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Kurzweil KSP8 MLAN IO OPTION - REV B Reference Download Page 1

 

Kurzweil  KSP8

 

Algorithm Reference

 

October 1, 2001

 

©2001 All rights reserved. Kurzweil is a product line of Young Chang Co. Kurzweil, KSP8,
KDFX, 

 

LaserVerb

 

, and 

 

Pitcher

 

 are trademarks of Young Chang Co. All other products and

brand names are trademarks or registered trademarks of their respective companies.
Product features and specifications are subject to change without notice.

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Part Number: 910359 Rev. A

Summary of Contents for KSP8 MLAN IO OPTION - REV B

Page 1: ...and brand names are trademarks or registered trademarks of their respective companies Product features and specifications are subject to change without notice You may legally print up to two 2 copies...

Page 2: ...not fall and liquids are not spilled into the enclosure through openings 11 The product should be serviced by qualified service personnel when A The power supply cord or the plug has been damaged B O...

Page 3: ...kewood 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 Canadi...

Page 4: ...09 Phasers 116 Comb Filters 125 Tremolo Effects 128 Panners and Stereo Image Effects 131 Guitar Cabinet Simulators 143 Rotary Effects 144 Distortion 158 Guitar Combination Algorithms 178 Compressors a...

Page 5: ...ral 6 Tap 3 75 156 Complex Echo 1 80 170 Degen Regen BPM 4 83 171 Degen Regen 4 83 172 Switch Loops 2 89 173 3 Band Delay 2 92 174 Gated Delay 2 94 190 Moving Delay 1 97 191 Dual MovDelay 1 98 192 Dua...

Page 6: ...3 Band Compress 4 209 340 Expander 1 213 341 Compress Expand 2 216 342 Comp Exp EQ 3 216 343 Gate 1 221 342 Gate w SC EQ 2 216 347 Dual SKCompress 2 195 348 Dual Comprs SCEQ 3 198 349 Dual 3 Band Com...

Page 7: ...28 StCh Dly Rvrb ms 2 305 429 Ptch Chor Dly ms 2 305 430 Ptch StCh Dly ms 2 305 450 Flange Delay 1 285 451 Flange 4Tap 1 285 452 Flange 4Tap 2 295 453 Flan Dly Reverb 2 285 454 Flange Reverb 2 295 455...

Page 8: ...rt Cab 2 158 652 Mn Distort EQ 2 158 653 Mn Super Shaper 1 168 654 Mn 3 Band Shaper 1 169 655 MnQuantize Alias 1 170 656 Mn Gate TubeAmp 3 178 660 Mn HK Compress 1 195 ID Name PAUs Page 661 Mn SK Comp...

Page 9: ...8 3 19 Diffuse Verb 9 3 19 Distort Rotary 291 2 144 Dual 3 Band Comp 349 8 209 Dual 5 Band EQ 354 3 226 Dual AutoPanner 276 2 133 Dual Chorus 1 202 1 102 Dual Chorus 2 203 2 102 Dual Comprs SCEQ 348...

Page 10: ...30 1 116 Mn LFOPhaserTwin 631 1 116 Mn LFOSweepFilt 677 1 237 Name ID PAUs Page Mn Manual Phaser 634 1 116 Mn MiniVerb 600 1 12 Mn Pitcher 681 1 260 Mn Res Filter 678 1 240 Mn Ring Modulate 680 1 256...

Page 11: ...StCh Dly Rvrb ms 428 2 305 Stereo Analyze 499 1 308 Stereo Hall 13 3 35 Stereo Image 280 1 135 StereoDistort EQ 304 3 158 StFl Dly Rvrb ms 478 2 305 Subtle Distort 305 1 167 Super Shaper 306 1 168 Sur...

Page 12: ...Scale Size Scale and Density are set to the default values of 1 00x If you want a reverb to sound perfect immediately set the Diff Scale Size Scale and Density parameters to 1 00x pick a Room Type and...

Page 13: ...the reverberation Since maintaining image placement in the reverberation is so unusual you will have to carefully consider whether it is appropriate for your particular situation To use Dual MiniVerb...

Page 14: ...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 algorithm to simulate a...

Page 15: ...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 At 1 00x the room densi...

Page 16: ...ions are seamless Density controls how tightly the early reflections are packed in time Low Density settings have the early reflections grouped close together and higher values spread the reflections...

Page 17: ...When set fully dry 0 the gate is still active Out Gain An overall level control of the effect s output applied after the gate Rvrb Time The reverb time displayed is accurate for normal settings of the...

Page 18: ...ging Density A multiplier which affects the density of the reverb At 1 00x the room density will be the normal carefully set amount for the current Room Type Altering this parameter will change the de...

Page 19: ...hen used subtly unwanted artifacts such as flutteriness and ringiness that are inherent in digital reverbs can be reduced In the feedback loop of the ambience generator are filters that further enhanc...

Page 20: ...DiffLenScl and Inj Spread parameters you may scale individual elements away from their pre defined value When set to 1 00x each of these elements is equivalent to its preset value as determined by the...

Page 21: ...Pre Dly 0 0 to 230 0 ms L Input Diffusor Diffusor R Input Ambience L Pre Dly R Pre Dly L ER Output EarRef Lvl R ER Output EarRef Lvl L Output R Output Out Gain Rvrb Time Absorption Absorption Rvrb Ti...

Page 22: ...mixed together with the Late Lvl and EarRef Lvl controls The wet signal is passed through a final high shelving filter before being mixed with the dry signal Wet Dry 100 to 100 Out Gain Off 79 0 to 24...

Page 23: ...Output Dry Dry R Input HF Damping HF Damping LF Mult LF Mult Injector Inj LP L ER Output R ER Output EarRef Lvl EarRef Lvl DiffAmtScl DiffLenScl DiffLenScl DiffAmtScl InjBuild InjSpread InjBuild InjSp...

Page 24: ...Hz Size Scale 0 00 to 2 50x TrebShlf G 79 0 to 24 0 dB InfinDecay On or Off DiffAmtScl 0 00 to 2 00 x DiffLenScl 0 00 to 2 50 x LF Split 8 to 25088 Hz LFO Rate 0 01 to 10 00 Hz LF Time 0 50 to 1 50 x...

Page 25: ...the initial diffusion burst while Diff Cross adjusts the combination of left and right channels that are diffused Figure 8 Signal flow of Diffuse Verb and Diffuse Place Parameters for Diffuse Verb an...

Page 26: ...and negative values impose different characteristics on the reverb image At the output of the reverb are a pair each of low shelving and high shelving filters Room Type Hall1 DiffExtent 1 to 7 x Size...

Page 27: ...00 Out Gain Off 79 0 to 24 0 dB Absorption 0 to 100 HF Damping 0 to 25088 Hz Lopass 8 to 25088 Hz L Pre Dly 0 0 to 230 0 ms R Pre Dly 0 0 to 230 0 ms Diffuser Injector Ambience L Pre Dly L Output L In...

