K2661 Musician’s Reference ©2003 All rights reserved. Kurzweil ® is a product line of Young Chang Co., Ltd. Young Chang®, Kurzweil ® , V. A. S. T. ®, KDFX®, Pitcher®, and LaserVerb®, KSP8 ™, K2661™, K2600™, K2500™, and K2000™ are trademarks of Young Chang Co., Ltd. SmartMedia™ is a trademark of Toshiba Corporation. ADAT® is a registered trademark of Alesis Corporation. All other products and brand names are trademarks or registered trademarks of their respective companies.
The lightning flash with the arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
Important Safety Instructions 1) 2) 3) 4) 5) 6) 7) Read these instructions Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with dry cloth. Do not block any of the ventilation openings. Install in accordance with the manufacturer’s instructions. 8) Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
Kurzweil International Contacts Contact the nearest Kurzweil office listed below to locate your local Kurzweil representative. Kurzweil Co., Ltd. Daerung Technotown 6th, 306 493-6 Gasan, Gumcheon, Seoul, Korea Tel: (+82) 2-2108-5700 Fax: (+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: (905) 948-8052 Team Kurzweil Europe Gl.
Contents Kurzweil International Contacts..................................................................................................................................... iv World Wide Web Home Page: ......................................................................................................................................... iv Chapter 1 Front Panel Front Panel Quick Reference ...................................................................................................................
K2661 Musician’s Reference Chapter 6 MIDI, SCSI, and Sample Dumps SCSI Guidelines ............................................................................................................................................................... 6-1 Disk Size Restrictions .............................................................................................................................................. 6-1 Configuring a SCSI Chain.....................................................................
K2661 Musician’s Reference Chapter 11 Glossary Chapter 12 Triple Modular Processing Overview ........................................................................................................................................................................ 12-1 Triples and Polyphony .......................................................................................................................................... 12-2 Soloing and Muting ...........................................................
K2661 Musician’s Reference Appendix D Contemporary ROM Block Objects Programs.......................................................................................................................................................................... D-2 Keymaps .......................................................................................................................................................................... D-3 Program Control Assignments ................................................
Front Panel Front Panel Quick Reference Chapter 1 Front Panel Front Panel Quick Reference This section describes the features of the front panel of your K2661. Volume Knob/ Slider Controls mixed audio outputs and headphone jack only. Does not send MIDI Volume (MIDI 07). Mode Buttons Press any of these eight buttons to enter the corresponding mode. Chan/Bank Buttons Scroll through the layers of the current program while in the Program Editor.
Front Panel Front Panel Quick Reference Soft Buttons Functions change depending on current display page. Function of each button is displayed on bottom line of display. Exit Button Press to leave various editors. If you’ve made any changes while in the editor, you will be prompted to save them. Cursor Buttons Press the corresponding button to move the cursor up, down, left, or right in the display. Different parameter values will be highlighted as buttons are pressed. Alpha Wheel For data entry.
Front Panel Front Panel Quick Reference There are several punctuation characters available as well, but they can be entered only with the Alpha Wheel or Plus/Minus buttons. The punctuation characters are between z (lower case) and 0. Special Alphanumeric Buttonpad Functions When you’re in Quick Access mode, the Alphanumeric buttonpad can be used to select the entries in the current Quick Access bank.
Front Panel Special Button Functions MIDI Faders button When you press the MIDI Faders button, the K2661’s sliders take on the functions assigned on the current MIDI Faders page. From the MIDI Faders display you can define four different pages that define how the K2661’s physical sliders will work. In the display shown below, for example, the eight sliders are each defined to send MIDI 6 (Data) on Channels 9 through 16.
Front Panel Special Button Functions When you’re in the Sample Editor, the Program, Setup, Q Access, MIDI, Master, and Song mode buttons function according to the orange labeling near each button. Table 1-1 describes all of the special button functions.
Front Panel Special Button Functions: Double Button Presses Special Button Functions: Double Button Presses Pressing two or more related buttons simultaneously executes a number of special functions depending on the currently selected mode. Make sure to press them at exactly the same time.
LFOs LFO Shapes Chapter 2 LFOs LFO Shapes LFO Shape Displayed As Sine Sine Positive Sine +Sine Square Square Positive Square +Squar Triangle Triang Positive Triangle +Trian Rising Sawtooth 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 Ste 6 Step 6 Step Positive 6 Step +6 Ste 7 Step 7 Step Positive 7 Step +7 Ste 8
LFOs LFO Shapes Positive Sine Sine +1 +1 -1 0° 270° 180° 0° Triangle 180° 360° / 0° 0° 270° 180° 360° / 0° +1 0° 180° 360° / 0° 0° 180° 360° / 0° 0° 4 Step 180° 360° / 0° 180° 360° / 0° 0° 270° 180° 90° 360° / 0° 0° 0° 360° / 0° +1 -1 90° 360° / 0° 270° 180° Positive 5 Step -1 180° 360° / 0° -1 0° 270° 270° 180° Positive 3 Step +1 90° 0° 5 Step -1 270° 90° 360° / 0° +1 90° +1 -1 180° 3 Step Positive 4 Step +1 90° 0° 270° 360° / 0° -1 -1 90° 270
LFOs LFO Shapes 6 Step +1 -1 0° 270° 180° 0° 8 Step 270° 180° 360° / 0° 270° 180° 0° 270° 180° 0° 360° / 0° 270° 180° 360° / 0° Positive 10 Step +1 -1 90° 0° 12 Step 270° 180° 90° 360° / 0° 0° 270° 180° 360° / 0° Positive 12 Step +1 +1 -1 -1 90° 0° 90° 360° / 0° -1 90° 360° / 0° 180° +1 -1 90° 0° 270° 10 Step +1 -1 -1 90° Positive 8 Step +1 +1 -1 90° 360° / 0° Positive 7 Step +1 -1 90° 0° 7 Step 6 Step Positive Sine +1 270° 180° 90° 360° / 0° 0° 270°
LFOs LFO Shapes 2-4
Chapter 3 DSP Algorithms Note: Triple Mode algorithms are described in Chapter 12.
DSP Algorithms Algorithm|3|||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrrrrrR®rrtyrrR®rrrrrrR®rrty d||||||jk||||||||||||||u:||||||||||||||GH cvvvvvvm,..............
DSP Algorithms Algorithm|5|||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrrrrrR®rrterrR®rrterrR®rrt| d||||||gk||||||||||||||gk||||||gk||||||gh cvvvvvvbcvvvvvvvvvvvvvvbcvvvvvvbcvvvvvvb| PITCH 2PARAM SHAPER LP2RES 2POLE LOWPASS 2PARAM SHAPER LPCLIP x AMP SHAPE2 2POLE LOWPASS SINE+ + AMP BANDPASS FILT BAND2 BANDPASS FILT NOISE+ ! AMP NOTCH FILTER NOTCH2 NOTCH FILTER LOPASS 2POLE ALLPASS LOPAS2 2POLE ALLPASS HIPASS PARA BASS HIPAS2 NONE ALPASS
DSP Algorithms Algorithm|7|||||||||||||||||||||||||||||| |||||||||||||||||||||||5rrrrrrrr6|||||||| errR®rrterrR®rrrrrrR®rrTerrR®rrt7rrR®rrt| d||||||jk||||||||||||||u?||||||i;||||||gh cvvvvvvm,..............
DSP Algorithms Algorithm|9|||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrterrR®rrterrR®rrterrR®rrt| d||||||gk||||||gk||||||gk||||||gk||||||gh cvvvvvvbcvvvvvvbcvvvvvvbcvvvvvvbcvvvvvvb| PITCH LOPASS LOPASS LP2RES HIPASS HIPASS ALPASS Algorithm|10||||||||||||||||||||||||||||| |||||||||||||||5rrrrrrrr6|||||||||||||||| errR®rrterrR®rrTerrR®rrt7rrR®rrtYrrR®rrt| d||||||jk||||||u?||||||JU||||||u:||||||gh cvvvvvvm,......M/vvvvvvm,......
DSP Algorithms Algorithm|11||||||||||||||||||||||||||||| |||||||||||||||5rrrrrrrr6|||||||||||||||| errR®rrterrR®rrTerrR®rrt7rrR®rrtYrrR®rrt| d||||||gk||||||fk||||||jU||||||u:||||||gh cvvvvvvbcvvvvvvbcvvvvvvm,......
DSP Algorithms Algorithm|13||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrterrR®rrterrR®rrtYrrR®rrty d||||||gk||||||gk||||||gk||||||G;||||||GH cvvvvvvbcvvvvvvbcvvvvvvbcvvvvvvbNvvvvvvbn PITCH LOPASS LOPASS HIPASS PANNER AMP Algorithm|14||||||||||||||||||||||||||||| |||||||||||||||5rrrrrrrr6|||||||||||||||| errR®rrterrR®rrTerrR®rrt7rrR®rrrrrrR®rrty d||||||jk||||||u?||||||i;||||||||||||||GH cvvvvvvm,......
DSP Algorithms Algorithm|15||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrterrR®rrtYrrR®rrrrrrR®rrty d||||||gk||||||jk||||||u:||||||||||||||GH cvvvvvvbcvvvvvvm,......
DSP Algorithms Algorithm|17||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrterrR®rrrrrrR®rrterrR®rrt| d||||||gk||||||gk||||||||||||||gk||||||gh cvvvvvvbcvvvvvvbcvvvvvvvvvvvvvvbcvvvvvvb| PITCH LOPASS SHAPE MOD OSC HIPASS ALPASS AMP Algorithm|18||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrtYrrR®rrrrrrR®rrterrR®rrt| d||||||jk||||||u:||||||||||||||gk||||||gh cvvvvvvm,......
DSP Algorithms Algorithm|19||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrterrR®rrrrrrR®rrterrR®rrt| d||||||gk||||||gk||||||||||||||gk||||||gh cvvvvvvbcvvvvvvbcvvvvvvvvvvvvvvbcvvvvvvb| PITCH LOPAS2 SHAPE MOD OSC NONE NONE AMP Algorithm|20||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrtYrrR®rrterrR®rrterrR®rrt| d||||||jk||||||u:||||||gk||||||gk||||||gh cvvvvvvm,......
DSP Algorithms Algorithm|21||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrtYrrR®rrterrR®rrterrR®rrt| d||||||jk||||||u:||||||gk||||||gk||||||gh cvvvvvvm,......M/vvvvvvbcvvvvvvbcvvvvvvb| PITCH Algorithm|22||||||||||||||||||||||||||||| |||||||||||||||5rrrrrrrr6|||||||||||||||| errR®rrterrR®rrTYrrR®rrt7rrR®rrtYrrR®rrt| d||||||jk||||||u:||||||JU||||||u:||||||gh cvvvvvvm,......M/vvvvvvm,......
DSP Algorithms Algorithm|23||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrtYrrR®rrterrR®rrtYrrR®rrt| d||||||jk||||||u:||||||jk||||||u:||||||gh cvvvvvvm,......M/vvvvvvm,......
DSP Algorithms Algorithm|25||||||||||||||||||||||||||||| |||||||||||||||5rrrrrrrr6|||||||||||||||| errR®rrterrR®rrTYrrR®rrt7rrR®rrrrrrR®rrty d||||||jk||||||u:||||||i;||||||||||||||GH cvvvvvvm,......
DSP Algorithms Algorithm|27||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| ||||||||errR®rrterrR®rrterrR®rrterrR®rrt| ||||||||d||||||©d||||||gk||||||gk||||||gh ||||||||cvvvvvvbcvvvvvvbcvvvvvvbcvvvvvvb| SYNC M SYNC S LPCLIP SYNC M SYNC S LP2RES SINE+ SHAPE2 NOISE+ BAND2 LOPASS NOTCH2 HIPASS LOPAS2 ALPASS HIPAS2 GAIN LPGATE SHAPER NONE DIST SINE LF SIN SW+SHP SAW+ SW+DST NONE 3-14 AMP Algorithm|28||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||
DSP Algorithms Algorithm|29||||||||||||||||||||||||||||| |||||||||||||||||||||||5rrrrrrrr6|||||||| ||||||||errR®rrterrR®rrTerrR®rrt7rrR®rrt| ||||||||d||||||jd||||||u?||||||i;||||||gh ||||||||cvvvvvvm,......M/vvvvvvbNvvvvvvb| SYNC M SYNC S LPCLIP x AMP SINE+ NOISE+ Algorithm|30||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| ||||||||errR®rrterrR®rrtYrrR®rrtYrrR®rrt| ||||||||d||||||jd||||||G;||||||u:||||||gh ||||||||cvvvvvvm,......ML......
DSP Algorithms 3-16
Control Sources Chapter 4 Control Sources Control sources are assigned as values for control source parameters, like Src1 and Src2, Depth Control for Src2, and LFO rate control. Assigning a control source to one of these parameters is like connecting control source outputs to various inputs on early modular synthesizers. You can think of each control source parameter as the input to a synthesizer module, and the values for those parameters as the outputs of modules generating control signals.
Control Sources If you change the value of the MWhl parameter, the Mod Wheel will no longer send the MWheel message, and any control source parameter with MWheel assigned as its value will no longer respond to movement of the Mod Wheel. All of the control assignment parameters in the Setup Editor can be programmed to send any of the MIDI controller numbers.
Control Sources Control Source Lists Control Source Lists There’s one long list of control sources stored in the K2661’s memory, although not all control sources are available for all control source parameters. With time you’ll become familiar with the types of control sources available for various control source parameters. The available list of control sources varies depending on the type of control source parameter you’re programming.
Control Sources Descriptions of Control Sources Descriptions of Control Sources This section is organized into two sets of descriptions: the MIDI Control Source list, and the rest of the control sources. The numeral preceding 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 as default values for the control assignment parameters in the Setup Editor.
Control Sources MIDI Control Source List MIDI Control Source List With a few exceptions, the MIDI control sources correspond to the standard MIDI controller numbers used by every MIDI device. 128 OFF This value eliminates the effect of any control source parameter to which it’s assigned. 0, 33 Mono Pressure (MPress) Many of the K2661’s factory programs are assigned to modify parameters such as pitch, filter cutoff frequency, and depth control when MPress messages are received.
Control Sources MIDI Control Source List 4-6 8 MIDI 08 (Balance) 9 MIDI 09 10 MIDI 10 (Pan) MIDI controller 10 is defined as Pan control. The Pan parameter on the CHANNELS page in MIDI mode will respond to MIDI controller 10 unless the PanLock parameter is turned on. 11 MIDI 11 (Express) 12—14 MIDI 12—14 15 MIDI 15 (AuxBend2) The K2661 interprets MIDI Controller 15 as AuxBend2. A value of 64 is centered.
Control Sources MIDI Control Source List 67 MIDI 67 (SoftPd) This is the standard MIDI Controller number for Soft Pedal. The K2661 will always respond to Soft pedal messages. 68 MIDI 68 69 MIDI 69 (FrezPd) The K2661 will always respond to this message. It causes all notes to be frozen at their current amplitude levels while the function is on. 70—74 MIDI 70—74 75 MIDI 75 (LegatoSw) The K2661 always responds to this message.
Control Sources Main Control Source List Main Control Source List This list contains all but the last three control sources in the MIDI Control Source list. It also contains the following control sources. All are local unless specified as global. 32 Channel State (Chan St) Chan St refers to whether any notes are currently active on a given MIDI channel.
Control Sources Main Control Source List 38 Global ASR (GASR2) When the Globals parameter on the COMMON page is turned on, ASR2 becomes global, and is labeled GASR2. The functions of ASRs are explained in Chapter 6 of the Musician’s Guide. This control source does not appear in the Control Source list for parameters whose functions are local. 39 Global FUN2 (GFUN2) When the Globals parameter on the COMMON page is turned on, FUN2 becomes global, and is labeled GFUN2.
Control Sources Main Control Source List You can use this control source in several ways. One example is to limit the volume of each note so that you have a more nearly constant volume regardless of how many notes you’re playing (this is independent of the effect of attack velocity on volume). To set this up, you would go to the F4 AMP page in the Program Editor, and set the Src1 parameter to a value of ChanCnt. Then set the Depth parameter to a negative value.
Control Sources Main Control Source List 60, 61 Global Phase 1 and 2 (G Phase 1, G Phase 2) These bipolar global control sources are both rising sawtooth waves that rise from 1 to +1 with each MIDI clock beat. Like A Clock and B clock, they look for an external clock signal, and if none is received, they respond to the K2661’s internal clock.
Control Sources Main Control Source List 4-12 101 Inverse Attack Velocity (InvAttVel) This is the opposite of AttVel, generating a signal value of 0 in response to attack velocity values of 127. 102 Polyphonic Pressure (PPress) This unipolar control source responds to poly pressure (aftertouch) messages received via MIDI. It generates a signal value scaled from 0 to +1 based on the poly pressure value range of 0—127.
Control Sources Main Control Source List 115 LFO1 Phase (LFO1ph) This bipolar control source generates it signal based on the cycle of LFO1. When the phase of LFO1 is 0 degrees, the signal value of LFO1ph is 0. When the phase of LFO1 is 90 degrees, the signal value of LFO1ph is 1. When the phase of LFO1 is 180 degrees, the signal value of LFO1ph is 0. When the phase of LFO1 is 270 degrees, the signal value of LFO1ph is -1.
Control Sources Main Control Source List 126 Release State (Rel State) This unipolar control source switches to +1 when a note is released, and stays on until the note has completed its release (faded to silence), then it switches to 0. It will stay on if a note is sustained, even if its trigger (key, string, whatever) is released. 127 ON This generates a constant control signal value of +1.
Control Sources Constant Control Sources Constant Control Sources The remaining control sources are constants, which appear only when you’re assigning control sources as inputs for the FUNs. Assigning one of these values fixes the input’s control signal value at a steady level. Assigned Value Corresponding Constant Assigned Value Corresponding Constant 133 -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.
Control Sources Keyboard Shortcuts for Control Sources Keyboard Shortcuts for Control Sources You can use the keyboard of your K2661 to choose control sources, since most key numbers correspond to a value on the Control Source list. If you have a certain control source that you use over and over (for example, LFO1), this can be the quickest way to enter its value.
MIDI Note Numbers K2661 Note Numbers and MIDI Note Numbers Chapter 5 MIDI Note Numbers K2661 Note Numbers and MIDI Note Numbers K2661 MIDI C -1–B -1 0–11 C 0–B 0 12–23 C 1–B 1 24–35 C 2–B 2 36–47 C 3–B 3 48–59 C 4 (Middle C)–B 4 60–71 C 5–B 5 72–83 C 6–B 6 84–95 C 7–B 7 96–107 C 8–B 8 108–119 C 9–G 9 120–127 You can assign samples to keymaps in the range from C 0 to G 9. The K2661 will respond to MIDI events in the octave from C -1 to B -1.
MIDI Note Numbers Note Numbers for Percussion Keymaps 5-Octave Percussion Keymaps (Range: C2–C7) MIDI Note Number 5-2 Key Number Sample Root 36-37 C2-C#2 Low Tom 38-39 D2-D#2 Low Mid Tom 40-41 E2-F2 Mid Tom 42-43 F#2-G2 Hi MidTom 44-45 G#2-A2 Mid Hi Tom 46 A# 2 Hi Tom 47–51 B 52–54 E3–F#3 Snare (Sidestick) 55-56 G3-G#3 Low Snare (dual vel. on Dry Kit 1) 57-59 A3-B3 Mid Snare (dual vel. on Dry Kit 1) 60-61 C4-C#4 Hi Snare (dual vel.
MIDI Note Numbers Note Numbers for Percussion Keymaps 2-Octave Percussion Keymaps (Range: C3 - C5) MIDI Note Number Key Number Sample Root 48–49 C 50 D3 Low Tom 51 D# Cowbell 52 E3 Low Tom 53 F3 Mid Tom 54 F# 3 Cowbell 55 G3 Mid Tom 56 G# Timbale 57 A3 High Tom 58 A# Snare (Sidestick) 59 B3 High Tom 60-61 C4-C#4 Snare (dual velocity) 62 D4 Closed HiHat 63 D# 4 Ride Cymbal (Rim and Bell) 64 E4 Closed HiHat 65 F4 Slightly Open HiHat 66 F# Crash Cymbal 67
MIDI Note Numbers Note Numbers for Percussion Keymaps 5-4
MIDI, SCSI, and Sample Dumps SCSI Guidelines Chapter 6 MIDI, SCSI, and Sample Dumps SCSI Guidelines The following sections contain information on using SCSI with the K2661, as well as specific sections dealing with the Mac and the K2661. Disk Size Restrictions The K2661 can address up to 8 Gigabytes (8 G) of hard-disk space, in 2-G partitions. This is true for any hard disk formatted with the DOS-compatible FAT-16 format.
MIDI, SCSI, and Sample Dumps SCSI Guidelines engineering department has encountered have been due to bad cables that didn’t twist pairs of wires properly. Correctly made SCSI cables have one ground wire for every signal wire and twist them together in signal/ground pairs. Cables made by APS Technologies (http://www.apstech.com, 1-800-395-5871) are very good and are highly recommended. Young Chang manufactures 1 and 2 meter 25-25 SCSI cables, that we can also recommend.
MIDI, SCSI, and Sample Dumps SCSI Guidelines K2661 and Macintosh Computers There are several points to consider when using a Macintosh with the K2661: 1. The Mac is not well equipped for having another SCSI master on the bus (that is, the K2661). It assumes that it owns the bus and its drives—consequently it will not allow the K2661 to address any of its drives. Therefore, you should not attempt to read from or write to any drive mounted on the Mac’s desktop.
MIDI, SCSI, and Sample Dumps The MIDI Sample Dump Standard The MIDI Sample Dump Standard Samples can be transferred between the K2661 and most other samplers and computer sampling programs using the MIDI Sample Dump Standard. Due to the relatively slow transfer rate of MIDI data, transferring samples into the K2661 via the MIDI Sample Dump Standard can take a long time, on the order of a coffee break for a large sample.
MIDI, SCSI, and Sample Dumps The MIDI Sample Dump Standard Some computer-based sample editing software limits the sample numbers to a low range such as 1-128. This conflicts with the K2661, which reserves IDs 1-199 for ROM samples, which cannot be loaded or dumped. To get around this, the K2661 adds 200 to any numbers between 1 and 199.
MIDI, SCSI, and Sample Dumps The MIDI Sample Dump Standard Accessing a New K2661 Sample First, select the K2661 program you wish to play the new sample from, and press Edit. Then select the layer you wish (using the Chan/Bank buttons if necessary), press the KEYMAP soft button, and select a keymap. Use the default keymap called 168 Silence if you don’t want to alter any existing keymaps. Now, enter the Keymap Editor by pressing Edit once again. Use the Sample parameter to select the new sample.
MIDI, SCSI, and Sample Dumps The MIDI Sample Dump Standard When Dumping Samples From the K2661 Certain computer-based sample editing programs subtract one from the sample number when performing MIDI Sample transfers to remote devices. For instance, if you tell these programs to get sample number 204, the programs will request that the K2661 dump sample ID 203, which would ordinarily dump a different sample from the one you intended, possibly causing the dump to fail.
MIDI, SCSI, and Sample Dumps SMDI Sample Transfers SMDI Sample Transfers You can use the SMDI data transfer format (SMDI stands for SCSI Musical Data Interchange— pronounced smiddy) to transfer mono and stereo samples to and from the K2661. SMDI is parallel, not serial, so sample transfers can be made much faster than with the MIDI sample dump standard. Cycling '74’s Max/MSP (http://www.cycling74.com) is a SMDI-capable Macintosh software package.
System Exclusive Protocol K2661 System Exclusive Implementation Chapter 7 System Exclusive Protocol K2661 System Exclusive Implementation The MIDI System Exclusive capabilities of the K2661 allow you to manipulate objects in the K2661’s memory from a computer system, another K2661, or a MIDI data recorder. The following is a reference to the SysEx protocol used by the K2661. This information can be used to build a simple object librarian software program.
System Exclusive Protocol K2661 System Exclusive Implementation Data Formats K2661 SysEx messages are subdivided into fields that contain data in different formats. The various fields are shown in the Messages section below. Within a message, any fields for values that can be bigger than 7 bits are broken into 7 bit chunks. Thus two MIDI bytes gives 14 bits, three bytes gives 21 bits. The significant bits are right justified in the field. All bytes in a field must be present no matter what the value is.
System Exclusive Protocol K2661 System Exclusive Implementation The bit-stream format can be thought of as taking the binary bits of the K2661 data and, starting from the left, slicing off groups of 7 bits. Note that the trailing bits are set to zero. After the data field, there is another field, xsum. This is a checksum field that is calculated as the least significant 7-bits of the sum of all of the MIDI bytes that make up the data field.
System Exclusive Protocol K2661 System Exclusive Implementation NEW = 06h type(2) idno(2) size(3) mode(1) name(n) Creates a new object and responds with an INFO message of the created object. The object’s data will not be initialized to any default values. If idno is zero, the first available object ID number will be assigned. If mode is 0, the request will fail if the object exists. If mode is 1, and the object exists in ROM, a RAM copy will be made.
System Exclusive Protocol K2661 System Exclusive Implementation returned (see object type table below). The bank field specifies a single bank, 0–9, unless it is set to 127, in which case objects from all banks will be returned. form requests the format of the binary data in the WRITE messages. If ramonly is one, only objects in RAM will be returned. If ramonly is zero, both RAM and ROM objects are returned.
System Exclusive Protocol K2661 System Exclusive Implementation number. If the operation can’t be completed because of a bad type or bank number, the ENDOFBANK message will specify the old bank number. LOADMACRO = 10h Tells K2661 to load in the macro currently in memory. MACRODONE = 11h code(1) Acknowledges loading of macro. Code 0 indicates success; code 1 means failure.
System Exclusive Protocol K2661 System Exclusive Implementation Object Types These are the object types and the values that represent them in type fields: 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 68h 00h 68h Pressure Map 105 69h 00h 69h Quick Access Bank 111 6Fh 00h 6Fh Intonation Table 103 67h 00h 67h
System Exclusive Protocol K2661 System Exclusive Implementation Alphanumeric pad Button Edit / Exit Code (hex) Button Cancel 0B Edit 20 Clear 0C Exit 21 Enter 0D Navigation Button Mode Selection Code (hex) Button Code(hex) Plus (+) 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 Cursor Left/Right 1A Curso
System Exclusive Protocol K2661 System Exclusive Implementation The next four commands allow you to read the screen display, both text and graphics layers. ALLTEXT = 15h …requests all text in the K2661’s display. PARAMVALUE = 16h …requests the current parameter value. PARAMNAME = 17h …requests the current parameter name. GETGRAPHICS = 18h …requests the current graphics layer. SCREENREPLY = 19h This is the reply to ALLTEXT, PARAMVAL, PARAMNAME, GETGRAPHICS, or SCREENREPLY.
System Exclusive Protocol K2661 System Exclusive Implementation 7-10
Maintenance and Troubleshooting Preventive Maintenance Chapter 8 Maintenance and Troubleshooting Preventive Maintenance With a modicum of care, your K2661 will give you years of use and enjoyment. There are just a few important points to keep in mind. Proper installation is essential to the health and welfare of your K2661. It should always rest on a hard flat surface—and on its rubber feet, not on the bottom panel.
Maintenance and Troubleshooting Battery Replacement Battery Replacement The K2661 uses a 3-volt lithium coin-cell battery (CR2032) for program RAM backup (sample RAM is not battery-backed). Unlike a typical alkaline battery—whose voltage output declines over the life of the battery—a lithium cell maintains a stable voltage until it’s almost out of power. Once it has used up almost all of its power, however, its voltage drops rapidly.
Maintenance and Troubleshooting Scanner Diagnostics Scanner Diagnostics There’s an onboard diagnostic program that enables you to check your battery and confirm front panel button functions. To enter the Scanner Diagnostics, simply press 4, 5, and 6 (on the alphanumeric buttonpad) simultaneously while in Program mode. The K2661 responds by lighting each LED in sequence and then displaying something like the following. K2661|SCANNER|DIAGNOSTICS|VERSION|5.
