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Kurzweil K2500 Reference Manual
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Kurzweil K2500 Reference Manual

Algorithm reference
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Download this manual See also: Reference Manual, Function Manual
A lgorithm Reference
©1998 All rights reserved. Kurzweil is a product line of Young Chang Co.; V. A. S. T. is a registered trademark, and Kurzweil, K2500, and KDFX
are trademarks of Young Chang Co. Hammond and Leslie are trademarks of Hammond Suzuki USA. SRS is a trademark of SRS Labs,
Inc. All other products and brand names are trademarks or registered trademarks of their respective companies. Product features and
speciÞcations are subject to change without notice.
Part Number: 910319 Rev. A

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Summary of Contents for Kurzweil K2500

  • Page 1 A lgorithm Reference ©1998 All rights reserved. Kurzweil is a product line of Young Chang Co.; V. A. S. T. is a registered trademark, and Kurzweil, K2500, and KDFX are trademarks of Young Chang Co. Hammond and Leslie are trademarks of Hammond Suzuki USA. SRS is a trademark of SRS Labs, Inc.
  • Page 2 FXAlg #1: MiniVerb ¥ FXAlg #2: Dual MiniVerb FXAlg #1: MiniVerb ¥ FXAlg #2: Dual MiniVerb Versatile, small stereo and dual mono reverbs Allocation Units: 1 for MiniVerb, 2 for Dual MiniVerb MiniVerb is a versatile stereo reverb which is found in many combination algorithms, but is equally useful on its own because of its small size.
  • Page 3 L Input MiniVerb R Input MiniVerb Dual MiniVerb has a full MiniVerb, including Wet/Dry, Pre Delay and Out Gain controls, dedicated to each of the left and right channels. The two blocks in the diagram above labeled ÒMiniVerbÓ contain a complete copy of the MiniVerb on the previous page.
  • Page 4 FXAlg #1: MiniVerb ¥ FXAlg #2: Dual MiniVerb Parameters (Dual MiniVerb): PAGE 1 L Wet/Dry 0 to 100%wet L Out Gain Off, -79.0 to 24.0 dB L Wet Bal -100 to 100% L Dry Pan -100 to 100% PAGE 2 L RoomType Hall1 L RvrbTime...
  • Page 5 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. Altering this parameter will change the size of the room, and thus will cause a subtle coloration of the reverb (since the roomÕs dimensions are changing).
  • Page 6 FXAlg #3: Gated MiniVerb FXAlg #3: Gated MiniVerb This algorithm is a small reverb followed by a gate. 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.
  • Page 7 Parameters: PAGE 1 Wet/Dry 0 to 100%wet Rvrb Time 0.5 to 30.0s, Inf L Pre Dly 0 to 620ms PAGE 2 Room Type Hall1 PAGE 3 Gate Thres -79.0 to 0.0 dB Gate Duck In or Out Wet/Dry A simple mix of the reverb sound with the dry sound. When set fully dry (0%), the gate is still active.
  • Page 8 FXAlgs #4-11: Classic ¥ TQ ¥ Diffuse ¥ Omni reverbs FXAlgs #4-11: Classic ¥ TQ ¥ Diffuse ¥ Omni reverbs FXAlg #4: Classic Place FXAlg #5: Classic Verb FXAlg #6: TQ Place FXAlg #7: TQ Verb FXAlg #8: Diffuse Place FXAlg #9: Diffuse Verb FXAlg #10: OmniPlace FXAlg #11: OmniVerb...
  • Page 9 Room Type parameter provides condensed preset collections of these variables. Each Room Type collection has been painstakingly selected by Kurzweil engineers to provide the best-sounding combination of mutually complementary variables modeling an assortment of reverb families. When a room type is selected, an entire incorporated set of delay lengths and diffusion settings are established within the algorithm.
  • Page 10 FXAlgs #4-11: Classic ¥ TQ ¥ Diffuse ¥ Omni reverbs Classic Verb and Classic Place: Classic reverbs are 2-PAU algorithms with early reflections. The late portion consists of an input diffuser; ambience generator with low shelving filters, lowpass filters, and LFO moving delays; and predelay. The early reflection portion consists of one delay per channel sent to its own output channel controlled by E Dly L and E Dly R, and one delay per channel sent to its opposite output channel controlled be E Dly LX and E Dly RX.