Page 28: ...gnal Setting different lengths for both channels can de correlate the center portion of the reverb image and make it seem wider This only affects the late reverb in algorithms that have early reflecti...

Page 29: ...r a true representation of the selected Room Type size set this to 1 00x Scaling the size below this will create smaller spaces while larger scale factors will create large spaces See Room Type for mo...

Page 30: ...vibrato like voice or non pitched instruments like snare drum Inj Build Used in conjunction with Inj Spread this adjusts the envelope of the onset of the reverb Specifically it tapers the amplitudes o...

Page 31: ...RX The left and right early reflection delays fed to the opposite output channels E DifDlyL E DifDlyR The diffusion delays of the diffusers on delay taps fed to the same output channels E DifDlyLX E...

Page 32: ...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 is near 0 or 100 fewer refl...

Page 33: ...e room size is very 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...

Page 34: ...s driving the reverberation 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 reverberatio...

Page 35: ...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 can accompany randomizati...

Page 36: ...according to the tempo and articulation of the music and to taste HF Damping Adjusts lowpass filters in the reverberator so that high frequencies die away more quickly than mid and low frequencies Th...

Page 37: ...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 last signal to drive the r...

Page 38: ...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 digitally we actually have...

Page 39: ...nd 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 its running level Adju...

Page 40: ...ers an early middle and late mixer Each mixes its share of taps and then applies the submix to a lowpass filter cut only and a simple bass control boost and cut Finally the three equalized sub mixes a...

Page 41: ...sed 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 emulate a normal for...

Page 42: ...be selected For a complete discussion on the reverbs see the sections on Algorithm 1 MiniVerb The compressor reduces the signal level when the signal exceeds a threshold The amount of compression is...

Page 43: ...eedback 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 chain source The feedbac...

Page 44: ...ess only a switch to configure the algorithm as reverb followed by compressor Rvb Cmp or as compressor followed by reverb Cmp Rvb Reverb Compress is always configured as Rvb Cmp Rv Type Changes the co...

Page 45: ...ncy signals in dB Every increase of 6 dB approximately doubles the amplitude of the signal Positive values boost the bass signal below the specified frequency Negative values cut the bass signal below...

Page 46: ...threshold The amount of compression is expressed as a ratio The compression ratio is the inverse of the slope of the compressor input output characteristic The amount of compression is based on the s...

Page 47: ...bly shorter than the release time At very 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 distortio...

Page 48: ...the algorithm as reverb followed by compressor Rvb Cmp or as compressor followed by reverb Cmp Rvb Rv Type Changes the configuration of the reverb algorithm to simulate a wide array of carefully desig...

Page 49: ...ing i e side chain predelay This allows the compression to appear to take effect just before the signal actually rises Comp Ratio The compression ratio High ratios are highly compressed low ratios are...

Page 50: ...n equalization allows some interesting processing possibilities including de essing by boosting the treble in the side chain In Gate Cmp EQ Rvb the equalization can be configured before or after the c...

Page 51: ...me as used in Algorithm 1 MiniVerb You will find all the same controls and room settings In the FXPreset editor you will have to scroll with the more soft button to find the PARAM5 soft button contain...

Page 52: ...e is used Comp Atk 0 0 to 228 0 ms Comp Ratio 1 0 1 to 100 1 Inf 1 Comp Rel 0 to 3000 ms Comp Thres 79 0 to 0 0dB CompSmooth 0 0 to 228 0 ms CompMakeUp Off 79 0 to 24 0 dB CompSigDly 0 0 to 25 0ms Cmp...

Page 53: ...ed 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 gate...

Page 54: ...ted You specify the bandwidth in octaves Small values result in a very narrow filter response Large values result in a very broad response Reverb W D A simple mix of the reverb sound with the dry comp...

Page 55: ...the current Rv Type Altering this 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 Rv Density A multiplier whic...

Page 56: ...you gave the system an impulse or a spike for an input Figure 17 Simplified impulse response of LaserVerb With appropriate parameter settings this effect produces a descending buzz or whine somewhat...

Page 57: ...is a sparser version than the three PAU version Its buzzing is somewhat coarser The one PAU version is like the two PAU version except the two input channels are summed and run through a single mono L...

Page 58: ...to the left and 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 three PAU or 0 to 1 3...

Page 59: ...hich 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 see if...

Page 60: ...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 Spacing Determines the...

Page 61: ...ls 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 lower and build rapidly...

Page 62: ...ut 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...

Page 63: ...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 the duration or de...

Page 64: ...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 closed to open rev...

Page 65: ...algorithm for example you can have either a laser delay followed by a reverb or vice versa The combination algorithms are organized in groups with IDs predominantly in the 400s there are a few excepti...

Page 66: ...This algorithm is almost identical to 105 LasrDly Reverb The only difference is that Algorithm 106 uses absolute units for two features milliseconds for delay line lengths and Hz for LFO frequencies A...

Page 67: ...nput signal through a Wet Dry control The delayed signal from the Loop tap may be fed back to the delay input Figure 22 Left channel of 4 Tap Delay The delay length for non BPM tap delays is the sum o...

Page 68: ...g jump in level at some point in the loop The Hold parameter has no effect on the Wet Dry or HF Damping parameters which continue to work as usual so if there is some HF Damping the delay will eventua...

Page 69: ...s 2550ms for the 4 Tap Delay Tapn Fine A fine adjustment to the output tap delay lengths n 1 4 The delay resolution is 0 2 milliseconds ms Tapn Fine is added to Tapn Crs coarse to get actual delay len...

Page 70: ...ay 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 parameter and the delay length...

Page 71: ...elay length for non BPM tap delays is the sum of the coarse and fine parameters for the tap multiplied by the DelayScale parameter which is common to all non BPM taps The DelayScale parameter allows y...

Page 72: ...input signal and delay 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 the output is all wet Out Gain The overall gain...

Page 73: ...y 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 length is 5 1 seconds 51...

Page 74: ...elay 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 length in seconds is calculated as...

Page 75: ...ilter roll off frequency is controlled by HF Damping The imager found on PARAM2 shifts the stereo input image when fed through feedback Small positive or negative values shift the image to the right o...

Page 76: ...Input R Output R Dry Delay Imaging Individual Shaper Comb and Gain for Taps 2 6 Shaper Comb Shaper Delay Shaper Comb Shaper L Dry L Input L Output Feedback Tap 1 Tap 1 Individual Shaper Comb and Gain...

Page 77: ...5 BPM HF Damping 8 to 25088 Hz Diff Delay 0 to 20 0 ms LF Damping 8 to 25088 Hz Diff Amt 100 to 100 LoopLength On or Off Tap2 Delay 0 to 32 bts Fdbk Image 100 to 100 Tap2 Shapr 0 10 to 6 00 x Tap1 Del...

Page 78: ...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 Level 0 to 100 Tap1 Bal 100...