Maintenance and Troubleshooting Maximizing Music and Minimizing Noise For the absolute maximum signal quality (with the exception of digital output, of course), use the separate analog outputs. These are connected almost directly to the 18-bit digital-to-analog converters with a minimum of noise-inducing processing circuitry. A total dynamic range of over 100dB is available at these outputs.
Maintenance and Troubleshooting Power Problems and Solutions Power Problems and Solutions The K2661 is quite tolerant of voltage fluctuations, noise, and transients in the AC power it receives. The input line filter and grounded power cable will protect against even large amounts of noise from motors and the like while the built-in filter coupled with the fuse will protect against all but the largest transients.
Maintenance and Troubleshooting Troubleshooting • As a last resort, save any RAM objects you’ve created to disk or SmartMedia, and perform a hard reset. Do this by pressing the Master-mode button, followed by the MAST2 soft button, then pressing the Reset soft button (at the lower right of the display). The K2661 will warn you about deleting everything (only RAM objects will be deleted). Press Yes. After a few seconds, the power-up display should appear.
Upgrading Sample Memory Program RAM vs. Sample RAM Chapter 9 Upgrading Sample Memory Program RAM vs. Sample RAM If you’re creating a lot of your own programs, and using samples loaded from disk, here are some things you should know. First of all, there’s an important distinction between sample RAM and program RAM. Sample RAM refers to the SIMM (Single In-line Memory Module) installed in your K2661 specifically for storing sample data.
Upgrading Sample Memory Choosing and Installing a SIMM for K2661 Sample Memory Viewing RAM Objects If you’re a heavy Disk-mode user, you’ll often be faced with the decision to overwrite, merge, or append objects when you load files from disk. If you’re loading into a memory bank that’s nearly full, this can be a tricky call, because if you decide to merge or append, there may not be enough open slots in the memory bank to accommodate the objects you load.
Upgrading Sample Memory Choosing and Installing a SIMM for K2661 Sample Memory Installing Sample RAM There’s an access panel on the underside of your K2661, which you’ll need to open to install your sample RAM. This is the same panel you would open to install a replacement battery or ROM sound block options. Warning: Turn off your K2661 and disconnect the power cable! 1. Carefully place your K2661 upside down on a padded level surface, with the front of the instrument toward you.
Upgrading Sample Memory Choosing and Installing a SIMM for K2661 Sample Memory 9-4
KDFX Reference In This Chapter Chapter 10 KDFX Reference In This Chapter • KDFX Algorithms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-2 • FX Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-3 • KDFX Studios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-5 • KDFX Algorithm Specifications . . . . . . . . . . . . . . . . . . . . . . . .
KDFX Reference KDFX Algorithms KDFX Algorithms Reverb Algorithms ID Name 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 MiniVerb Dual MiniVerb Gated MiniVerb Classic Place Classic Verb TQ Place TQ Verb Diffuse Place Diffuse Verb OmniPlace OmniVerb Panaural Room Stereo Hall Grand Plate Finite Verb Delay Algorithms ID 130 131 132 133 134 135 136 138 139 140 Name Complex Echo 4-Tap Delay 4-Tap Delay BPM 8-Tap Delay 8-Tap Delay BPM Spectral 4-Tap Spectral 6-Tap Degen Regen BPM Switch Loops Moving Delay Chorus / Flan
KDFX Reference FX Presets FX Presets 1 2 3 4 5 6 7 8 9 10 11 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 40 41 42 43 44 45 46 47 48 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 NiceLittleBooth Small Wood Booth Natural Room PrettySmallPlace Sun Room Soundboard Add More Air Standard Booth A Distance Away Live Place Viewing Booth BrightSmallRoom Bassy Room Percussive Room SmallStudioRoom ClassRoom Utility Room Thick Room The Real Room Sizzly Drum Room Real Big Room The Co
KDFX Reference FX Presets 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 828 829 830 831 832 833 834 835 836 837 10-4 PolyAmp DelayFlnge VibrChor Rotors SlightDistRotors Rotostort VibrChor Rotors2 Full VbCh Rotors KB3 FXBus KB3 AuxFX Pitch Spinner VibrChrDstRotor1 VibrChrDstRotor2 VibChrDstRotor3 FullVbChTubeRotr ChorDelayHall 2 Flang
KDFX Reference KDFX Studios KDFX Studios ID 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 Name ID Name ID Name ID Name RoomChorDly Hall RmChorChRv Hall RoomChorCDR Hall RoomChor Hall RoomChrCh4T Hall RoomFlngCDR Hall RoomFlgEcho Hall RmFlngStImg Garg RmFlgChDly Room ChmbFlgGtRv Hall RoomFlngCDR Hall RoomFlngLsr Echo RmFlgFXFlng Flng SpaceFlng Hall ChmbFlngCDR Verb RoomPhsr
KDFX Reference KDFX Algorithm Specifications KDFX Algorithm Specifications Algorithms 1 and 2: MiniVerbs 1 MiniVerb 2 Dual MiniVerb Versatile, small stereo and dual mono reverbs PAUs: 1 for MiniVerb 2 for Dual MiniVerb MiniVerb is a versatile stereo reverb found in many combination algorithms, but is equally useful on its own because of its small size. The main control for this effect is the Room Type parameter.
KDFX Reference KDFX Algorithm Specifications seamless. Density controls how tightly the early reflections are packed in time. Low Density settings have the early reflections grouped close together, and higher values spread the reflections for a smoother reverb.
KDFX Reference KDFX Algorithm Specifications Dual MiniVerb Parameters Page 1 L Wet/Dry 0 to 100%wet R Wet/Dry 0 to 100%wet L Out Gain Off, -79.0 to 24.0 dB R Out Gain Off, -79.0 to 24.0 dB L Wet Bal -100 to 100% R Wet Bal -100 to 100% L Dry Pan -100 to 100% R Dry Pan -100 to 100% Page 2 L RoomType Hall1 L RvrbTime 0.5 to 30.0 s, Inf L Diff Scl 0.00 to 2.00x L Density 0.00 to 4.00x L Size Scl 0.00 to 4.
KDFX Reference KDFX Algorithm Specifications Diff Scale A multiplier which affects the diffusion of the reverb. At 1.00x, the diffusion will be the normal, carefully adjusted amount for the current Room Type. Altering this parameter will change the diffusion from the preset amount. Size Scale A multiplier which changes the size of the current room. At 1.00x, the room will be the normal, carefully tweaked size of the current Room Type.
KDFX Reference KDFX Algorithm Specifications 3 Gated MiniVerb A reverb and compressor in series. PAUs: 2 This algorithm is a small reverb followed by a gate. The main control for the reverb is the Room Type parameter. The main control for the reverb is the Room Type parameter. Room Type changes the structure of the algorithm to simulate many carefully crafted room types and sizes. Spaces characterized as booths, small rooms, chambers, halls and large spaces can be selected.
KDFX Reference KDFX Algorithm Specifications If Gate Duck is turned on, then the behavior of the gate is reversed. The gate is open while the side chain signal is below threshold, and it closes when the signal rises above thresold. If the gate opened and closed instantaneously, you would hear a large digital click, like a big knife switch was being thrown. Obviously that’s not a good idea, so Gate Atk (attack) and Gate Rel (release) parameters are use to set the times for the gate to open and close.
KDFX Reference KDFX Algorithm Specifications if delayed, and thus you can get by with a dryer mix while maintaining the same subjective wet/dry level. 10-12 Room Type The configuration of the reverb algorithm to simulate a wide array of carefully designed room types and sizes. This parameter effectively allows you to have several different reverb algorithms only a parameter change away. Smaller Room Types will sound best with shorter Rvrb Times, and vice versa.
KDFX Reference KDFX Algorithm Specifications Algorithms 4–11: Classic / TQ / Diffuse / Omni Reverbs 4 5 6 7 8 9 10 11 Classic Place Classic Verb TQ Place TQ Verb Diffuse Place Diffuse Verb OmniPlace OmniVerb Parameters Absorption This controls the amount of reflective material that is in the space being emulated, much like an acoustical absorption coefficient. The lower the setting, the longer it will take for the sound to die away. A setting of 0% will cause an infinite decay time.
KDFX Reference KDFX Algorithm Specifications elements are accurately representing their preset values determined by the current Room Type. Room Types with similar names in different reverb algorithms do not sound the same. For example, Hall1 in Diffuse Verb does not sound the same as Hall1 in TQ Verb. 10-14 Size Scale This parameter scales the inherent size of the reverb chosen by Room Type. For a true representation of the selected Room Type size, set this to 1.00x.
KDFX Reference KDFX Algorithm Specifications modeling real spaces. High depth settings can create chorusing qualities, which won’t be unsuitable for real acoustic spaces, but can nonetheless create interesting effects. Instruments that have little if no inherent pitch fluctuation (like piano) are much more sensitive to this LFO than instruments that normally have a lot of vibrato (like voice) or non-pitched instruments (like snare drum).
KDFX Reference KDFX Algorithm Specifications 12 Panaural Room Room reverberation algorithm PAUs: 3 The Panaural Room reverberation is implemented using a special network arrangement of many delay lines that guarantees colorless sound. The reverberator is inherently stereo with each input injected into the "room" at multiple locations. The signals entering the reverberator first pass through a shelving bass equalizer with a range of +/-15dB.
KDFX Reference KDFX Algorithm Specifications Parameters Page 1 Wet/Dry 0 to 100%wet Room Size 1.0 to 16.0 m Pre Dly 0 to 500 ms HF Damping 16 to 25088 Hz Out Gain Off, -79.0 to 24.0 Decay Time 0.5 to 100.0 s Build Time 0 to 500 ms Build Env 0 to 100% Page 2 Bass Gain -15 to 15 dB Wet/Dry The amount of the stereo reverberator (wet) signal relative to the original input (dry) signal to be output. The dry signal is not affected by the Bass Gain control.
KDFX Reference KDFX Algorithm Specifications an almost reverse reverberation, set Build Env to 100%. You can think of Build Env as setting the position of a see-saw. The left end of the see-saw represents the driving of the reverberation at the earliest time, the pivot point as driving the reverberation at mid-point in the time sequence, and the right end as the last signal to drive the reverberator.
KDFX Reference KDFX Algorithm Specifications 13 Stereo Hall A stereo hall reverberation algorithm. PAUs: 3 The Stereo Hall reverberation is implemented using a special arrangement of all pass networks and delay lines which reduces coloration and increases density. The reverberator is inherently stereo with each input injected into the "room" at multiple locations.
KDFX Reference KDFX Algorithm Specifications varies the injection length over a range of 0 to 500ms. At a Build Time of 0ms, there is no extension of the build time. In this case, the Build Env control adjusts the density of the reverberation, with maximum density at a setting of 50%. In addition to the two build controls, there is an overall Pre Dly control that can delay the entire reverberation process by up to 500ms. Parameters Page 1 Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.
KDFX Reference KDFX Algorithm Specifications Pre Dly Introducing predelay creates a gap of silence between that allows the dry signal to stand out with greater clarity and intelligibility against the reverberant background. This is especially helpful with vocal or classical music. Build Time Similar to predelay, but more complex, larger values of BuildTime slow down the building up of reverberation and can extend the build up process.
KDFX Reference KDFX Algorithm Specifications 14 Grand Plate A plate reverberation algorithm. PAUs: 3 This algorithm emulates an EMT 140 steel plate reverberator. Plate reverberators were manufactured during the 1950's, 1960's, 1970's, and perhaps into the 1980's. By the end of the 1980's, they had been supplanted in the marketplace by digital reverbertors, which first appeared in 1976. While a handful of companies made plate reverberators, EMT (Germany) was the best known and most popular.
KDFX Reference KDFX Algorithm Specifications Parameters Page 1 Wet/Dry 0 to 100%wet Room Size 1.00 to 4.00 m Out Gain Off, -79.0 to 24.0 dB Pre Dly 0 to 500 ms Decay Time 0.2 to 5.0 s HF Damping 16 to 25088 Hz LF Damping 1 to 294 Hz 16 to 25088 Hz Bass Gain -15 to 0 dB Page 2 Lowpass Wet/Dry The amount of the stereo reverberator (wet) signal relative to the original input (dry) signal sent to the output. The dry signal is not affected by the Lowpass or Bass Gain controls.
KDFX Reference KDFX Algorithm Specifications 15 Finite Verb Reverse reverberation algorithm. PAUs: 3 The left and right sources are summed before being fed into a tapped delay line which directly simulates the impulse response of a reverberator. The taps are placed in sequence from zero delay to a maximum delay value, at quasi-regular spacings.
KDFX Reference KDFX Algorithm Specifications Page 3 Early Bass -15 to 15 dB Early Damp Mid Bass -15 to 15 dB Mid Damp 16 to 25088 Hz 16 to 25088 Hz Late Bass -15 to 15 dB Late Damp 16 to 25088 Hz Wet/Dry Wet/Dry sets the relative amount of wet signal and dry signal. The wet signal consistts of the reverb itself (stereo) and the delayed mono signal arriving after the reverb has ended (simulating the dry source in the reverse reverb sequence).
KDFX Reference KDFX Algorithm Specifications 130 Complex Echo Multitap delay line effect consisting of 6 independent output taps and 4 independent feedback taps PAUs: 1 Complex Echo is an elaborate delay line with 3 independent output taps per channel, 2 independent feedback taps per channel, equal power output tap panning, feedback diffuser, and high frequency damping. Each channel has three ouptut taps which can each be delayed up to 2600ms (2.6 sec) then panned at the output.
KDFX Reference KDFX Algorithm Specifications Also at the input to the delays are 1 pole (6dB/oct) lopass filters controlled by the HF Damping parameter. L Tap Levels Pan Pan L Input Pan Delay Diffuser FB1 L Output FB2 Out Gains Blend Feedback R Output FB2/FB1 > FB Blend FB1 Diffuser FB2 Delay Pan R Input Pan Pan R Tap Levels Figure 10-6 Signal flow of Complex Echo Parameters Page 1 Wet/Dry 0 to 100 %wet Out Gain Feedback 0 to 100 % L Diff Dly Off, -79.0 to 24.
KDFX Reference KDFX Algorithm Specifications L Tap1 Dly 0 to 2600 ms R Tap1 Dly 0 to 2600 ms L Tap2 Dly 0 to 2600 ms R Tap2 Dly 0 to 2600 ms L Tap3 Dly 0 to 2600 ms R Tap3 Dly 0 to 2600 ms L Tap1 Lvl 0 to 100 % R Tap1 Lvl 0 to 100 % L Tap2 Lvl 0 to 100 % R Tap2 Lvl 0 to 100 % L Tap3 Lvl 0 to 100 % R Tap3 Lvl 0 to 100 % L Tap1 Pan -100 to 100 % R Tap1 Pan -100 to 100 % L Tap2 Pan -100 to 100 % R Tap2 Pan -100 to 100 % L Tap3 Pan -100 to 100 % R Tap3 Pan -100 to 100 % Page
KDFX Reference KDFX Algorithm Specifications 131 4-Tap Delay 132 4-Tap Delay BPM A stereo four tap delay with feedback PAUs: 1 This is a simple stereo 4 tap delay algorithm with delay lengths defined in milliseconds (ms). The left and right channels are fully symmetric (all controls affect both channels). The duration of each stereo delay tap (length of the delay) and the signal level from each stereo tap may be set. Prior to output each delay tap passes through a level and left-right balance control.
KDFX Reference KDFX Algorithm Specifications The feedback (Fdbk Level) controls how long a sound in the delay line takes to die out. At 100% feedback, your sound will be repeated indefinitely. HF Damping selectively removes high frequency content from your delayed signal and will also cause your sound to eventually disappear. The Hold parameter is a switch which controls signal routing. When turned on, Hold will play whatever signal is in the delay line indefinitely.
KDFX Reference KDFX Algorithm Specifications Dry Bal The left-right balance of the dry signal. A setting of -100% allows only the left dry signal to pass to the left output, while a setting of 100% lets only the right dry signal pass to the right output. At 0%, equal amounts of the left and right dry signals pass to their respective outputs. Hold A switch which when turned on, locks any signal currently in the delay to play until Hold is turned off.
KDFX Reference KDFX Algorithm Specifications Parameters Page 1 Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.
KDFX Reference KDFX Algorithm Specifications 133 8-Tap Delay 134 8-Tap Delay BPM A stereo eight tap delay with cross-coupled feedback PAUs: 2 This is a simple stereo 8 tap delay algorithm with delay lengths defined in milliseconds (ms). The left and right channels are fully symmetric (all controls affect both channels). The duration of each stereo delay tap (length of the delay) and the signal level from each stereo tap may be set.
KDFX Reference KDFX Algorithm Specifications signal from entering the delay. You may have to practice using the Hold parameter. Each time your sound goes through the delay, it is reduced by the feedback amount. If feedback is fairly low and you turn on Hold at the wrong moment, you can get a disconcerting jump in level at some point in the loop.
KDFX Reference KDFX Algorithm Specifications Fdbk Level The percentage of the delayed signal to feed back or return to the delay input. Turning up the feedback will cause the effect to repeatedly echo or act as a crude reverb. Xcouple 8 Tap Delay is a stereo effect. The cross coupling control lets you send the feedback from a channel to its own input (0% cross coupling) or to the other channel’s input (100% cross coupling) or somewhere in between.
KDFX Reference KDFX Algorithm Specifications the measure with interesting rhythmical patterns. Setting tap levels allows some “beats” to receive different emphasis than others. Parameters Page 1 Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.
KDFX Reference KDFX Algorithm Specifications 135 Spectral 4-Tap 136 Spectral 6-Tap Tempo based 4 and 6 tap delays with added shapers and resonant comb filters on each tap PAUs: 2 for Spectral 4-Tap 3 for Spectral 6-Tap Spectral 4 Tap and Spectral 6 Tap are respectively 2 and 3 processing allocation unit (PAU) tempo based multi-tap delay effects. They are similar to a simple 4 and 6 tap delays with feedback, but have their feedback and output taps modified with shapers and filters.
KDFX Reference KDFX Algorithm Specifications When Temp is set to 60 BPM, each 1/24th of a beat is equivalent to 1/24th of a second. When tempo is set to 250 BPM, each 1/24th of a beat is equivalent to 10ms of delay.
KDFX Reference KDFX Algorithm Specifications 0 .1 0 x 0 .2 0 x 1 .0 0 x 2 .0 0 x Figure 10-10 0 .5 0 x 6 .0 0 x Various shaper curves used in the Spectral Multi-Taps Parameters for Spectral 4-Tap Page 1 Wet/Dry 0 to 100 % Out Gain Off, -79.0 to 24.0 dB Fdbk Level 0 to 100 % Tempo System, 0 to 255 BPM HF Damping 16 to 25088 Hz Diff Delay 0 to 20.
KDFX Reference KDFX Algorithm Specifications Page 3 Tap3 Delay 0 to 32 bts Tap4 Delay 0 to 32 bts Tap3 Shapr 0.10 to 6.00 x Tap4 Shapr 0.10 to 6.00 x Tap3 Pitch C-1 to C8 Tap4 Pitch C-1 to C8 Tap3 PtAmt 0 to 100% Tap4 PtAmt 0 to 100% Tap3 Level 0 to 100% Tap4 Level 0 to 100% Tap3 Bal -100 to 100% Tap4 Bal -100 to 100% Parameters for Spectral 6-Tap Page 1 Wet/Dry 0 to 100 % Out Gain Off, -79.0 to 24.
KDFX Reference KDFX Algorithm Specifications Wet/Dry The relative amount of input signal and effected signal that is to appear in the final effect output mix. When set to 0%, the output is taken only from the input (dry). When set to 100%, the output is all wet. Negative values polarity invert the wet signal. Out Gain The overall gain or amplitude at the output of the effect. Fdbk Level The amount that the feedback tap is fed to the input of the delay.
KDFX Reference KDFX Algorithm Specifications 138 Degen Regen BPM Long delay allowing loop instability PAUs: 4 each Degen Regen BPM starts as a simple mono delay line with feedback. However with the Fdbk Gain and Dist Drive parameters, the algorithm can be pushed hard into instability. When Degen Regen BPM is unstable, your sound gets a little louder on each pass through the delay line. Eventually the sound will hit digital clipping when the effects processor runs out of headroom bits.
KDFX Reference KDFX Algorithm Specifications Dry L Output Pan Level Wet Pan L Input Level R Output Delay Compressor R Input Distortion Filters Feedback Dry Figure 11 Degen Regen BPM Parameters: Page 1 Wet/Dry -100 to 100%wet Out Gain Off, -79.0 to 24.0 dB Loop Gain Off, -79.0 to 24.0 dB Tempo System, 1 to 255 BPM Loop Lvl -100 to 100% Send Gain Off, -79.0 to 24.0 dB HF Damping 8 to 25088 Hz LF Damping 8 to 25088 Hz Page 2 LoopLength 0 to 32 bts Mid1 Gain -79.0 to 24.
KDFX Reference KDFX Algorithm Specifications Page 3 LpLFODepth 0.0 to 230.0 ct Tap1 Delay 0 to 32 bts LpLFOPhase 0.0 to 360.0 deg Tap1 Level 0 to 100 % T1LFODepth 0.0 to 230.0 ct Tap1 Pan -100 to 100% T1LFOPhase 0.0 to 360.0 deg Tap2 Delay 0 to 32 bts T2LFODepth 0.0 to 230.0 ct Tap2 Level 0 to 100 % T2LFOPhase 0.0 to 360.0 deg Tap2 Pan -100 to 100% Comp Atk 0.0 to 228.0 ms Comp Ratio 1.0:1 to 100.0:1, Inf:1 Comp Rel 0 to 3000 ms Comp Thres -79.0 to 0.0 dB CompSmooth 0.
KDFX Reference KDFX Algorithm Specifications LoopLength The delay length of the feedback tap. If feedback is turned up from 0%, this parameter sets the repeating delay loop length. In Degen Regen BPM, the loop length is specified as a fraction or multiple of the tempo, in “beats.” The length of a delay loop in seconds can be calculated from beats as T = (beats/tempo) ❃ 60. LFO Period The feedback tap and the output taps lengths can be modulated with an LFO internal to the effects processor.
KDFX Reference KDFX Algorithm Specifications TnLFODepth The output delay taps (1 and 2) will have their positions modulated by an LFO (internal to the FX processor) if the TnLFODepth parameter is non-zero. A moving tap on a delay line will result in a pitch shift, and TnLFODepth sets the maximum pitch shift (up and down) in cents.
KDFX Reference KDFX Algorithm Specifications 139 Switch Loops Looped delay lines with input switching PAUs: 2 Switch Loops allows you to run up to four parallel recirculating delay lines of different lengths, switching which delay line(s) are receiving the input signal at a given moment. The stereo input is summed to mono and sent to any of the four delay lines. You can select which delay lines are receiving input with the DlySelect parameters.
KDFX Reference KDFX Algorithm Specifications Parameters: Page 1 Dry In/Out In or Out Out Gain Off, -79.0 to 24.0 dB Dry Gain Off, -79.0 to 24.0 dB Tempo System, 1 to 255 BPM Fdbk Kill On or Off Pan -100 to 100 % Max Fdbk On or Off HF Damping 8 to 25088 Hz Page 2 DlySelect1 Off, A, B, C, D DlySelect2 Off, A, B, C, D DlySelect3 Off, A, B, C, D DlySelect4 Off, A, B, C, D Page 3 Dly Len A 0 to 32 bts Dly Len C 0 to 32 bts DecayRateA 0.0 to 230.0 dB/s DecayRateC 0.0 to 230.
KDFX Reference KDFX Algorithm Specifications DlySelectn You select which delay lines (A, B, C, or D) receive the mono input signal with the DlySelect (1, 2, 3, or 4) parameters. Since there are four delay lines, you can turn on none, 1, 2, 3, or 4 of the delay lines. All four of the DlySelect parameters are equivalent—it doesn’t matter which you use. If you turn on a particular delay line in more than one DlySelect parameter, it’s the same as turning it on in just one DlySelect parameter.
KDFX Reference KDFX Algorithm Specifications 140 Moving Delay Generic stereo moving delay lines PAUs: 1 Moving Delay is identical to Dual MovDelay except that the algorithm now has stereo controls rather than dual mono. This means all the controls except L Pan and R Pan are no longer dual left and right but are ganged into single controls controlling both left and right channels. Parameters: Page 1 Wet/Dry 0 to 100 % Out Gain Off, -79.0 to 24.
KDFX Reference KDFX Algorithm Specifications Algorithms 150–153: Choruses 150 151 152 153 Chorus 1 Chorus 2 Dual Chorus 1 Dual Chorus 2 One and three tap dual mono choruses PAUs: 1 for Chorus 1 (both) 2 for Chorus 2 (both) Chorus is an effect that gives the illusion of multiple voices playing in unison. The effect is achieved by detuning copies of the original signal and summing the detuned copies back with the original.
KDFX Reference KDFX Algorithm Specifications Chorus 2 is a 2 unit allocation multi-tapped delay (3 taps) based chorus effect with cross-coupling and individual output tap panning. Figure 10-13 is a simplified block diagram of the left channel of Chorus 2.
KDFX Reference KDFX Algorithm Specifications Chorus 1 uses just 1 unit allocation and has one delay tap. Figure 10-15 is a simplified block diagram of the left channel of Chorus 1.
KDFX Reference KDFX Algorithm Specifications In the stereo Chorus 1 and Chorus 2, the relative phases of the LFOs modulating the left and right channels may be adjusted. Range of LFO Center of LFO Shortest Delay Delay Input LFO Xcurs Longest Delay LFO Xcurs Tap Dly Figure 10-17 Delay for a Single LFO The settings of the LFO rates and the LFO depths determine how far the LFOs will sweep across their delay lines from the shortest delays to the longest delays (the LFO excursions).
KDFX Reference KDFX Algorithm Specifications Page 2 Tap Lvl -100 to 100% LFO Rate 0.01 to 10.00 Hz Tap Dly 0.0 to 1000.0 ms LFO Depth 0.0 to 50.0 ct L/R Phase 0.0 to 360.0 deg Out Gain Off, -79.0 to 24.0 dB Parameters for Chorus 2 Page 1 Wet/Dry -100 to 100%wet Fdbk Level -100 to 100% Xcouple 0 to 100% HF Damping 16 Hz to 25088 Hz Pitch Env Triangle or Trapzoid Tap1 Lvl -100 to 100 % Tap1 Dly 4.0 to 1000.0 ms Tap2 Lvl -100 to 100 % Tap2 Dly 4.0 to 1000.
KDFX Reference KDFX Algorithm Specifications Page 3 L PitchEnv Triangle or Trapzoid R PitchEnv Triangle or Trapzoid Parameters for Dual Chorus 2 Page 1 L Wet/Dry -100 to 100%wet R Wet/Dry -100 to 100%wet L Out Gain Off, -79.0 to 24.0 dB R Out Gain Off, -79.0 to 24.
KDFX Reference KDFX Algorithm Specifications Xcouple Controls how much of the left channel input and feedback signals are sent to the right channel delay line and vice versa. At 50%, equal amounts from both channels are sent to both delay lines. At 100%, the left feeds the right delay and vice versa. HF Damping The amount of high frequency content of the signal that is sent into the delay lines. This control determines the cutoff frequency of the one-pole (-6dB/octave) lowpass filter.
KDFX Reference KDFX Algorithm Specifications 154 Flanger 1 155 Flanger 2 Multi-tap flangers PAUs: 1 for Flanger 1 2 for Flanger 2 Flanger 1 is a 1 processing allocation unit (PAU) multi-sweep Thru-zero flanger effect with two LFOs per channel.
KDFX Reference KDFX Algorithm Specifications Flanger 2 is a 2 processing allocation unit (PAU) multi-sweep Thru-zero flanger effect with two LFOs per channel.
