwwwwwwwwww6 qwwerwwt7wwerww qwwerwwtqwwerwwt7wwerwt d jU fO gk i j CV...

Page 362: ...ER SHAPER DIST DIST PWM SINE SINE LFSIN LF SIN SW SHP SW SHP SAW SAW SW DIST SAW LPCLIP LF SAW SINE SQUARE NOISE LF SQR WRAP Algorithm 75 6 5wwwwwwww6 qwwerwwt7wwerww qwwerwwt7wwerwwt wwerwt d J fO jU...

Page 363: ...GAIN AMP AMP xGAIN GAIN LOPASS LOPASS GAIN XFADE HIPASS HIPASS GAIN AMPMOD ALPASS ALPASS GAIN GAIN SHAPER SHAPER DIST DIST PWM SINE SINE LFSIN LF SIN SW SHP SW SHP SAW SAW SW DIST SAW LPCLIP LF SAW SI...

Page 364: ...ST DIST PARA TREBLE SINE SINE PARA MID LFSIN LFSIN SW SHP SW SHP SAW SAW SW DIST SW DIST LPCLIP LPCLIP SINE SINE NOISE NOISE Algorithm 83 6 0wwerwwwwwwerwwtqwwerwwwwwwerwt K gk j CVVVVVVVVVVVVVVBCVVVV...

Page 365: ...W SAW SAW SW DIST SW DIST SAW SAW LPCLIP LPCLIP LF SAW LF SAW SINE SINE SQUARE SQUARE NOISE NOISE LF SQR LF SQR WRAP WRAP Algorithm 87 6 0wwerwwtqwwerwwtqwwerwwwwwwewwt K gk gk j CVVVVVVBCVVVVVVBCVVVV...

Page 366: ...P NONE NONE NONE NONE AMP AMP AMP xGAIN LOPASS LOPASS LOPASS GAIN HIPASS HIPASS HIPASS GAIN ALPASS ALPASS ALPASS GAIN GAIN GAIN SHAPER SHAPER SHAPER DIST DIST DIST PWM PWM SINE SINE SINE LFSIN LF SIN...

Page 367: ...NVVVVVVBCVVVVVVBCVVVVVM Algorithm 96 6 6 0wwerwwt7wwerwwtqwwerwwwwwwerwt K i gk j CVVVVVVBNVVVVVVBCVVVVVVVVVVVVVM NONE NONE NONE NONE AMP xGAIN AMP AMP LOPASS GAIN LOPASS LOPASS HIPASS XFADE HIPASS HI...

Page 368: ...N LF SIN SW SHP SW SHP SAW SAW SW DIST SAW LPCLIP LF SAW SINE SQUARE NOISE LF SQR WRAP Algorithm 99 6 5wwwwwwww6 0wwerwwtqwwerww qwwerwwt7wwerwt K gk fk i j CVVVVVVBCVVVVVVBCVVVVVVBNVVVVVM Algorithm 1...

Page 369: ...SHAPER DIST DIST DIST SINE SINE SINE LFSIN LFSIN LFSIN SW SHP SW SHP SW SHP SAW SAW SAW SW DIST SW DIST SW DIST LPCLIP LPCLIP LPCLIP SINE SINE SINE NOISE NOISE NOISE Algorithm 103 6 0wwerwwtqwwerwwww...

Page 370: ...S ALPASS GAIN GAIN SHAPER SHAPER DIST DIST SINE SINE LFSIN LFSIN SW SHP SW SHP SAW SAW SW DIST SW DIST LPCLIP LPCLIP SINE SINE NOISE NOISE Algorithm 107 6 0wwerwwwwwwerwwtqwwerwwt wwerwty K gk G GH CV...

Page 371: ...BAND2 GAIN HIPASS NOTCH2 GAIN ALPASS LP2RES GAIN GAIN SHAPE2 GAIN SHAPER LPGATE GAIN DIST PARA MID SINE LFSIN SW SHP SAW SW DIST LPCLIP SINE NOISE Algorithm 111 6 0wwerwwtqwwerwwwwwwerwwt wwerwt K jk...

Page 372: ...APER SHAPER DIST DIST DIST SINE SINE SINE LFSIN LFSIN LFSIN SW SHP SW SHP SW SHP SAW SAW SAW SW DIST SW DIST SW DIST LPCLIP LPCLIP LPCLIP SINE SINE SINE NOISE NOISE NOISE Algorithm 115 6 0wwerwwtqwwer...

Page 373: ...E SINE LFSIN LFSIN SW SHP SW SHP SAW SAW SW DIST SW DIST LPCLIP LPCLIP SINE SINE NOISE NOISE Algorithm 119 6 6 0wwerwwt7wwerwwtqwwerwwt wwerwt K i jk u gh CVVVVVVBNVVVVVVM S VVVVVB Algorithm 120 6 6 6...