  • Page 11 PAGE 1 (Classic Verb) Wet/Dry -100 to 100% Rvrb Time 0.00 to 60.00 s HF Damping 0 to 25088 Hz L Pre Dly 0.0 to 230.0 ms PAGE 1 (Classic Place) Wet/Dry -100 to 100% Absorption 0 to 100% HF Damping 0 to 25088 Hz L Pre Dly 0.0 to 230.0 ms...
  • Page 12 FXAlgs #4-11: Classic ¥ TQ ¥ Diffuse ¥ Omni reverbs TQ Verb and TQ Place: TQ reverbs are 3-PAU algorithms with early reflections. The late portion consists of an input diffuser, injector, ambience generator with a lowpass filter, low shelving filter, and LFO moving delays, and predelay. The early reflection portion combines a combination of delays, diffusers, and feedback.
  • Page 13 L Input E PreDly L E Fdbk Amt R Input E PreDly R Early reflection portion of TQ Verb and TQ Place PAGE 1 (TQ Verb) Wet/Dry -100 to 100% Rvrb Time 0.00 to 60.00 s HF Damping 0 to 25088 Hz L Pre Dly 0.0 to 230.0 ms PAGE 1 (TQ Place)
  • Page 14 FXAlgs #4-11: Classic ¥ TQ ¥ Diffuse ¥ Omni reverbs PAGE 2 (TQ Place) Room Type Booth1, ... Size Scale 0.00 to 2.50x LF Split 16 to 25088 Hz LF Time 0.50 to 1.50 x PAGE 3 Inj Build -100 to 100% Inj Spread 0.00 to 2.50 x E DiffAmt...
  • Page 15 Diffuse Verb and Diffuse Place: Diffuse reverbs are 3-PAU algorithms and are characterized as such because of the initial burst of diffusion inherent in the onset of the reverb. Each of these algorithms consists of an input diffuser; ambience generator with a lowpass filter, low shelving filter, and LFO moving delays;...
  • Page 16 FXAlgs #4-11: Classic ¥ TQ ¥ Diffuse ¥ Omni reverbs PAGE 1 (Diffuse Verb) Wet/Dry -100 to 100% LateRvbTim 0.00 to 60.00 s HF Damping 0 to 25088 Hz L Pre Dly 0.0 to 230.0 ms PAGE 1 (Diffuse Place) Wet/Dry -100 to 100% Absorption...
  • Page 17 OmniVerb and OmniPlace: Omni reverbs are 3-PAU algorithms that consist of an input diffuser; injector; ambience generator with a lowpass filter, low shelving filter, and LFO moving delays; and predelay. The Expanse parameter adjusts the amount of reverb energy that is fed to the edges of the stereo image. A value of 0% will concentrate energy in the center of the image, while non-zero values will spread it out.
  • Page 18 FXAlgs #4-11: Classic ¥ TQ ¥ Diffuse ¥ Omni reverbs PAGE 2 (OmniVerb) Room Type Hall1, ... Size Scale 0.00 to 2.50x InfinDecay On or Off LF Split 16 to 25088 Hz LF Time 0.50 to 1.50 x PAGE 2 (OmniPlace) Room Type Booth1, ...
  • Page 19 Room Type parameter provides condensed preset collections of these variables. Each Room Type preset has been painstakingly selected by Kurzweil engineers to provide the best sounding collection of mutually complementary variables modeling an assortment of reverb families.
  • Page 20 FXAlgs #4-11: Classic ¥ TQ ¥ Diffuse ¥ Omni reverbs LFO Depth Adjusts the detuning depth in cents caused by a moving reverb delay line. Moving delay lines can imitate voluminous ßowing air currents and reduce unwanted artifacts like ringing and ßutter when used properly. Depth settings under 1.5ct with LFO Rate settings under 1.00Hz are recommended for modeling real spaces.
