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Kurzweil KDFX V2 - MUSICIANS REFERENCE REV B, Reference

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Kurzweil KDFX V2 - MUSICIANS REFERENCE REV B Reference Download Page 4

 

Table of Contents-2

 

                                          

 

AuxFX Bus   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-8
Outputs  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-9
Chaining Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-10
A Complex Studio with Real-Time Control   . . . . . . . . . . . . . . . . . . . . . . . . 2-13
Setting the FXCTRL   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-13
The Setup  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-13
Looking at the Studio  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-14
Setting Up FXMods  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-15
A Note About Effects in Setups  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-19
Building Your Own  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-20

 

Algorithm Reference   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-1

 

Degen Regen BPM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-2
Switch Loops. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-7
Moving Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-10
Allpass Phaser 3  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-11
VC+Dist+1Rotor 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-13
VC+Dist+HiLoRotr  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-13
VC+Tube+Rotor 4  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-13
Rotor 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-13
VC+Dist+HiLoRot2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-13
Subtle Distort  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-22
QAlias . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-23
MiniVerb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-26
Compress. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-29
St Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-32
St Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-32
Gate+Cmp[EQ]+Vrb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-33
Gate+TubeAmp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-37
Revrse LaserVerb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-40
Gated LaserVerb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-43
Poly Pitcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-46
Frequency Offset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-48
MutualFreqOffset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-48
WackedPitchLFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-52
Chaos! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-54
Band Compress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-57
CompressDualTime  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-61
3 Band EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-65
HF Stimulate 1  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-66
HarmonicSuppress  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3-67

Summary of Contents for KDFX V2 - MUSICIANS REFERENCE REV B

Page 1: ...weil V A S T KDFX Pitcher and LaserVerb KSP8 K2600 K2500 and K2000 are trademarks of Young Chang Co Ltd SmartMedia is a trademark of Toshiba Corporation ADAT is a registered trademark of Alesis Corpor...

Page 2: ...9995 Lakewood WA 98499 0995 Tel 1 253 589 3200 Fax 1 253 984 0245 Young Chang Co Ltd 178 55 Gajwa Dong Seo Ku Inchon Korea 404 714 Tel 011 82 32 570 1380 Fax 011 82 32 570 1218 Young Chang America Inc...

Page 3: ...pass and Mute pages 1 8 Creating a Custom Bypass Scene 1 8 The EQBYP Page 1 9 The FX Bypass Page 1 9 The Bus Mute Page 1 10 Chaining Effects 1 11 Gain Staging in Effects Chains 1 12 Checking Out Some...

Page 4: ...elay 3 10 Allpass Phaser 3 3 11 VC Dist 1Rotor 2 3 13 VC Dist HiLoRotr 3 13 VC Tube Rotor 4 3 13 Rotor 1 3 13 VC Dist HiLoRot2 3 13 Subtle Distort 3 22 Quantize Alias 3 23 Pitcher MiniVerb 3 26 Reverb...

Page 5: ...each insert FXBus displays FX Preset assignment bypass mute and PAU assignment Was EffectsMode page controlled studio assignment FX Mode and FX Chan and dither noise floor adjustment EditStudio FXBUS...

Page 6: ...ch gives you easy access to the Effects Mode pages The Studio Editor has some new soft buttons and pages to accommodate effect chaining in KDFX V2 The Add and Remove buttons on the FXBUS page let you...

Page 7: ...ster see page 1 7 you can also do this even when you have entered KDFX Mode from within another editor If you select the studio then press the Edit button you ll go to EditStudio FXBUS page where you...

Page 8: ...ft buttons to perform bypasses and muting EQBYP Displays EQ Bypass page where you can bypass the EQ on each individual input bus FXBYP Displays FX Bypass page where you can bypass the effects on indiv...

Page 9: ...ur FX Presets The Add button creates an effects block shown as a box to the right of the current cursor position in the effects chain You can use a total of four effects in any studio so if you create...

Page 10: ...f each stereo effects bus to the stereo mixdown and auxiliary buses In KDFX V1 these sends were on the EditStudio FXBUS page EditStudio FXSEND FXBus 1 h 0wwwwt 0wwwwt KAux 1 KMix 1 CVVVVB CVVVVB Aux L...

Page 11: ...grams setups and songs automatically use their corresponding studios In Program Setup and Quick Access modes the studio corresponds to the current program or setup In Song mode the studio corresponds...

Page 12: ...buses bypassed or the custom bypass scene you have created See the section that follows for information about creating a bypass scene Pressing the Effects button again or pressing Exit puts you back w...

Page 13: ...io In this case press the L R soft button to toggle between left and right mono inputs for a bus KDFXMode EQBYP FXCtrl Auto Enable Studio 113 PltEnvFI4T Plate EQ A L LoShelf HiShelf In EQ B LoShelf Hi...

Page 14: ...lebe Chamber Active FXBus2 158 Soft Chorus Muted FXBus3 2 Stereo Echoes Muted FXBus4 Active AuxFX 31 Platey Room Active MAIN FXBus1 FXBus2 FXBus3 FXBus4 AuxFX Figure 1 9 Bus Mute Page The MAIN soft bu...