Page 374: ...AIN HIPASS GAIN ALPASS GAIN SHAPER DIST SINE LFSIN SW SHP SAW SW DIST LPCLIP SINE NOISE Algorithm 123 6 6 6 6 0wwerwwt7wwerwwt7wwerwwt7wwerwty K i JU i u CVVVVVVBNVVVVVVM SL S Algorithm 124 6 6 6 0www...

Page 375: ...0wwerwwtqwwerwwt7wwerwwtqwwerwty K gk JU gk u CVVVVVVBCVVVVVVM S S NONE AMP NONE AMP AMP AMP LOPASS LOPASS HIPASS HIPASS ALPASS ALPASS GAIN GAIN SHAPER SHAPER DIST DIST SINE SINE LFSIN LFSIN SW SHP S...

Page 376: ...2 Filter Decay Time MIDI23 Filter Frequency MIDI24 Amplitude Release Time MIDI25 Filter Resonance MIDI26 LFO Depth filter layers1 3 PWM layers 4 6 MIDI27 Delay Wet Dry MIDI28 Reverb Wet Dry MIDI29 Swi...

Page 377: ...filter frequency MIDI22 Filter resonance MIDI23 Pitch Saw 2 MIDI24 AmpMod amount MIDI25 Notch2 frequency MIDI26 Notch2 amplitude MIDI27 Reverb wet dry MIDI28 Pitch detune MIDI29 Delay mix MPress Pitch...

Page 378: ...ry stereo delay level MIDI28 FX2 input width treble attenuation 736 Mad Three Oh MWheel Pitch modulation Data Filter frequency MIDI22 Filter resonance separation distortion hipass gain MIDI23 Envelope...

Page 379: ...Special Cases In some algorithms there are nonstandard DSP blocks containing specialized functions These functions have different numeric entries as listed below In all other cases numeric entries se...

Page 380: ...able 12 3 Buttonpad entries for DSP functions sorted alphabetically Function Block Size DSP Function Numeric Entry Two block SHAPE MOD OSC 67 2PARAM SHAPER 64 2POLE ALLPASS 5 2POLE LOPAS 2 AMP MOD OSC...

Page 381: ...P Table 12 4 Buttonpad entries for DSP functions sorted numerically Function Block Size Numeric Entry DSP Function Two block 2 2POLE LOPAS 3 BANDPASS FILT 4 NOTCH FILT 5 2POLE ALLPASS 8 PARA BASS 9 PA...

Page 382: ...12 42 Triple Modular Processing Alphanumeric Buttonpad Entries for DSP Functions...

Page 383: ...e setups transmit on eight MIDI channels with independent programmable controls Fully featured onboard sequencer for recording from keyboard or via MIDI loads and plays MIDI Type 0 sequences Easy to u...

Page 384: ...on balanced MIX outputs including simultaneous reverb chorus delay flanging EQ and more Realtime internal and MIDI control of effects parameters MIDI standard sample dump load capability SMDI sample...

Page 385: ...cifications Audio Jacks 1 4 inch TRS balanced unbalanced Tip Positive Ring Negative Sleeve Chassis Ground Separate Outputs Mix Outputs Headphone Output Voltage setting 100V 120V 230V 240V Safe voltage...

Page 386: ...cations Messages Altered Note Number 0 127 0 11 sets intonation key True Voice 0 127 0 127 Velocity Note ON O O Note OFF O O After Touch Keys X O Channels O O Pitch Bender O O Control Change O 0 31 32...

Page 387: ...yte of MIDI data ranging in value from 0 to 127 for example 2A which represents the decimal numeral 42 2 x 16 10 The hexadecimal numerals correspond to particular SysEx commands Many of these commands...

Page 388: ...from 128 to 255 End The last hexadecimal numeral in a SysEx message is always F7 127 decimal which indicates the end of the SysEx message Command Type Allowable Values Hexadecimal Allowable Values De...

Page 389: ...Input C or for C Left if Input C receives a mono signal 05 5 Send1 for Input C Right if Input C receives a mono signal 06 6 Send1 for Input D or for D Left if Input D receives a mono signal 07 7 Send...

Page 390: ...e K2661 interprets these bytes as a two byte pair and not as unrelated bytes The first byte called the most significant byte MSB sets the general range of the value while the second byte the least sig...

Page 391: ...ameter values since the MIDI source might do it for you For example with one well known MIDI fader box the following values configure a fader for control over the Wet Dry mix of the effect on the Aux...

Page 392: ...B 6 SysEx Control of KDFX MSB and LSB...

Page 393: ...aying a Groove Setup you can activate a drum pattern actually a song file by pressing any key below C3 C below middle C Once triggered the drum pattern is automatically held or latched in other words...

Page 394: ...from our common settings shown below The NewZn parameter uses this setup as its template for creating new zones Slider A Data Continuous Controller Pedal 1 Foot MIDI 4 Slider B MIDI 22 Continuous Cont...

Page 395: ...ns 4 Strings 5 Voices 6 Ensembles 7 Guitars 1 8 Guitars 2 9 Basses 10 Synth Basses 11 Drums 1 12 Drums 2 13 Percussion 14 Solo Brass 15 Section Brass 16 Winds 17 Analog Synths 18 Synths Leads 19 Digit...