  • Page 21 FXAlg #12: Panaural Room 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 ÒroomÓ at multiple locations. The signals entering the reverberator first pass through a shelving bass equalizer with a range of +/-15dB.
  • Page 22 FXAlg #12: Panaural Room 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 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.
  • Page 23 FXAlg #12: Panaural Room Build Env When Build Time has been set to greater than about 80ms, Build Env begins to have an audible inßuence on the early unfolding of the reverberation process. For lower-density reverberation that starts cleanly and impulsively, use a setting of 0%. For the highest- density reverberation, and for extension of the build-up period, use a setting of 50%.
  • Page 24 FXAlg #13: Stereo Hall FXAlg #13: Stereo Hall A stereo hall reverberation algorithm 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 ÒroomÓ...
  • Page 25 To gain control over the growth of reverberation, the left and right inputs each are passed through an ÒinjectorÓ that can extend the source before it drives the reverberator. Only when Build Env is set to 0% is the reverberator driven in pure stereo by the pure dry signal.
  • Page 26 FXAlg #13: Stereo Hall Lowpass Used to shape the overall reverberation signal's treble content, but does not modify the decay time. Reduce the treble for a softer, more acoustic sound. Pre Dly Introducing predelay creates a gap of silence that allows the dry signal to stand out with greater clarity and intelligibility against the reverberant background.
  • Page 27 FXAlg #14: Grand Plate This algorithm emulates an EMT 140 steel plate reverberator. Plate reverberators were manufactured during the 1950s, 60s, 70s, and perhaps into the 80s. By the end of the 1980s, they had been supplanted in the marketplace by digital reverberators, which first appeared in 1976.
  • Page 28 FXAlg #14: Grand Plate The algorithm developed for Grand Plate was carefully crafted for rapid diffusion, low coloration, freedom from discrete early reflections, and ÒbrightnessÓ. We also added some controls that were never present in real plates: size, predelay of up to 500ms, LF damping, lowpass roll off, and bass roll off. Furthermore, we allow a wider range of decay time adjustment than a conventional plate.
  • Page 29 Decay Time The reverberation decay time (mid-band ÒRT reverberation has died away to 60dB below its ÒrunningÓ level. Adjust decay time according to the tempo and articulation of the music. To emulate a plate reverb, this control is typically set from 1 to 5 seconds. HF Damping Adjusts lowpass Þlters in the reverberator so that high frequencies die away more quickly than mid and low frequencies.
  • Page 30 FXAlg #15: Finite Verb FXAlg #15: Finite Verb ÒEnvelopedÓ reverberation algorithm In this algorithm, 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.
  • Page 31 The Rvb Env control selects 27 cases of envelope gains for the taps. Nine cases emulate a normal forward-evolving reverb, but with some special twists. Cases FWD R1xx have a single reverb peak, with a fast attack and slower decay. The sub cases FWD R1Sx vary the sharpness of the envelope, from dullest (S1) to sharpest (S3). The sub cases FWD R2xx have two peaks;...
  • Page 32 FXAlg #15: Finite Verb Rvb Env The Rvb Env control selects 27 cases of envelope gains for the taps. Nine cases emulate a normal forward evolving reverb, another nine emulate a reverb building symmetrically to a peak at the mid point, while the last nine cases emulate a reverse-building reverb. For each major shape, there are three variants of one, two, and three repetitions and three variants of envelope sharpness.
  • Page 33 FXAlg #130: Complex Echo Multitap delay line effect, consisting of 6 independent output taps Complex Echo is an elaborate delay line with three independent output taps per channel, two independent feedback taps per channel, equal-power output tap panning, feedback diffuser, and high frequency damping. Each channel has three output taps which can each be delayed up to 2600ms (2.6 sec) then panned at the output.
  • Page 34 FXAlg #130: Complex Echo Parameters: PAGE 1 Wet/Dry 0 to 100%wet Feedback 0 to 100% FB2/FB1>FB 0 to 100% HF Damping 16 to 25088 Hz PAGE 2 L Fdbk1 Dly 0 to 2600 ms L Fdbk2 Dly 0 to 2600 ms L Tap1 Dly 0 to 2600 ms L Tap2 Dly...