KDFX Reference KDFX Algorithm Specifications the realm of chorusing, where the ear begins to perceive the audio output as nearly two distinct signals, but with a variable time displacement. 10 Amp (dB) 0 10 20 Frequency Figure 10-21 Comb Filters : Solid Line for Addition; Dashed Line for Subtraction The heart of the flanger implemented here is a multi-tap delay line. You can set the level of each tap as a percentage of the input level, and the level may be negative (phase inverting).
KDFX Reference KDFX Algorithm Specifications occur smoothly. You can assign the static delay tap to a continuous controller and use the controller to do manual flanging. Figure 4 shows the delay line for a single LFO. Delay Input Range of LFO Center of LFO Shortest Delay LFO Xcurs Longest Delay LFO Xcurs Tap Dly Figure 10-22 Delay for a Single LFO Consider a simple example where you have an LFO tap signal being subtracted from the static delay tap signal.
KDFX Reference KDFX Algorithm Specifications be added to the input of the flanger signal (Flanger 2 only). White noise has a lot of high frequency content and may sound too bright. The noise may be tamed with a first order lowpass filter. Parameters for Flanger 1 Page 1 Wet/Dry -100 to 100% wet Out Gain Off, -79.0 to 24.
KDFX Reference KDFX Algorithm Specifications Page 3 StatDlyCrs 0.0 to 228.0 ms StatDlyFin -127 to 127 samp Xcurs1 Crs 0.0 to 228.0 ms Xcurs3 Crs 0.0 to 228.0 ms Xcurs1 Fin -127 to 127 samp Xcurs3 Fin -127 to 127 samp Xcurs2 Crs 0.0 to 228.0 ms Xcurs4 Crs 0.0 to 228.0 ms Xcurs2 Fin -127 to 127 samp Xcurs4 Fin -127 to 127 samp Page 4 Dly1 Crs 0.0 to 228.0 ms Dly3 Crs 0.0 to 228.0 ms Dly1 Fin -127 to 127 samp Dly3 Fin -127 to 127 samp Dly2 Crs 0.0 to 228.0 ms Dly4 Crs 0.0 to 228.
KDFX Reference KDFX Algorithm Specifications VAST function to smoothly vary the delay length. The range for all delays and excursions is 0 to 230 ms, but for flanging the range 0 to 5 ms is most effective. 10-64 StatDlyFin A fine adjustment to the static delay tap length. The resolution is one sample. StatDlyLvl The level of the static delay tap. Negative values polarity invert the signal. Setting any tap level to 0% turns off the delay tap.
KDFX Reference KDFX Algorithm Specifications Algorithms 156–160: Phasers 156 157 158 159 160 LFO Phaser LFO Phaser Twin Manual Phaser Vibrato Phaser SingleLFO Phaser A variety of single notch/bandpass Phasers PAUs: 1 each A simple phaser is an algorithm which produces an vague swishing or phasey effect. When the phaser signal is combined with the dry input signal or the phaser is fed back on itself, peaks and/or notches can be produced in the filter response making the effect much more pronounced.
KDFX Reference KDFX Algorithm Specifications instead of addition by setting Wet/Dry to -50%, then the notches become peaks and the peaks become notches. Gain Gain 0 dB 0 dB -20 -20 -40 -40 10 Hz 100 (i) Figure 10-23 1000 Freq 10k 10 Hz 100 1000 Freq 10k (ii) Response of typical phaser with (i) Wet/Dry = 50% and (ii) WetDry = -50%. Some of the phaser algorithms have feedback. When feedback is used, it can greatly exaggerate the peaks and notches, producing a much more resonant sound.
KDFX Reference KDFX Algorithm Specifications when set to 0% and at 200%, the signal is a pure (wet) allpass response. LFO Phaser Twin does not have Out Gain or feedback parameters. Gain 0 dB -20 -40 10 Hz Figure 10-24 100 1000 Freq 10k Response of LFO Phaser Twin with Wet/Dry set to 100%. The Vibrato Phaser algorithm has a couple of interesting twists. The bandwidth of the phaser filter can be adjusted exactly like a parametric EQ filter.
KDFX Reference KDFX Algorithm Specifications Page 2 LFO Rate 0.00 to 10.00 Hz N/F Phase CenterFreq 16 to 25088 Hz NotchDepth -79.0 to 6.0 dB FLFO Depth 0 to 5400 ct NLFO Depth 0 to 100 % FLFO LRPhs 0.0 to 360.0 deg NLFO LRPhs 0.0 to 360.0 deg Wet/Dry The amount of phaser (wet) signal relative to unaffected (dry) signal as a percent. Out Gain The output gain in decibels (dB) to be applied to the combined wet and dry signals.
KDFX Reference KDFX Algorithm Specifications Notch/BP The amount of notch depth or bandpass. At -100% there is a complete notch at the center frequency. At 100% the filter response is a peak at the center frequency. 0% is the dry unaffected signal. Out Gain The output gain in decibels (dB) to be applied to the final output. Feedback The phaser output can be added back to its input to increase the phaser resonance (left and right). Negative values polarity invert the feedback signal.
KDFX Reference KDFX Algorithm Specifications 10-70 Wet/Dry The amount of phaser (wet) signal relative to unaffected (dry) signal as a percent. When set to 50% you get a complete notch. When set to -50%, the response is a bandpass filter. 100% is a pure allpass filter (no amplitude changes, but a strong phase response). Out Gain The output gain in decibels (dB) to be applied to the combined wet and dry signals. CenterFreq The nominal center frequency of the phaser filter.
KDFX Reference KDFX Algorithm Specifications 161 Allpass Phaser 3 Allpass filter phasers PAUs: 3 The allpass phasers are algorithms that use allpass filters to achieve a phaser effect. These algorithms do not have built in LFOs, so like Manual Phaser, any motion must be supplied with an FXMod. Unlike the other phasers, the allpass phasers use high order allpass filters.
KDFX Reference KDFX Algorithm Specifications By adding the phaser output to the dry input using, for example, a Wet/Dry parameter, you can produced peaks and notches in the frequency response. At frequencies where the phaser is “in phase” with the dry signal, the signal level doubles (or there is a 6 dB level increase approximately). At frequencies where the phaser and dry signals are “out of phase,” the two signals cancel each other out and there is a notch in the frequency response.
KDFX Reference KDFX Algorithm Specifications Combination Algorithms 700 701 703 706 707 709 722 723 Chorus+Delay Chorus+4Tap Chor+Dly+Reverb Flange+Delay Flange+4Tap Flan+Dly+Reverb Pitcher+Chor+Dly Pitcher+Flan+Dly A family of combination effect algorithms (“+”) PAUs: 1 or 2 Signal Routing (2 effects) The algorithms listed above with 2 effects can be arranged in series or parallel. Effect A and B are respectively designated as the first and second listed effects in the algorithm name.
KDFX Reference KDFX Algorithm Specifications Parameters for Two-effect Routing Page 1 Wet/Dry -100 to 100 % Mix Effect -100 to 100 % Mix Effect -100 to 100 % Out Gain Off; -79.0 to 24.0 dB A/Dry->B 0 to 100% Mix Effect Adjusts the amount of each effect that is mixed together as the algorithm wet signal. Negative values polarity invert that particular signal. A/Dry->B This parameter controls how much of the A effect is mixed with dry and fed into the B effect.
KDFX Reference KDFX Algorithm Specifications Page 2 A/Dry>B -100 to 100 % A/Dry>B -100 to 100 % A/B ->* -100 to 100 % A/B ->* -100 to 100 % Mix Effect Left and Right. Adjusts the amount of each effect that is mixed together as the algorithm wet signal. Separate left and right controls are provided. Negative values polarity invert that particular signal. A/Dry>B This parameter controls how much of the A effect is mixed with dry and fed into the B effect.
KDFX Reference KDFX Algorithm Specifications Flange The flangers are basic 1 tap dual flangers. Separate LFO controls are provided for each channel. Slight variations between algorithms may exist. Some algorithms offer separate left and right feedback controls, while some offer only one for both channels. Also, cross-coupling and high frequency damping may be offered in some and not in others. Parameters associated with chorus control begin with “Ch” in the parameter name.
KDFX Reference KDFX Algorithm Specifications maximum possible time. Because of this, when you slow down the tempo, you may find the delays lose their sync. Delay regeneration is controlled by Dly Fdbk. Separate left and right feedback control is generally provided, but due to resource allocation, some delays in combinations may have a single control for both channels. Dly FBImag and Dly HFDamp are just like the HFDamp and Image parameters found in other algorithms.
KDFX Reference KDFX Algorithm Specifications Page 2 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 % Tap4 Level -100 to 100 % Tap2 Bal -100 to 100 % Tap4 Bal -100 to 100 % Reverb The reverbs offered in these combination effects is MiniVerb. Information about it can be found in the MiniVerb documentation.
KDFX Reference KDFX Algorithm Specifications Configurable Combination Algorithms 702 704 705 708 710 711 712 713 714 715 Chorus<>4Tap Chorus<>Reverb Chorus<>LasrDly Flange<>4Tap Flange<>Reverb Flange<>LasrDly Flange<>Pitcher Flange<>Shaper LasrDly<>Reverb Shaper<>Reverb A family of combination effect algorithms PAUs: 2 Signal Routing Each of these combination algorithms offer 2 separate effects combined with flexible signal routing mechanism.
KDFX Reference KDFX Algorithm Specifications of both effects determined by the Mix parameters, and the input dry signal. Negative Wet/Dry values polarity invert the summed wet signal relative to dry.
KDFX Reference KDFX Algorithm Specifications Since these effects have 2 taps per channel, control over 4 LFOs is necessary with a minimum number of user parameters (Figure 2). This is accomplished by offering 2 sets of LFO controls with three user interface modes: Dual1Tap, Link1Tap, or Link2Tap. These are selectable with the LFO cfg parameter and affect the functionality of the 2 sets of rate, depth and delay controls (and also phase and feedback controls for the flange).
KDFX Reference KDFX Algorithm Specifications then controlled by the Fl StatLvl and Fl LFO Lvl controls. The feedback and level controls can polarity invert each signal be setting them to negative values.
KDFX Reference KDFX Algorithm Specifications Left Right Contro l Set 1 LFO1L LFO1R Delay Delay Contro l Set 2 LFO2R Figure 10-31 LFO2L LFO control in Link2Tap mode Parameters for Chorus Page 1 Ch LFO cfg Dual1Tap... Ch LRPhase 0 to 360 deg Ch Rate 1 0.01 to 10.00 Hz Ch Rate 2 0.01 to 10.00 Hz Ch Depth 1 0.0 to 100 ct Ch Depth 2 0.
KDFX Reference KDFX Algorithm Specifications Ch LFO cfg Sets the user interface mode for controlling each of the 4 chorus LFOs. Ch LRPhase Controls the relative phase between left channel LFOs and right channel LFOs. In Dual1Tap mode, however, this parameter is accurate only when Ch Rate 1 and Ch Rate 2 are set to the same speed, and only after the Ch LFO cfg parameter is moved, or the algorithm is called up.
KDFX Reference KDFX Algorithm Specifications Dly FBImag, Dly Xcouple, Dly HFDamp, and Dly LFDamp are just like those found in other algorithms. Not all Laser Delays in combination algorithms will have all four of these parameters due to resource allocation.
KDFX Reference KDFX Algorithm Specifications Dly Xcple This parameter controls the amount of signal that is swapped between the left and right channels through each feedback generation when Dly Fdbk is used. A setting of 0% has no affect. 50% causes equal amounts of signal to be present in both channels causing the image to collapse into a center point source. A setting of 100% causes the left and right channels to swap each regeneration, which is also referred to as “ping-ponging”.
KDFX Reference KDFX Algorithm Specifications causing the image to collapse into a center point source. A setting of 100% causes the left and right channels to swap each regeneration, which is also referred to as “ping-ponging”. All other parameters Refer to 4-Tap Delay BPM documentation. Reverb The reverbs offered in these combination effects is MiniVerb. Information about it can be found in the MiniVerb documentation. Parameters associated with this reverb begin with Rv.
KDFX Reference KDFX Algorithm Specifications 10-88 Shp Inp LP Adjusts the cutoff frequency of the 1 pole (6dB/oct) lopass filter 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 one in VAST. Shp OutPad Adjusts the output gain at the output of the shaper to compensate for added gain caused by the shaper.
KDFX Reference KDFX Algorithm Specifications 714 Quantize+Flange Digital quantization followed by flanger PAUs: 1 Digital audio engineers will go to great lengths to remove, or at least hide the effects of digital quantization distortion. In Quantize+Flange we do quite the opposite, making quantization an in-your-face effect. The quantizer will give your sound a dirty, grundgy, perhaps industrial sound. As you’ve already gathered from the name, the quantization is followed by a flanger.
KDFX Reference KDFX Algorithm Specifications quantized (its word length is being shortened), quantization usually sounds like additive noise. But notice that as the signal decays in the above figures, fewer and fewer quantization levels are being exercised until, like the one bit example, there are only two levels being toggled. With just two levels, your signal has become a square wave. Controlling the bit level of the quantizer is done with the DynamRange parameter (dynamic range).
KDFX Reference KDFX Algorithm Specifications Page 2 Fl Tempo System, 1 to 255 BPM Fl Period 0 to 32 bts Fl Fdbk -100 to 100% Fl L Phase 0.0 to 360.0 deg Fl R Phase 0.0 to 360.0 deg Fl StatLvl -100 to 100% Fl LFO Lvl -100 to 100% Page 3 FlStatDlyC 0.0 to 230.0 ms Fl Xcurs C 0.0 to 230.0 ms FlStatDlyF -127 to 127 samp Fl Xcurs F -127 to 127 samp Fl Delay C 0.0 to 230.
KDFX Reference KDFX Algorithm Specifications the Tempo. At “0”, the LFOs stop oscillating and their phase is undetermined (wherever they stopped). 10-92 Fl Fdbk The level of the flanger feedback signal into the flanger delay line. The feedback signal is taken from the LFO delay tap. Negative values polarity invert the feedback signal. Fl L/R Phase The phase angles of the left and right LFOs relative to each other and to the system tempo clock, if turned on (see Fl Tempo).
KDFX Reference KDFX Algorithm Specifications 715 Dual MovDelay 716 Quad MovDelay Generic dual mono moving delay lines PAUs: 1 for Dual 2 for Quad Each of these algorithms offers generic moving delay lines in a dual mono configuration. Each separate moving delay can be used as a flanger, chorus, or static delay line selectable by the LFO Mode parameter. Both flavors of chorus pitch envelopes are offered: ChorTri for triangle, and ChorTrap for trapezoidal pitch shifting.
KDFX Reference KDFX Algorithm Specifications 720 MonoPitcher+Chor 721 MonoPitcher+Flan Mono pitcher algorithm (filter with harmonically related resonant peaks) with a chorus or flanger PAUs: 2 each The mono pitcher algorithm applies a filter which has a series of peaks in the frequency response to the input signal. The peaks may be adjusted so that their frequencies are all multiples of a selectable frequency, all the way up to 24 kHz.
KDFX Reference KDFX Algorithm Specifications The figures below show Pt PkShape of -1.0 and 1.0, for a Pitch of C6 and a PkSplit of 0%. dB dB Figure 10-36 Khz Khz PeakShape = 1.0 PeakSplit = 0% PeakShape = -1.0 PeakSplit = 0% Response of Pitcher with different PkShape settings.
KDFX Reference KDFX Algorithm Specifications Page 2 Pt Inp Bal -100 to 100% Pt Out Pan Pt Pitch C-1 to G 9 Pt Offset -100 to 100% -12.0 to 12.0 ST Pt PkSplit 0 to 100% Pt PkShape -1.0 to 1.0 ChPtchEnvL Triangle or Trapzoid ChPtchEnvL Triangle or Trapzoid Ch 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.
KDFX Reference KDFX Algorithm Specifications Mix Chorus, Mix Flange The amount of the flanger or chorus signal to send to the output as a percent. Pt/Dry->Ch, Pt/Dry->Fl The relative amount of pitcher signal to dry signal to send to the chorus or flanger. At 0% the dry input signal is routed to the chorus or flanger. At 100%, the chorus or flanger receives its input entirely from the pitcher.
KDFX Reference KDFX Algorithm Specifications Distortion Algorithms 724 725 726 728 Mono Distortion MonoDistort + Cab MonoDistort + EQ StereoDistort+EQ Small distortion algorithms PAUs: 1 for Mono Distortion 2 for MonoDistort + Cab 2 for MonoDistort + EQ 3 for StereoDistort + EQ L Input L Output Distortion R Input R Output Figure 10-37 Block diagram of Mono Distortion Mono Distortion sums its stereo input to mono, performs distortion followed by a highpass filter and sends the result as centered st
KDFX Reference KDFX Algorithm Specifications and lowpass filters are then followed by an EQ section with bass and treble shelf filters and two parametric mid filters. L Input Distortion EQ L Output R Input Distortion EQ R Output Figure 10-39 Block diagram of StereoDistort+EQ StereoDistort + EQ processes the left and right channels separately, though there is only one set of parameters for both channels. The stereo distortion has only 1 parametric mid filter.
KDFX Reference KDFX Algorithm Specifications Signals that are symmetric in amplitude (they have the same shape if they are inverted, positive for negative) will usually produce odd harmonic distortion. For example, a pure sine wave will produce smaller copies of itself at 3, 5, 7, etc. times the original frequency of the sine wave. In the MonoDistort + EQ, a dc offset may be added to the signal to break the amplitude symmetry and will cause the distortion to produce even harmonics.
KDFX Reference KDFX Algorithm Specifications Page 2 Bass Gain -79.0 to 24.0 dB Treb Gain -79.0 to 24.0 dB Bass Freq 16 to 25088 Hz Treb Freq 16 to 25088 Hz Mid Gain -79.0 to 24.0 dB Mid Freq 16 to 25088 Hz Mid Width 0.010 to 5.000 oct Wet/Dry The amount of distorted (wet) signal relative to unaffected (dry) signal. Out Gain The overall gain or amplitude at the output of the effect. For distortion, it is often necessary to turn the output gain down as the distortion drive is turned up.
KDFX Reference KDFX Algorithm Specifications 10-102 Mid Gain The amount of boost or cut that the mid parametric filter should apply in dB. Every increase of 6 dB approximately doubles the amplitude of the signal. Positive values boost the signal at the specified frequency. Negative values cut 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.
KDFX Reference KDFX Algorithm Specifications 727 PolyDistort + EQ Eight stage distortion followed by equalization PAUs: 2 PolyDistort + EQ is a distortion algorithm followed by equalization. The algorithm consists of an input gain stage, and then eight cascaded distortion stages. Each 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.
KDFX Reference KDFX Algorithm Specifications PolyDistort is an unusual distortion algorithm which provides a great number of parameters to build a distortion sound from the ground up. The eight distortion stages each add a small amount of distortion to your sound. Taken together, you can get a very harsh heavy metal sound. Between each distortion stage is a low pass filter. The low pass filters work with the distortion stages to help mellow out the sound.
KDFX Reference KDFX Algorithm Specifications Page 4 Bass Gain -79.0 to 24.0 dB Treb Gain Bass Freq 16 to 25088 Hz Treb Freq -79.0 to 24.0 dB 16 to 25088 Hz Mid1 Gain -79.0 to 24.0 dB Mid2 Gain -79.0 to 24.0 dB Mid1 Freq 16 to 25088 Hz Mid2 Freq 16 to 25088 Hz Mid1 Width 0.010 to 5.000 oct Mid2 Width 0.010 to 5.000 oct Wet/Dry This is a simple mix of the distorted signal relative to the dry undistorted input signal. Out Gain The overall gain or amplitude at the output of the effect.
KDFX Reference KDFX Algorithm Specifications 733 VibChor+Rotor 2 737 VibChor+Rotor 4 Vibrato/chorus into optional distortion into rotating speaker PAUs: 2 for VibChor+Rotor 2 4 for VibChor+Rotor 4 The VibChor+Rotor algorithms contain multiple effects designed for the Hammond B3® emulation (KB3 mode). These effects are the Hammond® vibrato/chorus, amplifier distortion, and rotating speaker (Leslie®). Each of these effects may be turned off or bypassed, or the entire algorithm may be bypassed.
KDFX Reference KDFX Algorithm Specifications microphone. The signal is then passed through a final lowpass filter to simulate the band-limiting effect of the speaker cabinet. Figure 10-44 Rotating speaker with virtual microphones For the rotating speakers, you can control the cross-over frequency of the high and low frequency bands (the frequency where the high and low frequencies get separated). The rotating speakers for the high and low frequencies have their own controls.
KDFX Reference KDFX Algorithm Specifications Parameters Page 1 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 Page 2 Xover 16 to 25088 Hz Lo Gain Off, -79.0 to 24.0 dB Hi Gain Off, -79.0 to 24.0 dB Lo Rate -10.00 to 10.00 Hz Hi Rate -10.00 to 10.00 Hz Lo Size 0 to 250 mm Hi Size 0 to 250 mm Lo Trem 0 to 100% Hi Trem 0 to 100% Lo Beam W 45.
KDFX Reference KDFX Algorithm Specifications Dist Drive Applies a boost to the input signal to overdrive the distortion algorithm. When overdriven, the distortion algorithm will soft-clip the signal. Since distortion drive will make your signal very loud, you may have to reduce the Out Gain as the drive is increased. [VibChor+Rotor 4 only] DistWarmth A lowpass filter in the distortion control path.
KDFX Reference KDFX Algorithm Specifications large sample skips (audible as clicks when signal is passing through the effect). There are four of these parameters to include 2 pairs (A and B) for high and low frequency drivers. 10-110 Mic Lvl The level of the virtual microphone signal being sent to the output. There are four of these parameters to include 2 pairs (A and B) for high and low frequency drivers. Mic Pan Left-right panning of the virtual microphone signals.
KDFX Reference KDFX Algorithm Specifications 734 Distort + Rotary Small distortion followed by rotary speaker effect PAUs: 2 Distort + Rotary models an amplifier distortion followed by a rotating speaker. The rotating speaker has separately controllable tweeter and woofer drivers. The algorithm has three main sections. First, the input stereo signal is summed to mono and may be distorted by a tube amplifier simulation.
KDFX Reference KDFX Algorithm Specifications For the rotating speakers, you can control the cross-over frequency of the high and low frequency bands (the frequency where the high and low frequencies get separated). The rotating speakers for the high and low frequencies have their own controls. For both, the rotation rate, the effective driver size and tremolo can be set. The rotation rate of course sets how fast the rotating speaker is spinning.
KDFX Reference KDFX Algorithm Specifications Cabinet HP A highpass filter to simulate the band-limiting of a speaker cabinet. The filter controls the lower frequency limit of the output. Cabinet LP A lowpass filter to simulate the band-limiting of a speaker cabinet. The filter controls the upper frequency limit of the output. Xover The frequency at which high and low frequency bands are split and sent to separate rotating drivers.
KDFX Reference KDFX Algorithm Specifications 10-114 HiResXcurs The number of samples of delay to sweep through 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 value in degrees is somewhat arbitrary and you can expect the effect of this parameter to be rather subtle.
KDFX Reference KDFX Algorithm Specifications KB3 FX Algorithms 735 KB3 FXBus 736 KB3 AuxFX Vibrato/chorus into distortion into rotating speaker into cabinet PAUs: 7 for full working effect 4 for KB3 FXBus 3 for KB3 AuxFX The KB3 FXBus and KB3 AuxFX algorithms contain multiple effects designed for the Hammond B3® emulation (KB3 mode). For correct operation both effects must be running at the same time with the output of KB3 FXBus feeding the input of KB3 AuxFX.
KDFX Reference KDFX Algorithm Specifications C2, C3) settings. The vibrato chorus has been carefully modelled after the electro-mechanical vibrato/ chorus in the B3. An amplifier distortion algorithm follows the vibrato/chorus. 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 that there is a smooth transition from linear gain to saturated overdrive.
KDFX Reference KDFX Algorithm Specifications rotation before you hear changes to tremolo when parameter values are changed. Negative microphone angles take a longer time to respond to tremolo changes than positive microphone angles. (i) Figure 10-51 (ii) Acoustic beams for (i) low frequency driver and (ii) high frequency driver You can control resonant modes within the rotating speaker cabinet with the Lo and Hi Resonate parameters.
KDFX Reference KDFX Algorithm Specifications Dist Drive Applies a boost to the input signal to overdrive the distortion algorithm. When overdriven, the distortion algorithm will soft-clip the signal. Since distortion drive will make your signal very loud, you may have to reduce the Out Gain as the drive is increased. Warmth A lowpass filter in the distortion control path. This filter may be used to reduce some of the harshness of some distortion settings without reducing the bandwidth of the signal.
KDFX Reference KDFX Algorithm Specifications Page 4 LoResonate 0 to 100% HiResonate 0 to 100% Lo Res Dly 10 to 2550 samp Hi Res Dly 10 to 2550 samp LoResXcurs 0 to 510 samp HiResXcurs 0 to 510 samp ResH/LPhs 0.0 to 360.0 deg In/Out When set to “In”, the algorithm is active; when set to “Off” the algorithm is bypassed. For the entire algorithm to be active, KB3 FXBus must also be active with its Roto InOut parameter set to “In”.
KDFX Reference KDFX Algorithm Specifications 10-120 Mic Pos The angle of the virtual microphones in degrees from the “front” of the rotating speaker. This parameter is not well suited to modulation because adjustments to it will result in large sample skips (audible as clicks when signal is passing through the effect). There are four of these parameters to include 2 pairs (A and B) for high and low frequency drivers. Mic Lvl The level of the virtual microphone signal being sent to the output.
KDFX Reference KDFX Algorithm Specifications Rotary Effects 738 739 740 741 742 VC+Dist+1Rotor 2 VC+Dist+HiLoRotr VC+Tube+Rotor 4 Rotor 1 VC+Dist+HiLoRot2 Rotating speaker algorithms PAUs: 1 for Rotor 1 2 each for VC+Dist+1Rotor 2, VC+Dist+HiLoRotr, and VC+Dist+HiLoRot2 4 for VC+Tube+Rotor 4 The rotary algorithms contain multiple effects designed for the Hammond B3® emulation (KB3 mode).
KDFX Reference KDFX Algorithm Specifications For the rotating speakers, you can control the crossover frequency of the high and low frequency bands (the frequency where the high and low frequencies get separated). The rotating speakers for the high and low frequencies have their own controls. For both, the rotation speed, the effective driver size, and tremolo can be set. The rotation rate sets how fast the rotating speaker is spinning.
KDFX Reference KDFX Algorithm Specifications Parameters (VC+Dist+1Rotor 2): Page 1 In Gain Off, -79.0 to 24.0 dB In/Out In or Out Out Gain Off, -79.0 to 24.0 dB VibChInOut In or Out Dist Drive 0.0 to 96.0 dB Vib/Chor V1 DistWarmth 8 to 25088 Hz Roto InOut In or Out Cabinet LP 8 to 25088 Hz Page 2 Gain Off, -79.0 to 24.0 dB Rate -10.00 to 10.00 Hz Size 0 to 250 mm Tremolo 0 to 100% Beam Width 45.0 to 360.0 deg Page 3 Mic A Pos -180.0 to 180.0 deg Mic B Pos -180.0 to 180.
KDFX Reference KDFX Algorithm Specifications L Output L Input Rotator Vibrato/ Chorus Distortion Out Gain Mic Levels Out Gain Rotator R Input R Output L Output L Input Rotator Out Gain Vibrato/ Chorus Distortion Mic Levels Out Gain Rotator R Input R Output Figure 55 VC+Dist+HiLoRotr and VC+Dist+HiLoRot2 Parameters (VC+Dist+HiLoRotr and VC+Dist+HiLoRot2): Page 1 In Gain Off, -79.0 to 24.0 dB In/Out In or Out Out Gain Off, -79.0 to 24.0 dB VibChInOut In or Out Dist Drive Off, -79.