Page 79: ...em 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 Diff Dly The length that the diffuse...

Page 80: ...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 feedback Relative levels for each feedback line can be set with...

Page 81: ...Amt 0 to 100 L Fdbk1 Dly 0 to 2600 ms R Fdbk1 Dly 0 to 2600 ms L Fdbk2 Dly 0 to 2600 ms R Fdbk2 Dly 0 to 2600 ms L Tap1 Dly 0 to 2600 ms R Tap1 Dly 0 to 2600 ms L Tap2 Dly 0 to 2600 ms R Tap2 Dly 0 t...

Page 82: ...h of the left channel s feedback tap fed back to 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 Fd...

Page 83: ...istortion in the delay path The distortion parameters are on the PARAM4 page with the compressor parameters Degen Regen uses all 4 PAUs available for insert effects With the resources of all 4 PAUs av...

Page 84: ...00 to 21 5 s Mid1 Gain 79 0 to 24 0 dB LFO Rate 0 00 to 10 00 Hz Mid1 Freq 8 to 25088 Hz Bass Gain 79 0 to 24 0 dB Mid1 Width 0 010 to 5 000 oct Bass Freq 8 to 25088 Hz Mid2 Gain 79 0 to 24 0 dB Treb...

Page 85: ...Bass Freq 8 to 25088 Hz Mid2 Gain 79 0 to 24 0 dB Treb Gain 79 0 to 24 0 dB Mid2 Freq 8 to 25088 Hz Treb Freq 8 to 25088 Hz Mid2 Width 0 010 to 5 000 oct LpLFODepth 0 0 to 230 0 ct Tap1 Delay 0 00 to...

Page 86: ...LFO Rate The feedback tap and the output taps lengths can be modulated with an LFO internal to the effects processor The rate at which the tap positions move are tied to a common rate control which is...

Page 87: ...to 180 then when one LFO delay tap is at its shortest the other will be at its longest If the system or MIDI tempo clock is turned on Degen Regen BPM only the LFOs are synchronized to the clock with a...

Page 88: ...vel in dBFS decibels relative to full scale above which the signal begins to be compressed Dist Drive Applies a boost to the feedback signal to overdrive the distortion algorithm When overdriven the d...

Page 89: ...s 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 the delay in beats...

Page 90: ...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 mono signal from...

Page 91: ...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 length of a delay l...

Page 92: ...xpressed in beats per minute BPM and the delay lengths are expressed as the number of beats bts at the tempo The delay length beats are adjustable in increments of 1 24th of a beat which is a useful f...

Page 93: ...culated as T beats tempo 60 DelayLvl The amount of signal from the delays A B and C which gets sent to the final wet dry mix Pan Each stereo delay A B and C has a stereo panner The stereo image is mai...

Page 94: ...the input signal stops then the gate opens up and suddenly the delay takes over For example if you sent the speech phrase Welcome to the monster truck rally through the effect what you would hear is...

Page 95: ...closes when the signal rises above threshold and opens when the gate time expires This effect is most interesting when Ducking is on Retrigger If Retrigger is On the gate timer is constantly restarte...

Page 96: ...l For long times the gate will remain closed until the envelope has a chance to fall and you may miss gating events Gate Time The time in seconds that the gate will stay fully on after the signal enve...

Page 97: ...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 triangle and tra...

Page 98: ...over center delay length LFO excursion LFO rate feedback and high frequency damping The delay length in milliseconds is the center of LFO excursion LFO excursion is controlled by the LFO Dpth paramet...

Page 99: ...ls the ratio between the sum of both moving delay elements on that channel regardless of pan position and the input dry signal Out Gain like Wet Dry adjusts the output level for each channel regardles...

Page 100: ...Pan 100 to 100 R1 Pan 100 to 100 L2 Pan 100 to 100 R2 Pan 100 to 100 L Dry Pan 100 to 100 L Dry Pan 100 to 100 L1 Dry L2 0 to 100 L1 Dry L2 0 to 100 L1 Delay 0 0 to 1000 0 ms L2 Delay 0 0 to 1000 0 ms...

Page 101: ...dry signal to be fed into the second delay while a value of 100 only allows the first delay to be fed into the second L Delay R Delay Ln Delay Rn Delay Adjusts the delay time for each moving delay ci...

Page 102: ...tions of output taps from a delay line The delay line tap modulation causes the pitch of the signal to shift up and down producing the required detuning The choruses are available as stereo or dual mo...

Page 103: ...ght outputs Figure 36 Block diagram of left channel of Chorus 1 right channel is the same Chorus 1 uses one PAU and has one delay tap Figure 36 is a simplified block diagram of its left channel Dry De...

Page 104: ...signals go through a one pole lowpass filter HF Damping before going entering the delay line The Wet Dry control is an equal power crossfade Note that the Output Gain parameters affects both wet and...

Page 105: ...reduce the LFO rate to a point where the LFO excursion exceeds the specified Tap Dly the center of LFO excursion will be moved up and again cause signal discontinuities However if enough Tap Dly is s...

Page 106: ...1 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 to 50 0 ct LFO2 Dpth 0 0...

Page 107: ...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 Tap3 Lvl 100 to 100 L Tap1...

Page 108: ...r 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 modulated delay l...

Page 109: ...o flanger effect with two LFOs per channel Figure 40 Simplified block diagram of the left channel of Flanger 1 right channel is similar Flanger 2 is a two PAU multi sweep thru zero flanger effect with...

Page 110: ...eferred to as a comb filter the name arising from the resemblance of the spectrum to a comb See Figure 41 above If the levels of the signals being added or subtracted are the same the notches will be...

Page 111: ...ng of 16 beats will take 4 measures in 4 4 time for a complete LFO oscillation You can set how far each LFO can sweep through the delay line with the excursion controls Xcurs The excursion is the maxi...

Page 112: ...e summer add together introducing a series of resonant peaks in the frequency spectrum between the notches The amplitude of these peaks depends on the degree of feedback and can be made very resonant...

Page 113: ...0 ms Dly1 Crs 0 0 to 228 0 ms Xcurs1 Fin 127 to 127 samp Dly1 Fin 127 to 127 samp Xcurs2 Crs 0 0 to 228 0 ms Dly2 Crs 0 0 to 228 0 ms Xcurs2 Fin 127 to 127 samp Dly2 Fin 127 to 127 samp Wet Dry 100 t...

Page 114: ...ed 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 oscillation so the LFO rate will b...

Page 115: ...he 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 delays cannot be less than 0 ms in...

Page 116: ...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 some frequencies to be delayed a litt...

Page 117: ...different The relative phases of the notch and frequency LFOs N F Phase only has meaning when the LFOs are running at the same rate As with all KDFX LFO phases it is not a recommended to directly modu...

Page 118: ...tive values reverse left and right channels The dry signal is not affected by In Width Setting Wet Dry to 50 will produce a full notch At 50 Wet Dry you get a bandpass Parameters for LFO Phaser Page 1...