  • Page 35 R Fdbk2 Dly Adjusts the delay length of the right channelÕs feedback tap, fed back to the left channelÕs delay input. L Tapn Dly, R Tapn Dly Adjusts the delay length of the left and right channelÕs three output taps. L Tapn Lvl, L Tapn Lvl Adjusts the listening level of the left and right channelÕs three output taps.
  • Page 36 FXAlg #131: 4-Tap Delay ¥ FXAlg #132: 4-Tap Delay BPM FXAlg #131: 4-Tap Delay ¥ FXAlg #132: 4-Tap Delay BPM A stereo four-tap delay with feedback This is a simple stereo 4-tap delay algorithm with delay lengths defined either in milliseconds (ms) (#131), or in tempos and beats (#132).
  • Page 37 The delay lengths for 4-Tap Delay are in units of milliseconds (ms). If you want to base delay lengths on tempo, then the 4-Tap Delay BPM algorithm may be more convenient. The feedback (Fdbk Level) controls how long a sound in the delay line takes to die out. At 100% feedback, the sound will be repeated indefinitely.
  • Page 38 FXAlg #131: 4-Tap Delay ¥ FXAlg #132: 4-Tap Delay BPM 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.
  • Page 39 Parameters: PAGE 1 Wet/Dry 0 to 100%wet Fdbk Level 0 to 100% HF Damping 16 Hz to 25088 Hz PAGE 2 LoopLength 0 to 32 bts Tap1 Delay 0 to 32 bts Tap2 Delay 0 to 32 bts Tap3 Delay 0 to 32 bts Tap4 Delay 0 to 32 bts...
  • Page 40 FXAlg #133: 8-Tap Delay ¥ FXAlg #134: 8-Tap Delay BPM FXAlg #133: 8-Tap Delay ¥ FXAlg #134: 8-Tap Delay BPM A stereo eight-tap delay with cross-coupled feedback This is a simple stereo 8-tap delay algorithm with delay lengths defined in milliseconds (ms) (#133), or in tempos and beats (#134).
  • Page 41 The Hold parameter is a switch which controls signal routing. When turned on, Hold will play whatever signal is in the delay line indefinitely. Hold overrides the feedback parameter and prevents any incoming signal from entering the delay. You may have to practice using the Hold parameter. Each time the sound goes through the delay, it is reduced by the feedback amount.
  • Page 42 FXAlg #133: 8-Tap Delay ¥ FXAlg #134: 8-Tap Delay BPM 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 channelÕs input (100% cross-coupling) or somewhere in between.
  • Page 43 A repetitive loop delay is created by turning up the feedback parameter (Fdbk Level). Only the Loop tap is fed back to the input of the delay, so this is the tap which controls the loop rate. Usually you will want the Loop tap (LoopLength parameter) to be longer than the other tap lengths.
  • Page 44 FXAlg #135: Spectral 4-Tap ¥ FXAlg #136: Spectral 6-Tap FXAlg #135: Spectral 4-Tap ¥ FXAlg #136: Spectral 6-Tap Tempo based 4- and 6-tap delays with added shapers and resonant comb filters on each tap Allocation Units: 2 for Spectral 4-Tap; 3 for Spectral 6-Tap Spectral 4 Tap and Spectral 6 Tap are respectively 2- and 3-PAU tempo-based multi-tap delay effects.
  • Page 45 On each output tap is a shaper. For an overview of shaper functionality, refer to the section on shapers in the K2500 Performance Guide. The Spectral Multi-Tap shapers offer 4 shaping loops as opposed to 8 found in the VAST shapers, but can allow up to 6.00x intensity (Figure 2).
  • Page 46 FXAlg #135: Spectral 4-Tap ¥ FXAlg #136: Spectral 6-Tap Each tap also has separate balance and level controls. Since these are tempo based effects, tap delay values and feedback delay (labeled LoopLength on PARAM2) values are set relative to a beat. The beat duration is set be adjusting Tempo in BPM. The tempo can be synced to the system clock by setting Tempo to System.