Page 396: ...7 Triple Trip LP Freq 48 Vortex Coil pitch bend 49 Barren Landscape Lunar Wind trigger 50 Otherworldly LP freq 51 Super Lush pitch bend 52 Pad Soundscape BP Freq 53 Glassy Eyed pitch bend 54 Expansive...

Page 397: ...rv 39 Progresso Fll 40 Trio 4 Arr 41 Trio 4 Grv 42 Trio 4 Fll 43 Fresh Tracks Arr 44 Fresh Tracks Grv 45 Fresh Tracks Fll 46 Survival Arr 47 Survival Grv 48 Survival Fll 49 SUV Ad Arr 50 SUV Ad Grv 51...

Page 398: ...y MIDI26 Distortion Warmth MIDI27 Distortion Drive MIDI28 Reverb Density MIDI29 Lo Freq Cut 8 The Phase EP MWheel Enables Stereo Tremolo Data Tremolo Rate MIDI 22 Phaser Rate MIDI 23 Phaser Center Fre...

Page 399: ...Time shorter 18 Solo Arco Violin MWheel Envelope Attack Rate Data Low pass filter cutoff duller MIDI25 Aux Hall Level MIDI26 Fx1 Room Wet Dry dryer MPress Vibrato Rate Depth id name ctrl function 19...

Page 400: ...ck Trio MW Leslie Depth Data Defeats Ride Cymbal MIDI22 Vibrato Chorus MIDI23 Swap Guitar for Organ Mpress Pitch Bend on Guitar Layer id name ctrl function 31 Steel Str Guitar MWheel Vibrato Data Lyr...

Page 401: ...Vibrato 42 Piano Trio MWheel Vibrato Data Ride Cymbal Fade MIDI24 Treble EQ KDFX MIDI25 Aux Hall Level FX1 wet dry dryer Mpress Vibrato id name ctrl function 43 Warm Bass 1 2 MWheel Vibrato Data toggl...

Page 402: ...Ctl MIDI25 FX1 Wet Dry dryer MIDI26 FX1 Reverb Time MIDI27 Aux Hall Level MIDI28 FX1 HF Damping Bass Shelf EQ id name ctrl function 51 2 Live Kits 2 MW MWheel Multiple Layer toggle Data Pitch Kicks To...

Page 403: ...less MIDI29 Switch to FX bus 2 Quan tize Flange Mpress Pitch Bend Vibrato id name ctrl function 58 Vibraphone MWheel Tremolo Depth Data Tremolo Rate MIDI22 Partial Pitches Layer Delay MIDI23 InEQ Bas...

Page 404: ...hc I O MPress Vibrato 67 Hip Brass MWheel Vibrato Data Low Pass Freq MIDI25 FX1 Wet Dry MIDI26 Aux Hall Level MIDI27 Aux HF Damping MIDI29 Sweep Filt I O MPress Swell id name ctrl function 68 Brt Saxy...

Page 405: ...Decay MIDI23 Envelope Sustain Level MIDI24 Envelope Release MIDI25 Reverb Wet Dry MIDI26 Reverb Time MIDI27 Chorus Delay Wet Dry dryer id name ctrl function 78 Memorymoog MWheel Vibrato Data Low Pass...

Page 406: ...e Shelf EQ Gain KDFX MIDI25 Aux Hall Level MIDI26 Chorus Delay MIDI27 Chorus Depth MIDI28 Mix Delay MIDI29 Aux Pre Delay Decay Time MPress Vibrato id name ctrl function 87 SynKey MWheel Vibrato Data M...

Page 407: ...DI27 FX2 Frequency Out Gain MIDI28 FX2 Resonance MIDI29 toggle Hall to Resonant Filter Mpress Vibrato id name ctrl function 97 Ethereal Strings MWheel Band Pass Freq Width Amplitude Data Lyr enable MI...

Page 408: ...rus Mix MIDI27 Chorus FB MIDI28 aux Delay Mix MIDI29 Delay Time adj id name ctrl function 111 Fonk Epno MW MWheel Wah Filter Foot Wah Filter Data Tremolo Depth MIDI22 Tremolo Rate MIDI23 Env Ctl Atk M...

Page 409: ...hed Data Enable Octave Layer MIDI22 Treble Shelve EQ MIDI23 Bass Shelve EQ MIDI25 Hall Wet Dry MIDI26 Reverb Time id name ctrl function 122 Adagio Strings MWheel none Data Treble Shelf EQ MIDI22 Bass...

Page 410: ...le Enhc Chorus Hall Room MPress Vibrato id name ctrl function 133 ES335 MWheel Notch Filt Tremolo Data Para Mid Freq MIDI22 Para Mid Amp ES335 MIDI23 EnvCtl Att MIDI24 EnvCtl Rel MIDI25 aux Hall Mix M...