Page 119: ...h 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 of percentage of the...

Page 120: ...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 the Center...

Page 121: ...rametric EQ filter bandwidths LFO Depth The depth that the frequency LFO sweeps the phaser filter above and below the center frequency as a percent LFO Rate The rate of the LFO in Hz The LFO Rate may...

Page 122: ...ets the number of notches that will appear in the frequency response when the dry and filtered signals are mixed The number of notches in the frequency response ranges from 3 to 6 for Allpass Phaser 3...

Page 123: ...phaser motion you have to change the filter center frequencies left and right channels yourself The best way to do this is with an FXMod When feedback is used it can greatly exaggerate the peaks and n...

Page 124: ...of notches the allpass filter can produce when summed with a dry signal Used in the feedback loop Higher values produce more resonant peaks for a more complex resonant structure OutAPNotch The number...

Page 125: ...y attenuated version of the input signal To produce peaks the output signal is passed through a short delay and attenuation level reduction and added to the input signal to produce a delay feedback Fi...

Page 126: ...tude at the output of the effect Rise Fall When set to Rise the comb filter frequencies rotate to higher frequencies When set to Fall the comb filter frequencies rotate to lower frequencies In Out In...

Page 127: ...onse or a series on resonant peaks Depth Res The depth of the notches set Notch Peak to Notch or the height of the resonant peaks set Notch Peak to Peak can be set with Depth Res A setting of 100 prod...

Page 128: ...shape modifier called 50 Weight L R Phase for auto balancing and LFO metering L R Phase flips the LFO phase of the left channel for auto balancing applications The 50 Weight parameter bends the LFO sh...

Page 129: ...For Tremolo This multiplies the speed of the LFO rate into the audio range When above 19x the values increment in semitone steps These steps are accurate when LFO Rate is set to 1 00 Hz LFO Phase For...

Page 130: ...active only when the Pulse waveform is selected 50 Weight The relative amount of attenuation added when the LFO is at the 6dB point This causes the LFO shape to bow up or down depending on whether th...

Page 131: ...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 PARAM2 page...

Page 132: ...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 excursion CentrAtten Amou...

Page 133: ...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 different LFO shapes Figure 54 variable center attenuation and a rate scaler th...

Page 134: ...he smoothest tracking a widely accepted subjective reference is 3dB Values above 3dB will cause somewhat of a bump in level as an image passes through the center Values below 3dB will cause a dip in l...

Page 135: ...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 surrounded by your acoustic environment...

Page 136: ...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 the low frequency compon...

Page 137: ...l information The Mono Stereo algorithm has controls to change the relative amounts of sum or center versus difference signals By increasing the difference signal you can broaden the stereo image Be w...

Page 138: ...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 DiffBassG is the gain parame...

Page 139: ...difference calculation reconstructs the original left and right signals assuming you turned off the intermediate processing You can prove this to yourself by solving the equations L R 2 L R 2 and L R...

Page 140: ...st calculate the mean over shorter periods of time If the time is too short we are simply following the signal wave form which is not helpful either since the meter would constantly bounce around The...

Page 141: ...to boost or cut the low frequencies DiffBassF The transition frequency in Hertz Hz of the difference signal bass shelf filter is set by DiffBassF Comp A selector switch to choose the signal path which...

Page 142: ...Comp Thres Threshold is expressed in dBFS decibels relative to full scale above which the signal begins to be compressed Exp Ratio The expansion ratio High values 1 17 max are highly expanded low valu...

Page 143: ...ab Preset Eight preset cabinets have been created based on measurements of real guitar amplifier cabinets They re described below Basic Flat response from 100 Hz to 4 khz with 24dB oct rolloffs on eac...

Page 144: ...Big KB3 Effect VC Dist Rotor 4 and VC Tube Rotor 4 the vibrato chorus has been carefully modeled after the electromechanical vibrato chorus in the B3 The vibrato chorus in the other smaller algorithm...

Page 145: ...n 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 parameter values are changed Negati...

Page 146: ...see the description of Algorithm 300 Mono Distortion The distorted signal is next passed to a cabinet emulation filter and a pair of crossover filters for band splitting The measurements of a real Les...

Page 147: ...250 mm Hi Size 0 to 250 mm Lo Trem 0 to 100 Hi Trem 0 to 100 Lo Beam W 45 0 to 360 0 deg Hi Beam W 45 0 to 360 0 deg Lo Slow 0 00 to 2 00 Hz Hi Slow 0 00 to 2 00 Hz Lo Fast 3 00 to 10 00 Hz Hi Fast 3...

Page 148: ...er Parameters VibChor Rotor 2 VC Dist Rotor 4 VC Tube Rotor 4 Mn VC Dist Rotor Page 1 VibChor Rotor 2 Page 1 VC Dist Rotor 4 and Mn VC Dist Rotor Page 1 VC Tube Rotor 4 Page 2 In Out In or Out Out Gai...

Page 149: ...stereo signal again Finally the signal is passed through a speaker cabinet simulation Figure 61 Distort Rotary Lo Slow 0 00 to 2 00 Hz Hi Slow 0 00 to 2 00 Hz Lo Fast 3 00 to 10 00 Hz Hi Fast 3 00 to...

Page 150: ...24 0 dB Cabinet HP 8 to 25088 Hz Dist Drive 0 to 96 dB Cabinet LP 8 to 25088 Hz DistWarmth 8 to 25088 Hz Speed Slow or Fast Xover 8 to 25088 Hz Brake On or Off Lo Mode Normal Lo Gain Off 79 0 to 24 0...

Page 151: ...DistWarmth 8 to 25088 Hz Roto InOut In or Out Cabinet LP 8 to 25088 Hz Gain Off 79 0 to 24 0 dB Rate 10 00 to 10 00 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...

Page 152: ...is distortion uses more processor resources than the PolyDistort EQ so VC Dist HiLoRot2 does not include the acoustic beam width control for either the high or low frequency drivers The signal flow is...

Page 153: ...Out Out Gain Off 79 0 to 24 0 dB VibChInOut In or Out Dist Drive 0 0 to 96 0 dB Vib Chor V1 Dist Warmth 8 to 25088 Hz Roto InOut In or Out Speed Slow or Fast Xover 8 to 25088 Hz Brake On or Off Lo Mod...

Page 154: ...ff 79 0 to 24 0 dB Cabinet LP 8 to 25088 Hz Speed Slow or Fast Slow Rate 0 00 to 2 00 Hz Brake On or Off Fast Rate 3 00 to 10 00 Hz Gain Off 79 0 to 24 0 dB Slow Fast 0 10 to 10 00 s Size 0 to 250 mm...

Page 155: ...to separate rotating drivers Lo Xover The Big KB3 Effect has separate high and low crossover frequency controls Lo Xover controls a lowpass filter Hi Xover The Big KB3 Effect has separate high and low...