  • Page 47 PAGE 2 LoopLength On or Off Fdbk Image -100 to 100% Tap1 Delay 0 to 32 bts Tap1 Shapr 0.10 to 6.00 x Tap1 Level 0 to 100% Tap1 Bal -100 to 100% PAGE 3 Tap3 Delay 0 to 32 bts Tap3 Shapr 0.10 to 6.00 x Tap3 Pitch...
  • Page 48 FXAlg #135: Spectral 4-Tap ¥ FXAlg #136: Spectral 6-Tap Fdbk Image Sets the amount the stereo image is shifted each time it passes through the feedback line. Tap n Delay Adjusts the length of time, in 1/24ths of a beat, each output tap is delayed. Tap n Shapr Adjusts the intensity of the shaper at each output tap.
  • Page 49 FXAlgs #150Ð153: Choruses FXAlgs #150Ð153: Choruses FXAlg #150: Chorus 1 FXAlg #151: Chorus 2 FXAlg #152: Dual Chorus 1 FXAlg #153: Dual Chorus 2 One- and three-tap stereo and dual-mono choruses Allocation Units: 1 for Chorus 1 and Dual Chorus 1; 2 for Chorus 2 and Dual Chorus 2 Chorus is an effect which gives the illusion of multiple voices playing in unison.
  • Page 50 FXAlgs #150Ð153: Choruses The dual mono choruses are like the stereo choruses but have separate left and right controls. Dual mono choruses also allow you to pan the delay taps between left or right outputs. L Input From Right To Right Channel Channel Block diagram of left channel of Dual Chorus 2.
  • Page 51 L Input From Right To Right Channel Channel Block diagram of left channel of Dual Chorus 1. Right channel is similar. The left and right channels pass through their own chorus blocks. There may be cross-coupling between the channels. For Chorus 2 and Dual Chorus 2, each channel has three moving taps which are summed, while Chorus 1 and Dual Chorus 1 have one moving tap for both channels.
  • Page 52 FXAlgs #150Ð153: Choruses 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). The Tap Delays specify the average amount of delay of the LFO-modulated delay linesÑin other words, the timing of the center of the LFO excursion.
  • Page 53 PAGE 2 Tap1 Lvl -100 to 100% Tap2 Lvl -100 to 100% Tap3 Lvl -100 to 100% PAGE 3 LFO1 Rate 0.01 to 10.00 Hz LFO2 Rate 0.01 to 10.00 Hz LFO3 Rate 0.01 to 10.00 Hz LFO1 Dpth 0.0 to 50.0 ct LFO2 Dpth 0.0 to 50.0 ct LFO3 Dpth...
  • Page 54 FXAlgs #150Ð153: Choruses Parameters (Dual Chorus 2): PAGE 1 L Wet/Dry -100 to 100%wet L Out Gain Off, -79.0 to 24.0 dB L Fdbk Lvl -100 to 100% Xcouple 0 to 100% PAGE 2 L Tap1 Lvl -100 to 100% L Tap2 Lvl -100 to 100% L Tap3 Lvl...
  • Page 55 Tap Lvl Levels of the LFO-modulated delay taps. Negative values polarity-invert the signal. Setting any tap level to 0% effectively turns off the delay tap. Since these controls allow the full input level to pass through all the delay taps, a 100% setting on all the summed taps will signiÞcantly boost the wet signal relative to dry.
  • Page 56 FXAlg #154: Flanger 1 ¥ FXAlg #155: Flanger 2 FXAlg #154: Flanger 1 ¥ FXAlg #155: Flanger 2 Allocation Units: 1 for Flanger 1; 2 for Flanger 2 Flanger 1 is a 1-PAU multi-sweep Thru-zero flanger effect with two LFOs per channel. L Input From Right Channel...
  • Page 57 Flanging was originally created by summing the outputs of two un-locked tape machines while varying their sync by pressing a hand on the outside edge of one reelÑthus the name Òreel-flangingÓ. The key to achieving the flanging effect is the summing of a signal with a time-displaced replica of itself. The result is a series of notches in the frequency spectrum.