Page 15: ...hained effects are shown at the top of the display underneath the top menu line As an example start from Program Mode press the Effects button then select Studio 700 Flanger Trio KDFXMode MAIN FXCtrl...

Page 16: ...effects are available in this case you will see a line with no blocks on them if you look at any bus except FXBUS 1 You can still use a bus to send another signal to the AUX without the chain by the...

Page 17: ...cher 741 Rotor 1 917 Frequency Offset 742 VC Dist HiLoRot2 918 MutualFreqOffset 743 Subtle Distort 919 WackedPitchLFO 744 Quantize Alias 920 Chaos 745 Pitcher Miniverb 948 Band Compress 746 Reverb Com...

Page 18: ...FX2 Hall 171 aux EQFlng DstEQ 186 ChDlFlPtLzVb Plt 172 auxFlngPhsr Lasr 188 CDR FlgRvb Hall 173 auxFlShQFlg Hall 190 DistRoom GrphEQ 174 auxFlgDist Room 191 Enh Ch 4T Hall 175 aux GtVbFl4T Bth 192 Fil...

Page 19: ...940 Rich Noodle 146 Nanobot Feedback 941 Nickel Chorus 147 Takes a while 942 HF Stimulator 148 Wait for UFO 943 OddHarmSuppress 149 News Update 944 AM Radio 162 Full Chorus 945 U Shaped EQ 163 Dense G...

Page 20: ...or 828 Flange Dly Room 857 New Chorus Hall 800 Sweet Hall 829 Flange Dly Hall 858 Spacious 801 Small Hall 830 Stereo Chorus 859 Wash Lead 802 Medium Hall 831 Stereo Flanger 860 New Hall w Delay 803 La...

Page 21: ...K2500 users should load the file TUTOR1B K25 from their KDFX Objects disk You can use a different bank if you like but then your numbers and the ones in this chapter will be different 1 Insert the di...

Page 22: ...containing 200 4 Tap BPM this is the current FX preset a four tap delay whose speed is expressed in terms of tempo Beats Per Minute Use the Alpha wheel to scroll through the many other FX presets tha...

Page 23: ...any FX presets that require more PAUs than you have given the bus cannot be loaded into the bus If you try to put an FX preset into a bus that requires more PAUs than are currently available on that...

Page 24: ...inations of the Input A signal each block can be set to route the signal to any of the four insert FXBuses or to None You cannot however set both blocks to the same destination The Lvl control is the...

Page 25: ...ts all stereo are both analog and digital through the KDS bus Output A also goes to the K2600 K2500 s AES EBU digital output In this studio Output A is carrying the Mix that is the combination of the...

Page 26: ...onic effects Notice that this FX preset uses 1 PAU EditStudio FXBUS Size 1 Free 1 FXBus 1 qWWWWT FX1 kRMod h CVVVVB FX1 201 Tut Ring Mod Wet Dry 90 wet Out Gain 0 0dB Alloc Auto more INPUT FXBUS Add R...

Page 27: ...a tempo of 145 BPM As you play the flute sound the arrow next to FX2 flashes and it keeps on flashing as long as the various feedback delays are sounding It doesn t flash when you play on the lower p...

Page 28: ...board and the arrow next to B flashes The other two inputs C and D are not assigned to any FXBus AuxFX Bus Now let s look at the Auxiliary FX Bus Aux bus Press more then the AUXFX soft button to look...

Page 29: ...e output of FXBus2 the delayed flanged flute without any reverb Output D has the output of the Aux bus which is just the reverb signal with no dry component since the value of Wet Dry on the AUXFX pag...

Page 30: ...ove more Now press the Add soft button to add another empty effects block to this bus EditStudio FXBUS Size 0 Free 4 FXBus 1 qwwwwt qWWWWT FX1 k g k h CVVVVB CVVVVB FX 0 None None None Alloc Auto more...

Page 31: ...he one you just added is highlighted select Preset 104 Cool Dark Place Your display will look something like this EditStudio FXBUS Size 3 Free 2 FXBus 1 qwwwwt qwwwwt qwwwwt FX1 kDistg kPhsrg kRvrbg h...

Page 32: ...g through the 3 effects you ve chosen in series To use this effects chain with any other program you ll have to save the studio Press Exit then Rename Enter a name for the studio then press OK The sav...

Page 33: ...g the FXCTRL To enable real time control of the studio from the setup we have to put the K2600 K2500 in the correct Effects mode Go to the KDFXMode CTRL page press Effects followed by the CTRL soft bu...

Page 34: ...outside the studio As it happens it s controlled by the soft pedal MIDI Controller 67 Switch Pedal 3 for K2600 K2500 keyboard users We ll see how this is done in a moment Pressing this pedal causes th...

Page 35: ...epth parameter defines how much the soft pedal affects the In Out value and here it is 1 For parameters with binary value likes In Out or On Off the Depth parameter can have only three values 1 0 or 1...