KDFX Reference KDFX Algorithm Specifications Page 2 Xover 8 to 25088 Hz Lo Rate -10 to 10 Hz Hi Rate -10 to 10 Hz Lo Size 0 to 250 mm Hi Size 0 to 250 mm Lo Trem 0 to 100% Hi Trem 0 to 100% Hi Beam W 45.0 to 360.0 deg LoMicB Pos -180.0 to 180.0 deg HiSlow>Fst 0.10 to 10.00 s HiMicB Pos -180.0 to 180.0 deg HiResonate 0 to 100% Page 3 LoMic Lvls 0 to 100% LoMicA Pos -180.0 to 180.0 deg HiMic Lvls 0 to 100% HiMicA Pos -180.0 to 180.
KDFX Reference KDFX Algorithm Specifications L Input L Output Pan Out Gain Rotator Mic Levels Cabinet Out Gain Pan R Output R Input Figure 56 Rotor 1 Parameters (Rotor 1): Page 1 In/Out In or Out In Gain Off, -79.0 to 24.0 dB Out Gain Off, -79.0 to 24.0 dB Cabinet LP 8 to 25088 Hz Page 2 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 Page 3 Mic A Pos -180.0 to 180.0 deg Mic B Pos -180.0 to 180.
KDFX Reference KDFX Algorithm Specifications VC+Tube+Rotor 4 faithfully models the response and smooth distortion caused by overloading a vacuum tube circuit. Parameters (VC+Tube+Rotor 4): Page 1 (VC+Tube+Rotor 4) In/Out In or Out In Gain Off, -79.0 to 24.0 dB VibChInOut In or Out Out Gain Off, -79.0 to 24.0 dB Vib/Chor V1 Tube Drive Off, -79.0 to 60.0 dB Roto InOut In or Out Cabinet LP 8 to 25088 Hz Off, -79.0 to 24.0 dB Page 2 Xover 8 to 25088 Hz Lo Gain Off, -79.0 to 24.
KDFX Reference KDFX Algorithm Specifications 10-128 Roto InOut When set to In the rotary speaker is active; when set to Out the rotary speaker is bypassed. Dist Drive or Tube Drive Applies a boost to the input signal to overdrive the distortion algorithm. When overdriven, the distortion algorithm will soft-clip the signal. Since distortion drive will make your signal very loud, you may have to reduce the Out Gain as the drive is increased. Dist Curve Controls the curvature of the distortion.
KDFX Reference KDFX Algorithm Specifications Lo Size The effective size (radius of rotation) of the rotating woofer in millimeters. Affects the amount of Doppler shift or vibrato of the low frequency signal. Lo Trem Controls the depth of tremolo of the low frequency signal. Expressed as a percentage of full scale tremolo. Hi Gain The gain or amplitude of the signal passing through the rotating tweeter (high frequency) driver. Hi Rate The speed of the tweeter rotation.
KDFX Reference KDFX Algorithm Specifications 743 Subtle Distort Adds small amount of distortion to signal. PAUs: 1 Use Subtle Distort to apply small amounts of distortion to a signal. The distortion characteristic is set with the Curvature and EvenOrders parameters. Increasing Curvature increases the distortion amount while EvenOrders increases the asymmetry of the distortion, adding even distortion harmonics.
KDFX Reference KDFX Algorithm Specifications 744 Quantize+Alias Digital quantization followed by simulated aliasing. PAUs: 1 The Quantize+Alias algorithm offers some of the worst artifacts that digital has to offer! Digital audio engineers will go to great lengths to remove, or at least hide the effects of digital quantization distortion and sampling aliasing. In Quantize+Alias we do quite the opposite, making both quantization and aliasing in-your-face effects.
KDFX Reference KDFX Algorithm Specifications Clearly a one-bit word gives a very crude approximation to the original signal while four bits is beginning to do a good job of reproducing the original decaying sine wave. When a good strong signal is being quantized (its word length is being shortened), quantization usually sounds like additive noise.
KDFX Reference KDFX Algorithm Specifications In the Quantize+Alias algorithms, we do not actually sample the incoming signal at a lower rate. Instead we use a special modulation algorithm to simulate the effect of pitches falling when they should be rising. The Pitch (coarse and fine) parameters roughly correspond to setting the Nyquist frequency. Higher pitches result in modulating your input signal with higher frequencies. The LFO Depth parameter changes the strength of the modulation.
KDFX Reference KDFX Algorithm Specifications 745 Pitcher+MiniVerb Combination algorithm of Pitcher followed by MiniVerb PAUs: 2 Pitcher+MiniVerbis Pitcher followed by MiniVerb. Pitcher applies a filter to the signal, the filter having a regular series of peaks in its frequency response which generally imposes a pitch on the input signal. The MiniVerb reverb is then applied to the “pitched” signal. See the relevant sections for complete details on these algorithm components.
KDFX Reference KDFX Algorithm Specifications Page 3 Pch/Dry>Rv 0 to 100 % Rv Type Hall1, ... Rv Time 0.5 to 30.0 s, Inf Rv DiffScl 0.00 to 2.00x Rv Density 0.00 to 4.00x Rv SizeScl 0.00 to 4.00x Rv HFDamp 8 to 25088 Hz Rv PreDlyL 0 to 620 ms Rv PreDlyR 0 to 620 ms Wet/Dry The relative amount of input signal and effected signal that is to appear in the final effect output mix. When set to 0%, the output is taken only from the input (dry). When set to 100%, the output is all wet.
KDFX Reference KDFX Algorithm Specifications Rv HFDamp Reduces high frequency components of the reverb above the displayed cutoff frequency. Removing higher reverb frequencies can often make rooms sound more natural. Rv PreDlyL/R The delay between 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.
KDFX Reference KDFX Algorithm Specifications 746 Reverb+Compress A reverb and compressor in series. PAUs: 2 Reverb+Compress is configured as a reverb followed by a compressor. The reverbs used are the same as MiniVerb. The compressor is a soft-knee compressor and can be configured as a feed-forward or feedback compressor. L Input L Output Reverb Compress R Input Figure 60 R Output Simplified block diagrams of Reverb+Compress The main control for the reverbs is the Rv Type parameter.
KDFX Reference KDFX Algorithm Specifications time controls how long it takes the compressor to respond to a reduction in signal levels. At long release times, the signal may stay compressed well after the signal falls below threshold. At short release times, the compressor will open up almost as soon as the signal drops. For typical compressor behavior, the attack time is considerably shorter than the release time.
KDFX Reference KDFX Algorithm Specifications In/Out When set to In the overall algorithm is active; when set to Out the algorithm is bypassed. ReverbW/D This is a simple mix of the reverb input (dry) with the reverb output (wet) to produce the final reverb output. ReverbGain An overall level control of the reverb’s output (applied after the reverb Wet/Dry mix). Rv HFDamp Reduces high frequency components of the reverb above the displayed cutoff frequency.
KDFX Reference KDFX Algorithm Specifications 781 St Chorus+Delay 784 St Flange+Delay Combination effect algorithms using time/frequency units instead of tempo PAUs: 1 or 2 The algorithms listed here are identical in most respects to combination effects elsewhere documented. For example, St Chorus+Delay is closely based on Chorus+Delay.
KDFX Reference KDFX Algorithm Specifications 790 Gate+Cmp[EQ]+Vrb Combination algorithm designed for vocal processing. PAUs: 4 each This algorithm is provided with vocal processing in mind. It includes a gate followed by a compressor and a reverb. Equalization is included as part of the compressor’s side-chain processing. Side-chain equalization allows some interesting processing possibilities including “de-essing” (by boosting the treble in the side-chain).
KDFX Reference KDFX Algorithm Specifications Page 3 Comp Atk 0.0 to 228.0 ms Comp Ratio Comp Rel 0 to 3000 ms Comp Thres 1.0:1 to 100:1, Inf:1 -79.0 to 0.0dB CompSmooth 0.0 to 228.0 ms CompMakeUp Off, -79.0 to 24.0 dB CompSigDly 0.0 to 25.0ms Page 4 CmpSCBassG -79.0 to 24.0 dB CmpSCTrebG -79.0 to 24.0 dB CmpSCBassF 8 to 25088 Hz CmpSCTrebF 8 to 25088 Hz CmpSCMidG -79.0 to 24.0 dB Comp SC EQ In or Out CmpSCMidF 8 to 25088 Hz CmpSCMidW 0.010 to 5.
KDFX Reference KDFX Algorithm Specifications Gate Atk The time for the gate to ramp from closed to open (reverse if Gate Duck is on) after the signal rises above threshold. Gate Rel The time for the gate to ramp from 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 signal, the gate can be opened before the main signal rises above the gating threshold.
KDFX Reference KDFX Algorithm Specifications specified frequency. Negative values cut the signal at the specified frequency. 10-144 CmpSCMidF, Mid Freq The center frequency of the parametric mid filter in intervals of one semitone. The boost or cut will be at a maximum at this frequency. CmpSCMidW, Mid Width The bandwidth of the side chain parametric mid filter may be adjusted. You specify the bandwidth in octaves. Small values result in a very narrow filter response.
KDFX Reference KDFX Algorithm Specifications 792 Gate+TubeAmp Combination algorithm designed for guitar processing. PAUs: 3 This algorithm is provided with guitar processing in mind. It sends the signal through a gate, tone controls, tube distortion and cabinet simulation or EQ section. Also depending on the algorithm selected, the signal may pass through one or more of compressor, equalization, chorus, flange, moving delay or reverb.
KDFX Reference KDFX Algorithm Specifications Basic Lead 12 2x12 Open 12 Open 10 4x12 Hot 2x12 Hot 12 Flat response from 100 Hz to 4 khz with 24dB/oct rolloffs on each end Open back hard American type with one 12” driver Closed back classic American type with two 12” drivers Open back classic American type with one 12” driver Open back classic American type with one 10” driver Closed back British type with four 12” drivers Closed back hot rod type with two 12” drivers Open back hot rod type with one 12” dr
KDFX Reference KDFX Algorithm Specifications Gate Duck When set to Off, the gate opens when the signal rises 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 the 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.
KDFX Reference KDFX Algorithm Specifications 900 Env Follow Filt Envelope following stereo 2 pole resonant filter PAUs: 2 The envelope following filter is a stereo resonant filter with the resonant frequency controlled by the envelope of the input signal (the maximum of left or right). The filter type is selectable and may be one of low pass (i), high pass (ii), band pass (iii), or notch (iv).
KDFX Reference KDFX Algorithm Specifications Envelope Follower L Input L Input Resonant Filter R Input Figure 10-66 R Input Block diagram of envelope following filter Parameters Page 1 Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB FilterType Lowpass Min Freq 58 to 8372 Hz F Freq Sweep -100 to 100% 0Hz 2k 4k 6k Resonance 0 to 50 dB Atk Rate 0.0 to 300.0 dB/s Rel Rate 0.0 to 300.0 dB/s Smth Rate 0.0 to 300.0 dB/s Page 2 Threshold -79.0 to 0.
KDFX Reference KDFX Algorithm Specifications 901 TrigEnvelopeFilt Triggered envelope following stereo 2 pole resonant filter PAUs: 2 The triggered envelope following filter is used to produce a filter sweep when the input rises above a trigger level. The triggered envelope following filter is a stereo resonant filter with the resonant frequency controlled by a triggered envelope follower. The filter type is selectable and may be one of low pass (i), high pass (ii), band pass (iii), or notch (iv).
KDFX Reference KDFX Algorithm Specifications Envelope Follower Trigger Generator Triggered Envelope Generator L Input L Input Resonant Filter R Input R Input Figure 10-68 Block diagram of Triggered Envelope Filter The time constant of the envelope follower may be set (Env Rate) as well as the decay rate of the generated envelope (Rel Rate). After the detected envelope rises above the Trigger level, a trigger event cannot occur again until the signal drops below the Retrigger level.
KDFX Reference KDFX Algorithm Specifications 10-152 Retrigger The threshold at which the envelope detector resets such that it can trigger again in fractions of full scale where 0dB is full scale. This value is only useful when it is below the value of Trigger. Env Rate The envelope detector decay rate which can be used to prevent false triggering. When the signal envelope falls below the retrigger level, the filter can be triggered again when the signal rises above the trigger level.
KDFX Reference KDFX Algorithm Specifications 902 LFO Sweep Filter LFO following stereo 2 pole resonant filter PAUs: 2 The LFO following filter is a stereo resonant filter with the resonant frequency controlled by an LFO (lowfrequency oscillator). 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).
KDFX Reference KDFX Algorithm Specifications a sine wave when set to 100% smoothing. The sudden change in amplitude of the sawtooths develops a more gradual slope with smoothing, ending up as triangle waves when set to 100% smoothing. PulseWidth Sine Figure 10-70 Saw+ Saw- Pulse Tri Configurable Wave Shapes Parameters Page 1 Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.
KDFX Reference KDFX Algorithm Specifications LFO PlsWid When the LFO Shape is set to Pulse, the PlsWid parameter sets the pulse width as a percentage of the waveform period. The pulse is a square wave when the width is set to 50%. This parameter is active only when the Pulse waveform is selected. LFO Smooth Smooths the Saw+, Saw-, and Pulse waveforms. For the sawtooth waves, smoothing makes the waveform more like a triangle wave. For the Pulse wave, smoothing makes the waveform more like a sine wave.
KDFX Reference KDFX Algorithm Specifications 903 Resonant Filter 904 Dual Res Filter Stereo and dual mono 2 pole resonant filters PAUs: 1 for Resonant Filter 1 for Dual Res Filter The resonant filter is available as a stereo (linked parameters for left and right) or dual mono (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).
KDFX Reference KDFX Algorithm Specifications Parameters for Dual Res Filter Page 1 L Wet/Dry 0 to 100%wet R Wet/Dry 0 to 100%wet L Output Off, -79.0 to 24.0 dB R Output Off, -79.0 to 24.0 dB Highpass Page 2 L FiltType Lowpass R FiltType L Freq 58 to 8372 Hz R Freq 58 to 8372 Hz LResonance 0 to 50 dB RResonance 0 to 50 dB Wet/Dry The amount of filtered (wet) signal relative to unaffected (dry) signal. Out Gain The overall gain or amplitude at the output of the filter.
KDFX Reference KDFX Algorithm Specifications 905 EQ Morpher 906 Mono EQ Morpher Parallel resonant bandpass filters with parameter morphing PAUs: 4 for EQ Morpher 2 for Mono EQ Morpher The EQ Morpher algorithms have four parallel bandpass filters acting on the input signal and the filter results are summed for the final output. EQ Morpher is a stereo algorithm for which the left and right channels receive separate processing using the same linked controls.
KDFX Reference KDFX Algorithm Specifications arranged in parallel and their outputs summed, so the bandpass peaks are added together and the multiple resonances are audible.
KDFX Reference KDFX Algorithm Specifications Page 2 A Freq 1 16 to 25088 Hz B Freq 1 16 to 25088 Hz A Width 1 0.010 to 5.000 oct B Width 1 0.010 to 5.000 oct A Gain 1 -79.0 to 24.0 dB B Gain 1 -79.0 to 24.0 dB A Freq 2 16 to 25088 Hz B Freq 2 16 to 25088 Hz A Width 2 0.010 to 5.000 oct B Width 2 0.010 to 5.000 oct A Gain 2 -79.0 to 24.0 dB B Gain 2 -79.0 to 24.0 dB Page 3 A Freq 3 16 to 25088 Hz B Freq 3 16 to 25088 Hz A Width 3 0.010 to 5.000 oct B Width 3 0.010 to 5.
KDFX Reference KDFX Algorithm Specifications 907 Ring Modulator A configurable ring modulator PAUs: 1 Ring modulation is a simple effect in which two signals are multiplied together. Typically, an input signal is modulated with a simple carrier waveform such as a sine wave or a sawtooth. Since the modulation is symmetric (a*b = b*a), deciding which signal is the carrier and which is the modulation signal is a question of perspective. A simple, unchanging waveform is generally considered the carrier.
KDFX Reference KDFX Algorithm Specifications parameters on parameter pages 2 and three will be inactive while in “L*R” mode. Figure 2 shows the signal flow when in “L*R” mode: Dry Out Gain L Input L Output Pan R Output Wet R Input Figure 10-75 “L*R” Mode Ring Modulator The other modulation mode is “Osc”. In “Osc” mode, the algorithm inputs and outputs are stereo, and the carrier signal for both channels is generated inside the algorithm.
KDFX Reference KDFX Algorithm Specifications change in amplitude of the sawtooths develops a more gradual slope with smoothing, ending up as triangle waves when set to 100% smoothing. PulseWidth Sine Figure 10-77 Saw+ Saw- Pulse Tri Expon Configurable Wave Shapes Parameters Page 1 Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB Mod Mode L*R or Osc L*R Gain Off, -79.0 to 48.
KDFX Reference KDFX Algorithm Specifications 10-164 Osc1 Freq The fundamental frequency of the configurable oscillator. The oscillators can be set through the audible frequencies 16-25088 Hz with 1 semitone resolution. This parameter is active only in “Osc” mode. Osc1Shape Shape selects the waveform type for the configurable oscillator. Choices are Sine, Saw+, Saw-, Pulse, Tri, and Expon. This parameter is active only in “Osc” mode.
KDFX Reference KDFX Algorithm Specifications 908 Pitcher Creates pitch from pitched or non-pitched signal PAUs: 1 This algorithm applies a filter which has a series of peaks in the frequency response to the input signal. The peaks may be adjusted so that their frequencies are all multiples of a selectable frequency, all the way up to 24 kHz.
KDFX Reference KDFX Algorithm Specifications In Figure 10-79, peaks are odd multiples of a frequency one octave down from the Pitch setting. This gives a hollow, square-wavey sound to the output. dB Khz Figure 10-80 [100, 0, 0, 0] In Figure 10-80, there are deeper notches between wider peaks dB Khz Figure 10-81 [-100, 0, 0, 0] In Figure 10-81, there are peaks on odd harmonic multiples and notches on even harmonic multiples of a frequency one octave down from the Pitch setting.
KDFX Reference KDFX Algorithm Specifications Figure 10-82 is like [100,100,100,100], except that all the peaks are at (all) multiples of half the Pitch frequency. dB Khz Figure 10-83 [50,100,100,100] Figure 10-83 is halfway between [0,100,100,100] and [100,100,100,100].
KDFX Reference KDFX Algorithm Specifications Figure 10-84 is halfway between [0,100,100,100] and [-100,100,100,100]. If the Odd parameter is modulated with an FXMOD, then one can morph smoothly between the [100,100,100,100] and [-100,100,100,100] curves. dB Khz Figure 10-85 [100, -100, 100, 100] dB Khz Figure 10-86 [100, 100, -100, 100] dB Khz Figure 10-87 [100, 100, 100, -100] The other 1,632,240,792 response curves have been omitted to save space.
KDFX Reference KDFX Algorithm Specifications Wet/Dry The relative amount of input signal and effected signal that is to appear in the final effect output mix. When set to 0%, the output is taken only from the input (dry). When set to 100%, the output is all wet. Out Gain The overall gain or amplitude at the output 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.
KDFX Reference KDFX Algorithm Specifications 909 Super Shaper Ridiculous shaper PAUs: 1 The Super Shaper algorithm packs 2-1/2 times the number of shaping loops, and 8 times the gain of the VAST shaper. Refer to the section on shapers in the Musician’s Guide for an overview of VAST shaper. Setting Super Shaper amount under 1.00x produces the same nonlinear curve as that found in the VAST shaper. At values above 1.
KDFX Reference KDFX Algorithm Specifications 910 3 Band Shaper 3 band shaper PAUs: 2 The 3 Band Shaper non-destructively splits the input signal into 3 separate bands using 1 pole (6dB/oct) filters, and applies a VAST-type shaper to each band separately. Refer to the Musicians Guide for an overview of VAST shaping. The cutoff frequencies for these filters are controlled with the CrossOver1 and CrossOver2 parameters.
KDFX Reference KDFX Algorithm Specifications 911 Mono LaserVerb 912 LaserVerb Lite 913 LaserVerb A bizarre reverb with a falling buzz PAUs: 1 for Mono LaserVerb 2 for LaserVerb Lite 3 for LaserVerb LaserVerb is a new kind of reverb sound that has to be heard to be believed! When it is fed an impulsive sound such as a snare drum, LaserVerb plays the impulse back as a delayed train of closely spaced impulses, and as time passes, the spacing between the impulses gets wider.
KDFX Reference KDFX Algorithm Specifications The output from LaserVerb can be fed back to the input. By turning up the feedback, the duration of the LaserVerb sound can be greatly extended. Cross-coupling may also be used to move the signal between left and right channels, producing a left/right ping-pong effect at the most extreme settings. The 2 processing allocation unit (PAU) version is a sparser version than the 3 PAU version. It’s buzzing is somewhat coarser.
KDFX Reference KDFX Algorithm Specifications 10-174 Out Gain The overall gain or amplitude at the output of the effect. Fdbk Lvl The percentage of the reverb output to feed back or return to the reverb input. Turning up the feedback is a way to stretch out the duration of the reverb, or, if the reverb is set to behave as a delay, to repeat the delay. The higher feedback is set, the longer the decay or echo will last. Xcouple LaserVerb & LaserVerb Lite are stereo effects.
KDFX Reference KDFX Algorithm Specifications 914 Revrse LaserVerb A bizarre reverb which runs backwards in time. PAUs: 4 Revrse LaserVerb is a mono effect that simulates the effect of running the LaserVerb in reverse. When you play a sound through the algorithm, it starts out relatively diffuse then builds to the final “hit.
KDFX Reference KDFX Algorithm Specifications Wet L Input Contour L Output Delay Pan "Dry" Out Gain R Output R Input Figure 92 Revrse LaserVerb Parameters: Page 1 Wet/Dry 0 to 100 %wet Out Gain Off, -79.0 to 24.0 dB Rvrs W/D 0 to 100 %wet Pan -100 to 100 % Dly Coarse 0 to 5000 ms Contour 0.0 to 100.0 % Dly Fine -20.0 to 20.0 ms Spacing 0 to 200 samp Page 2 10-176 Wet/Dry The amount of reverbed (wet) signal relative to unaffected (dry) signal.
KDFX Reference KDFX Algorithm Specifications 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 lower and build rapidly to the final “hit.
KDFX Reference KDFX Algorithm Specifications 915 Gated LaserVerb The LaserVerb algorithm with a gate on the output. PAUs: 3 Gated LaserVerb is LaserVerb Lite with a gate on the output. For a detailed explanation of LaserVerb see the section for LaserVerb Lite. The gate controls are covered under Gate. Signal routings between the inputs, the LaserVerb, the gate, and the outputs are described here.
KDFX Reference KDFX Algorithm Specifications Page 3 Gate Thres -79.0 to 0.0 dB Gate Time 25 to 3000 ms Gate Duck On or Off Gate Atk 0.0 to 228.0 ms Gate Rel 0 to 3000 ms GateSigDly 0.0 to 25.0 ms |||||||||||||||||||||||||||||| -dB 60 40 ❃ 16 ❃ 8 4 Reduction 0 Wet/Dry The amount of reverbed and gated (wet) signal relative to unaffected (dry) signal. The gate is on the wet signal path. Out Gain The overall gain or amplitude at the output of the effect.
KDFX Reference KDFX Algorithm Specifications 10-180 Gate Thresh The signal level in dB required to open the gate (or close the gate if Ducking is on). Gate Duck When set to Off, the gate opens when the signal rises 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 the gate will stay fully on after the signal envelope rises above threshold.
KDFX Reference KDFX Algorithm Specifications 916 Poly Pitcher Creates pitch from pitched or non-pitched signal—twice. PAUs: 2 Poly Pitcher is closely based on Pitcher, and most of the features of Poly Pitcher are covered in the section on Pitcher. Poly Pitcher is really just a pair of Pitcher algorithms (A and B) using the same inputs and summing to the same outputs. There is one set of weight parameters (Odd Wts, Pair Wts, Quartr Wts, and Half Wts), which are applied to both pitcher sections.
KDFX Reference KDFX Algorithm Specifications 10-182 Pitch A, B The fundamental pitch imposed upon the input expressed in semitone scale intervals. Pitcher A and pitcher B may be set independently. PchOff AL PchOff AR PchOff BL PchOff BR An offset from the pitch frequency in semitones. Not only are the A and B pitchers treated separately, the left and right channels have their own controls for increased stereo separation. Pitch offset may be useful as a modifiable control resembling pitch bend.
KDFX Reference KDFX Algorithm Specifications 917 Frequency Offset 918 MutualFreqOffset Single Side Band Modulation PAUs: 2 Frequency Offset and MutualFreqOffset perform single side band (SSB) modulation. Essentially what this means is that every frequency component of your input sound will be offset (in frequency) or modulated by the same amount.
KDFX Reference KDFX Algorithm Specifications MutualFreqOffset modulates the two input signals (left and right) with each other. If one of the signals is a sine wave, the algorithm behaves like Frequency Offset. Now imagine that one of the input signals is the sum of two sine waves. Both of the two sine waves will modulate the signal on the other input. For example, if the two sine waves are at 100 Hz and 200 Hz, upward modulation of another signal at 1000 Hz will produce pitches at 1100 Hz and 1200 Hz.
KDFX Reference KDFX Algorithm Specifications Page 2 OffsetFreq 0.00 to 10.00 Hz Offs Scale 1 too25088x DwnOffsLvl 0 to 100 % UpOffsLvl 0 to 100 % DwnOffsPan -100 to 100 % UpOffsPan -100 to 100 % Parameters (MutualFreqOffset): Page 1 Wet/Dry 0 to 100 %wet Out Gain Off, -79.0 to 24.0 dB In Gain L Off, -79.0 to 24.0 dB Wet Gain Off, -79.0 to 24.0 dB InLowpassR 8 to 25088 Hz In Gain R Off, -79.0 to 24.
KDFX Reference KDFX Algorithm Specifications 10-186 DwnOffsPan The down modulated signal may be panned 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 algorithm outputs. -100% sends the signal to the left output and 100% sends the signal to the right output.
KDFX Reference KDFX Algorithm Specifications 919 WackedPitchLFO An LFO based pitch shifter. PAUs: 3 Okay, it ain’t pretty, but WackedPitchLFO uses LFO modulated delay lines with cross fades to produce a shift of signal pitch. You can set the amount of shift in coarse steps of semitones or fine steps of cents (hundredths of a semitone). This shifter works using the same concepts used to detune a sound in a chorus algorithm. In a chorus algorithm, an LFO is used to change the length of a delay line.
KDFX Reference KDFX Algorithm Specifications 10-188 LFO Rate The frequency of the LFOs that drive the pitch shifter. The pitch shifter produces a certain amount of tremolo that will oscillate based on this rate. However reducing the rate will increase the delay lengths needed by the pitch shifter. Shift Crs A coarse adjust to the pitch shift amount from -24 to +24 semitones. The algorithm performs best when the amount of pitch shift is small.
KDFX Reference KDFX Algorithm Specifications 920 Chaos! Fun with chaos and instability PAUs: 2 The moment you scroll to the Chaos! algorithm, you will discover it is wildly unstable. Chaos! is a delay feedback algorithm which includes lots of gain with distortion plus plenty of filters tweaking the sound. Modifying the parameters will often cause the algorithm to jump from one chaotic instability state to another, often unpredictably.
KDFX Reference KDFX Algorithm Specifications F F ( i) Figure 98 ( i i) Resonating frequencies with FB Invert set to (i) Out and set to (ii) In. In addition to the distortion warmth filter, there are six filters built into the delay line loop: a highpass, a lowpass, a treble and a bass shelf, and two parametric midrange filters. Boosting the shelves or mids increases the strength of instability at the boosted frequencies.
KDFX Reference KDFX Algorithm Specifications Drive Cut Reduces the signal level after the distortion. By reducing the signal level after the distortion, Chaos! can be returned to stability while still producing a lot of distortion. Drive Cut is also inside the feedback loop. Warmth Warmth affects the character of the distortion. Warmth reduces (at low settings) the higher frequency distortion components without making the overall signal dull.