  • Page 58 FXAlg #154: Flanger 1 ¥ FXAlg #155: Flanger 2 You can set how far each LFO can sweep through the delay line with the excursion controls (Xcurs). The excursion is the maximum distance an LFO will move from the center of its sweep. The total range of an LFO is twice the excursion.
  • Page 59 ÒwhooshingÓ. In the K2500, the noise level is very low, and in fact if no sound is being played, there is no noise at all at this point in the signal chain.
  • Page 60 FXAlg #154: Flanger 1 ¥ FXAlg #155: Flanger 2 PAGE 2 Noise Gain Off, -79.0 to -30.0 dB StatDlyLvl -100 to 100% LFO1 Level -100 to 100% LFO2 Level -100 to 100% LFO3 Level -100 to 100% LFO4 Level -100 to 100% PAGE 3 StatDlyCrs 0.0 to 228.0 ms...
  • Page 61 The amount of noise (dB relative to full scale) to add to the input signal. In many ßangers, you can hear the noise ßoor of the signal being ßanged, but in the K2500, if there is no input signal, there is no noise ßoor unless it is explicitly added. [Flanger 2...
  • Page 62 FX Algs #156-160: Phasers FX Algs #156-160: Phasers FXAlg #156: LFO Phaser FXAlg #157: LFO Phaser Twin FXAlg #158: Manual Phaser FXAlg #159: Vibrato Phaser FXAlg #160: SingleLFO Phaser A variety of single notch/bandpass Phasers A simple phaser is an algorithm which produces a 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.
  • Page 63 Gain 0 dB 10 Hz Response of typical phaser: (i) Wet/Dry = 50% and (ii) Wet/Dry = -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. LFO Phaser is a simple phaser algorithm with Wet/Dry and Fdbk Level parameters.
  • Page 64 FX Algs #156-160: Phasers Response of LFO Phaser Twin with Wet/Dry set to 100%. In the Vibrato Phaser algorithm, the bandwidth of the phaser filter can be adjusted exactly like a parametric EQ filter. The In Width controls how the stereo input signal is routed through the effect. At 100% In Width, left input is processed to the left output, and right to right.
  • Page 65 Parameters (SingleLFO Phaser): PAGE 1 Wet/Dry 0 to 100%wet Fdbk Level -100 to 100% PAGE 2 LFO Rate 0.00 to 10.00 Hz CenterFreq 16 to 25088 Hz FLFO Depth 0 to 5400 ct FLFO LRPhs 0.0 to 360.0 deg Wet/Dry The amount of phaser (wet) signal relative to unaffected (dry) signal as a percent.
  • Page 66 FX Algs #156-160: Phasers Parameters (Manual Phaser): PAGE 1 Notch/BP -100 to 100% L Feedback -100 to 100% L Ctr Freq 16 to 25088 Hz Notch/BP The amount of notch depth or bandpass. At -100% there is a complete notch at the center frequency.
  • Page 67 Parameters (Vibrato Phaser): PAGE 1 Wet/Dry -100 to 100%wet PAGE 2 CenterFreq 16 to 25088 Hz LFO Depth 0 to 100% LFO Rate 0.00 to 10.00 Hz 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.
  • Page 68 Combination Algorithms [Ò+Ó] Combination Algorithms [Ò+Ó] FXAlg #700 Ñ Chorus+Delay FXAlg #701 Ñ Chorus+4Tap FXAlg #703 Ñ Chor+Dly+Reverb FXAlg #706 Ñ Flange+Delay FXAlg #707 Ñ Flange+4Tap FXAlg #709 Ñ Flan+Dly+Reverb FXAlg #722 Ñ Pitcher+Chor+Dly FXAlg #723 Ñ Pitcher+Flan+Dly A family of combination effect algorithms Signal Routing (2 effects) The algorithms listed above with two effects can be arranged in series or parallel.
  • Page 69 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.