Page 411: ...rl function 140 CeeTaur MWheel Vibrato Data Low Pass Freq MIDI22 EnvCtl Imp MIDI23 EnvCtl Att MIDI24 EnvCtl Rel MIDI25 aux Hall Lvl Fx3 Rvb Time MIDI26 Fx2 Phase W D MIDI27 Phase L R LFO Fx3 Flange Mi...

Page 412: ...res Crash2 MIDI25 FX1 Wet Dry FX1 2 Aux Levels Aux Rev Time MIDI26 FX1 Rev Time FX2 Wet Dry id name ctrl function 149 General MIDI Kit MWheel Assorted Filters on most elements Data PItch Kicks B1 C2 a...

Page 413: ...27 Chorus Mix MIDI28 Delay Mix sys MIDI29 Plate LFO adj Delay FB MPress Pitch Bend down id name ctrl function 157 Almost Muted MW MWheel Vibrato mute adj Data LoPass Freq MIDI22 HiPass Freq MIDI23 Env...

Page 414: ...Attack MIDI22 Env Ctl Release MIDI25 FX1b Reverb Wet Dry MIDI26 Aux Hall Level MIDI27 FX1a Chorus Wet Dry MIDI28 FX1a Chorus Feedback Level id name ctrl function 168 Soft Matrix 12 MWheel Vibrato Data...

Page 415: ...in MIDI25 Aux Hall Level MIDI26 Aux Wet Dry MIDI27 FX3 Delay Time MPress Vibrato id name ctrl function 177 Modular Lead MWheel Vibrato Data Octave Pitch Shift Layer 1 MIDI22 Low Pass Freq fade Layer 1...

Page 416: ...Vibrato Data Octave Pitch Shift MIDI23 Env Ctl Attack MIDI24 Env Ctl Release MIDI25 Aux Hall Level MIDI26 Aux Reverb Time MIDI29 Aux Hall Level id name ctrl function 188 Heaven Stack MWheel Vibrato D...

Page 417: ...eel Pitch Shaper Layer 2 MIDI25 Aux Hall Level MIDI26 Aux Decay Time 198 Click 199 Default Program id name ctrl function 730 L il Nipper Kit MWheel SFX Pitch Data Pitch Kick Toms MIDI22 Pitch Snares A...

Page 418: ...IDI28 Chorus FB MIDI29 toggle Chorus 4Tap Flange MPress Vibrato id name ctrl function 736 Lowdown Bass MWheel Vibrato HiPass Freq Chirp Data LoPass Gate MIDI22 EnvCtl Imp MIDI23 EnvCtl Att MIDI24 Lyr...

Page 419: ...ft MIDI22 HFstim adj Pan adj MIDI23 InEQ Bass Lyr Xfade MIDI24 InEQ Treb Pan adj EnvCtl Rel MIDI25 aux Hall Lvl MIDI26 Hall Decay Time PreDly MIDI27 Delay Mix sys MIDI28 Chorus Delay Time MIDI29 Choru...

Page 420: ...MIDI29 toggle Delay I O MPress Vibrato id name ctrl function 780 DynOrch WTel lOrc MWheel string and brass balance Data toggle DynOrch WTel lOrch MIDI22 ParaMid and LoPass Freq Shaper Drive MIDI23 Sha...

Page 421: ...toggle Spin I O Room HFDamp Time MPress Vibrato id name ctrl function 786 Mellotron MW MWheel 3 way toggle Ens Strg Solo Strg dwn 8ve Flute Data Octave jump MIDI22 LoPass Freq ParaTreb Freq HiFreqStim...

Page 422: ...vCtl Rel MIDI25 aux Hall Lvl MIDI26 LrsDelay W D Pitch W D MIDI27 LsrDelay contour Pitch pair weights MIDI28 Pitch odd weights MIDI29 toggle Laser Pitch MPress Vibrato Pitch LFO adj PWheel Shaper adj...

Page 423: ...Contemporary ROM Block Objects D 1 Appendix D Contemporary ROM Block Objects This Appendix describes the Contemporary ROM objects provided with your K2661...

Page 424: ...Dyn Jazz Guitar 872 Pedal Steel 873 Strummer DistGtr 874 Rock Axe 875 Hammeron 876 Rock Axe mono Synths 877 Attack Stack 878 Skinny Lead 879 Q Sweep SynClav 880 Anna Mini 881 Ballad Stack 882 Big Sta...

Page 425: ...le Ghtm rel 892 Jungle Tabla 893 Jungle Dumbek 894 Jungle ProcDrms2 895 Jungle GhtmStrgt 896 Syn Bass Pick 897 ARP SAW 898 ARP PW30 899 OB PW25 Samples 800 Hybrid Pan 801 Glass Rim Tone 802 Synth Vox...

Page 426: ...2 Ritual Metals Vibrato Vibrato 803 Prepared Mbira Pitch change 804 Balinesque Pan flute fade 805 Ambient Bells Vibrato Vibrato 806 World Jam 1 Pitch change Mirror image drum mapping 807 World Jam 2 P...