Page 156: ...he beam angle is the angle between the 6 dB levels of the beam At 360 the horn is omnidirectional radiates in all directions equally Lo HP A highpass filter in Big KB3 Effect to simulate the band limi...

Page 157: ...h HiResonate A simulation of cabinet resonant modes express as a percentage For realism you should use very low settings This is for the high frequency signal path Hi Res Dly The number of samples of...

Page 158: ...no performs distortion followed by a highpass filter and sends the result as centered stereo Figure 66 Block diagram of MonoDistort EQ MonoDistort EQ is similar to Mono Distortion except the single hi...

Page 159: ...ithm 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 linear gain to sat...

Page 160: ...ge 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 8 to 25088 Hz Highpass 8 to 25088 Hz Wet Dry 0 to 100 wet Out Gain Off...

Page 161: ...larger distortion algorithm Cabinet HP For MonoDistort EQ and StereoDistort EQ A highpass filter that controls the low frequency limit of a simulated loudspeaker cabinet Cabinet LP For MonoDistort EQ...

Page 162: ...alues cut the signal at the specified frequency Mid Freq For MonoDistort EQ and StereoDistort EQ The center frequency of the mid parametric filter in intervals of one semitone The boost or cut will be...

Page 163: ...lowpass filter There is also a one pole lowpass filter in front of the first stage After the distortion there is a four band EQ section Bass Treble and two Parametric Mids Figure 70 Block diagram of...

Page 164: ...his should be something like a guitar speaker cabinet simulator although not exactly since we are already doing a lot of lowpass filtering inside the distortion itself Possible EQ settings you can try...

Page 165: ...wpass filter by setting it to the highest frequency Bass Gain The amount of boost or cut that the bass shelving filter should apply to the low frequency signals in dB Every increase of 6 dB approximat...

Page 166: ...quency of the mid parametric filter in intervals of one semitone The boost or cut will be at a maximum at this frequency Mid Wid The bandwidth of the mid parametric filter may be adjusted You specify...

Page 167: ...evel 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 distortion is active when...

Page 168: ...provides 6 more sine intervals before starting to zero pin at 2 50x The maximum shaper amount for Super Shaper is 32 00x Figure 71 Super Shaper four values of the Amount parameter Parameters Wet Dry...

Page 169: ...provide the same type of shaping as V A S T 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 170: ...ng Quantization distortion is a digital phenomenon 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 numb...

Page 171: ...d of the word The signal is then boosted back up so we can hear it At very low DynamRange settings the step from one bit level to the next can become larger than the input signal The signal can still...

Page 172: ...t tone reaches the sampling rate The sampled tone would then have reached dc frequency is 0 and will start to rise again Usually a lowpass anti aliasing filter is placed before the sampler to prevent...

Page 173: ...uses the output to get 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 gettin...

Page 174: ...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 different values 00 01 10 or...

Page 175: ...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 then leave it alone At...

Page 176: ...adroom 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 matching Headroom to that...

Page 177: ...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 but it can be connected to...

Page 178: ...ubeAmp The gate same gate as Algorithm 343 Gate allows you to cut out noise during silence Both the gate and compressor have their own side chain processing paths and a number of signal routing option...

Page 179: ...ic American type with two 12 drivers Open 12 Open back classic American type with one 12 driver Open 10 Open back classic American type with one 10 driver 4x12 Closed back British type with four 12 dr...

Page 180: ...in Algorithm 331 SoftKneeCompress Instead of the cabinet simulation there is an EQ section with bass and treble shelf filters and a parametric EQ The next effect after EQ is either chorus or flanger T...

Page 181: ...10 0 Warmth 8 to 25088 Hz Treb Tone 0 0 to 10 0 Cab Preset Open 12 In Out In or Out Out Gain Off 79 0 to 24 0 dB GateIn Out In or Out Rv Wet Dry 0 to 100 wet GateSCInp L R L R 2 Gate Chan L R L R 2 G...

Page 182: ...eSCInp L R L R 2 Gate Chan L R L R 2 Gate Thres 79 0 to 0 0 dB Gate Time 25 to 3000 ms Gate Duck On or Off Gate Atk 0 0 to 228 0 ms Gate Rel 0 to 3000 ms GateSigDly 0 0 to 25 0 ms Reduction dB 60 40 1...

Page 183: ...ay L 0 0 to 230 0 ms Fl Delay L 0 0 to 230 0 ms Fl Fdbk L 100 to 100 Fl Fdbk R 100 to 100 Fl Phase L 0 0 to 360 0 deg Fl Phase L 0 0 to 360 0 deg Fl Wet Dry 0 to 100 FL Out Bal 100 to 100 In Out In or...

Page 184: ...4 0 dB GateSCInp L R L R 2 CompIn Out In or Out Gate Chan L R L R 2 FdbkComprs In or Out Gate Thres 79 0 to 0 0 dB Gate Time 25 to 3000 ms Gate Duck On or Off Gate Atk 0 0 to 228 0 ms Gate Rel 0 to 30...

Page 185: ...hen set to In the compressor is active when set to Out the compressor is bypassed Bass Gain 79 0 to 24 0 dB Treb Gain 79 0 to 24 0 dB Bass Freq 8 to 25088 Hz Treb Freq 8 to 25088 Hz Mid Gain 79 0 to 2...

Page 186: ...from a signal level above the threshold CompSmooth A lowpass filter in the compressor side chain signal path It is intended to smooth the output of the compressor s envelope detector Smoothing will af...

Page 187: ...is frequency Mid Width The bandwidth of the side chain parametric mid filter may be adjusted Specify the bandwidth in octaves Small values result in a very narrow filter response Large values result i...

Page 188: ...by using the Warmth parameter Following the distortion drive element is a cabinet simulator The cabinet simulator models the responses of various types of mic d guitar cabinets The preset can be sele...

Page 189: ...ibing the Dual MovDelay and Dual MvDly MvDly algorithms Algorithms 191 and 192 As implemented in these four algorithms it can be inserted either before the tone controls PreDist or after the distortio...

Page 190: ...5088 Hz Bass Tone 0 0 to 10 0 Mid Tone 0 0 to 10 0 Cab In Out In or Out Treb Tone 0 0 to 10 0 Cab Preset Open 12 etc Cab Pan 100 to 100 Poly Drive 0 0 to 60 0 dB Warmth 8 to 25088 Hz Bass Tone 0 0 to...

Page 191: ...no affect MD Insert PreDist PostDist Bypass MD Delay 0 0 to 1000 0 ms MD Wet Dry 0 to 100 MD LFOMode ChorTri ChorTrap Delay Flange MD LFORate 0 00 to 10 00 Hz MD LFODpth 0 0 to 200 0 MD Fdbk 100 to 1...

Page 192: ...orus detuning In Delay mode the LFO is turned off leaving a basic delay LFO Rate and LFO Dpth in Delay mode are disabled MD LFORate Adjusts the LFO speed for the moving delay circuit MD LFODpth In Fla...