  • Page 70 Combination Algorithms [Ò+Ó] Three-Effect Routing: Wet/Dry -100 to 100% L Mix Effect A -100 to 100% L Mix Effect B -100 to 100% L Mix Effect C -100 to 100% A/Dry>B -100 to 100% A/B ->* -100 to 100% */Dry->C -100 to 100% L Mix Effect, R Mix Effect Adjusts the amount of each effect that is mixed together as the algorithm wet signal.
  • Page 71 Flange: The flangers are basic 1-tap dual flangers. Separate LFO controls are provided for each channel. Slight variations between algorithms 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 flange control begin with ÒFlÓ...
  • Page 72 Combination Algorithms [Ò+Ó] Dly Time L 0 to 32 bts Dly Fdbk L -100 to 100% Dly HFDamp 0 to 32 bts Dly Time L, Dly Time R The delay lengths of each channel in beats. The duration of a beat is speciÞed with the Tempo parameter.
  • Page 73 Reverb: The reverbs offered in these combination effects is MiniVerb. See FXAlg #1 in this book for information about the parameters. Parameters associated with this reverb begin with ÒRvÓ. Rv DiffScl 0.00 to 2.00x Rv SizeScl 0.00 to 4.00x Rv PreDlyL 0 to 620 ms Pitcher: The pitchers offered in these effects are the same as that found in its standalone version.

  • Page 74: Signal Routing

    Configurable Combination Algorithms [Ò<>Ó] ConÞgurable Combination Algorithms [Ò<>Ó] FXAlg #702 Ñ Chorus<>4Tap FXAlg #704 Ñ Chorus<>Reverb FXAlg #705 Ñ Chorus<>LasrDly FXAlg #708 Ñ Flange<>4Tap FXAlg #710 Ñ Flange<>Reverb FXAlg #711 Ñ Flange<>LasrDly FXAlg #712 Ñ Flange<>Pitcher FXAlg #713 Ñ Flange<>Shaper FXAlg #717 Ñ...
  • Page 75 Input 4-Tap Delay Configured as Ch -> 4T Input 2-Tap Chorus Configured as 4T -> Ch Algorithm 702, Chor<>4Tap, when A->B cfg is set to (top) ÒCh->4TÓ and (bottom) Ò4T->ChÓ. Bi-directional Routing: Wet/Dry -100 to 100% Mix Effect -100 to 100% Mix Effect -100 to 100% A->B cfg...
  • Page 76 Configurable Combination Algorithms [Ò<>Ó] Individual Effect Components Configurable Chorus and Flange: The configurable chorus and flange have 2 moving delay taps per channel. Parameters associated with chorus control begin with ÒChÓ in the parameter name, and those associated with flange begin with ÒFlÓ. General descriptions of chorus and flange functionality can be found in the Chorus (FXAlg #150) or Flange (FXAlg #154) sections of this book.
  • Page 77 Left Contro l Set 1 LFOL LFO R Fig. 3 Ñ LFO control in Link1Tap mode In addition to the LFO delay taps, the flange offers a static delay tap for creating through-zero flange effects. The maximum delay time for this tap is 230ms and is controlled by the Fl StatDly parameter. Its feedback amount is controlled by the Fl StatFB.
  • Page 78 Configurable Combination Algorithms [Ò<>Ó] Flange (PAGE 2): Fl HF Damp 16 to 25088 Hz Fl Xcouple 0 to 100% Fl StatDly 0 to 230 ms Fl StatFB -100 to 100% Fl StatLvl -100 to 100% Fl LFO Lvl -100 to 100% Ch LFO cfg Sets the user interface mode for controlling each of the 4 chorus LFOs.
  • Page 79 inverting the signal. The LsrCntour parameter adds only the Laser Delay portion of the effect, including itÕs own regeneration. For the most intense laser-ness, keep Dly Fdbk at 0% while LsrCntour is enabled. 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.
  • Page 80 Configurable Combination Algorithms [Ò<>Ó] 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 Òping-pongingÓ.
  • Page 81 The shaper offered in these combination effects have the same qualities as those found in VAST. Refer to the section on shapers in the K2500 Performance Guide for an overview. Parameters associated with this effect begin with ÒShpÓ. This KDFX shaper also offers input and output 1 pole (6dB/oct) lowpass filters controlled by the Shp Inp LP and Shp Out LP respectively.