Page 427: ...on At ff crash cymbal is triggered Mod wheel and pressure enable rotary speaker for RH organ Data slider switches LH to walking rhythm section and RH to guitar solo Drum Kits 845 World Rave Kit Disabl...

Page 428: ...nnyLead Vibrato Overdrive enable Vibrato Filter 879 Q Sweep SynClav Vibrato Sweep rate ctl Vibrato 880 Anna Mini Vibrato Vibrato 881 Ballad Stack Swell Swell 882 Big Stack Vibrato Env ctl Vibrato 883...

Page 429: ...1 and FXBus2 In most cases toggling effects with PSw2 affects only a single layer on a single input pair In some cases however the switching is more complicated and toggling effects moves one or more...

Page 430: ...linesque 7 RoomFlgEcho Hall B room reverb wet dry C hall reverb level hybrid pan D echo wet dry hybrid pan E hall reverb level F flange wet dry G flange feedback level H flange LFO tempo PSw2 toggle r...

Page 431: ...everb quantization flange 818 CowGogiBell 76 HallGateFl4T Bth B booth reverb level C hall reverb wet dry D booth reverb time E booth reverb level PSw2 toggle hall gate 819 Perc Pan Lead 98 auxFlngCDR...

Page 432: ...erb wet dry reverb time C aux comp reverb level MW rotor speed PSw2 toggle room reverb rotary effect 834 Soft Alto Sax 65 ChamDstEcho Room B room reverb level C room reverb time D chamber wet dry E ro...

Page 433: ...ll reverb level C room1 reverb wet dry bass drums D room2 reverb wet dry gtr horns E room2 reverb time gtr horns PSw2 room2 size gtr horns 844 Full Rock Band 25 RmRotoFl4T CmpRv B vib config in out C...

Page 434: ...resonance PSw2 toggle env filt 4Tap EQ 857 Two Live Bass 61 CompEQmphCh Room B room reverb level C comp ratio D EQMorph panning GAttVel EQMorph config PSw2 toggle compressor EQMorph 858 Dual Tri Bass...

Page 435: ...oom reverb level C CDR wet dry D CDR reverb mix E CDR chorus mix F CDR delay mix PSw2 tremolo CDR 869 Strataguitar 101 auxFlLsr SwHall B hall reverb level C LaserVerb wet dry PSw2 flange in out EQ Las...

Page 436: ...ack level E EQ bass boost F aux flange wet dry feedback level G aux flange LFO tempo PSw2 toggle Delirium Throaty flanges 881 Ballad Stack 29 RoomSrsCDR CDR B aux CDR level C aux CDR chorus feedback l...

Page 437: ...chorus mix feedback C flange feedback D aux chorus LaserDelay wet dry E aux delay feedback F aux delay tempo G flange wet dry Xcurs aux chorus rate 893 Circus Music 151 ChDlSp4TFlDl Phs B 4Tap wet dry...

Page 438: ...CD B PCD chorus feedback enhancer mid lo drive C PCD delay mix feedback D PCD level 899 Planet 9 137 AuxChorFlng CDR B CDR level reverb mix time C flange wet dry feedback EQ D CDR chorus feedback E fl...

Page 439: ...evel feedback E lead pad hi frequency damp F lead pad delay color G lead pad flange gain LFO Tempo 809 Mt Chicorora C2 71 auxChorFlRv Cmb2 G perc reverb time MWheel pad bass boost 810 Hold Low 3sec Rb...

Page 440: ...ere 90 auxPhsrFDR Hall G pad flange delay reverb wet dry 831 Breath Pad 63 ChmbTremCDR Room G lead delay wet dry feedback high frequency damp MPress pad tremolo Tempo room reverb level 832 Trippy Jam...

Page 441: ...rb level G organ hall reverb level 847 BehindEnemyLines 91 auxChrDist Hall G hall reverb level MDdelay wet dry 848 Tunnel Visionprs 6 RoomFlngCDR Hall E flange wet dry F CDR wet dry G hall reverb leve...

Page 442: ...D 20 Contemporary ROM Block Objects Controller Assignments Contemporary ROM Block...

Page 443: ...Orchestral ROM Block Objects E 1 Appendix E Orchestral ROM Block Objects This Appendix describes the Orchestral ROM objects provided with your K2661...

Page 444: ...edal Pipes 2 970 Church Bells 971 Glockenspiel Percussion 972 Xylophone 973 Chimes 974 Timpani Chimes 975 Timpani 976 Timpani Perc 977 Big Drum Corp 978 Orch Percussion1 979 Orch Percussion2 980 Jam C...

Page 445: ...on 2 978 Harparps 2 979 BassDrum Timp 980 Organ Wave 8 981 Buzz Wave 2 982 Ahh Buzz Wave 983 OB Wave 1 984 OB Wave 2 985 OB Wave 3 986 Tenor tune alt 987 Dual Ride 1 988 Black Fills C 989 Orc Perc Pre...