KDFX Reference KDFX Algorithm Specifications 948 Band Compress Stereo algorithm to compress a single frequency band PAUs: 3 Band Compress is in most respects identical to SoftKneeCompress. However, Band Compress compresses only on a single band of frequencies. Frequency band selection is based on a parametric filter. You control the filter center frequency and bandwidth. The compressor controls the filter gain.
KDFX Reference KDFX Algorithm Specifications Select L, R or Max L, R Filter Gain Compressor Computation L, R, or L&R Bandpass Filters Compress Channel Select L, R or Max L, R Bandpass Filters L Input L Output Delay Notch Filters Out Gain Delay R Input Figure 100 R Output Band Compress block diagram The soft-knee compressor is used which has a more gradual transition from compressed to unity gain.
KDFX Reference KDFX Algorithm Specifications the attack and release times, although the effect is significant only when its time is longer than the attack or release time. Generally the smoothing time should be kept at or shorter than the attack time. You have the choice of using the compressors configured as feed-forward or feedback compressors. For feed-forward, set the FdbkComprs parameter to Out; for feedback compression, set it to In.
KDFX Reference KDFX Algorithm Specifications ComprsChan Select which input channel will receive compression processing—left, right or both. If you select left or right, the opposite channel will pass through unaffected. FdbkComprs A switch to set whether the compressor side chain is configured for feed-forward (Out) or feedback (In). Atk Time The time for the compressor to start to cut in when there is an increase in signal level (attack) above the threshold.
KDFX Reference KDFX Algorithm Specifications 949 CompressDualTime Compression with 2 release time constants PAUs: 2 CompressDualTime is a basic compressor with two different release rates, which change from one rate to another as the compression gain reduction crosses a threshold set by the Rel Thres (release threshold) parameter. Except for the additional release rate and release threshold parameters, this compressor is like SoftKneeCompress.
KDFX Reference KDFX Algorithm Specifications Maximum Magnitude Maximum Magnitude Compressor Computations L Input L Output Delay Compressor Out Gain Delay Compressor R Input Figure 102 R Output Opto Compress The soft-knee compressor is used which has a more gradual transition from compressed to unity gain. Out Amp Threshold In Amp Figure 103 Soft-Knee compression characteristic For typical compressor behavior, the attack time is considerably shorter than the release time.
KDFX Reference KDFX Algorithm Specifications Parameters: Page 1 In/Out In or Out Out Gain Off, -79.0 to 24.0 dB FdbkComprs In or Out SC Input L, R, L & R Signal Dly 0.0 to 25.0 ms ComprsChan L, R, L & R Atk Time 0.0 to 228.0 ms Ratio 1:1.0 to 1:17.0 Rel Time A 0 to 3000 ms Comp Thres -79.0 to 0.0 dB Rel Time B 0 to 3000 ms Rel Thres -79.0 to 0.0 dB SmthTime 0.0 to 228.0 ms MakeUpGain Off, -79.0 to 24.
KDFX Reference KDFX Algorithm Specifications Ratio The compression ratio in effect above the compression threshold. High ratios are highly compressed; low ratios are 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 the output gain.
KDFX Reference KDFX Algorithm Specifications 950 HardKnee Compress 951 SoftKneeCompress Stereo hard- and soft-knee signal compression algorithms PAUs: 1 The stereo hard- and soft-knee compressors are very similar algorithms and provide identical parameters and user interface. Both algorithms compress (reduce) the signal level when the signal exceeds a threshold. The amount of compression is expressed as a ratio.
KDFX Reference KDFX Algorithm Specifications In the hard-knee compressor, there is a sudden transition from uncompressed to compressed at the compression threshold. In the soft-knee compressor there is a more gradual transition from compressed to unity gain. Out Amp Threshold In Amp Out Amp Threshold In Amp Figure 10-105 Hard- and Soft-Knee Compression Characteristics To determine how much to compress the signal, the compressor must measure the signal level.
KDFX Reference KDFX Algorithm Specifications so is of limited usefulness. In compressors which use more than 1 PAU, the delay affects the main signal only, regardless of the side chain configuration. A meter is provided to display the amount of gain reduction that is applied to the signal as a result of compression. Parameters Page 1 In/Out In or Out FdbkComprs In or Out Out Gain Off, -79.0 to 24.0 dB Page 2 Atk Time 0.0 to 228.0 ms Ratio 1.
KDFX Reference KDFX Algorithm Specifications 952 Expander A stereo expansion algorithm PAUs: 1 This is a stereo expander algorithm. The algorithms expands the signal (reduced the signal’s gain) when the signal falls below the expansion threshold. The amount of expansion is based on the larger magnitude of the left and right channels. The amount of expansion is expressed as an expansion ratio. Expanding a signal reduces its level below the threshold.
KDFX Reference KDFX Algorithm Specifications noise), and the threshold set just above the noise level. You can set just how far to drop the noise with the expansion ratio. Out Amp Threshold In Amp Figure 10-107 Expansion Transfer Characteristic The signal being expanded may be delayed relative to the side chain processing. The delay allows the signal to stop being expanded just before an attack transient arrives.
KDFX Reference KDFX Algorithm Specifications Signal Dly The time in ms by which the input signal should be delayed with respect to expander side chain processing (i.e. side chain pre-delay). This allows the expansion to appear to turn off just before the signal actually rises. Ratio The expansion ratio. High values (1:17 max) are highly expanded, low values (1:1 min) are moderately expanded.
KDFX Reference KDFX Algorithm Specifications 953 Compress w/SC EQ Stereo soft-knee compression algorithm with filtering in the side chain PAUs: 2 The Compress w/SC EQ algorithm is the same as the SoftKneeCompress algorithm except that equalization has been added to the side chain signal path. The equaliztion to the side chain includes bass and treble shelf filters and a parametric mid-range filter.
KDFX Reference KDFX Algorithm Specifications Page 2 Atk Time 0.0 to 228.0 ms Ratio 1.0:1 to 100.0:1, Inf:1 Rel Time 0 to 3000 ms Threshold -79.0 to 24.0 dB SmoothTime 0.0 to 228.0 ms MakeUpGain Off, -79.0 to 24.0 dB Signal Dly 0.0 to 25.0 ms Page 3 SCBassGain -79.0 to 24.0 dB SCTrebGain -79.0 to 24.0 dB SCBassFreq 16 to 25088 Hz SCTrebFreq 16 to 25088 Hz SCMidGain -79.0 to 24.0 dB SCMidFreq 16 to 25088 Hz SCMidWidth 0.010 to 5.
KDFX Reference KDFX Algorithm Specifications 10-208 SCTrebGain The amount of boost or cut that the side chain treble shelving filter should apply to the high frequency 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 above the specified frequency. SCTrebFreq The center frequency of the side chain treble shelving filters in intervals of one semitone.
KDFX Reference KDFX Algorithm Specifications 954 Compress/Expand 955 Comp/Exp + EQ A stereo soft-knee compression and expansion algorithm with and without equalization PAUs: 2 for Compress/Expand 3 for Cmp/Exp + EQ These are a stereo compressor and expander algorithms. One version is followed by equalization and the other is not. The algorithms compress the signal level when the signal exceeds a compression threshold and expands the signal when the signal falls below the expansion threshold.
KDFX Reference KDFX Algorithm Specifications To determine how much to compress or expand the signal, the compressor/expander must measure the signal level. Since musical signal levels will change over time, the compression and expansion amounts must change as well. You can control how fast the compression or expansion changes in response to changing signal levels with the attack and release time controls. Compression and expansion have separate controls. First consider the compressor.
KDFX Reference KDFX Algorithm Specifications expander may be used to suppress background noise in the absence of signal, thus typical expander settings use a fast attack (to avoid losing real signal), slow release (to gradually fade out the noise), and the threshold set just above the noise level. You can set just how far to drop the noise with the expansion ratio.
KDFX Reference KDFX Algorithm Specifications Page 4 10-212 Bass Gain -79.0 to 24.0 dB Treb Gain -79.0 to 24.0 dB Bass Freq 16 to 25088 Hz Treb Freq 16 to 25088 Hz Mid Gain -79.0 to 24.0 dB Mid Freq 16 to 25088 Hz Mid Wid 0.010 to 5.000 oct In/Out When set to “In” the compressor/expander is active; when set to “Out” the compressor/ expander is bypassed. Out Gain Compressing the signal causes a reduction in signal level.
KDFX Reference KDFX Algorithm Specifications MakeUpGain Provides an additional control of the output gain. The Out Gain and MakeUpGain controls are additive (in decibels) and together may provide a maximum of 24 dB boost to offset gain reduction due to compression or expansion. Bass Gain The amount of boost or cut that the bass shelving filter should apply to the low frequency signals in dB. Every increase of 6 dB approximately doubles the amplitude of the signal.
KDFX Reference KDFX Algorithm Specifications 956 Compress 3 Band Stereo soft-knee 3 frequency band compression algorithm PAUs: 4 The 3 band compressor divides the input stereo signal into 3 frequency bands and runs each band through its own stereo soft-knee compressor. After compression, the bands are summed back together to produce the output. You may set the frequencies at which the bands are split. The compressors reduce the signal level when the signal exceeds a threshold.
KDFX Reference KDFX Algorithm Specifications times, the signal may stay compressed well after the signal falls below threshold. At short release times, the compressor will open up almost as soon as the signal drops. For typical compressor behavior, the attack time is considerably shorter than the release time. At very short attack and release times, the compressor is almost able to keep up with the instantaneous signal levels and the algorithm will behave more like distortion than compression.
KDFX Reference KDFX Algorithm Specifications 10-216 In/Out When set to “In” the compressor is active; when set to “Out” the compressor is bypassed. Out Gain Compressing the signal causes a reduction in signal level. To compensate, the output gain parameter may be used to increase the gain by as much as 24 dB. Note that the Out Gain parameter does not control the signal level when the algorithm is set to “Out”.
KDFX Reference KDFX Algorithm Specifications 957 Gate 958 Super Gate Signal gate algorithms PAUs: 1 for Gate 2 for Super Gate Gate and Super Gate do stand alone gate processing and can be configured as a stereo or mono effects. As a stereo effect, the stereo signal gates itself based on its amplitude. As a mono effect, you can use one mono input signal to gate a second mono input signal (or one channel can gate itself).
KDFX Reference KDFX Algorithm Specifications 1 0 attack time signal rises above threshold gate time release time signal falls below threshold Figure 10-115 Signal envelope for Gate and Super Gate when Retrigger is “On” If Retrigger is off (Super Gate only), then the gate will open when the side chain signal rises above threshold as before. The gate will then close as soon as the gate time has elapsed, whether or not the signal is still above threshold.
KDFX Reference KDFX Algorithm Specifications If Ducking is turned on, then the behavior of the gate is reversed. The gate is open while the side chain signal is below threshold, and it closes when the signal rises above thresold. If the gate opened and closed instantaneously, you would hear a large digital click, like a big knife switch was being thrown. Obviously that’s not a good idea, so Atk Time (attack) and Rel Time (release) parameters are use to set the times for the gate to open and close.
KDFX Reference KDFX Algorithm Specifications hear one of the input channels, but you want your mono output panned to stereo. -100% is panned to the left, and 100% is panned to the right. SC Input The side chain input may be the amplitude of the left L input channel, the right R input channel, or the sum of the amplitudes of left and right (L+R)/2.
KDFX Reference KDFX Algorithm Specifications SCTrebFreq The center frequency of the side chain treble shelving filters in intervals of one semitone. 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 signal. Positive values boost the signal at the specified frequency. Negative values cut the signal at the specified frequency.
KDFX Reference KDFX Algorithm Specifications 959 2 Band Enhancer 2 band spectral modifier PAUs: 1 The 2 Band Enhancer modifies the spectral content of the input signal primarily by brightening signals with little or no high frequency content, and boosting pre-existing bass energy. First, the input is nondestructively split into 2 frequency bands using 6 dB/oct hipass and lopass filters (Figure 1).
KDFX Reference KDFX Algorithm Specifications Hi Shelf G The boost or 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 lopass signal is delayed. Lo Mix Adjusts the output gain of the lopass signal.
KDFX Reference KDFX Algorithm Specifications 960 3 Band Enhancer 3 band spectral modifier PAUs: 2 The 3 Band Enhancer modifies the spectral content of the input signal by boosting existing spectral content, or stimulating new ones. First, the input is non-destructively split into 3 frequency bands using 6 dB/oct hipass and lopass filters (Figure 1). The high and mid bands are separately processed to add additional high frequency content by using two nonlinear transfer functions.
KDFX Reference KDFX Algorithm Specifications Page 2 Lo Enable On or Off Mid Enable On or Off Lo Drive Off, -79.0 to 24.0 dB Mid Drive Off, -79.0 to 24.0 dB Lo Xfer -100 to 100% Mid Xfer1 -100 to 100% Mid Xfer2 -100 to 100% Lo Delay 0 to 1000 samp Mid Delay 0 to 500 samp Lo Mix Off, -79.0 to 24.0 dB Mid Mix Off, -79.0 to 24.0 dB Page 3 Hi Enable On or Off Hi Drive Off, -79.0 to 24.0 dB Hi Xfer1 -100 to 100% Hi Xfer2 -100 to 100% Hi Delay 0 to 500 samp Hi Mix Off, -79.0 to 24.
KDFX Reference KDFX Algorithm Specifications 961 Tremolo 962 Tremolo BPM A stereo tremolo or auto-balance effect PAUs: 1 Tremolo and Tremolo BPM are 1 processing allocation unit (PAU) stereo tremolo effects. In the classical sense, a tremolo is the rapid repetition of a single note created by an instrument. Early music synthesists imitated this by using an LFO to modulate the amplitude of a tone.
KDFX Reference KDFX Algorithm Specifications Parameters for Tremolo BPM Page 1 In/Out In or Out Out Gain Off, -79.0 to 24.0 dB Tempo System, 0 to 255 BPM Page 2 LFO Rate 0 to 12.00 x LFO Shape Tri LFO Phase 0.0 to 360.0 deg PulseWidth 0 to 100 % Depth 0 to 100 % 50% Weight -6 to 3 dB L/R Phase In or Out A 0% 50% 100% In/Out When set to “In” the effect is active; when set to “Out” the effect is bypassed. Out Gain The overall gain or amplitude at the output of the effect.
KDFX Reference KDFX Algorithm Specifications 963 AutoPanner A stereo auto-panner PAUs: 1 AutoPanner is a 1 processing allocation unit (PAU) stereo auto pan effect. The process of panning a stereo image consists of shrinking the image width of the input program then cyclically moving this smaller image from side to side while maintaining relative distances between program point sources (Figure 1).
KDFX Reference KDFX Algorithm Specifications Parameters Page 1 In/Out In or Out Out Gain Off, -79.0 to 24.0 dB Page 2 LFO Rate 0 to 10.00 Hz LFO Shape Tri Rate Scale 1 to 25088 x PulseWidth 0 to 100% Origin -100 to 100 % PanWidth 0 to 100 % L ImageWidth 0 to 100 % R CentrAtten -12 to 0 dB L C R In/Out When set to “In” the auto-panner is active; when set to “Out” auto-panner is bypassed. Out Gain The overall gain or amplitude at the output of the effect.
KDFX Reference KDFX Algorithm Specifications 964 Dual AutoPanner A dual mono auto-panner PAUs: 2 Dual AutoPanner is a 2 processing allocation unit (PAU) dual mono auto pan effect. Left and right inputs are treated as two mono signals which can each be independently auto-panned. Parameters beginning with “L” control the left input channel, and parameters beginning with “R” control the right input channel.
KDFX Reference KDFX Algorithm Specifications PulseWidth Sine Saw+ Saw- Pulse Tri Expon Figure 10-122 LFO Shapes available for Dual AutoPanner Parameters Page 1 L In/Out In or Out R In/Out In or Out L Out Gain Off, -79.0 to 24.0 dB R Out Gain Off, -79.0 to 24.0 dB L LFO Rate 0 to 10.00 Hz L LFO Shape Tri L RateScal 1 to 25088 x L PlseWdth 0 to 100 % Page 2 L Origin -100 to 100 % L PanWidth 0 to 100 % L CentrAtt 0 to 100 % L L C R Page 3 R LFO Rate 0 to 10.
KDFX Reference KDFX Algorithm Specifications -3dB. Values above -3dB will cause somewhat of a bump in level as an image passes through the center. Values below -3dB will cause a dip in level at the center. 10-232 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 width as a percentage of the waveform period. The pulse is a square wave when the width is set to 50%.
KDFX Reference KDFX Algorithm Specifications 965 SRS Licenced Sound Retrieval System® or SRSTM effect PAUs: 1 The SRS TM algorithm has been licenced from SRS Labs, Inc. The following is from an SRS Labs press release: SRS, the Sound Retrieval System, is based on the human hearing system. It produces a fully immersive, three-dimensional sound image from any audio source with two or more standard stereo speakers.
KDFX Reference KDFX Algorithm Specifications 966 Stereo Image Stereo enhancement with stereo channel correlation metering PAUs: 1 Stereo Image is a stereo enhancement algorithm with metering for stereo channel correlation. The stereo enhancement performs simple manipulations of the sum and difference of the left and right input channels to allow widening of the stereo field and increased sound field envelopment.
KDFX Reference KDFX Algorithm Specifications Parameters Page 1 L In Gain Off, -79.0 to 24.0 dB R In Gain Off, -79.0 to 24.0 dB CenterGain Off, -79.0 to 24.0 dB Diff Gain Off, -79.0 to 24.0 dB L/R Delay -500.0 to 500.0 samp RMS Settle 0.0 to 300.0 dB/s Page 2 DiffBassG -79.0 to 24.0 dB DiffBassF 16 to 25088 Hz Stereo Correlation 100 75 50 25 0% L In Gain The input gain of the left channel in decibels (dB). R In Gain The input gain of the right channel in decibels (dB).
KDFX Reference KDFX Algorithm Specifications 967 Mono -> Stereo Stereo simulation from a mono input signal PAUs: 1 Mono -> Stereo is an algorithms which creates a stereo signal from a mono input signal. The algorithm works by combining a number of band-splitting, panning and delay tricks. The In Select parameter lets you choose the left or right channel for you mono input, or you may choose to sum the left and right inputs.
KDFX Reference KDFX Algorithm Specifications Page 2 Crossover1 16 to 25088 Hz Crossover2 16 to 25088 Hz Pan High -100 to 100% Delay High 0.0 to 1000.0 ms Pan Mid -100 to 100% Delay Mid 0.0 to 1000.0 ms Pan Low -100 to 100% Delay Low 0.0 to 1000.0 ms In/Out The algorithm is functioning when In/Out is set to “In”. If set to “Out, whatever is on the input channels gets passed to the output unaltered. Out Gain The output gain of the pseudo-stereo signal in decibels (dB).
KDFX Reference KDFX Algorithm Specifications 968 Graphic EQ 969 Dual Graphic EQ Dual mono 10 band graphic equalizer PAUs: 3 The graphic equalizer is available as stereo (linked parameters for left and right) or dual mono (independent controls for left and right). The graphic equalizer has ten bandpass filters per channel. For each band the gain may be adjusted from -12 dB to +24 dB. The frequency response of all the bands is shown in the Figure 1.
KDFX Reference KDFX Algorithm Specifications Amp (dB) 10 0 10 31 62 125 250 500 1000 2000 4000 8000 16000 Freq (Hz) Figure 10-126 Overall Response with All Gains Set to +12 dB, 0 dB and -6 dB Parameters for Graphic EQ Page 1 In/Out In or Out Page 2 31Hz G -12.0 to 24.0dB 1000Hz G -12.0 to 24.0dB 62Hz G -12.0 to 24.0dB 2000Hz G -12.0 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.
KDFX Reference KDFX Algorithm Specifications Page 3 10-240 R 31Hz G -12.0 to 24.0dB R 1000Hz G R 62Hz G -12.0 to 24.0dB R 2000Hz G -12.0 to 24.0dB -12.0 to 24.0dB R 125Hz G -12.0 to 24.0dB R 4000Hz G -12.0 to 24.0dB R 250Hz G -12.0 to 24.0dB R 8000Hz G -12.0 to 24.0dB R 500Hz G -12.0 to 24.0dB R16000Hz G -12.0 to 24.0dB In/Out When set to In the left channel equalizer is active; when set to Out the left channel equalizer is bypassed. 31Hz G Gain of the left 31 Hz band in dB.
KDFX Reference KDFX Algorithm Specifications 970 5 Band EQ Stereo bass and treble shelving filters and 3 parametric EQs PAUs: 3 This algorithm is a stereo 5 band equalizer with 3 bands of parametric EQ and with bass and treble tone controls. The user has control over the gain, frequency and bandwidth of each band of parametric EQ and control of the gain and frequencies of the bass and treble tone controls. The controls for the two stereo channels are ganged.
KDFX Reference KDFX Algorithm Specifications 10-242 Midn Freq The center frequency 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 result in a very narrow filter response. Large values result in a very broad response.
KDFX Reference KDFX Algorithm Specifications 971 3 Band EQ Bass and treble shelving filter and parametric EQs PAUs: 1 This algorithm is a multi-band equalizers with parametric EQ and bass and treble tone controls. You can control the gain, frequency and bandwidth of each band of parametric EQ and control of the gain and frequencies of the bass and treble tone controls. The small 3 Band EQ does not provide control of the bandwidth for the parametric Mid filter.
KDFX Reference KDFX Algorithm Specifications 972 HF Stimulate 1 High-frequency stimulator PAUs: 1 The high-frequency stimulator algorithm is closely based on the V.A.S.T. High Frequency Stimulator DSP function, and the manual description is repeated here (edited for KDFX specifics). The overall effect of a high-frequency stimulator is to boost the high frequency partials of the signal, and depending on the settings of the parameters, it can add high-frequency partials to the signal as well.
KDFX Reference KDFX Algorithm Specifications 975 HarmonicSuppress Stereo algorithm to expand a single frequency band or harmonic bands. PAUs: 2 HarmonicSuppress is a special expander algorithm. In most respects it is identical to Expander. However, HarmonicSuppress expands on only harmonically related bands of frequencies. Why would we do this? Imagine you are working with a sampled recording which contains an obnoxious 60 Hz hum. You can suppress just the 60 Hz component witha parametric filter.
KDFX Reference KDFX Algorithm Specifications Select L, R, or Max L, R Expander Computation Filter Gain 0 dB 0 dB L, R, Or L & R Exp Channel Analysis Filters (Single or Multi Band) L Input L Output Delay Notch Filters (Single or Multi Band) Delay R Output R Input Figure 129 Out Gain Band suppression To determine how much to expand the signal, the expander must measure the signal level. Since musical signal levels will change over time, the expansion amounts must change as well.
KDFX Reference KDFX Algorithm Specifications A meter is provided to display the amount of gain reduction that is applied to the signal as a result of expansion. Parameters: Page 1 (HarmonicSuppress) In/Out In or Out Harmonics Even, Odd, All Out Gain Off, -79.0 to 24.0 dB Fund FreqC 8 to 25088 Hz SC Input L, R, L & R Fund FreqF -100 to 100 ct ExpandChan L, R, L & R 0.0 to 228.0 ms Ratio 1:1.0 to 1:17.0 Page 2 Atk Time Rel Time 0 to 3000 ms Threshold -79.0 to 0.0 dB SmoothTime 0.
KDFX Reference KDFX Algorithm Specifications SmoothTime A lowpass filter 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 the other times. Signal Dly The time in ms by which the input signal should be delayed with respect to expander side chain processing (i.e. side chain predelay).
KDFX Reference KDFX Algorithm Specifications 998 FXMod Diagnostic FXMod source metering utility algorithm PAUs: 1 The FXMod diagnostic algorithm is used to obtain a metered display of FXMod sources. This algorithm allows you to view the current levels of any data sliders, MIDI controls, switches, or internally generated V.A.S.T. LFOs, ASRs, FUNs, etc. which are available as modulation sources. This algorithm has no effect on any signal being routed through it.
KDFX Reference KDFX Algorithm Specifications 999 Stereo Analyze Signal metering and channel summation utility algorithm PAUs: 1 Stereo Analyze is a utility algorithm which provides metering of stereo signals as its primary function. In addition to metering, the gains of the two channels are separately controllable, either channel may be inverted, and sum and differences to the two channels may be metered and monitored.
KDFX Reference KDFX Algorithm Specifications parameter to attempt to correct the problem. Positive delays are delaying the left channel, while negative delays are delaying the right channel. By inverting one channel with respect to the other, you can hear what is characterised as “phasey-ness”. Usually in stereo recordings, you can localize the phantom image of sound sources somewhere between the two loudspeakers.
KDFX Reference KDFX Algorithm Specifications 10-252
Glossary Chapter 11 Glossary Algorithm In the K2661, a preset configuration of programmable digital signal processing functions. Each of a program’s layers uses its own algorithm, which determines the type of synthesis each layer uses to generate its sound. FX presets also use algorithms, which determine what kind of DSP gets applied to the signal as it passes through a studio.
Glossary Dialog A page that prompts you to enter information that the K2661 needs in order to execute an operation. Dialogs appear, for example, when you initiate a Save or Delete operation. Digital A term used widely in electronics-related fields to describe a method of representing information as a series of binary digits (bits)—1s and 0s. Digital computers process these strings of 1s and 0s by converting them into an electrical signal that is always in one of two very definite states: “on” or “off.
Glossary LFO Low frequency oscillator. An oscillator is an electrical signal that cycles regularly between a minimum and maximum amplitude. The simplest oscillating waveform is the sine wave, but an LFO waveform can have almost any shape. The number of times each second that an oscillator repeats itself is called its frequency, which is measured in Hertz (Hz). Anything up to 50 Hz is considered low-frequency in musical applications. Use an LFO whenever you want to generate a periodic (repeating) effect.
Glossary Page A set of performance or programming parameters that appear as a group in the display. The entry level page for each mode appears when you select the mode. Most other pages are selected with the soft buttons, from within an editor. Parameter A programming feature. The name of the parameter describes the function it controls—transposition, for example. Each parameter has a value associated with it, which indicates the status of the parameter. Pixel A contraction of “picture element.
Glossary Setup A multi-timbral performance object. A setup consists of three zones, each of which can be assigned its own program, MIDI channel, and control assignments. These assignments control the K2661’s operation while in Setup mode, as well as determining the Program Change numbers and controller messages the K2661 sends via MIDI. Soft Reset Returns the K2661 to Program mode without affecting the contents of RAM. Press the +/-, 0, and Clear buttons to do a soft reset.
Glossary 11-6
Chapter 12 Triple Modular Processing Overview Triple-modular processing is an enhancement to Kurzweil’s VAST synthesis model (VariableArchitecture Synthesis Technology). The VAST model incorporates multi-layer programs; each layer in a VAST program uses an algorithm that includes pitch control, the renowned Kurzweil VAST DSP (digital signal-processing) functions, and amplitude control. This provides for a huge number of combinations.
Triple Modular Processing Overview Note that any processing in Layer 2 that’s “downstream” (to the right) of the input(s) from Layer 1 gets applied to the signals from both Layer 1 and Layer 2. After the processing in Layer 2, the signal passes to Layer 3 for still more processing before going to KDFX. Any non-KB3 program can contain a triple, alone or in combination with normal layers and/or other triples (KB3 programs don’t use layers, so they can’t contain triples).
Triple Modular Processing Overview Algorithms for Triple Modular Processing There are 94 new VAST algorithms, incorporating familiar Kurzweil DSP functions. The algorithms are divided into three sets, each of which correspond to a specific layer within the triple. In other words, certain algorithms are available only for certain layers. Layer-1 Algorithms: 33–62 There are 30 algorithms available for Layer 1 of any triple.
Triple Modular Processing Creating Triples Creating Triples There are several ways to add a triple to a program. The most convenient method depends on what you want to do. In case you’re wondering, there’s no way to convert a normal layer to a triple. Whenever you want to create a program containing a triple, or add a triple to a program, use one of the following methods. Creating a New Triple Creating a new triple inserts a copy of Layers 1–3 of Program 739 into the current program.