Page 193: ...an have either a flanger followed by a shaper or vice versa The combination algorithms are organized in groups with IDs predominantly in the 400s there are a few exceptions of course For a description...

Page 194: ...or example you can have either a shaper followed by a reverb or vice versa The combination algorithms are organized in groups with IDs predominantly in the 400s there are a few exceptions of course Fo...

Page 195: ...or 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 level relative to digi...

Page 196: ...nt only when its time is longer than the attack or release time Generally the smoothing time should be kept at or shorter than the attack time The stereo and dual mono compressors allow you to select...

Page 197: ...sor 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 When doing feed forward compression Signal Dly is the...

Page 198: ...parametric mid range filter Figure 86 Compressor with side chain equalization Using side chain equalization allows you to compress your signal based on the spectral frequency content of your signal Fo...

Page 199: ...in signal level release from a signal level above the threshold SmoothTime A lowpass filter in the control signal path It is intended to smooth the output of the compressor s envelope detector Smoothi...

Page 200: ...ase 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 above the specified frequency...

Page 201: ...ange as well You can 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...

Page 202: ...l For example by boosting the treble shelf filter you can compress the signal only when there is a lot of high frequencies present You have the choice of using the compressors configured as feed forwa...

Page 203: ...elect which input channel will receive compression processing left right or both If you select left or right the opposite channel will pass through unaffected FdbkComprs A switch to set whether the co...

Page 204: ...boost to offset gain reduction due to compression SCBassGain For Opto Comprs SCEQ The amount of boost or cut that the side chain bass shelving filter should apply to the low frequency signals in dB E...

Page 205: ...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 level rel...

Page 206: ...ly 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 well after the sig...

Page 207: ...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 increase the gain by as...

Page 208: ...ressor 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 input signal should be...

Page 209: ...ompressor The compressors reduce the signal level when the signal exceeds a threshold The amount of compression is expressed as a ratio The compression ratio is the inverse of the slope of the compres...

Page 210: ...tack and release times although the effect is significant only when its time is longer than the attack or release time Generally the smoothing time should be kept at or shorter than the attack time Th...

Page 211: ...hannel will pass through unaffected In Out In or Out Out Gain Off 79 0 to 24 0 dB SC Input L R L R 2 ComprsChan L R L R FdbkComprs In or Out Crossover1 8 to 25088 Hz Signal Dly 0 0 to 25 0 ms Crossove...

Page 212: ...compressor to start to cut in when there is an increase in signal level attack above the threshold Rel Band Band is Low Mid or High The time for the compressor to stop compressing when there is a redu...

Page 213: ...determine how much to expand the signal the expander must measure the signal level Since musical signal levels will change over time the expansion amounts must change as well You can control how fast...

Page 214: ...e signal level when the algorithm is set to Out Atk Time The time for the expander to increase the gain of the signal turns off the expander after the signal rises above threshold Rel Time The time fo...

Page 215: ...expansion threshold level in dBFS decibels relative to full scale below which the signal begins to be expanded MakeUpGain Provides an additional control of the output gain The Out Gain and MakeUpGain...

Page 216: ...s 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 compressed to lin...

Page 217: ...compression segment Above 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...

Page 218: ...g the attack before it 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...

Page 219: ...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 respect to compressor s...

Page 220: ...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 above the specif...

Page 221: ...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 Threshold parameter...

Page 222: ...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 Env Time parameter Retr...

Page 223: ...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 frequencies For example you can...

Page 224: ...e to ramp from open to closed reverse if Ducking is On after the gate timer has elapsed Signal Dly The delay in milliseconds ms of the signal to be gated relative to the side chain signal By delaying...

Page 225: ...pecified frequency Negative values cut the signal at the specified frequency SCMidFreq The center frequency of the side chain parametric mid filter in intervals of one semitone The boost or cut will b...

Page 226: ...5 Band EQ and 3 Band EQ are stereo meaning the parameters for the left and right channels are ganged the parameters have the same effect on both channels Dual 5 Band EQ provides separate control for l...

Page 227: ...Mid2 Width 0 010 to 5 000 oct Mid3 Gain 79 0 to 24 0 dB Mid4 Gain 79 0 to 24 0 dB Mid3 Freq 8 to 25088 Hz Mid4 Freq 8 to 25088 Hz Mid3 Width 0 010 to 5 000 oct Mid4 Width 0 010 to 5 000 oct L In Out...

Page 228: ...t the treble signal above the specified frequency Treb Freq The center frequency of the treble shelving filter in intervals of one semitone Midn Gain The amount of boost or cut that the filter should...

Page 229: ...24 dB The frequency response of all the bands is shown in Figure 102 below The dual graphic equalizer has a separate set of controls for the two mono channels Figure 102 Filter Response of each Bandp...

Page 230: ...B 4000Hz G 12 0 to 24 0 dB 250Hz G 12 0 to 24 0 dB 8000Hz G 12 0 to 24 0 dB 500Hz G 12 0 to 24 0 dB 16000Hz G 12 0 to 24 0 dB L In Out In or Out R In Out In or Out L 31Hz G 12 0 to 24 0 dB L 1000Hz G...

Page 231: ...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 of the left 8000 Hz band in...

Page 232: ...de The frequency range is 0 to 8372 Hz though the minimum setting for Min Freq is 8 Hz Note that the term minimum frequency is a reference to the resonant frequency at the minimum envelope level with...

Page 233: ...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 The level above which signal envelope must rise before the filter b...

Page 234: ...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 envelope levels you may set e...

Page 235: ...quency is set to the base frequency while the signal envelope is below the threshold Max Freq The frequency of the resonant filter that can be reached when the envelope follower output reaches full sc...

Page 236: ...he 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 second dB s Rel Rate The down...

Page 237: ...50 dB of gain is available you will have to be careful with your gain stages to avoid clipping You can set the frequency of the LFO using the LFO Tempo and LFO Period controls You can explicitly set...

Page 238: ...through one oscillation so the LFO rate will be 1 4th of the Tempo setting If it is set to 6 24 1 4 the LFO will oscillate four times as fast as the Tempo At 0 the LFOs stop oscillating and their pha...

Page 239: ...ant filter frequency will sweep between the Min Freq and Max Freq Max Freq The maximum frequency of the resonant filter This is resonant frequency at the other extreme of the LFO sweep The resonant fi...

Page 240: ...ontrols for left and right The filter type is selectable and may be lowpass highpass bandpass or notch Figure 110 Resonant filters i lowpass ii highpass iii bandpass iv notch You can adjust the resona...

Page 241: ...quency 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 sets the level of the r...

Page 242: ...s 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 filters may be gradually moved from A to B and back aga...

Page 243: ...ilter 1 A Filter 2 moves to B Filter 2 and so on For the most normal and predictable results it s a good idea not to let the frequencies of the filters cross each other during the morphing You can ens...