Page 446: ...None 904 Horn Flute w Str Strings fadeout Disables strings None 905 Trp Horns w Str Strings fadeout Disables strings None Winds 906 Piccolo None Wet Dry mix None 907 Orchestral Flute Envelope control...

Page 447: ...ighter Wet Dry mix Vibrato rate swell 946 Arco Dbl Bass Bass boost Wet Dry mix Vibrato depth 947 Slow Arco Bass Delays auto vibrato Wet Dry mix Swell vibrato rate depth 948 Brt Dbl Bass Decrescendo We...

Page 448: ...ayer for rolls 976 Timpani Perc Alt attack timp None None Sost ped enables bass drum Sus ped dampens 977 Big Drum Corp None Enables both fill layers black keys f 3 a 4 None Sost ped switches layers Su...

Page 449: ...FXBus2 In most cases toggling effects with PSw2 affects only a single layer on a single input pair In some cases however the switching is more complicated and toggling effects moves one or more layers...

Page 450: ...ch Bassoon 42 RoomRmHall Hall B aux hall reverb level time 917 Solo Bassoon 42 RoomRmHall Hall B aux hall reverb level time 918 Woodwinds 1 42 RoomRmHall Hall B aux hall reverb level time 919 Woodwind...

Page 451: ...pelSRS Hall B room reverb wet dry 963 Snappy Jazz Bass 108 ChapelSRS Hall B room reverb wet dry 964 Dynamic Harp 108 ChapelSRS Hall B chapel reverb wet dry time 965 Harp w 8ve CTL 108 ChapelSRS Hall B...

Page 452: ...all reverb level C gate reverb wet dry 994 Tranquil Sleigh 74 HallFlgChDl Room B room reverb level C flange wet dry 995 Batman Strings 11 RoomFlngCDR Hall B Batcave reverb level C flange wet dry 996 E...

Page 453: ...rb wet dry G aux reverb level 914 Wonderous Spaces 74 HallFlgChDl Room F harp delay mix wet dry G room reverb level 915 Metal Orch Pad 11 RoomFlngCDR Hall G hall reverb level time 916 Toon prs 42 Room...

Page 454: ...dry G chamber reverb level 942 Down Wind SmRbn 5 RoomChrCh4T Hall G reverb chorus delay wet dry MWheel wind chorus LFO rate 943 Gtr Piano 134 ChDlyChrCDR Spac D acoustic guitar delay mix piano chorus...

Page 455: ...piano The most noticeable of these sympathetic vibrations come from the strings whose fundamental pitches match the harmonics of the strings that were struck by the hammers To create a more realistic...

Page 456: ...e mic dynamic grand exaggerated filter on softest strikes for extended dynamic range 704 Jazz Grand Sounds nice in a jazz combo setting 705 Bright Grand Sounds like a relatively brightly voiced piano...

Page 457: ...sympathetic vibrations MIDI 25 Wetter MIDI 67 Soft pedal MIDI 6 Disables sympathetic vibrations MIDI 25 Reverb time 713 Rock Grand Mono For use with a mono PA system 714 GrPno Strings 715 GrPno Pad 71...

Page 458: ...Grand 729 Way in the Grand Play sparsely MIDI 6 Fades to bowed layer only MIDI 25 Controls send to flanger MIDI 25 Wetter MIDI 67 Soft pedal Mod Wheel Manual wah wah MIDI 25 Wetter Mod Wheel Detune M...

Page 459: ...ce the harmonic content of the sound The final stage of sound shaping was done in KDFX our massive effects processing engine KDFX played a crucial role in making this a truly ground breaking project p...

Page 460: ...os ROM make extensive use of KDFX effects and the programs were greatly enhanced by the ability to chain multiple effects presets on a single KDFX bus Thirty one new KDFX studios are included with Vin...

Page 461: ...tually pre dated the first Rhodes suitcase model Two basic models were produced of which there were a few versions the 100 series manufactured from c 1954 1967 and the 200 series which continued from...

Page 462: ...used with chorus and compression effects the CP 80 was known for having more punch than an acoustic piano Production began in 1977 and ended in 1987 RMI Electra Piano Built by Rocky Mount Instruments...

Page 463: ...tremolo MIDI 29 Sw2 Modwheel enables hard pan square shaped tremolo The sound itself recreates the Rhds on Stevie Wonder s Living for the City Featured in KDFX is Kurzweil s emulation of the classic E...

Page 464: ...ion 609 Herbie sEPWahSw2 MWheel Enables smooth stereo tremolo Data Tremolo Rate MIDI 22 Echo Feedback MIDI 23 Behaves exactly like a Wah Pedal when MIDI29 is pressed For those without the ccpedal MIDI...

Page 465: ...Tremolo Data Tremolo Rate MIDI 22 Lowpass KDFX EQ Brightness MIDI 24 Reverb Time MIDI 25 Reverb Wet Dry MIDI 26 Distortion Warmth MIDI 27 Distortion Drive MIDI 28 Decreases Compression Amount MIDI 29...