Page 36: ...and you can really clearly hear the LFO rate changing but watch out that the effect doesn t go into oscillation at the highest feedback level Finally MIDI Controller 27 our old friend Slider G control...

Page 37: ...t Pedal MIDI controller 4 Control Pedal 1 for K2600 K2500 keyboard users The delay is nominally a 480 ms loop with four equal spaced taps inside it 120 ms apart With the Foot Pedal we can scale all th...

Page 38: ...control Soft pedal puts compression on the bass and drums Slider F controls the feedback on the chorus on the piano string pad Slider E controls the LFO speed on that chorus Slider D controls the feed...

Page 39: ...Controller has been specified as a destination on the controller assignment pages in the setup SLIDER SLID 2 etc and then only if the setup assigns the customary physical controller to that MIDI Cont...

Page 40: ...int for your studios FXBus 1 contains a relatively simple reverb with a low Size requirement FXBus 2 contains an effect that does not increase the length of the sound that is no reverb or delay someth...

Page 41: ...This chapter provides complete reference information for the new algorithms included in KDFX V2 This information is in addition to the algorithm information provided in Chapter 10 of your K2600 Musici...

Page 42: ...e 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 available Deg...

Page 43: ...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 Bass F...

Page 44: ...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 In t...

Page 45: ...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 amplit...

Page 46: ...he 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 attack ab...

Page 47: ...iplet 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 length of t...

Page 48: ...ameter 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 summed...

Page 49: ...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 The le...

Page 50: ...n 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 triang...

Page 51: ...output Figure 3 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 that...

Page 52: ...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 rela...

Page 53: ...deled 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 possible...

Page 54: ...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 parame...

Page 55: ...e 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 more pro...

Page 56: ...e 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 Vib C...

Page 57: ...s 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 positions...

Page 58: ...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 Pan...

Page 59: ...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 In or...

Page 60: ...illimeters 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 speaker...

Page 61: ...airs 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 low f...

Page 62: ...her 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 distort...

Page 63: ...aused 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 1 When...

Page 64: ...ithout 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 sensitiv...

Page 65: ...he 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 This cau...

Page 66: ...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 outputs of...

Page 67: ...ed 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 vice v...

Page 68: ...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 clarity of...

Page 69: ...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 will inc...

Page 70: ...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 delayed re...

Page 71: ...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 modulate it...

Page 72: ...Us 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 algorith...

Page 73: ...ls 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 eithe...

Page 74: ...ove 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 the gat...

Page 75: ...y 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 gain or...

Page 76: ...e 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 effectivel...

Page 77: ...ly 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 channels...

Page 78: ...f 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 both For...

Page 79: ...o 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 signal the...

Page 80: ...itch 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 would s...

Page 81: ...econds 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 Spac...

Page 82: ...Verb 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 lowe...

Page 83: ...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 the L...

Page 84: ...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 increase...

Page 85: ...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 ramp from...

Page 86: ...age 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 to 100...

Page 87: ...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 and right...

Page 88: ...imilar 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 howe...

Page 89: ...th downward modulation you will hear the pitch drop as you increase the frequency of the input sound The downward modulation is a difference subtraction in frequencies If the difference drops to negat...

Page 90: ...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 Gain L...

Page 91: ...o 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 algorith...

Page 92: ...ates 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 quite lo...

Page 93: ...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 hundredt...

Page 94: ...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 Very nasty...

Page 95: ...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 active When s...

Page 96: ...g 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 order cutting...

Page 97: ...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 decibel leve...

Page 98: ...pressor 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 compressed...

Page 99: ...al 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 incre...

Page 100: ...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 the inpu...

Page 101: ...rol 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 increased lev...

Page 102: ...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 side cha...

Page 103: ...he 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 above t...

Page 104: ...rately 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 the out...

Page 105: ...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 of one sem...

Page 106: ...rithm 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 curve c...

Page 107: ...s not including the fundamental or all harmonics Choosing all harmonics is the same as choosing even harmonics at half the frequency Figure 31 HarmonicSuppress filtering at full expansion F marks fund...

Page 108: ...ound 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 noise...

Page 109: ...al 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 even a...

Page 110: ...e 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 low...

Page 111: ...7 FX Mode 1 7 FXBus Editor 2 2 FXCtrl 1 7 2 13 FXSEND Page 2 4 G Gate Cmp EQ Vrb 3 33 Gate TubeAmp 3 37 Gated LaserVerb 3 43 H HarmonicSuppress 3 67 HF Stimulate 1 3 66 I INPUT page Studio Editor 2 3...

Page 112: ...X page 2 5 INPUT page 2 3 Subtle Distort 3 22 Switch Loops 3 7 T Tempo control 2 2 Tutorial 2 1 V VC Dist 1Rotor 2 3 13 VC Dist HiLoRot2 3 13 VC Dist HiLoRotr 3 13 VC Tube Rotor 4 3 13 W WackedPitchLF...

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