Triple Modular Processing Editing Triples Importing a Triple into a Program Use this method when there’s an existing triple that you want to insert into a particular program. 1. While in Program mode, select the program into which you want to import the triple. 2. Press Edit to enter the Program Editor. 3. Press
Triple Modular Processing Editing Triples The parameters on the ALG page consist of the algorithm itself, and the DSP blocks within the algorithm (In the diagram, the second DSP block in the algorithm is selected). Use the cursor buttons to select the parameters, and a data entry method to change the value of the selected parameter. Amplitude Envelopes A layer’s amplitude envelope is a critical element of the layer’s sound; it determines the layer’s attack, decay, and release times—among other things.
Triple Modular Processing Editing Triples When Layer 1 or 2 of a triple uses a keymap containing ROM samples (or edited ROM samples), and you want the samples to sound relatively normal, you’ll generally need to do two things: • • Include an AMP block in the layer Use the layer’s default (natural) amplitude envelope The AMP block ensures that the layer’s amplitude envelope gets applied to the layer.
Triple Modular Processing Editing Triples Layer 2 gets applied after the signal from Layer 1 joins the signal from Layer 2. Consequently, Layer 2’s amplitude envelope affects Layer 1’s sound as well as Layer 2’s sound.
Triple Modular Processing Editing Triples Summary of Amplitude Envelopes in Triples Because of the special nature of triples and their interactions with amplitude envelopes, you’ll need to give some thought to the amplitude.in each layer of the triples you program.
Triple Modular Processing Editing Triples New Combinations of DSP Functions Seven new two-stage DSP functions combine a filter or double shaper with a gain function (the gain occurs after the filtering/shaping). One or more of these functions is available in most of the two-stage DSP blocks. They’re listed below. LOPAS2 GAIN LP2RES GAIN HIPAS2 GAIN SHAPE2 GAIN BAND2 LPGATE GAIN GAIN NOTCH2 GAIN These functions are equivalent to two single-stage blocks in a v1.
Triple Modular Processing Editing Triples In order to function as designed, DSP blocks that use NOISE+ must be followed immediately by one of the DSP functions listed below. Otherwise, you won’t be able to attenuate the level of the added noise. If you use NOISE+ in the last DSP block of a Layer-2 algorithm, the first DSP block of Layer 3’s algorithm must be one of these functions.
Triple Modular Processing Algorithm Reference Algorithm Reference This section contains a diagram for each triple algorithm, as you see it in the K2661’s display. Below each diagram is a list of the DSP functions available in each block of the algorithm.
Triple Modular Processing Algorithm Reference Algorithm:37 |||||||||||||||||||||||||||||||||||||||| qwwerwwtqwwerwwwwwwerwwwwwwerwwtqwwerwt| d||||||gk||||||||||||||||||||||gk|||||j| CVVVVVVBCVVVVVVVVVVVVVVVVVVVVVVBCVVVVVM| PITCH NONE NONE NONE NONE NONE NONE PARAMETRIC EQ AMP AMP AMP AMP AMP LOPASS STEEP RESONANT BASS PITCH LOPASS LOPASS LOPASS LOPASS HIPASS HIPASS HIPASS HIPASS HIPASS ALPASS ALPASS ALPASS ALPASS ALPASS GAIN GAIN GAIN GAIN GAIN SHAPER SHAPER SHAPER SHAPE
Triple Modular Processing Algorithm Reference Algorithm:41 |||||||||||||||||||||||||||||||||||||||| qwwerwwtqwwerwwtqwwerwwtqwwerwwt¥wwerwt| d||||||gk||||||jk||||||gk||||||u:|||||j| CVVVVVVBCVVVVVVM<>>>>>>S<>>>>>>S?VVVVVM| PITCH NONE NONE NONE NONE NONE NONE NONE NONE AMP AMP AMP xGAIN AMP AMP xGAIN AMP LOPASS LOPASS LOPASS +GAIN LOPASS LOPASS +GAIN LOPASS HIPASS HIPASS HIPASS XFADE HIPASS HIPASS XFADE HIPASS ALPASS ALPASS ALPASS AMPMOD ALPASS ALPASS AMPMOD ALPASS GA
Triple Modular Processing Algorithm Reference Algorithm:45 |||||||||||||||||||||||||||||||||||||||| qwwerwwtqwwerwwt¥wwerwwtqwwerwwtqwwerwt| d||||||jk||||||u:||||||gk||||||gk|||||j| CVVVVVVM<>>>>>>S?VVVVVVBCVVVVVVBCVVVVVM| PITCH NONE NONE NONE NONE NONE NONE NONE AMP xGAIN AMP AMP 2PARAM SHAPER AMP xGAIN LOPASS +GAIN LOPASS LOPASS LOPAS2 GAIN LOPASS +GAIN HIPASS XFADE HIPASS HIPASS 2POLE LOWPASS HIPASS XFADE ALPASS PITCH AMPMOD AMPMOD ALPASS ALPASS BANDPASS FILT ALPASS G
Triple Modular Processing Algorithm Reference Algorithm:49 |||||||||||||||||||||||||||||||||||||||| qwwerwwtqwwerwwwwwwerwwtqwwerwwt¥wwerwt| d||||||jk||||||||||||||gk||||||u:|||||j| CVVVVVVM<>>>>>>>>>>>>>>S<>>>>>>S?VVVVVM| PITCH Algorithm:51 |||||||||||||||||||||||||||||||||||||||| qwwerwwtqwwerwwwwwwerwwwwwwerwwt¥wwerwt| d||||||jk||||||||||||||||||||||u:|||||j| CVVVVVVM<>>>>>>>>>>>>>>>>>>>>>>S?VVVVVM NONE NONE NONE 2PARAM SHAPER AMP xGAIN PITCH PARAMETRIC EQ NONE NONE xGAIN LOPAS2 GAIN LOPASS
Triple Modular Processing Algorithm Reference Algorithm:53 |||||||||||||||||||||||||||||||||||||||| qwwerwwtqwwerwwt¥wwerwwtqwwerwwt¥wwerwt| d||||||jk||||||u:||||||jk||||||u:|||||j| CVVVVVVM<>>>>>>S?VVVVVVM<>>>>>>S?VVVVVM| PITCH NONE NONE NONE NONE NONE NONE NONE NONE AMP xGAIN AMP xGAIN AMP xGAIN xGAIN AMP LOPASS +GAIN LOPASS +GAIN LOPASS +GAIN +GAIN LOPASS HIPASS XFADE HIPASS XFADE HIPASS XFADE XFADE HIPASS ALPASS PITCH AMPMOD ALPASS AMPMOD ALPASS AMPMOD AMPMOD ALP
Triple Modular Processing Algorithm Reference Algorithm:57 |||||||||||||||||||||||||||||||||||||||| qwwerwwtqwwerwwtqwwerwwt¥wwerwwt¥wwerwt| d||||||jk||||||gk||||||u:||||||u:|||||j| CVVVVVVM<>>>>>>S<>>>>>>S¿>>>>>>S?VVVVVM| PITCH NONE NONE NONE NONE NONE NONE NONE NONE AMP AMP xGAIN xGAIN AMP xGAIN xGAIN xGAIN LOPASS LOPASS +GAIN +GAIN LOPASS +GAIN +GAIN +GAIN HIPASS HIPASS XFADE XFADE HIPASS XFADE XFADE XFADE ALPASS ALPASS AMPMOD AMPMOD ALPASS AMPMOD AMPMOD AMPMOD GA
Triple Modular Processing Algorithm Reference Algorithm:61 |||||||||||||||||||||||||||||||||||||||| ||||||||qwwerwwtqwwerwwt¥wwerwwtqwwerwt| ||||||||d||||||jd||||||u:||||||gk|||||j| ||||||||CVVVVVVM<>>>>>>S?VVVVVVBCVVVVVM| SYNCM SYNCS NONE NONE xGAIN AMP Layer-2 Algorithms (63–100) Algorithm:63 |||||||||||||||||||||||||||||||||||||||| qwwerwwt7wwerwwtqwwerwwtqwwerwwtqwwerwt| d||||||i;||||||gk||||||gk||||||gk|||||j| CVVVVVVBCVVVVVVBCVVVVVVBCVVVVVVBCVVVVVM| +GAIN LOPASS XFADE HIPASS NONE NONE NON
Triple Modular Processing Algorithm Reference Algorithm:65 ||||||||||||||||6||||||||||||||||||||||| qwwerwwtqwwerwwt7wwerwwtqwwerwwtqwwerwt| d||||||gk||||||i;||||||gk||||||gk|||||j| CVVVVVVBCVVVVVVBNVVVVVVBCVVVVVVBCVVVVVM| PITCH NONE NONE NONE NONE NONE NONE NONE AMP xGAIN AMP AMP AMP xGAIN LOPAS2 GAIN LOPASS +GAIN LOPASS LOPASS LOPASS +GAIN HIPAS2 GAIN HIPASS XFADE HIPASS HIPASS HIPASS XFADE BAND2 ALPASS AMPMOD ALPASS ALPASS ALPASS AMPMOD NOTCH2 GAIN 12-20 PITCH GAIN
Triple Modular Processing Algorithm Reference Algorithm:69 ||||||||6||||||||||||||||||||||||||||||| qwwerwwt7wwerwwt¥wwerwwtqwwerwwwwwwerwt| d||||||jU||||||u:||||||gk|||||||||||||j| CVVVVVVM<>>>>>>S?VVVVVVBCVVVVVVVVVVVVVM| PITCH NONE NONE NONE NONE NONE NONE NONE AMP xGAIN LOPAS2 GAIN PITCH AMP AMP AMP xGAIN LOPASS +GAIN HIPAS2 GAIN LOPASS LOPASS LOPASS +GAIN HIPASS XFADE BAND2 HIPASS HIPASS HIPASS !GAIN ALPASS AMPMOD NOTCH2 GAIN ALPASS ALPASS ALPASS GAIN LP2RES GAIN GA
Triple Modular Processing Algorithm Reference Algorithm:73 ||||||||6||||||5wwwwwwwwwwwwwwww6||||||| qwwerwwt7wwerww†qwwerwwtqwwerwwt7wwerwt| d||||||J;||||||fO||||||gk||||||i;|||||j| CVVVVVVM<>>>>>>S?VVVVVVBCVVVVVVBNVVVVVM| PITCH NONE NONE NONE NONE NONE NONE NONE NONE xGAIN AMP AMP xGAIN xGAIN AMP AMP xGAIN LOPASS LOPASS +GAIN +GAIN LOPASS LOPASS +GAIN XFADE HIPASS HIPASS !GAIN XFADE HIPASS HIPASS !GAIN ALPASS ALPASS ALPASS ALPASS GAIN GAIN AMPMOD GAIN GAIN SHAPER S
Triple Modular Processing Algorithm Reference Algorithm:77 ||||||||6||||||5wwwwwwww6||||||||||||||| qwwerwwt7wwerww†qwwerwwt7wwerwwt¥wwerwt| d||||||i;||||||fk||||||jU||||||u:|||||j| CVVVVVVBNVVVVVVBCVVVVVVM<>>>>>>S?VVVVVM| PITCH NONE NONE NONE NONE NONE NONE NONE NONE xGAIN AMP AMP xGAIN xGAIN AMP AMP xGAIN PITCH +GAIN LOPASS LOPASS +GAIN +GAIN LOPASS LOPASS +GAIN XFADE HIPASS HIPASS !GAIN XFADE HIPASS HIPASS !GAIN AMPMOD ALPASS ALPASS ALPASS ALPASS GAIN GAIN AMPMOD
Triple Modular Processing Algorithm Reference Algorithm:81 ||||||||6||||||||||||||||||||||||||||||| ||||||||0wwerwwwwwwerwwwwwwerwwtqwwerwt| ||||||||K||||||||||||||||||||||gk|||||j| ||||||||CVVVVVVVVVVVVVVVVVVVVVVBCVVVVVM| NONE GAIN Algorithm:83 ||||||||6||||||||||||||||||||||||||||||| ||||||||0wwerwwwwwwerwwtqwwerwwwwwwerwt| ||||||||K||||||||||||||gk|||||||||||||j| ||||||||CVVVVVVVVVVVVVVBCVVVVVVVVVVVVVB| NONE NONE HIFREQ STIMULATOR 2PARAM SHAPER LOPAS2 GAIN PARAMETRIC EQ LOPAS2 GAIN HIPAS2 GAIN
Triple Modular Processing Algorithm Reference Algorithm:85 ||||||||6|||||||||||||||6||||||||||||||| ||||||||0wwerwwwwwwerwwt7wwerwwt¥wwerwt| ||||||||K||||||||||||||jU||||||u:|||||j| ||||||||CVVVVVVVVVVVVVVM<>>>>>>S?VVVVVM| Algorithm:87 ||||||||6||||||||||||||||||||||||||||||| ||||||||0wwerwwtqwwerwwtqwwerwwwwwwewwt| ||||||||K||||||gk||||||gk|||||||||||||j| ||||||||CVVVVVVBCVVVVVVBCVVVVVVVVVVVVVM| NONE NONE NONE NONE NONE 2PARAM SHAPER AMP xGAIN AMP AMP LOPAS2 GAIN LOPAS2 GAIN LOPASS +GAIN LO
Triple Modular Processing Algorithm Reference Algorithm:89 ||||||||6||||||5wwwwwwww6||||||||||||||| ||||||||0wwerww†qwwerwwt7wwerwwt¥wwerwt| ||||||||K||||||fk||||||jU||||||u:|||||j| ||||||||CVVVVVVBCVVVVVVM<>>>>>>S?VVVVVM| NONE NONE NONE NONE NONE NONE AMP AMP AMP xGAIN AMP PARA BASS LOPASS LOPASS LOPASS +GAIN LOPASS PARA TREBLE HIPASS HIPASS HIPASS !GAIN HIPASS ALPASS ALPASS ALPASS ALPASS GAIN GAIN GAIN GAIN SHAPER SHAPER SHAPER SHAPER DIST DIST DIST DIST PWM PWM SI
Triple Modular Processing Algorithm Reference Algorithm:93 ||||||||6|||||||6||||||||||||||||||||||| ||||||||0wwerwwt7wwerwwwwwwerwwtqwwerwt| ||||||||K||||||i;||||||||||||||gk|||||j| ||||||||CVVVVVVBNVVVVVVVVVVVVVVBCVVVVVM| GAIN Algorithm:95 ||||||||6|||||||6||||||||||||||||||||||| ||||||||0wwerwwt7wwerwwtqwwerwwtqwwerwt| ||||||||K||||||i;||||||gk||||||gk|||||j| ||||||||CVVVVVVBNVVVVVVBCVVVVVVBCVVVVVM| NONE NONE NONE NONE NONE AMP x SHAPEMOD OSC AMP xGAIN AMP NONE AMP LOPASS + SHAPEMOD OSC LOP
Triple Modular Processing Algorithm Reference Algorithm:97 ||||||||6|||||||6||||||5wwwwwwww6||||||| ||||||||0wwerwwt7wwerww†qwwerwwt7wwerwt| ||||||||K||||||J;||||||fO||||||i;|||||j| ||||||||CVVVVVVM<>>>>>>S?VVVVVVBNVVVVVM| Algorithm:99 ||||||||6||||||||||||||5wwwwwwww6||||||| ||||||||0wwerwwtqwwerww†qwwerwwt7wwerwt| ||||||||K||||||gk||||||fk||||||i;|||||j| ||||||||CVVVVVVBCVVVVVVBCVVVVVVBNVVVVVM| \ NONE NONE NONE NONE NONE NONE NONE AMP xGAIN AMP xGAIN AMP AMP AMP xGAIN LOPASS +GAIN LOPAS
Triple Modular Processing Algorithm Reference Layer-3 Algorithms (101–126) Algorithm:101 ||||||||6||||||||||||||||||||||||||||||| ||||||||0wwerwwwwwwerwwtqwwerwwtqwwerwt| ||||||||K||||||||||||||gk||||||gk|||||gh ||||||||CVVVVVVVVVVVVVVBCVVVVVVBCVVVVVB| NONE NONE LOPAS2 GAIN AMP HIPAS2 GAIN LOPASS BAND2 HIPASS GAIN NOTCH2 GAIN ALPASS LP2RES GAIN GAIN SHAPE2 GAIN SHAPER LPGATE GAIN DIST PARA MID SINE AMP Algorithm:103 ||||||||6||||||||||||||||||||||||||||||| ||||||||0wwerwwtqwwerwwwwwwerw
Triple Modular Processing Algorithm Reference Algorithm:105 ||||||||6||||||||||||||||||||||||||||||| ||||||||0wwerwwwwwwerwwtqwwerwwtqwwerwt| ||||||||K||||||||||||||gk||||||gk|||||gh ||||||||CVVVVVVVVVVVVVVBCVVVVVVBCVVVVVB| NONE NONE LOPAS2 GAIN LOPAS2 LOPAS2 GAIN HIPAS2 GAIN HIPAS2 HIPAS2 GAIN BAND2 LPGATE BAND2 NOTCH2 GAIN LP2RES NOTCH2 GAIN LP2RES GAIN SHAPE2 LP2RES GAIN GAIN AMP NONE PANNER SHAPE2 GAIN LPGATE GAIN LPGATE GAIN PARA MID PARA MID PANNER AMP AMP GAIN SHAPE2 GAI
Triple Modular Processing Algorithm Reference Algorithm:109 ||||||||6||||||||||||||||||||||||||||||| ||||||||0wwerwwwwwwerwwtqwwerwwt¥wwerwty ||||||||K||||||||||||||jk||||||u:|||||GH ||||||||CVVVVVVVVVVVVVVM<>>>>>>S?VVVVVBP Algorithm:111 ||||||||6||||||||||||||||||||||||||||||| ||||||||0wwerwwtqwwerwwwwwwerwwt¥wwerwt| ||||||||K||||||jk||||||||||||||u:|||||gh ||||||||CVVVVVVM<>>>>>>>>>>>>>>S?VVVVVB| NONE NONE xAMP NONE NONE LOPAS2 GAIN AMP +AMP AMP LOPAS2 GAIN +AMP HIPAS2 GAIN LOPASS !AMP LOP
Triple Modular Processing Algorithm Reference Algorithm:113 ||||||||6|||||||||||||||||||||||6||||||| ||||||||0wwerwwtqwwerwwtqwwerwwt7wwerwt| ||||||||K||||||gk||||||gk||||||i;|||||gh ||||||||CVVVVVVBCVVVVVVBCVVVVVVBNVVVVVB| NONE NONE NONE xAMP NONE NONE NONE AMP AMP AMP +AMP AMP AMP AMP +AMP LOPASS LOPASS LOPASS !AMP LOPASS LOPASS LOPASS !AMP HIPASS HIPASS HIPASS HIPASS HIPASS HIPASS ALPASS ALPASS ALPASS ALPASS ALPASS ALPASS GAIN GAIN GAIN GAIN GAIN GAIN SHAPER SHAP
Triple Modular Processing Algorithm Reference Algorithm:117 ||||||||6|||||||6||||||||||||||||||||||| ||||||||0wwerwwt7wwerwwtqwwerwwtqwwerwt| ||||||||K||||||i;||||||gk||||||gk|||||gh ||||||||CVVVVVVBNVVVVVVBCVVVVVVBCVVVVVB| AMP Algorithm:119 ||||||||6|||||||6||||||||||||||||||||||| ||||||||0wwerwwt7wwerwwtqwwerwwt¥wwerwt| ||||||||K||||||i;||||||jk||||||u:|||||gh ||||||||CVVVVVVBNVVVVVVM<>>>>>>S?VVVVVB| NONE NONE NONE NONE NONE NONE AMP xGAIN LOPAS2 AMP xGAIN AMP +AMP LOPASS +GAIN HIPAS2 LO
Triple Modular Processing Algorithm Reference Algorithm:121 ||||||||6|||||||6|||||||6|||||||6||||||| ||||||||0wwerwwt7wwerwwt7wwerwwt7wwerwt| ||||||||K||||||i;||||||i;||||||i;|||||gh ||||||||CVVVVVVBNVVVVVVBNVVVVVVBNVVVVVB| Algorithm:123 ||||||||6|||||||6|||||||6|||||||6||||||| ||||||||0wwerwwt7wwerwwt7wwerwwt7wwerwty ||||||||K||||||i;||||||JU||||||i;|||||uÓ ||||||||CVVVVVVBNVVVVVVM<>>>>>>SL>>>>>S» NONE NONE NONE xAMP NONE xAMP NONE AMP xGAIN xGAIN +AMP AMP +AMP AMP +AMP LOPASS +GAIN +GAI
Triple Modular Processing Algorithm Reference Algorithm:125 ||||||||6|||||||||||||||6||||||||||||||| ||||||||0wwerwwtqwwerwwt7wwerwwtqwwerwty ||||||||K||||||gk||||||JU||||||gk|||||uÓ ||||||||CVVVVVVBCVVVVVVM<>>>>>>S<>>>>>S» NONE AMP AMP NONE AMP AMP LOPASS LOPASS HIPASS HIPASS ALPASS 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:126 ||||||||6|||||||||||||||6|||||||||||
Triple Modular Processing K2661 Triple Programs: Controller Assignments K2661 Triple Programs: Controller Assignments The following tables describe the controller assignments for the 10 ROM-base triple programs provided with v2. Table 12-1 lists a series of MIDI Controller numbers and their default and/or generic functions within triples. Table 12-2 lists each triple program and the specific assignments for each MIDI controller number in Table 12-1.
Triple Modular Processing K2661 Triple Programs: Controller Assignments Program ID 731 732 733 Program Name Mono Triple Lead Triple Play ABCDE = ADSR+Res Table 12-2 MIDI Controller Assignment MWheel Pitch modulation Data Shaper amount MIDI22 Lowpass filter frequency MIDI23 X gain amount MIDI24 Impact MIDI25 Chorus-delay-reverb wet/dry amount MIDI26 Chorus amount MIDI27 Delay amount MIDI28 Reverb time MIDI29 Reverb switch (Aux /insert reverb) MPress Pitch modulation MWheel
Triple Modular Processing K2661 Triple Programs: Controller Assignments Program ID 734 735 736 737 Program Name StringMod Pad Plucky Emu Mad Three-Oh Dastardly Drums Table 12-2 12-38 MIDI Controller Assignment MWheel Modulating sawtooth, flange rate (FX) Data Filter frequency MIDI22 Amplitude modulation depth MIDI23 Attack envelope control MIDI24 Frizzle distortion MIDI25 Aux reverb send & aux reverb time MIDI26 Bus2 reverb wet/dry MIDI27 Flange feedback MIDI28 Aux Reverb wet
Triple Modular Processing Alphanumeric Buttonpad Entries for DSP Functions Program ID 738 Program Name H.
Triple Modular Processing Alphanumeric Buttonpad Entries for DSP Functions Function Block Size DSP Function Numeric Entry Function Block Size DSP Function Numeric Entry !AMP 75 + SHAPE MOD OSC 67 +AMP 49 2PARAM SHAPER 64 +GAIN 42 2POLE ALLPASS 5 ALPASS 17 2POLE LOPAS 2 110 AMP MOD OSC 72 AMPMOD 44 AMP U AMP L 38 BAND2 35 BAL AMP 39 DIST 20 BAND2 GAIN 85 GAIN 18 BANDPASS FILT HIPAS2 52 HIPAS2 GAIN 84 HIPASS 16 LOPAS2 GAIN 83 LF SAW 28 LPGATE GAIN 89 LF SIN
Triple Modular Processing Alphanumeric Buttonpad Entries for DSP Functions Function Block Size Numeric Entry DSP Function Function Block Size Numeric Entry DSP Function 15 LOPASS 2 2POLE LOPAS 16 HIPASS 3 BANDPASS FILT 17 ALPASS 4 NOTCH FILT 18 GAIN 5 2POLE ALLPASS 19 SHAPER 8 PARA BASS 20 DIST 9 PARA TREBLE 22 PWM 38 AMP U AMP L 23 SINE 39 BAL AMP 24 LF SINE 51 PARA MID 25 SW+SHP 61 NONE 26 SAW+ 64 2PARAM SHAPER 27 SAW 66 x SHAPE MOD OSC 28 LF SAW 67
Triple Modular Processing Alphanumeric Buttonpad Entries for DSP Functions 12-42
Specifications K2661 Features Appendix A Specifications K2661 Features • • • • • • • • • • • • • • • • • • • • • • • • • 61 note synth action keyboard with aftertouch 240 x 64-pixel backlit fluorescent graphic display with adjustable contrast and brightness Power effects processor with 4 insert effects and 1 aux effect.
Specifications Environmental Specifications • • • • 1500K battery-backed RAM for user programs, setups and other objects One SCSI port for connection with an external SCSI disk, CD-ROM drive, or personal computer Realtime DSP for each voice: 31 programmable DSP algorithms incorporating filters, EQ, distortion, panning, pulse width modulation, and more; up to 3 programmable DSP functions per voice. Additional algorithms available for Triple Mode.
Specifications Analog Audio Specifications Safe Voltage Ranges Voltage setting: 100V 120V 230V 240V Safe voltage range: 85—107 95—125 180—232 190—250 Safe frequency range: 48—65 48—65 48—65 48—65 If the voltage drops below the minimum safe level at any voltage setting, the K2661 will reset, but no data will be lost. If the voltage exceeds the maximum safe level, the K2661 may overheat.
Specifications MIDI Implementation Chart MIDI Implementation Chart Model: K2661 Manufacturer: Young Chang Date: 3/21/95 Version 1.
SysEx Control of KDFX SysEx Message Structure Appendix B SysEx Control of KDFX Any KDFX parameter that can be set to a destination of FXMod can also be controlled by MIDI system exclusive (SysEx) messages. This takes a little more effort, but allows more flexibility. It’s especially useful when the K2661 is in Master effects mode (the FX Mode parameter on the Effect-mode page is set to Master).
SysEx Control of KDFX SysEx Message Structure Body The body of each SysEx message is where you issue one or more specific commands for KDFX control. Each specific command consists of four bytes (a string of four hexadecimal numerals). Each SysEx message you send can contain as many of these specific commands as you want.
SysEx Control of KDFX Device Codes Device Codes These codes identify the studio component that you want to control via SysEx. Use one of these values for the device selection byte in the body of your SysEx message.
SysEx Control of KDFX MSB and LSB End Value LSB Value MSB Parameter Selection Device Selection Message Type Product ID Unit ID Manufacturer ID Start Here’s an example, which sets a value of 50% for the Wet/Dry mix of the effect on the Aux bus. We’ve included both hexadecimal and decimal values. Hex F0 07 00 78 1B 2A 00 00 32 F7 Dec 240 7 0 120 27 42 0 0 50 247 MSB and LSB The K2661 can accept either unsigned (positive only) or signed (positive and negative) values.
SysEx Control of KDFX MSB and LSB Here’s a different way to look at it: Parameter Value (Decimal) MSB (Hexadecimal) LSB Unsigned, 128 to 255 01 (Parameter Value - 128 decimal) Unsigned, 0 to 127 00 Parameter Value (decimal) Signed, 0 to 127 00 Parameter Value (decimal) Signed, -128 to -1 7F (Parameter Value + 128 decimal) For example, if you wanted to send a value of 216, the MSB would be 01 hex, and the LSB would be (216 - 128), or 88 decimal (58 hex).
SysEx Control of KDFX MSB and LSB B-6
Standard K2661 ROM Objects Groove Setups Appendix C Standard K2661 ROM Objects The preset programs in the K2661 are organized by instrument category. You’ll find a few representatives of each instrument sampled, as well as synthesized instrument emulations, commonly used synthesizer timbres, and templates for new programming. We hope you find it a good starting point for your own work. Groove Setups Setups 1–30 are Groove Setups.