Page 466: ...MIDI 26 Distortion Warmth MIDI 27 Distortion Drive MIDI 28 Turns down off Thump Tine Noise MIDI29 Sw2 Switches to Stereo Tremolo ID Name Control Function 624 Triple Tines MWheel Enables mono Tremolo D...

Page 467: ...Warmth MIDI 27 Distortion Drive MIDI 28 Phaser Xcouple Tone MIDI 29 Sw2 Enables Phaser ID Name Control Function 632 StandnOnTheVerge MWheel Enables Mono Tremolo Data Tremolo Rate MIDI 22 Brightness F...

Page 468: ...Freq in VAST MIDI 23 Phaser Rate MIDI 25 Reverb Wet Dry MIDI 26 Distortion Warmth MIDI 27 Distortion Drive MIDI 28 Phaser Xcouple Tone MIDI 29 Sw2 Enables Phaser Imitates two classic sounds used by Ji...

Page 469: ...m the Zombies classic She s Not There ID Name Control Function 648 Tony s FuzzBox MWheel Enables Mono Tremolo Data Tremolo Rate MIDI 23 Enables Alt Start Mellows the attack MIDI 25 Reverb Wet Dry MIDI...

Page 470: ...DI 23 Alt Start Control MIDI 24 EnvCtl Impact MIDI 25 Aux Hall Level Reverb Time MIDI 26 LFO Rate Phaser MIDI 27 Feedback Level Phaser MIDI 28 Bandwidth Phaser ID Name Control Function 657 CP80 All Pu...

Page 471: ...the modwheel up to produce the thin sound from the intro of the song ID Name Control Function 667 Lamb s Wool Data InEQ Bass Gain MIDI 22 Para EQ Amp MIDI 23 EnvCtl Impact MIDI 24 EnvCtl Release Time...

Page 472: ...24 EnvCtl Release Time MIDI 25 Aux Send Level MIDI 26 Rotary Rate Control MIDI 27 Rotary In Out MIDI 29 Sw2 Disables Lyr 3 ID Name Control Function 677 FrankenRoadz MWheel Enables Mono Tremolo Data Tr...

Page 473: ...ay Pad lay ers MIDI 25 Aux Reverb Wet Dry MIDI 26 Aux Reverb Time MIDI 27 Aux HiFreq Damping MIDI 29 Sw2 Disables EPno Layer ID Name Control Function 685 Pick Up EP MWheel Bandpass Filter Freq EQ Dist...

Page 474: ...verb Time MIDI 27 Mix Pitcher High Freq Damp ening Level MIDI 28 Pitcher Pitch LaserVerb Delay Coarse MIDI 29 Sw2 LaserVerb bus switch ID Name Control Function 693 Electro Fugue MWheel Tremolo Data Tr...

Page 475: ...awbars MIDI 22 Drawbars MIDI 23 Drawbars MIDI 24 Drawbars MIDI 25 Drawbars MIDI 26 Drawbars MIDI 27 Drawbars MIDI 28 Drawbars MIDI 29 Sw2 Enables Laserverb SusPedal Space Leslie KDFX 2b Wetlip Flange...

Page 476: ...Time MIDI 25 Aux Send Level Reverb Time MIDI 26 Delay Mix MIDI 27 Chorus Wet Dry MIDI 28 In EQ Treble Freq Gain 605 Mello MW EPnoSw2 MWheel Sw Mellotron Ens Strings SoloStrings Flutes Data Octave Swit...

Page 477: ...tch Depth Tone Bass Vibrato Data Toggle Warm Bass 1 2 MIDI 22 Phaser Rate MIDI 23 Phaser Depth MIDI 24 Phaser Center Freq Tone MIDI 25 Reverb Wet Dry MIDI 26 Chorus Hi Freq Dampening MIDI 27 Chorus De...

Page 478: ...adz Thump 618 RMI_accenter lo 605 Wurly 619 RMI_accenter hi 608 Wurly Thump 620 CP80 E Grand 609 Wurly Key Rel 623 Pianette 615 RMI Electra Piano 624 Fast Pianette ID Studio ID Studio ID Studio 600 Ch...

Page 479: ...set on the Master GM page Receive velocity map GM uses the GM Receive Velocity Map progChgType GM uses 0 127 mode Old settings will be remembered however so that when you turn GM Mode off the K2661 wi...

Page 480: ...13 Marimba 45 Tremolo Strings 77 Blown Bottle 109 Kalimba 14 Xylophone 46 Pizzicato String 78 Shakuhachi 110 Bagpipe 15 Tubular Bells 47 Plucked Harp 79 Whistle 111 Fiddle 16 Dulcimer 48 Timpani 80 O...

Page 481: ...1 and 2 of the table will depend on whether or not GM Mode is enabled You can also create own GM drum kits and store them at locations 528 535 GM Mode Program No Standard Mode Program No Drum Kit Nam...

