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K2661 Musician’s Reference

 

vii

 

Chapter 11 Glossary

Chapter 12 Triple Modular Processing

 

Overview ........................................................................................................................................................................ 12-1

Triples and Polyphony .......................................................................................................................................... 12-2
Soloing and Muting ............................................................................................................................................... 12-2
KB3 Programs ......................................................................................................................................................... 12-2
Live Mode ............................................................................................................................................................... 12-2
Algorithms for Triple Modular Processing ........................................................................................................ 12-3
Compatibility with Other Kurzweil Instruments.............................................................................................. 12-3

Creating Triples ............................................................................................................................................................. 12-4
Editing Triples................................................................................................................................................................ 12-5

Amplitude Envelopes............................................................................................................................................ 12-6
Other Considerations ............................................................................................................................................ 12-9

Algorithm Reference................................................................................................................................................... 12-12
K2661 Triple Programs: Controller Assignments ................................................................................................... 12-36
Alphanumeric Buttonpad Entries for DSP Functions............................................................................................ 12-39

Special Cases......................................................................................................................................................... 12-39

 

Appendix A Specifications

 

K2661 Features................................................................................................................................................................ A-1
Environmental Speci

fi

cations ....................................................................................................................................... A-2

Temperature Ranges ............................................................................................................................................... A-2
Relative Humidity Ranges (Non-condensing).................................................................................................... A-2

Physical Speci

fi

cations................................................................................................................................................... A-2

Electrical Speci

fi

cations ................................................................................................................................................. A-2

Safe Voltage Ranges ................................................................................................................................................ A-3

Analog Audio Speci

fi

cations ........................................................................................................................................ A-3

Audio Jacks .............................................................................................................................................................. A-3
Separate Outputs..................................................................................................................................................... A-3
Mix Outputs............................................................................................................................................................. A-3
Headphone Output................................................................................................................................................. A-3

MIDI Implementation Chart......................................................................................................................................... A-4

 

Appendix B SysEx Control of KDFX

 

SysEx Message Structure................................................................................................................................................B-1

Header .......................................................................................................................................................................B-1
Body ...........................................................................................................................................................................B-2
End .............................................................................................................................................................................B-2

Device Codes....................................................................................................................................................................B-3
Parameter Codes .............................................................................................................................................................B-3
MSB and LSB....................................................................................................................................................................B-4

 

Appendix C Standard K2661 ROM Objects

 

Groove Setups...........................................................................................................................................................C-1
Special Purpose Setups............................................................................................................................................C-2
QA Banks...................................................................................................................................................................C-3
Setups.........................................................................................................................................................................C-4
Songs ..........................................................................................................................................................................C-5
Programs ...................................................................................................................................................................C-6

Содержание K2661

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Страница 34: ...3 16 DSP Algorithms...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Страница 94: ...ch affects the density of the reverb At 1 00x the room density will be the normal carefully set amount for the current Room Type Altering this parameter will change the density of the reverb which may...

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

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

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

Страница 98: ...ration and spacing of the early reflections are influenced by Room Size and Build Time while the number and relative loudness of the individual reflections are influenced by Build Env When Build Env i...

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

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

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

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

Страница 103: ...The left end of the see saw represents the driving of the reverberation at the earliest time the pivot point as driving the reverberation at mid point in the time sequence and the right end as the las...

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

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

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

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

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

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

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

Страница 111: ...tap is the sum of the coarse and fine parameters for the tap multiplied by the DelayScale parameter which is common to all taps The DelayScale parameter allows you to change the lengths of all the ta...

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

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

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

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

Страница 116: ...put mix When set to 0 the output is taken only from the input dry When set to 100 the output is all wet Out Gain The overall gain or amplitude at the output of the effect Wet Dry 0 to 100 wet Out Gain...

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

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

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

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

Страница 121: ...100 Tempo System 0 to 255 BPM HF Damping 16 to 25088 Hz Diff Delay 0 to 20 0 ms LF Damping 16 to 25088 Hz Diff Amt 100 to 100 LoopLength On or Off Tap2 Delay 0 to 32 bts Fdbk Image 100 to 100 Tap2 Sha...

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

Страница 123: ...er is set to System the tempo is locked to the internal sequencer tempo or to incoming MIDI clocks When it is set to System sources FUNs LFOs ASRs etc will have no effect on the Tempo parameter Diff D...

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

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

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

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

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

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

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

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

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

Страница 133: ...g the detuned copies back with the original Low frequency oscillators LFOs are used modulate the positions of output taps from a delay line The delay line tap modulation causes the pitch of the signal...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Страница 150: ...inal depth of the notch The notch depth LFO modulates the depth of the notch For maximum LFO depth set NotchDepth to 0 dB and NLFO Depth to 100 NLFO Depth The excursion of the notch depth LFO in units...

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

Страница 152: ...er filter above and below the center frequency as a percent LFO Rate The rate of the LFO in Hertz The LFO Rate may be scaled up by the Rate Scale parameter Rate Scale A rate multiplier value which may...

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

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

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

Страница 156: ...parameters named A B and Dry C where A B and C correspond to the names of effects A B and C The first parameter mixes effect A and B into a temporary buffer represented by the symbol The second parame...

Страница 157: ...and B determined by A B is mixed with the dry signal and fed into effect C 0 is completely dry signal and 100 is completely signal Individual Effect Components Chorus The choruses are basic 1 tap dual...

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

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

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

Страница 161: ...e chorus and effect B is the delay and the output of the chorus is wired to the input of the delay The amount of effect A fed into effect B is controlled by the A Dry B parameter This controls the bal...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Страница 179: ...he other down in frequency At 0 there is no splitting all peaks are at multiples of the fundamental At 100 the peak going up merges with the peak going down from the next higher position Pt Offset An...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Страница 213: ...enon caused by having only a limited number of bits with which to represent signal amplitudes finite precision You are probably aware that a bit is a number which can have only one of two values 0 or...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Страница 340: ...11 6 Glossary...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Страница 500: ......

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