Standard K2661 ROM Objects Special Purpose Setups Special Purpose Setups There are three special setups at the end of the Zeros bank: 97 Control Setup Lets you define controller assignments in Program mode. You can customize and select the control setup on the MIDI-mode TRANSMIT page. 98 Clear Setup A template for creating your own control assignments from a clear palette. 99 Default Setup Lets you create your own setups from our common settings (shown below).
Standard K2661 ROM Objects QA Banks QA Banks id 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 bank name Pianos E Pianos Organs Strings Voices Ensembles Guitars 1 Guitars 2 Basses Synth Basses Drums 1 Drums 2 Percussion Solo Brass Section Brass Winds Analog Synths Synths Leads Digital Synths Synth Pads Synth Ambient Keys More Synths KB3 Basic QA Bank C-3
Standard K2661 ROM Objects Setups Setups id See Groove Setups (above) for information about Groove Setups (setups 1–30).
Standard K2661 ROM Objects Songs Songs id 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 id song name New Song Tripped Up Arr Tripped Up Grv Tripped Up Fll Groovay Grv Groovay Toms 1984 Funk Arr 1984 Funk Grv 1984 Funk Fll On The Bell Arr On The Bell Grv On The Bell Fll Filter Freak Arr Filter Freak Grv Filter Freak Fll MakinLove Arr MakinLove Grv MakinLove Fll Tomsemble Arr Tomsemble Grv Tomsemble Fll Salsa-esque Arr
Standard K2661 ROM Objects Programs Programs id name ctrl MWheel id 1 2 3 4 5 6 7 8 C-6 name ctrl function MIDI25 (aux) Hall Lvl+Time Concert Piano MIDI29 Soundboard W/D Soft Pedal is active Data InEQ: Treb MIDI25 (aux) Hall Lvl+Time Stereo Solo Pno MIDI29 Soundboard W/D Soft Pedal is active MWheel String Balance - softer Data String Balance - louder Piano & Strings MIDI25 (aux) Hall Lvl+Time Soft Pedal is active MWheel String Fade Data String Swell Pno & Syn String MIDI23 SRS Space "Room R
Standard K2661 ROM Objects Programs id name ctrl MWheel Data MIDI22 MIDI23 13 Overdrive Organ MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 14 15 Chorus Organ Chapel Organ MIDI29 MWheel Data MIDI22 MIDI25 MIDI26 MIDI27 MIDI29 MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MWheel 16 Fast Strings MIDI25 MIDI26 MIDI29 MWheel Data MIDI22 17 Ster Slo Strings MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MWheel Data 18 Solo Arco Violin MIDI25 MIDI26 MPress function Leslie Depth Drawbar 1 Drawba
Standard K2661 ROM Objects Programs id name ctrl Data 25 Choir Strings MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 Mpress MWheel Data 26 Aaron's Finale MIDI22 MIDI23 MIDI25 MIDI26 MWheel Data 27 Fiery Orchestra 28 Total Cntrl Orch3 29 Jazz Band MIDI22 MIDI23 MIDI25 MIDI26 MWheel Data MIDI25 MIDI26 Mpress MW Data MIDI22 MIDI23 MIDI25 MIDI26 MIDI27 MIDI28 30 C-8 Rock Trio MW Data MIDI22 MIDI23 Mpress function LoPass Freq cut+Res (string) LoPass Freq cut (vox) "Lyr detune, LoPa
Standard K2661 ROM Objects Programs id name ctrl MWheel Data 37 38 39 40 41 42 Guitar Mutes 1^2 Spark Guitar Wah Crunch MWFT Crunchy Lead String Bass Piano Trio MIDI22 MIDI25 MIDI26 MIDI27 MIDI28 Mpress MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Foot Data MIDI25 MIDI27 MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data MIDI25 MIDI26 Mpress MWheel Data MIDI24 MIDI25 Mpress function Vibrato Toggle: to Stereo Guitar Mut
Standard K2661 ROM Objects Programs id 47 name Mono Bass ctrl MW Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 48 Tee Bee This MW MPress MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data 49 Sequenting MIDI22 MIDI23 MIDI25 MIDI26 MIDI27 MIDI28 50 Trent Bass MPress MWheel Data MIDI25 MIDI26 MIDI27 MIDI28 C-10 function Vibrato LoPass Freq "LoPass Freq, Impact" Env Ctl: Attack Env Ctl: release (aux) CDR Lvl+Hall Time Delay Mix Phaser FB Cut "Ph
Standard K2661 ROM Objects Programs id name ctrl MWheel Data MIDI22 MIDI23 54 Lo-Fi Vinyl Kit MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MWheel Data MIDI22 MIDI23 MIDI24 55 VAST Sliders 808 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 56 Perc Section MIDI22 MIDI23 MIDI24 MIDI25 MIDI29 MWheel Data MIDI25 57 Touch Drums MIDI27 MIDI28 MIDI29 Mpress function Pitch for most Needle FX and other SFX "Pitch: Kicks, Toms, HiHats" "Pitch: Snares, Crash1" Assorted Filters: Kick, Toms, Snares, HiHats, Crashes, Rid
Standard K2661 ROM Objects Programs id name ctrl MWheel Data MIDI22 MIDI23 MIDI24 63 DynTrumpet^Miles MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data MIDI22 MIDI23 64 Harmon Mute Trp MIDI24 MIDI25 MIDI26 MIDI27 MPress MWheel Data 65 66 67 C-12 French Horn Big Band Hip Brass MIDI22 MIDI25 MIDI26 Mpress MWheel MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data MIDI25 MIDI26 MIDI27 MIDI29 MPress function "swell, Vibrato" toggle: DynTrumpet ^ Miles LoPass Freq+Res "EnvCtl: Imp, InEQ:
Standard K2661 ROM Objects Programs id name ctrl MWheel 73 Data MIDI22 MIDI23 MIDI24 MIDI25 Horn & Flute w/ MIDI26 Str MIDI27 MIDI28 MIDI29 74 Brahms Quintet MPress SostPd MWheel Data MIDI22 MIDI25 75 Kurz'd Pipe MIDI26 MWheel Data MIDI25 MIDI26 MIDI29 Mpress MWheel Data MIDI22 76 77 MIDI23 MIDI24 Synth Strings MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data MIDI22 MIDI23 ABCD = ADSR ! MIDI24 MIDI25 MIDI26 MIDI27 function "Vibrato, LoPass sep (expression / dynamic ctl)" toggle: Horn ^ S
Standard K2661 ROM Objects Programs id 82 name Round Lead ctrl MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MPress 83 84 Mono Triple Lead Jordan's Lead MWheel Data MIDI22 MIDI23 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data MIDI22 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data 85 Dist Saw Lead MIDI22 MIDI25 MIDI26 MPress MWheel Data MIDI22 MIDI23 MIDI24 86 Instant Enya MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress C-14 function Vibrato FM Depth (timbre) Layer Del
Standard K2661 ROM Objects Programs id 91 name Portal ctrl MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MWheel Data 92 Beauty Pad MIDI22 MIDI25 MIDI26 Mpress MWheel Data 93 Amp Mod Pad MIDI25 94 95 Light Mist Soft Pad MIDI26 MIDI27 MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MWheel Data MIDI25 96 Eyes Wired Shut MIDI26 MIDI27 MIDI28 MIDI29 Mpress function none High Pass Freq Saw+ Pitch LF
Standard K2661 ROM Objects Programs id name ctrl function String Lvl InEQ: Treb boost (aux) Room Lvl, (aux) FDR MIDI25 W/D 104 E Grand Stack MIDI26 Flange Mix MIDI27 Flange Tempo MIDI28 Enhc Lo/Mid Drive MIDI29 FDR Delay Mix adj MWheel Vox Lvl Vox Balance, Piano Treb Data boost MIDI22 Vox EQ Bass "Vox EQ Treb, St Image MIDI23 Mix" ClassicPi105 ano&Vox "(aux) Hall Lvl, Room W/ MIDI25 D" MIDI26 Room and Hall Times MIDI27 St Image In Gain MIDI28 St Image CenterGain MIDI29 Vox St Image L/R Delay Data InEQ:
Standard K2661 ROM Objects Programs id name ctrl MWheel Data MIDI22 MIDI23 116 Ballad Organ 117 Cookin Bee MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MWheel Data MIDI22 MIDI23 118 Dance Perc Bass MIDI24 119 Chiffy Pipes MIDI25 MIDI26 MIDI27 MIDI28 MWheel Data MIDI22 MIDI23 MIDI25 MIDI26 MIDI27 MIDI29 Data 120 Pipe Organ 4 Marcato String 121 Orch MIDI25 MIDI26 MWheel Data MIDI22 MIDI23 MIDI25 MIDI26 function Leslie Depth Drawbar 1 Drawbar 2 "D
Standard K2661 ROM Objects Programs id name 129 Bamboo Voices ctrl MWheel Data MIDI23 MIDI24 MIDI25 130 Syn Orch Power MIDI26 MPress MWheel Data MIDI22 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data 131 Strummer Guitar MIDI25 MIDI26 MIDI27 MIDI29 MPress MWheel Data 132 Blue Moods MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress function "Vibrato, Para EQ Freq" Boost Vox Layer Bass EQ (KDFX) Treble EQ (KDFX) (Aux) Hall Level, FX1 Wet/ Dry FX1 Rev Time Vibrato Vibrato+Rate LP2
Standard K2661 ROM Objects Programs id name ctrl MWheel Data MIDI22 MIDI23 MIDI24 137 SliderDistJazzGt MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress PWheel MWheel Data MIDI22 138 Liquid T Lead MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data 139 Hammeron Synth MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress function Vibrato/Tremolo Enables Dist Gtr Lyrs "Para EQ ^ Hi Freq Stim Drive, Dist EQ" "EnvCtl: Imp, Dist Drive" EnvCtl: Rel (aux) FDR Hall Lvl, Rvb Time Flange F
Standard K2661 ROM Objects Programs id name ctrl MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 145 Synth Fretless MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data MIDI22 MIDI23 MIDI24 146 SquashStudio Kit MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MWheel Data MIDI22 MIDI23 MIDI24 147 Garage Kit II MW MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MWheel Data MIDI22 148 Studio Kit II MW MIDI25 MIDI26 C-20 function Vibrato "Shaper amt, HiPass Freq" InEQ: Bass EnvCtl: Imp EnvCtl: Rel (aux) Hall Lvl "Flange W/D, Chorus W/ D
Standard K2661 ROM Objects Programs id name 152 e Drums ctrl MWheel Data MIDI22 MIDI23 MIDI25 MIDI26 MIDI27 MWheel Data MIDI22 153 SmallKit+Perc MW MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 154 Steel Drumz 155 Trumpet Flourish 156 Mr.
Standard K2661 ROM Objects Programs id name 163 Bassoon 164 Accordion ctrl MWheel Data MIDI25 MIDI26 MPress MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data 165 Matrix 12 166 OB Brass MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 167 PWM Comper MIDI29 MPress MWheel Data MIDI22 MIDI25 MIDI26 MIDI27 MIDI28 C-22 function Vibrato Low Pass Freq FX1 Wet/Dry "FX1, Aux Reverb Time" Vibrato
Standard K2661 ROM Objects Programs id name 172 Pulsepluck 173 Resoshape ctrl MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 174 Solar Lead 175 Flutey Leads MIDI26 MIDI27 MIDI28 MWheel Data MIDI22 MIDI25 MIDI26 MIDI27 MPress MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel 176 TM Lead Data MIDI22 MIDI24 MIDI25 MIDI26 MIDI27 MPress function Vibrato Pulse Width Env Ctl: Attack Env Ctl: Impact Disable Layer 3 (Aux
Standard K2661 ROM Objects Programs id name ctrl MWheel Data MIDI22 MIDI23 MIDI24 182 Harmonica MIDI25 MIDI26 MIDI27 183 Space Log 184 Brite Bells MIDI28 MIDI29 MPress MWheel Data MIDI25 MIDI26 Mpress MWheel Data MIDI22 MIDI23 MIDI25 MIDI29 Mpress MWheel Data 185 Glasswaves MIDI22 MIDI25 MIDI29 Mpress MWheel Data MIDI22 MIDI23 MIDI25 186 Meditator MIDI26 187 Chariots C-24 MIDI27 MIDI28 MIDI29 MPress MWheel Data MIDI23 MIDI24 MIDI25 MIDI26 MIDI29 function Vibrato InEQ: Bass InEQ: Treb Env Ctl:
Standard K2661 ROM Objects Programs id name ctrl MWheel Data MIDI22 MIDI23 MIDI24 192 Padifier 193 Tang Vox Pad 194 Interference 195 One Shot MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 Mpress MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 Mpress MWheel Data MIDI25 MIDI26 MIDI27 MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 196 Integrated Circuit 197 Doomsday MIDI28 MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MWheel MIDI25 MIDI26 function Vibrato Low Pass Freq Env
Standard K2661 ROM Objects Programs id name ctrl MWheel Data MIDI22 MIDI23 MIDI24 733 Geo-Kit MW+22 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MIDI25 734 Slam 'n Drums I MIDI26 MIDI27 MIDI28 MWheel Data MIDI22 MIDI23 735 BottomFeed^Pulse MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress function Multiple Layer toggle "Pitch: Kicks, Snares, Toms, ""Shaker""" Crossfade to tertiary Kicks; Pitch: Elec.
Standard K2661 ROM Objects Programs id name ctrl function 770 Mellostr^ShineOn 771 Arystal^InTheAir 772 Padify 773 OronicoKno^Shift Vibrato toggle: Mellostr ^ ShineOn LoPass+BandPass MIDI22 Freq+Width MIDI23 "EnvCtl: Att, LoPass Res" MIDI24 EnvCtl: Rel (aux) Room Lvl, Hall MIDI25 absorption MIDI26 "Filt Res, Chorus FB" MIDI27 "Filt Freq, Chorus Rate" MIDI28 "Filt Vibrato, Delay Mix" toggle: Res Filt + ChorDeMIDI29 lay (Mellostr only) MPress "Vibrato, HiPass Freq" MWheel Vibrato Data toggle: Arys
Standard K2661 ROM Objects Programs id 777 name AlaskaGlide (MW) ctrl MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data MIDI22 MIDI23 778 Detooner^BigP MW MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel Data MIDI22 MIDI23 MIDI24 779 Razor Saw MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress C-28 function toggle: Alaska + Glide EnvCtl: Imp EnvCtl: Att EnvCtl: Dec EnvCtl: Rel (aux) Hall Lvls FDR W/D InEQ: Bass InEQ: Treb FlgDelayrvb I/O "Vibrato, Lyr detune, L
Standard K2661 ROM Objects Programs id name ctrl MWheel Data MIDI22 783 Crystaline^RX7 MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MIDI70 MWheel Data MIDI22 MIDI23 MIDI24 784 Enterprize^MTree MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress AttVel MWheel Data MIDI22 MIDI23 MIDI24 MIDI25 785 RaveStrg^Solina MIDI26 MIDI27 MIDI28 MIDI29 MPress function "Shaper ctl, Vibrato ^ Pan adj" toggle: Crystaline ^ RX7 "ShapeMod osc Pitch, Shape amt ^ LoPass Freq, Pitch adj" "LoPass Res, EnvCtl: Att" EnvCtl: Rel
Standard K2661 ROM Objects Programs id name ctrl MWheel Data MIDI22 DrkPno^Arak792 isPno 793 Funky Piano 794 Water Piano 795 Piano Chase MIDI25 MIDI26 MIDI27 MIDI28 MPress MWheel MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress MWheel MIDI25 MIDI26 MIDI27 MIDI28 Mpress MWheel MIDI23 MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress Sost Ped MWheel Data MIDI22 MIDI23 796 Noise Toys MIDI24 MIDI25 MIDI26 MIDI27 MIDI28 MIDI29 MPress PWheel Tempo C-30 function Vibrato (ArakisPno) toggle: DrkPno
Contemporary ROM Block Objects Appendix D Contemporary ROM Block Objects This Appendix describes the Contemporary ROM objects provided with your K2661.
Contemporary ROM Block Objects Programs Programs Ethnic / World Instruments 800 Jungle Jam 801 Mbira Stack 802 Ritual Metals 803 Prepared Mbira 804 Balinesque 805 Ambient Bells 806 World Jam 1 807 World Jam 2 808 India Jam 809 Slo Wood Flute 810 Hybrid Pan Flute 811 Chiff Brass Lead 812 Bell Players 813 Prs Koto 814 Medicine Man 815 Mbira 816 Kotobira 817 Cartoon Perc 818 CowGogiBell 819 Perc Pan Lead 820 Trippy Organ 821 Koto Followers 822 Hybrid Horn Keyboards 823 Dyno EP Lead 824 ParaKoto 825 Super Clav
Contemporary ROM Block Objects Keymaps Keymaps 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 828 829 830 831 832 833 834 835 836 837 838 839 840 841 842 843 844 845 846 847 848 849 850 Hybrid Pan Glass Rim Tone Synth Vox Orch Pad Koreana Heaven Bells MIDI Stack Synth Brass DigiBass AnaBass Mini Saw EBass Pick EBass Slap Clean Elec Gtr Distorted Guitar Dist Harmonics Clav Tone Wheel Organ Muted Trumpet Soft Alto Sax Koto Mbira Tabla Ta Tabla
Contemporary ROM Block Objects Program Control Assignments Program Control Assignments The preset programs in the K2661 Contemporary ROM are organized by category. You can either use them as they are or as a good starting point for your own work. There are many ways to put expressivity and variety in a single program by assigning controllers to the various DSP functions in its layers. This list describes how each of the preset programs can be modulated or altered by various controllers.
Contemporary ROM Block Objects Program Control Assignments Prg ID Program Name Mod Wheel Data MPress 829 Rad Rotor Rotary speaker 830 B-2001 Rotary speaker Perc balance Rotary speaker 831 Perc Organ Rotary speaker Perc balance Rotary speaker 832 Drawbar Organ CS Rotary speaker Filter ctl Comments Brass and Reeds 833 Bebop Alto Sax Attack ctl Vibrato 834 Soft Alto Sax 835 Soprano Sax Vibrato, Swell Vibrato, Swell Vibrato, Swell 836 Low Soft Sax 837 Air Reeds CS Vibrato Vibrato Har
Contemporary ROM Block Objects Program Control Assignments Prg ID Program Name 863 Touch MiniBass Mod Wheel Data Vibrato 864 Ostinato Bass MPress Comments Vibrato, Swell EQ 865 House Bass Vibrato Release ctl Vibrato 866 Dubb Bass Vibrato Release ctl Vibrato Guitars 867 Straight Strat Tremolo 868 Chorus Gtr 869 Strataguitar Alt start 870 Elect 12 String Detune 871 Dyn Jazz Guitar EQ Wet/Dry mix Detune Wet/Dry mix, EQ Vibrato Wet/Dry mix PBend gives fretboard slide 872 Pedal St
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Controller Assignments: Contemporary ROM Block This supplement lists the controller assignments for all programs and setups in the Contemporary ROM sound block. Secondary Effects Some of the programs in the Contemporary block use a programming technique called secondary effects, in which the processing on one or more layers of the program can be changed with the press of a button.
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program Control Assignments Program ID Name Studio ID 800 Jungle Jam 62 BthQFlg4Tap Hall 801 Mbira Stack 99 auxPhsrFldblHall 802 Ritual Metals 39 RmDsRotFl4t RvCm 803 Prepared Mbira 7 RoomFlgEcho Hall 804 Balinesque 7 RoomFlgEcho Hall 805 Ambient Bells 94 auxChorMDly Hall 806 World Jam 1 34 RoomCmpChor Hall 807 World Jam 2 3 RoomChorCDR Hall 808 India Jam 27 RoomSRSRoom Room 809 Slo Wood Fl
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program ID Name 812 Bell Players 813 Studio ID Controller Assignments Name 11 RoomFlngCDR Hall Prs Koto 9 RmFlgChDly Room 814 Medicine Man 7 RoomFlgEcho Hall 815 Mbira 7 RoomFlgEcho Hall 816 Kotobira 11 RoomFlngCDR Hall 817 Cartoon Perc 62 BthQFlg4Tap Hall 818 CowGogiBell 76 HallGateFl4T Bth 819 Perc Pan Lead 98 auxFlngCDR Hall 820 Trippy Organ 821 Koto Followers 822 Hybrid Horn 823 Dyn
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program ID Name Studio ID 825 Super Clav 92 auxFlgDist+ Hall 826 StrataClav 92 auxFlgDist+ Hall 827 Touch Clav 92 auxFlgDist+ Hall 828 Bad Klav 91 auxChrDist+ Hall 829 830 831 832 Rad Rotor B-2001 Perc Organ Drawbar Organ CS 145 auxRotaryFDR Plt 833 Bebop Alto Sax 25 RmRotoFl4T CmpRv 834 Soft Alto Sax 65 ChamDstEcho Room 835 Soprano Sax 63 ChmbTremCDR Room 836 Low Soft Sax 6 RoomFlngCDR Hall
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program ID Name Studio ID Controller Assignments Name 839 Jazz Lab Band 3 RoomChorCDR Hall 840 Harmon Section 73 auxChorFlRv Cmb4 841 Sfz Cres Brass 111 PltEnvFl4T Room 842 Neo Stabs 127 GtdEnhcStIm Room 843 Gtr Jazz Band 42 RoomRmHall Hall 844 Full Rock Band 25 RmRotoFl4T CmpRv 845 World Rave Kit 132 GtRbSwpFlt FlDly 846 Punch Gate Kit 154 RoomRoomSRS CmRv 847 Shadow Kit 155 RoomRoom 848
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program ID Name Studio ID 851 Crowd Stomper 852 Econo Kit 853 EDrum Kit 1 135 ChDlDstEQ Hall 854 EDrum Kit 2 154 RoomRoomSRS CmRv 855 Dog Chases Tail 856 Saw Loop Factory 857 Two Live Bass 61 CompEQmphCh Room 858 Dual/Tri Bass 61 CompEQmphCh Room 859 Clav-o-Bass 58 EnhcManPhs Room 860 Chirp Bass 130 auxEnvSp4T GtVrb 861 DigiBass 69 auxPtchDst+ Chmb 862 Mono Synth Bass 57 auxDistLasr Acid
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program ID Name Studio ID Controller Assignments Name 863 Touch MiniBass 23 RmSweepEcho Hall 864 Ostinato Bass 62 BthQFlg4Tap Hall 865 House Bass 77 HallChorFDR Room 866 Dubb Bass bad 90 auxPhsrFDR Hall 867 Straight Strat 868 Chorus Gtr 63 869 Strataguitar 101 870 Elect 12 String 39 871 Dyn Jazz Guitar 101 auxFlngLasr Hall 872 Pedal Steel 101 auxFlngLasr Hall 873 Strummer DistGtr 94 auxC
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program ID Name Studio ID 876 Rock Axe mono 93 auxChrDst+ Hall 877 Attack Stack 84 HallFlgChDl Hall 878 Skinny Lead 137 AuxChorFlng CDR 879 Q Sweep SynClav 137 AuxChorFlng CDR 880 Anna Mini 13 RmFlgFXFlng Flng 881 Ballad Stack 29 RoomSrsCDR CDR 882 Big Stack 85 Hall Room SRS 883 BrazKnuckles 85 Hall Room SRS 884 Hybrid Breath 140 885 Hybrid Stack 13 RmFlgFXFlng Flng 886 Eye Saw 13 Rm
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program ID Name Studio ID Controller Assignments Name 887 Mello Hyb Brass 3 RoomChorCDR Hall 888 Sizzl E Pno 97 889 My JayDee 8 890 Slo SynthOrch 97 891 SpaceStation 8 RmFlngStImg Garg 892 Glass Web 152 auxFlgDst+ ChLsD 893 Circus Music 151 ChDlSp4TFlDl Phs 894 Mandala 151 ChDlSp4TFlDl Phs 895 Slow Strat 136 auxDPanCDR ChPlt 896 Fluid Koto 151 ChDlSp4TFlDl Phs 897 Koreana Pad 134 ChorC
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program ID Name Studio ID 898 Tangerine 140 EnhcChorChDl PCD 899 Planet 9 137 AuxChorFlng CDR D-16 Controller Assignments Name B C D B C D E F G PCD chorus feedback, enhancer mid & lo drive PCD delay mix & feedback PCD level CDR level & reverb mix & time flange wet/dry & feedback, EQ CDR chorus feedback flange LFO tempo flange LFO phase CDR delay tempo & feedback
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Setup Control Assignments Setup ID Name Studio ID Controller Assignments Name 800 HyperGroov<-C4-> 112 PlatEnvFl4T Filt 801 PianoPad w/Percs 74 HallFlgChDl Room 802 Slo Held Arper 6 RoomFlngCDR Hall 803 Don'tGetFooled 25 RmRotoFl4T CmpRv 804 Touch Game 114 805 BeatBoy E1 67 ChmbEnv4Tap GtRv 806 ZawiClav Split 92 auxFlgDist+ Hall 807 Dyn Piano Pad 159 Room RoomChr SRS 808 Pulsar Stack 153 aux
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Setup ID Name Studio ID 819 Electric Grand 43 Room Room Hall 820 Bad Trip FtSw/MW 55 auxDistLasr Room 821 WhirliToys 90 auxPhsrFDR Hall 822 PluckSynths Perc 72 auxChorFlRv Cmb3 823 SusPed RhythmJam 68 CmbrShapLsr Hall 824 Ballad Piano Pad 82 HallRsFltChDl Rm 825 Big AnaLoveVibe 63 ChmbTremCDR Room 826 ShockBreaks Psw1 17 RmPhsrQuFlg Hall 827 Four Pluckers 75 HallPtchLsr Hall 828 WaterPiano
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Setup ID 845 Name Machine Shop Studio ID Controller Assignments Name 17 RmPhsrQuFlg Hall 846 Farawaway Place 90 auxPhsrFDR Hall 847 BehindEnemyLines 91 auxChrDist+ Hall 848 Tunnel Visionprs 849 Seismic Trance 850 Medal 6 RoomFlngCDR Hall 132 GVrbSwpFlt DlyFl 74 HallFlgChDl Room D E F G Tempo F G G E F G Chan S E F G E F G kit1 phaser wet/dry kit2 quantize + flange wet/dry lead reverb wet/dry hall rev
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block D-20
Orchestral ROM Block Objects Appendix E Orchestral ROM Block Objects This Appendix describes the Orchestral ROM objects provided with your K2661.
Orchestral ROM Block Objects Programs Programs Orchestras 900 TotalCntrl Orch1 901 TotalCntrl Orch2 902 BaroqueOrchestra 903 Oboe&Flute w/Str 904 Horn&Flute w/Str 905 Trp&Horns w/Str Winds 906 Piccolo 907 Orchestral Flute 908 Solo Flute 909 Orchestral Oboe 910 Solo Oboe 911 2nd Oboe 912 Orch EnglishHorn 913 Solo EnglishHorn 914 Orch Clarinet 915 Solo Clarinet 916 Orch Bassoon 917 Solo Bassoon 918 Woodwinds 1 919 Woodwinds 2 Brass 920 Dynamic Trumpet 921 Copland Sft Trp 922 Orch Trumpet 923 Soft Trumpet 924
Orchestral ROM Block Objects Keymaps Keymaps 900 901 902 903 904 905 906 907 910 911 912 913 914 915 916 917 918 919 920 921 922 923 924 925 926 927 928 929 930 931 932 933 934 935 936 937 938 939 940 941 942 943 944 945 946 947 948 949 950 Oboe English Horn Bassoon Clarinet Bassoon/Oboe Bsn/EHrn/Oboe Flute 2 Eng Horn/Oboe Soft Trumpet French Horn French Hrn Sec Tuba Tuba/Horn Tuba/Hrn Sec Tuba/Sft Trmp Trombet Trumpbone Trombne/SftTrmpt Timpani Snare Roll Snare Hit Orch Bass Drum Orch Crash Tam Tam Trian
Orchestral ROM Block Objects Program Control Assignments Program Control Assignments The preset programs in the K2661 Orchestral ROM are organized by category. You can either use them as they are or as a good starting point for your own work. There are many ways to put expressivity and variety in a single program by assigning controllers to the various DSP functions in its layers. This list describes how each of the preset programs can be modulated or altered by various controllers.