  • Page 82 10 or 11. A three-bit number can take one of eight different values, a four-bit number can take one of sixteen values, etc. The 18 bits of the K2500Õs digital-to-analog converter (DAC) represents 262,144 different amplitude levels (2 LetÕs take a look at how finite precision of digital words affects audio signals. The figures following are plots of a decaying sine wave with varying word lengths.
  • Page 83 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.
  • Page 84 FXAlg #714: Quantize+Flange PAGE 2 Fl Tempo System, 1 to 255 BPM Fl Fdbk Fl Period 0 to 32 bts Fl L Phase 0.0 to 360.0 deg Fl StatLvl -100 to 100% PAGE 3 FlStatDlyC 0.0 to 230.0 ms FlStatDlyF -127 to 127 samp In/Out When set to ÒInÓ, the quantizer and ßanger are active;...
  • Page 85 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). In all other respects the right and left channels are symmetric. For example, if one LFO is set to 0° and another is set to 180°, then when one LFO delay tap is at its shortest, the other will be at its longest.
  • Page 86 FXAlg #715: Dual MovDelay ¥ FXAlg #716: Quad MovDelay FXAlg #715: Dual MovDelay ¥ FXAlg #716: Quad MovDelay Generic dual-mono moving delay lines Allocation Units: Dual MovDelay 1; Quad MovDelay 2 Each of these two algorithms offers generic monaural moving delay lines in a dual mono algorithm. Each separate moving delay can be used as a flanger, chorus, or static delay line selectable by the LFO Mode parameter.
  • Page 87 In Quad MovDelay, there are 2 moving delay elements per channel distinguishable by parameters beginning with ÒL1Ó, ÒL2Ó, ÒR1Ó, and ÒR2Ó. The second moving delay on each channel is fed with a mix of the first delays and the input dry signal for that particular channel. These mixes are controlled by L1/Dry->L2 and R1/Dry->R2. Each of the four moving delays have separate Mix and Pan levels.
  • Page 88 FXAlg #715: Dual MovDelay ¥ FXAlg #716: Quad MovDelay PAGE 2 L Delay 0.0 to 1000.0 ms L LFO Mode Flange, ... L LFO Rate 0.00 to 10.00 Hz L LFO Dpth 0.0 to 200.0% L Feedback -100 to 100% L HF Damp 16 to 25088 Hz Parameters (Quad MovDelay):...
  • Page 89 Ln Mix, Rn Mix Adjusts the mix levels for each moving delay circuit. The resulting sum makes up the wet signal. Negative values polarity-invert the signal. L Pan, R Pan, Ln Pan, Rn Pan The output panning position of each moving delay circuit. 0% is center; Negative values pan left, while positive values pan right.
  • Page 90 FXAlg #720: MonoPitcher+Chor ¥ FXAlg #721: MonoPitcher+Flan FXAlg #720: MonoPitcher+Chor ¥ FXAlg #721: MonoPitcher+Flan Mono pitcher (filter with harmonically related resonant peaks) algorithm 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.
  • Page 91 Note that a Pt PkSplit of 100% gives only odd multiples of a fundamental that is one octave down from no splitting. The presence of only odd multiples will produce a hollow sort of sound, like a square wave (which also only has odd harmonics).
  • Page 92 FXAlg #720: MonoPitcher+Chor ¥ FXAlg #721: MonoPitcher+Flan Chorus: The chorus used in FXAlg #720 is a basic dual-channel chorus. Refer to Chorus documentation (FXAlgs #150-153) in this book for more information on the effect. Configurable Flange: The flange in FXAlg #721 is a configurable flange. Refer to the section on Flanger (FXAlg #702 and FXAlgs #154- 155) in this book for details about this effect.
  • Page 93 Fl Xcurs 1 0.0 to 230.0 bts Fl Delay 1 0.0 to 230.0 ms Fl Phase 1 0.0 to 360.0 deg Fl Fdbk -100 to 100% Wet/Dry This is a simple mix of the pitched and chorused or ßanged signal relative to the dry input signal.

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