Page 244: ...er frequencies for the A and B parameter sets may be offset with the FreqScale parameters After setting the filter parameters the FreqScale parameters will move each of the four filter frequencies tog...

Page 245: ...inition Conversely delaying the highpass signal relative to the lowpass signal brings out the low frequency transient information which can provide punch The transfer applied to the highpass signal ca...

Page 246: ...er function Hi Shelf F The frequency of where the high shelving filter starts to boost or attenuate Hi Shelf G The boost or cut of the high shelving filter Hi Delay Adjusts the number of samples the h...

Page 247: ...put 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 113 One channel...

Page 248: ...ive 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 intensity of the transfer cu...

Page 249: ...l is run through a highpass filter then through a distortion function then through a second highpass filter Finally it s mixed with the original signal after passing through the final Stim Gain level...

Page 250: ...some distortion settings without reducing the bandwidth of the signal Used in HF Stimulate 3 and Mn HF Stimulate2 Curve The curvature of the distortion 0 is no curvature no distortion at all At 100 th...

Page 251: ...through the expander while 60 Hz hum below threshold get squashed If the 60 Hz is more of a hum or buzz than a tone then distortion harmonics are present In this case you might have more success usin...

Page 252: ...e threshold The expansion ratio is the inverse of the slope of the expander input output characteristic An expansion ratio of 1 1 will have no effect on the signal A zero ratio 1 will expand all signa...

Page 253: ...shold set just above the noise level You can set just how far to drop the noise with the expansion ratio Figure 118 Expansion transfer characteristic The signal being expanded may be delayed relative...

Page 254: ...controlled Harmonics For HarmonicSuppress sets the harmonic structure of the expansion comb filter When set to Even only the even harmonics of the specified fundamental frequency including any dc sign...

Page 255: ...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 scale below which the sig...

Page 256: ...ngle to correct for the sine wave not being 0 at t 0 The sine wave could also be represented with a cosine function which is a sine function with a 90 phase shift To simply matters we will write A f1t...

Page 257: ...waveform with narrow sharp peaks which seems to rise exponentially from 0 Pulse produces a series of square pulses where the pulse width can be adjusted with the Osc1PlsWid parameter When pulse width...

Page 258: ...is active only in L R mode 100 is panned fully left 0 is panned center and 100 is panned right Osc1 Lvl The level of the configurable oscillator 0 is off and 100 is maximum This parameter is active on...

Page 259: ...he Pulse waveform is selected Osc1Smooth Smooths the Saw Saw and Pulse waveforms For the sawtooth waves smoothing makes the waveform more like a triangle wave For the Pulse wave smoothing makes the wa...

Page 260: ...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 Pitcher filter If there are en...

Page 261: ...26 there are deeper notches between wider peaks Figure 126 Pitcher at 100 0 0 0 In Figure 127 there are peaks on odd harmonic multiples and notches on even harmonic multiples of a frequency one octave...

Page 262: ...00 100 Figure 129 Pitcher at 50 100 100 100 Figure 130 is halfway between 0 100 100 100 and 100 100 100 100 If the Odd parameter is modulated with an FXMOD then you can morph smoothly between the 100...

Page 263: ...e fundamental pitch imposed upon the input Ptch Offst An offset from the pitch frequency in semitones This is also available for adding an additional continuous controller mod like pitch bend All othe...

Page 264: ...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 the...

Page 265: ...ay 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 channels have th...

Page 266: ...xpected 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 both of the componen...

Page 267: ...is 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 versa Note that since this...

Page 268: ...nd 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 a mix by separatin...

Page 269: ...r example you can have either a flanger followed by a pitcher or vice versa The combination algorithms are organized in groups with IDs predominantly in the 400s there are a few exceptions of course F...

Page 270: ...hm 380 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 however...

Page 271: ...ion 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 negative values the freq...

Page 272: ...ontrols 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 R parameters are fo...

Page 273: ...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 algorithm outputs 100 sends...

Page 274: ...fting 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 long and it is possi...

Page 275: ...t 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 hundredths of a semitone L...

Page 276: ...arefully 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 Chaos...

Page 277: ...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 set to Out the...

Page 278: ...he 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 signal level a...

Page 279: ...only to control envelope followers or to trigger the ADSR in ADSR Synth In the stereo algorithms you can select left or right inputs or both inputs to control the envelope followers or ADSR trigger I...

Page 280: ...ter is identical to the one used in Algorithm 360 Env Follow Filt with envelope controls and control of filter resonance and frequency sweep range The filter may be configured as lowpass highpass lowp...

Page 281: ...pe can rise in response to a rising input signal The release rate parameter EnvRelRate sets how fast the envelope can fall when the input signal drops The smoothing parameter EnvSmooth will affect att...

Page 282: ...right R or both L R 2 When set to L R 2 the average of the left and right magnitudes is used Env SC In For stereo Env Synth only Select the input source channel for the amplitude envelope side chain...

Page 283: ...sets the amount of cut so 0 dB provides the highest widest notch and higher levels make the notch increasingly narrower and shallower Filt Thres The level above which the signal envelope must rise be...

Page 284: ...ctor for amplitude envelope following EnvRelRate For Env Synth only Adjusts the downward slew rate of the envelope detector for amplitude envelope following EnvSmooth For Env Synth only Smooths the en...

Page 285: ...much 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 putti...

Page 286: ...d 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 asterisk The second parameter mi...

Page 287: ...y signal and fed into effect C 0 is completely dry signal and 100 is completely signal Individual Effect Components Choruses The choruses are basic 1 tap dual choruses Separate LFO controls are provid...

Page 288: ...ocumentation page 109 Parameters with a 1 or 2 correspond to LFO taps organized as described above Delays Delay sometimes Dly is a basic tempo based dual channel delay with added functionality includi...

Page 289: ...wpass 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 regeneration and is heard only whe...

Page 290: ...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 Tap4 Level 100 to 100 Ta...

Page 291: ...of a fundamental frequency The graphs below show Pt PkSplit going from 0 to 100 for a Pt Pitch of 1 kHz roughly C6 and Pt PkShape set to 0 Figure 143 Response of Pitcher with different PkSplit setting...

Page 292: ...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 superimpose the spectrum...

Page 293: ...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 to 100 Ch Fdbk R 100 to...

Page 294: ...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 offset i...

Page 295: ...the input of the delay The amount of effect A fed into effect B is controlled by the A Dry B parameter This controls the balance between effect A output and the algorithm dry input signal fed into eff...

Page 296: ...used in conjunction with the A Dry B parameter A Dry B This parameter controls how much of the A effect is mixed with dry and fed into effect B A and B are determined by the A B cfg parameter This wor...

Page 297: ...LRPhase is unpredictable 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 loadi...

Page 298: ...LFO control in Link1Tap mode Figure 149 LFO control in Link2Tap mode LFO R Right Delay Left LFOL Delay Cont rol Set 1 Control Set 2 LFO R Right Delay Left LFOL Delay Cont rol Set 1 LFO1R LFO2L Right D...