Orchestral ROM Block Objects Program Control Assignments Prg ID Program Name Mod Wheel Data MPress 927 F Horn Con Sord Timbre (brighter) Wet/Dry mix Vibrato depth 928 F Horn a2 MW Timbre (brighter) Wet/Dry mix None 929 French Horn Sec1 None Wet/Dry mix Slight swell 930 French Horn Sec2 None Wet/Dry mix Swell 931 Solo Trombone Selects legato layer Wet/Dry mix Slight swell when MW is off 932 Tuba Vibrato rate & depth Wet/Dry mix Vibrato rate & depth 933 Dyn Hi Brass Swell, legat
Orchestral ROM Block Objects Program Control Assignments Prg ID Program Name Mod Wheel Data MPress None Selects diminished None 967 Celesta None Wet/Dry mix None 968 Pipes Timbre (hollow) Wet/Dry mix None 969 Pedal Pipes None None None 970 Church Bells Distance Timbre (brighter) None 971 Glockenspiel None Wet/Dry mix None Sus ped enables key-up layer (for rolls) 972 Xylophone Timbre (fuller) Wet/Dry mix None Sus ped enables key-up layer (for rolls) 973 Chimes None Wet/Dr
Orchestral ROM Block Objects Controller Assignments: Orchestral ROM Block Controller Assignments: Orchestral ROM Block This section lists the controller assignments for all programs and setups in the Orchestral ROM sound block. Secondary Effects Some of the programs in the Orchestral block use a programming technique called secondary effects, in which the processing on one or more layers of the program can be changed with the press of a button.
Orchestral ROM Block Objects Controller Assignments: Orchestral ROM Block Program Control Assignments Program ID Name Studio ID 900 TotalCntrl Orch1 110 Chapel Room Hall 901 TotalCntrl Orch2 110 Chapel Room Hall 902 Baroque Orchestra 110 Chapel Room Hall 903 904 Oboe&Flute w/Str Horn&Flute w/Str 108 110 ChapelSRS Hall Chapel Room Hall 905 Trp&Horns w/Str 110 Chapel Room Hall 906 Piccolo 42 RoomRmHall Hall 907 Orchestral Flute 42 RoomRmHall Hall 908 Solo Flute 42 RoomRmHall
Orchestral ROM Block Objects Controller Assignments: Orchestral ROM Block Program ID Name Studio ID Controller Assignments Name 939 2nd Violin 35 RoomComp Hall 940 941 942 943 944 945 Orch Viola Solo Viola Slow Viola MarcatoCello MW Solo Cello Slow Cello 35 35 35 35 35 35 RoomComp RoomComp RoomComp RoomComp RoomComp RoomComp Hall Hall Hall Hall Hall Hall RoomComp Hall 946 Arco Dbl Bass 947 948 949 950 951 952 953 954 955 956 957 958 959 960 961 962 963 964 965 966 967 Slow Arco Bass Brt
Orchestral ROM Block Objects Controller Assignments: Orchestral ROM Block Program ID Name Studio ID 986 Magic Guitar 3 987 Glass Bow 2 26 RoomSrsCDR Hall 988 Synth Orch 52 auxChrMDly Room 989 990 991 Nooage InstaHarp AC Dream Synth Dulcimer 102 121 40 auxEnh4Tap Hall auxMPFlgLasr Plt RoomRmHall Hall 992 Glistener 113 PltEnvFl4T Plate 993 Afro Multi CTL 129 GtdEnhcStIm Hall 994 Tranquil Sleigh 74 HallFlgChDl Room 995 Batman Strings 11 RoomFlngCDR Hall 996 Ethnoo Lead 997
Orchestral ROM Block Objects Controller Assignments: Orchestral ROM Block Setup Control Assignments Setup ID Name Studio ID 900 Deep Piano Rbn 16 RoomPhsrCDR Hall 901 Choir & Harp 42 RoomRmHall Hall 902 Orchestrator 133 ChRvStIEcho Hall 903 Piano Concerto 42 RoomRmHall Hall 904 Xmas Carols 44 Room Hall Hall 89 HallRoomChr Hall 905 Sideline Perc 906 907 908 TonalGroov C5-> Exotic Grooves Lunar Harp 909 Controller Assignments Name 34 149 133 RoomCmpChor Hall auxPtchRoom RvCm
Orchestral ROM Block Objects Controller Assignments: Orchestral ROM Block Setup ID Name Studio ID 933 Hybrid Reeds 1 RoomChorDly Hall 934 Two Hand Pizz 1 RoomChorDly Hall 935 Slo Str & Horn 47 Room Room Hall2 936 Pianist Band 937 Prepared Pianos 16 RoomPhsrCDR Hall 938 FSW1 solo winds 47 Room Room Hall2 939 Strings&Winds 47 Room Room Hall2 940 Str Ens Solo MW 48 Room Hall Hall2 941 Pno&Vox&Pizz 31 RoomSRSRoom Chmb 942 Down Wind SmRbn 943 Gtr & Piano 134 ChDlyChrCDR
Appendix F SD Piano ROM Option SmartMedia Contents The objects for ROM3 (SD Piano) are included on the SmartMedia card that comes with your K2661. The procedure for installing the objects is described in the installation instructions that came with your SD Piano option kit.
SD Piano ROM Option Controller Assignments for SD Piano Programs Controller Assignments for SD Piano Programs The tables in this section list the controller assignments for the SD Piano factory programs. The table titles show program IDs and names.
SD Piano ROM Option Controller Assignments for SD Piano Programs 706 Songwriter’s Pno MIDI 6 MIDI 25 MIDI 67 Disables sympathetic vibrations Wetter Soft pedal Play simple block chords to accompany a pop or rock song 713 Rock Grand Mono MIDI 6 MIDI 25 Disables sympathetic vibrations Reverb time For use with a mono PA system 714 GrPno & Strings 707 Soft Grand MIDI 6 MIDI 25 Disables sympathetic vibrations Wetter 708 Ballad Grand Mod Wheel MIDI 6 MIDI 25 Pitch modulation Disables sympathetic vibratio
SD Piano ROM Option Controller Assignments for SD Piano Programs 721 Bowed Piano MIDI 6 MIDI 25 Fades to bowed layer only Controls send to flanger 722 GPno & Puff MIDI 25 MIDI 67 Wetter Soft pedal For percussive playing 723 SynGrand & EPno Mod Wheel MIDI 25 Manual wah-wah Wetter 724 Twang Grand Mod Wheel MIDI 6 Detune Layer balance 725 AlternativePiano Mod Wheel MIDI 6 Pitch modulation Timbre control 726 Affected Grand Mod Wheel Filter modulation 727 Robot Grand MIDI 6 Disables the per-note s
Appendix G Vintage Electric Pianos ROM Option Objects for the Vintage Electric Pianos ROM are included on the SmartMedia card that came with your K2661. The procedure for installing these objects is described in the installation instructions that came with your option kit. The Vintage Electric Pianos ROM option equips your K2661 with the classic electric piano sounds that are vital to any modern keyboard player.
Vintage Electric Pianos ROM Option Slider Assignments and KDFX Here are a few of the guidelines which were used in determining control and slider assignments for the programs in Vintage EPs. These general rules should make it relatively easy to adjust the most basic program settings when first scrolling and playing through the complete set of sounds. Keep in mind that these are general rules, and there will be some exceptions.
Vintage Electric Pianos ROM Option Fender Rhodes Produced from 1965-1986 in a number of variations of the original model, the Fender Rhodes is the most widely recognized and easily identified electric piano sound in popular music. The Rhodes played an important role in defining some of the new styles of music that began to emerge in the mid-sixties and early seventies, mainly jazz-fusion, disco and funk, and was adopted quickly by other already established styles such as R&B, rock, pop, blues, and jazz.
Vintage Electric Pianos ROM Option Yamaha CP-80 Known commonly as the “electric grand”, the CP-80 (88 notes), along with its smaller counterpart, the CP-70 (76 notes), was the product of clever engineering combined with traditional piano-making craftsmanship. Inside the CP-80, are the basic workings of a real acoustic piano, which have been altered to fit into a smaller enclosure.
Vintage Electric Pianos ROM Option Vintage EP Programs Vintage EP Programs ID Name 600 Model This! Rhds 601 Shinin' Xfade Control Function ID Name Function Tremolo Depth MWheel Enable Mono Tremolo Data Tremolo Speed Data Tremolo Rate MIDI 23 Bass EQ MIDI 22 MIDI 24 Treble EQ Brightness (Filter Cutoff Freq in VAST) MIDI 25 Reverb Wet/Dry MIDI 23 Phaser Rate MIDI 26 Distortion Warmth MIDI 24 Phaser Center Freq (Tone) MIDI 27 Distortion Drive MIDI 25 Reverb Wet/Dry MIDI 28 X
Vintage Electric Pianos ROM Option Vintage EP Programs ID Name Control MWheel 606 SweetLoretta Amp Function ID Name Enables smooth stereo tremolo Data tremolo Rate Data Tremolo Rate MIDI 25 Reverb Wet/Dry MIDI 22 Echo Feedback MIDI 26 Distortion Warmth MIDI 23 MIDI 27 Distortion Drive MIDI 28 Env release decay Behaves exactly like a Wah Pedal when MIDI29 is pressed.
Vintage Electric Pianos ROM Option Vintage EP Programs ID Name Control Function ID Name MWheel Phaser Notch Depth (Tone) Data Tremolo Rate Data Phaser Rate MIDI25 Reverse Reverb Wet/Dry MIDI 22 Chorus rate MIDI26 Reverb Hi Freq Dampening (Brightness) MIDI 23 Phaser Depth MIDI 24 Phaser Center Freq (Tone) MIDI 25 Reverb Wet/Dry MIDI 26 Chorus Depth MIDI 27 Reverb Lowpass (Brightness) MIDI 28 Tine Sizzle Amount 611 XTineRhds RvsRvb MIDI28 MIDI29(Sw2) Reverb Feedback (Number of
Vintage Electric Pianos ROM Option Vintage EP Programs ID Name Control MWheel 618 Serious EPno 619 70's HrdStr EP 620 Rhds No Bell 621 Hard E Piano 622 Soft E Piano 623 Barking Tines G-8 Function ID Name Control Function Enables Mono Tremolo MWheel Data Tremolo Rate Data Tremolo Rate MIDI 22 Brightness (Filter Cutoff Freq in VAST) MIDI 25 Reverb Wet/Dry MIDI 26 Chorus Mix MIDI 23 Bass EQ (KDFX) MIDI 27 Delay Mix MIDI 24 Reverb Time MIDI 29 (Sw2) (fx3) Chor/Delay On/Off MID
Vintage Electric Pianos ROM Option Vintage EP Programs ID Name Control MWheel 628 VANCradleWillROK 629 Supertramp Wrly 630 PinkFloydzTheWah Function Name Control Function MWheel Data Tremolo Rate Data Tremolo Rate MIDI 25 Reverb Wet/Dry MIDI 22 MIDI 26 Distortion Warmth Brightness (Filter Cutoff Freq in VAST) MIDI 27 Distortion Drive MIDI 25 Delay Wet/Dry MIDI 28 Turns Down/Off clunks and thumps MIDI 26 Distortion Warmth MIDI 27 Distortion Drive 632 StandnOnTheVerge Enables
Vintage Electric Pianos ROM Option Vintage EP Programs ID Name Control MWheel 636 UpcloseHeavyWrly 637 Lesslie Wurlie Function ID Name Enables Mono Tremolo Function Enables Tremolo and Vibrato (VAST) Data Tremolo/Vibrato Rate MIDI 22 Brightness (Filter Cutoff Freq in VAST) Data Tremolo Rate MIDI 22 Brightness (Filter Cutoff Freq in VAST) MIDI 23 Bass EQ (KDFX) MIDI 24 Rev Pre Delay Time MIDI 23 Phaser Rate MIDI 25 Reverb Wet/Dry MIDI 25 Reverb Wet/Dry MIDI 26 Reverb Decay Time
Vintage Electric Pianos ROM Option Vintage EP Programs ID Name Control MWheel 644 MetalBuzz Piant Function ID Name Data Tremolo/Vibrato rate Data Tremolo Rate MIDI 22 Brightness (Filter Cutoff Freq in VAST) AND KDFX EQ MIDI 23 Enables Alt Start (Mellows the attack) MIDI 23 Tap2 Level (1/8th note echoes) MIDI 25 Reverb Wet/Dry MIDI 24 Echoplex Bass Gain MIDI 26 Distortion Warmth MIDI 25 Echoplex Wet/Dry MIDI 27 Distortion Drive MIDI 26 Reverb wet/Dry MIDI 28 Mid EQ Boost MIDI
Vintage Electric Pianos ROM Option Vintage EP Programs ID Name Control MWheel 652 Porta EPiano Function 655 OBLA-D CP80 Tremolo Rate Data Tremolo Rate MIDI 22 LoPass Frequency MIDI 25 Reverb Wet/Dry MIDI 23 Alt Start Control MIDI 27 Chorus Wet/Dry MIDI 24 EnvCtl: Impact MIDI 28 Delay Wet/Dry MIDI 25 (Aux) Hall Level, Reverb Time MIDI 29 (Sw2) Selects mono or Stereo Tremolo MIDI 26 Delay Mix MWheel MIDI 27 Chorus Mix Data Tremolo Rate MIDI 28 Treble Shelf (Aux Reverb) MIDI 2
Vintage Electric Pianos ROM Option Vintage EP Programs ID Name Control MWheel 662 Chorus'd Hall CP 663 80'sReflectxn EP 664 LiveAmp CP Plate 665 Tight Room forEP 666 Dr.
Vintage Electric Pianos ROM Option Vintage EP Programs ID Name Control Function ID Name MWheel Enables Mono Tremolo MIDI 25 Reverb Wet/Dry Data Tremolo Rate MIDI 24 Switches to Stereo Tremolo MIDI 25 Reverb Wet/Dry MIDI 26 Distortion Warmth MIDI 27 Distortion Drive MIDI 28 Turns Down/Off thumps and clunks 672 MXR InMy Stomach CCPedal1 Volume (When Enabled) Recreates the sound of Tony Banks running his RMI through an MXR Phaser on the song, “In The Cage” from the Genesis album “The L
Vintage Electric Pianos ROM Option Vintage EP Programs ID Name Control Vibrato, Vibrato Rate, Flange Mid Freq, Tremolo, Tremolo Rate Data Enables “Feedback” Layer, Crossfades Wurly Layer MIDI 22 681 SliderEP Synth Function MWheel Distortion Mid Gain, Distortion LoPass 6 Freq ID Name 685 Pick Up EP Hi Freq.
Vintage Electric Pianos ROM Option Vintage EP Programs ID Name 689 RM-Either Control Function ID Name MWheel Tremolo Data Tremolo Rate Data Tremolo Rate MIDI 22 Disables High 8va Layer MIDI 22 BandPass Ctl MIDI 23 Disables Low 8va Layer MIDI 23 Timbre (amp) Ctl MIDI 24 EnvCtl: Decay MIDI 24 Alt Control MIDI 25 (Aux) Reverb Time MIDI 25 (Aux) Plate Wet/Dry MIDI 26 Phaser LFO Rate Ctl MIDI 26 (FX1) Small Chamber Wet/Dry MIDI 27 Phaser LFO Depth Ctl MIDI 29 (Sw2) Alt Control
Vintage Electric Pianos ROM Option Vintage EP Programs ID Name Control MWheel 698 Ambient Swells 699 Raffa's Revenge Function Tremolo Data Tremolo Rate MIDI 22 LoPass Freq, LoPass resonance MIDI 23 Alt Control MIDI 24 Slow Vibrato MIDI 25 (Aux) Hall Level MIDI 26 Delay Level MWheel Real time LaserVerb control (Delay Time) Data Drawbars MIDI 22 Drawbars MIDI 23 Drawbars MIDI 24 Drawbars MIDI 25 Drawbars MIDI 26 Drawbars MIDI 27 Drawbars MIDI 28 Drawbars MIDI 29 (Sw2) Enab
Vintage Electric Pianos ROM Option Vintage EP Setups Vintage EP Setups Note: SW 1 (above pitch wheel) turns arpeggiator on/off in all setups.
Vintage Electric Pianos ROM Option Vintage EP Setups ID Name Control MWheel MIDI 22 MIDI 23 MIDI 24 610 Shuttered Window 611 Down and Dirty MIDI 25 MIDI 26 MIDI 27 MIDI 28 MWheel Data MIDI 22 MIDI 23 MIDI 25 Function Vibrato Depth (Fretless Bass) Hi EQ Boost (KDFX 1c) Flute Timbre, Voices Timbre Flute Chiff Amount, Voices Filter Frequency (Aux) Send Level, Reverb Time Delay Mix Chorus Mix In EQ: Treble Frequency & Gain Tremolo Depth Tremolo Rate Hi Freq Drive Mix Enables Alt Start (Fuzz Pianet) (Aux)
Vintage Electric Pianos ROM Option Vintage Electric Piano Keymaps Vintage Electric Piano Keymaps ID Keymap ID Keymap 600 Rhoadz Hard 615 Wurly Key Rel 601 Rhoadz Soft 620 RMI_EP 602 Rhoadz 2-vel 621 RMI_ACC 603 Rhoadz Thump 622 RMI_accenter lo 604 Rhoadz Soft c7 623 RMI_accenter hi 610 Wurly Hard 624 RMI_accenter jk 611 Wurly Med 625 RMI ds6 612 Wurly Soft 630 CP80 E Grand 613 Wurly 3-vel 635 Pianette 614 Wurly Thump 636 Fast Pianette Vintage Electric Piano Sampl
Appendix H General MIDI General MIDI (GM) is an addition to the original MIDI specification that assigns sounds to specific channel numbers, program numbers, and note values. The K2661’s GM Mode feature (described in Chapter 11 of the Musician’s Guide) sets up your instrument for GM in a single step. Using General MIDI, you can share song files between different devices with reasonably consistent performance. Many GM song files are commercially available, and they’ll sound great on your K2661.
General MIDI General MIDI Programs General MIDI Programs The table below shows the 128 General MIDI programs. The ID numbers shown are the locations that these programs will occupy in GM Mode. In Standard Mode the program numbers will be 400-527. You can create your own GM sets as well, provided that you store the programs at 400-527 and the drum kits at 528-535.
General MIDI General MIDI Programs GM Drum Kits The table below lists the drum kits provided with GM Mode for the K2661. The location for the kits (as shown in columns 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.
General MIDI Standard Mode Controller Assignments Standard Mode Controller Assignments ID Name Ctrl Function ID Name Ctrl Function 400 Grand Piano MWheel Vibrato 409 Glockenspiel MWheel Vibrato MIDI 22 Reverb Wet/Dry level MIDI 22 Reverb Wet/Dry level MIDI 23 Reverb Time MIDI 23 Reverb Time MIDI 24 Aux Lo Pass MIDI 24 HF Dampening MIDI 25 L/R PreDelay Time MIDI 25 L/R PreDelay Time MWheel Vibrato MWheel Vibrato MIDI 22 Reverb Wet/Dry level MIDI 22 Reverb Wet/Dry level
General MIDI Standard Mode Controller Assignments ID Name Ctrl Function ID Name Ctrl Function 417 Perc Organ MIDI 22 Reverb Wet/Dry level 425 Steel Str Guitar MWheel Vibrato MIDI 23 Reverb Time MIDI 22 Reverb Wet/Dry level MIDI 24 HF Dampening MIDI 23 Reverb Time MIDI 25 Vib/Chor In/Out MIDI 24 HF Dampening MIDI 26 Aux Level MIDI 29 (Sw2) Leslie Fast/Slow 418 Rock Organ 426 420 421 422 423 424 Church Organ Reed Organ Accordion Harmonica Bandoneon Nylon Guitar MID
General MIDI Standard Mode Controller Assignments ID Name Ctrl Function ID Name Ctrl Function 434 Pick Bass MWheel Vibrato 443 Contrabass MWheel Vibrato MIDI 22 Reverb Wet/Dry level MIDI 22 Reverb Wet/Dry level MIDI 23 Reverb Time MIDI 23 Reverb Time MIDI 24 HF Dampening MIDI 24 HF Dampening 435 436 437 438 439 440 441 442 H-6 Fretless Bass Slap Bass 1 Slap Bass 2 Synth Bass 1 Synth Bass 2 Violin Viola Cello MIDI 25 L/R PreDelay Time MWheel Vibrato MIDI 25
General MIDI Standard Mode Controller Assignments ID Name Ctrl Function ID Name Ctrl Function 452 Choir Aahs MWheel Vibrato 461 Brass Section MWheel Vibrato MIDI 22 Reverb Wet/Dry level MIDI 22 Reverb Wet/Dry level MIDI 23 Reverb Time MIDI 23 Reverb Time MIDI 24 HF Dampening MIDI 24 HF Dampening 453 454 455 456 457 458 459 460 Voice Doos Syn Vox Orchestra Hit Trumpet Trombone Tuba Muted Trumpet French Horns MIDI 25 L/R PreDelay Time MWheel Vibrato MIDI 25 L/
General MIDI Standard Mode Controller Assignments ID Name Ctrl Function ID Name Ctrl Function 470 Bassoon MWheel Vibrato 479 Ocarina MWheel Vibrato MIDI 22 Reverb Wet/Dry level MIDI 22 Reverb Wet/Dry level MIDI 23 Reverb Time MIDI 23 Reverb Time MIDI 24 HF Dampening MIDI 24 HF Dampening 471 472 473 474 475 476 477 478 H-8 Clarinet Piccolo Flute Recorder Pan Flute Bottle Blow Shakuhachi Whistle MIDI 25 L/R PreDelay Time MWheel Vibrato MIDI 25 L/R PreDelay Ti
General MIDI Standard Mode Controller Assignments ID Name Ctrl Function ID Name Ctrl Function 488 Fantasia MWheel Vibrato 497 Soundtrack MWheel Vibrato MIDI 22 Reverb Wet/Dry level MIDI 22 Reverb Wet/Dry level MIDI 23 Reverb Time MIDI 23 L/R Mix Reverb MIDI 24 HF Dampening MIDI 24 L/R Delay Time 489 490 491 492 493 494 495 496 Warm Pad Poly Synth Space Voice Bowed Glass Metallic Pad Halo Pad Sweep Pad Ice Rain MIDI 25 L/R PreDelay Time MWheel Vibrato MWheel
General MIDI Standard Mode Controller Assignments ID Name Ctrl Function ID Name Ctrl Function 506 Shamisen MWheel Vibrato 515 Woodblock MWheel Vibrato MIDI 22 Reverb Wet/Dry level MIDI 22 Reverb Wet/Dry level MIDI 23 Reverb Time MIDI 23 Reverb Time MIDI 24 HF Damping MIDI 24 HF Damping 507 508 509 510 511 512 513 514 H-10 Koto Kalimba Bagpipe Fiddle Shanai Tinkle Bell Agogo Steel Drum MIDI 25 L/R PreDelay Time MWheel Vibrato MIDI 25 L/R PreDelay Time MWhee
General MIDI Standard Mode Controller Assignments ID Name Ctrl Function ID Name Ctrl Function 524 Telephone MWheel Vibrato 534 Brush Kit MWheel Vibrato MIDI 22 Reverb Wet/Dry level MIDI 22 Reverb Wet/Dry level MIDI 23 Reverb Time MIDI 23 Reverb Time MIDI 24 HF Damping MIDI 24 HF Damping MIDI 25 L/R PreDelay Time 525 Helicopter MWheel Vibrato MIDI 22 526 Applause MWheel MIDI 22 MIDI 23 MIDI 24 HF Damping MWheel Vibrato MIDI 22 Reverb Wet/Dry level MIDI 23 Reverb Ti
General MIDI Standard Mode Controller Assignments H-12
Live Mode Objects Live Mode Programs Appendix 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 Overload 748 LM Filters 749 LiveMode Default I-1
Live Mode Objects Live Mode Programs I-2
K2661 Musician’s Reference Index Index Numerics 2 Band Enhancer 10-222 3 Band Enhancer 10-224 3 Band EQ 10-243 3 Band Shaper 10-171 4-Tap Delay 10-29 4-Tap Delay BPM 10-29 5 Band EQ 10-241 8-Tap Delay 10-33 8-Tap Delay BPM 10-33 A A clock 4-10 Absolute Pitch Wheel 4-8 ADAT In 8-6 ALG page (triples) 12-5 algorithm reference (triples) 12-12–12-35 Layer 1 12-12–12-19 Layer 2 12-19–12-29 Layer 3 12-29–12-35 algorithms for triple-modular processing 12-3 Allpass Phaser 3 10-71 AMP block 12-6 Amplitude envelope
K2661 Musician’s Reference Index Envelopes 2 and 3 4-13 FUN1, FUN2 4-12 FUN3, FUN4 4-13 GAttVel 4-14 GKeyNum 4-14 Global ASR2 4-9 Global FUN2 4-9 Global FUN4 4-9 Global LFO2 4-9 Global LFOphase 4-9 Global phase 1 and 2 4-11 Inverse attack velocity 4-12 Key number 4-11 Key state 4-11 LFO1 4-12 LFO1 phase 4-13 LFO2 4-13 Loop state 4-13 Mono pressure 4-8 Negative A clock 4-10 Negative B clock 4-10 Note state 4-11 -ON 4-14 ON 4-14 Pan control 4-9 Pitch Wheel 4-8 Polyphonic pressure 4-12 Random variants 1 and 2
K2661 Musician’s Reference Index H M Hard Reset G-2 HardKnee Compress 10-200 HarmonicSuppress 10-245 HF Stimulate 1 10-244 Macintosh 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 dumps 6-4 MIDI button 1-5 MIDI Control Source list 4-5 MIDI Implementation Chart A-4 MIDI sample dump standard Aborting 6-7 Loading 6-4 New samples 6-6 Troubleshooting 6-6 Mini
K2661 Musician’s Reference Index P S padding filter input 12-10 Pages Jumping to 1-5 Marking 1-5 Previous 1-5 Pan (MIDI 10) 4-6 Pan control 4-9 Panaural Room 10-16 Panic (MIDI 123) 4-7 pitch block 12-3 Pitch Wheel 4-8 Pitcher 10-165 Pitcher+Chor+Dly 10-73 Pitcher+Flan+Dly 10-73 Pitcher+MiniVerb 10-134 Poly Pitcher 10-181 PolyDistort + EQ 10-103 Polyphonic pressure 4-12 polyphony (triples) 12-2, 12-10 Portamento switch (MIDI 65) 4-6 Portamento time (MIDI 05) 4-5 Power problems 8-5 Previous page 1-5 proces
K2661 Musician’s Reference Index T TQ Place 10-13 TQ Verb 10-13 Tremolo 10-226 Tremolo BPM 10-226 TrigEnvelopeFilt 10-150 Triple Modular Processing 12-1 triple-modular processing 12-1 triples 12-1 algorithm reference 12-12–12-35 algorithms 12-3 amplitude envelopes 12-6 backward compatibility 12-3 creating 12-4 editing 12-5 input and output 12-5 input locations 12-7 KB3 programs 12-2 Live mode 12-2 polyphony 12-2 polyphony and note stealing 12-10 soloing and muting 12-2 Troubleshooting 8-5 U user amplitude
K2661 Musician’s Reference Index
Y y ` [ W X w x V ? v / _ >>> >>>| > . U u <<< T < t , S s R " r ' shift enter Z z space \ ] G g del F ^ f 6 del P Q : p q ; O o N + n = L M _ l m ( K ) 9 k 0 I J i j H * h 8 >>> ins <<< & 7 E e D % d 5 $ 4 B C b c A # a 3 @ 2 shift _ |<<< ins bcksp space ! 1 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 connect the pieces into one long strip; connect E to F, O to backsp, and Y to ].