Page 482: ...23 Reverb Time MIDI 24 HF Dampening MIDI 25 L R PreDelay Time 408 Celeste MWheel Vibrato MIDI 22 Reverb Wet Dry level MIDI 23 Reverb Time MIDI 24 HF Dampening MIDI 25 L R PreDelay Time 409 Glockenspie...

Page 483: ...t Dry level MIDI 23 Reverb Time MIDI 24 HF Dampening MIDI 25 L R PreDelay Time ID Name Ctrl Function 425 Steel Str Guitar MWheel Vibrato MIDI 22 Reverb Wet Dry level MIDI 23 Reverb Time MIDI 24 HF Dam...

Page 484: ...ibrato MIDI 22 Reverb Wet Dry level MIDI 23 Absorption MIDI 24 HF Dampening MIDI 25 L R PreDelay Time ID Name Ctrl Function 443 Contrabass MWheel Vibrato MIDI 22 Reverb Wet Dry level MIDI 23 Reverb Ti...

Page 485: ...MWheel Vibrato MIDI 22 Reverb Wet Dry level MIDI 23 Reverb Time MIDI 24 HF Dampening MIDI 25 L R PreDelay Time ID Name Ctrl Function 461 Brass Section MWheel Vibrato MIDI 22 Reverb Wet Dry level MIDI...

Page 486: ...b Wet Dry level MIDI 23 Reverb Time MIDI 24 HF Dampening MIDI 25 L R PreDelay Time ID Name Ctrl Function 479 Ocarina MWheel Vibrato MIDI 22 Reverb Wet Dry level MIDI 23 Reverb Time MIDI 24 HF Dampenin...

Page 487: ...22 Reverb Wet Dry level MIDI 23 L R Mix Delay MIDI 24 L R Delay Feedback MIDI 25 Delay Tempo ID Name Ctrl Function 497 Soundtrack MWheel Vibrato MIDI 22 Reverb Wet Dry level MIDI 23 L R Mix Reverb MID...

Page 488: ...el Drum MWheel Vibrato MIDI 22 Reverb Wet Dry level MIDI 23 Reverb Time MIDI 24 HF Damping MIDI 25 L R PreDelay Time ID Name Ctrl Function 515 Woodblock MWheel Vibrato MIDI 22 Reverb Wet Dry level MID...

Page 489: ...Reverb Time MIDI 24 HF Damping MIDI 25 L R PreDelay Time 530 Power Kit MWheel Vibrato MIDI 22 Reverb Wet Dry level MIDI 23 Reverb Time MIDI 24 HF Damping MIDI 25 L R PreDelay Time 531 Synth Kit MWhee...

Page 490: ...H 12 General MIDI Standard Mode Controller Assignments...

Page 491: ...ppendix I Live Mode Objects Live Mode Programs 740 LM VirtualDesk 1 741 LM VirtualDesk 2 742 LM EQ Room Hall 743 LM TubeAmp Gtr 744 LM Synth Sliders 745 LM EQ StIm Hall 746 LM ParaFlange 747 LM EQ Ove...

Page 492: ...I 2 Live Mode Objects Live Mode Programs...

Page 493: ...Chorus 1 10 51 Chorus 2 10 51 Chorus 4Tap 10 73 Chorus Delay 10 73 Chorus4Tap 10 79 ChorusLasrDly 10 79 ChorusReverb 10 79 Classic Place 10 13 Classic Verb 10 13 Cleaning your K2500 8 1 Comp Exp EQ 10...

Page 494: ...5 Disk Size Restrictions 6 1 Display contrast 1 3 Distort Rotary 10 111 Double button presses 1 6 DSP waveforms 12 10 Dual AutoPanner 10 230 Dual Chorus 1 10 51 Dual Chorus 2 10 51 Dual Graphic EQ 10...

Page 495: ...h Computers and K2600 6 3 Main Control Source list 4 8 Maintenance and Prevention 8 1 Manual Phaser 10 65 Marking pages 1 5 Master button 1 5 Memory management 9 1 MIDI Key and note numbers 5 1 Sample...

Page 496: ...ks list D 2 E 2 ROM Samples list D 3 E 3 ROM Setups list D 2 E 2 ROM4 G 1 Rotor 1 10 121 S Sample SMDI transfers 6 8 Sample dumps 6 4 Sample ID offset 6 6 Sample playback rate 4 13 Sample RAM vs Progr...

Page 497: ...de 12 2 polyphony 12 2 polyphony and note stealing 12 10 soloing and muting 12 2 Troubleshooting 8 5 U user amplitude envelope 12 6 12 8 V VAST 12 1 VC Dist 1Rotor 2 10 121 VC Dist HiLoRot2 10 121 VC...

Page 498: ...K2661 Musician s Reference Index...

Page 499: ...r S s T t Q q Y y X x W w V v U u P p bcksp _ _ Use this chart to help you learn the keys to use for the keyboard naming feature Cut along the arrows as indicated Use ordinary transparent tape to conn...

Page 500: ......

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Kurzweil K2661, Musician’S Reference Manual

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