Page 299: ...this parameter is accurate only when Fl Rate 1 and Fl Rate 2 are set to the same speed and only after the Fl LFO cfg parameter is moved or the algorithm is called up Fl Phase 1 Fl Phase 2 These adjus...

Page 300: ...hose found in LaserVerb and affect the laser element of the effect The LsrCntour changes the laser regeneration envelope shape Higher values increase the regeneration amount and setting it to 0 will d...

Page 301: ...only when Dly Fdbk is used Small positive values shift the image to the right while small negative values shift to the left Larger values tend to shift the image so far that the image gets scrambled...

Page 302: ...ically cutting their times in half Additionally the feedback path may also offer cross coupling an imager a highpass filter and or a lowpass filter Parameters for Combination 4 Tap Page 1 Page 2 4T FB...

Page 303: ...Guide for an overview Parameters associated with this effect begin with Shp This KDFX shaper also offers input and output 1 pole 6dB oct lowpass filters controlled by the Shp Inp LP and Shp Out LP res...

Page 304: ...1 pole 6dB oct lowpass filter at the output of the shaper Shp Amount Adjusts the shaper intensity This is exactly like the one in V A S T Shp OutPad Adjusts the output gain at the output of the shaper...

Page 305: ...79 Ptch Flan Dly ms 480 Ptch StFl Dly ms Combination effect algorithms using time frequency units instead of tempo PAUs 1 or 2 The algorithms listed here are identical in most respects to combination...

Page 306: ...etails on using these algorithms use the following links to jump to the appropriate section Combination Algorithms on page 285 Configurable Combination Algorithms on page 295 More Combination Algorith...

Page 307: ...es which you do not expect to go negative Eight parameters are provided to connect modulation sources to the meters The parameter values are fixed at NoDpth and have no function except to connect sour...

Page 308: ...t Mode parameters control the signals being passed 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...

Page 309: ...set to on the polarity of the 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...

Page 310: ...92 617 Mn Gated Delay 94 620 Mn Chorus 1 102 625 Mn Flanger 1 109 630 Mn LFO Phaser 116 631 Mn LFOPhaserTwin 116 632 Mn SingleLFOPhsr 116 633 Mn VibratoPhaser 116 634 Mn Manual Phaser 116 635 Mn AP P...

Page 311: ...are additive So for example with Pre Delay set to 20 0 ms LatePreDly set to 40 ms RghtPreDly set to 10 ms and all others set to 0 the Late reverb s right output will be delayed a total of 70 ms while...

Page 312: ...signal But just before mixing with dry the center channel output may be split between the left and right channels with the PhantomCtr control Setting this to 0 maintains center channel independence a...

Page 313: ...Hall1 LateSource EarRef Dry Size Scale 0 00 to 5 00x Cen Couple 0 to 100 InfinDecay On or Off DiffAmtScl 0 00 to 2 00 x DiffLenScl 0 00 to 4 50 x LF Split 8 to 25088 Hz LFO Rate 0 01 to 10 00 Hz LF Ti...

Page 314: ...set of the early reflections Negative amounts create a slower onset while positive amount create a faster onset The ER Deflect parameter the amount that the reflection Room Type Booth1 LateSource EarR...

Page 315: ...h the PhantomCtr control Setting this to 0 maintains center channel independence and setting to 100 turns the output of the effect into four channels instead of five Figure 153 Signal flow of OmniVerb...

Page 316: ...30 0 ms Room Type Hall1 Size Scale 0 00 to 5 00x InfinDecay On or Off DiffAmtScl 0 00 to 2 00 x DiffLenScl 0 00 to 4 50 x LF Split 8 to 25088 Hz LFO Rate 0 01 to 10 00 Hz LF Time 0 50 to 2 00 x LFO De...

Page 317: ...e early reflection portion of algorithms offering early reflections Room Type Booth1 Size Scale 0 00 to 5 00x DiffAmtScl 0 00 to 2 00 x DiffLenScl 0 00 to 4 50 x LF Split 8 to 25088 Hz LFO Rate 0 01 t...

Page 318: ...ff the decay time is determined by the Rvrb Time parameter LF Split Used in conjunction with LF Time This controls the upper frequency limit of the low frequency decay time multiplier Energy below thi...

Page 319: ...nels more which increases envelopment in many situations PhantomCtr This progressively turns the five wet output channels into four by turning the center channel output into a phantom image with the f...

Page 320: ...p This adjusts the cutoff frequency of a 1 pole 6dB oct lowpass filter applied to the early reflections FrntPreDly RearPreDly LeftPreDly RghtPreDly CentPreDly Adds additional predelay to front rear le...

Page 321: ...ever the early reflections for each source are attenuated as a group along with the direct signal when distance is increased The reflection delay times are not influenced by Room Size but their starti...

Page 322: ...sity at a setting of 50 In addition to the two build controls there are independent Predelay controls for each source that can delay that source s entry into the entire reverberation Figure 155 Simpli...

Page 323: ...e page for Source 1 is shown in the table below Pages 4 8 are similar and correspond to Sources 2 6 Drct Level 0 to 100 Drct Ctr On Off ER Level 0 to 100 Rvrb Ctr On Off Rvrb Level 0 to 100 Room Size...

Page 324: ...arly scales the many internal delay lines of the reverberator It does not influence the delay lines of the injector The range of values is from 2 5 to 40 0m meters Decay Time Decay Time modifies the g...

Page 325: ...s the send level of source 1 into the early reflection module as distance increases It does not change the send level into the reverberator Mstr Send The source s master send level It maintains the pr...

Page 326: ...is digital full scale and all other available values are negative In the hard knee compressor there is a sudden transition from uncompressed to compressed at the compression threshold In the soft knee...

Page 327: ...k at signal routing specific to Compress 5 1 Figure 157 Compress 5 1 The amplitude of each of the input signals can be mixed onto each of the four side chains For example the L SC1 parameter controls...

Page 328: ...C2 0 to 100 R SC1 0 to 100 R SC2 0 to 100 C SC1 0 to 100 C SC2 0 to 100 LFE SC1 0 to 100 LFE SC2 0 to 100 LS SC1 0 to 100 LS SC2 0 to 100 RS SC1 0 to 100 RS SC2 0 to 100 L SC3 0 to 100 L SC4 0 to 100...

Page 329: ...9 0 to 24 0 dB SigDly2 0 0 to 25 0ms Reduction dB 40 20 12 8 6 4 2 0 Comp3Atk 0 0 to 228 0 ms Comp3Ratio 1 0 1 to 100 1 Inf 1 Comp3Rel 0 to 3000 ms Comp3Thres 79 0 to 0 0dB SmthTime3 0 0 to 228 0 ms M...

Page 330: ...chain predelay This allows the compression to appear to take effect just before the signal actually rises CompnRatio The compression ratio High ratios are highly compressed low ratios are moderately...

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