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Chapter 19
Programming Examples
The other chapters in this manual have described the K2500's features in detail. This tutorial
chapter will take you step-by step through several programming operations.
Each of the following examples will begin from the same starting point: the default program
with ID 199. This program is included specifically for the purpose of giving you a
programming template. Most of its parameters have been set at values that don't affect the
sound of the program.
You may want to adjust some of the parameters of Program 199, to create your own customized
programming template. Even if you don't, it's a good idea to begin with Program 199 when
you're building a new sound, so you'll know exactly what you have from the start.
Keep in mind that none of these examples provides you with a usable program. Instead, the
examples are designed to give you tools and concepts which you can apply to your own
sounds. Once you become familiar with the programming basics in this chapter, analyze a few
of the factory presets by moving through the Program Editor, and observing how those presets
were designed. This may help you learn more techniques for creating new sounds.
While in the Program Editor, there are several editing shortcuts you can use. To call up a control
source, enter its number on the numeric keypad, or hold ENTER and strike a key on the
keyboard (see Control Sources in chapter 6 of the Reference Guide ). When a highlighted
parameter has a Control Source as its value, press EDIT, and you will go directly to that
Control Source page. You can also use the Previous Pg, Mark, and Jump buttons (see Chapter
5).
Example 1
Trumpet with Delayed Vibrato and Velocity-triggered Fall-offs
Vibrato is a regular oscillation in pitch that adds dimension to any sound. Brass players will
often "fall-off" from a note, punching it then letting the pitch roll down smoothly or in small
fast steps.
To create these effects, we'll use an LFO to control the pitch, (this is the typical way to create
vibrato), and delay it with an ASR. This way you'll hear the vibrato only on notes that you hold
for a second or so. The stab will be done with a second ASR controlling pitch and amplitude.
The stab's ASR will be triggered by a velocity trigger (VTRIG), so only those notes you play at
fortissimo will stab.
Start by selecting Program 199 and pressing EDIT. The ALG page will appear. The first task is to
change the keymap. Press the KEYMAP soft button to select the KEYMAP page.
Programming Examples
Example 1
19-1

Summary of Contents

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    Programming Examples Example 1 Chapter 19 Programming Examples The other chapters in this manual have described the K2500’s features in detail. This tutorial chapter will take you step-by step through several programming operations. Each of the following examples will begin from the same starting point: the default program with ID 199.

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    Programming Examples Example 1 EditProg:KEYMAP||||||||||||<>Layer:1/1|| |||||||||||||||||||||||||||||||||||||||| KeyMap: 17|Trumpet||||||||||||Stereo:Off| Xpose|:0ST||||||||TimbreShift|:0ST|||||| KeyTrk:100ct/key||AltSwitch|||:OFF|||||| VelTrk:0ct||||||||PlayBackMode:Normal||| |||||||||||||||||||||||||||||||||||||||| <more|| ALG|||| LAYER|| KEYMAP| PITCH|| more> The KeyMap parameter is already selected, and as you can see, the Default program uses the Grand Piano Keymap. Use any data entry method to change the Keymap to Trumpet, which has ID 17.

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    Programming Examples Example 1 Plus/Minus buttons). This will prevent the vibrato from fading as it did. (This fading was caused by the ASR repeating, which was the default setting). Now select the Delay parameter and set its value to .4 seconds (4, 0, ENTER). Select the Attack parameter and change its value to .48 seconds (4, 8, ENTER).

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    Programming Examples Example 2 To make the stab sound realistic, we’ll drop the amplitude at the same rate as the pitch. To do this, select the F4 AMP page (press the more> soft button once, then press the F4 AMP soft button).

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    Programming Examples Example 2 its value to 5800 cents. As soon as you set a depth, you’ll hear the envelope sweep the cutoff frequency. We’ll adjust it further in a minute. The F1 FRQ page should now look like this: Edit|Prog:F1|FRQ(4P|LOPASS)|>Layer:1/1|| Coarse:G#3|208Hz|||Src1||:MPress|||||||| Fine||:0ct|||||||||Depth|:3800ct||||||||...

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    Programming Examples Example 3 Example 3 Sample and Hold; Using a FUN This example will use one of the FUNs to create a sample and hold program. As usual, start with Program 199, and press EDIT. While you’re on the ALG page, select a value of “PARAMETRIC EQ”...

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    Programming Examples Example 4 Example 4 SHAPER and PANNER Our next example incorporates two of the DSP functions, and will give you a general overview of using the algorithms to build sounds. Starting with Program 199, press EDIT, and while you’re on the ALG page, cursor up to the Algorithm parameter, and select Algorithm 13.

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    Programming Examples Example 4 EditProg:ENV2|||||||[1/1]||<>Layer:1/1|| Att1:Att2:Att3:Dec1:Rel1:Rel2:Rel3:Loop: 0.10|0.82|0.86|1.04|0s|||0s|||0s|||Off|| 51%||-23%|42%||0%|||0%|||0%|||0%|||Inf|| |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| <more||AMPENV|ENV2|||ENV3|||ENVCTL|more> This can still be a little harsh on the high end when you play with high attack velocities. One way to smooth it out would be to go back to the ALG page, select a lowpass filter for the F2 block, and adjust its cutoff frequency to about F# 6.

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    Programming Examples Example 5 Example 5 Building a Drum Program; Using the Keymap Editor With our next example, you’ll learn how to build a drum program using the Program and Keymap Editors. To keep the example as brief as possible, we’ll include only a few timbres and DSP examples.

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    Programming Examples Example 5 parameter, and turn the Alpha Wheel one click to the right, to select the sample 20 12in Dry Tom C 4. Save the keymap, replacing the earlier version. You can repeat this process to create as many new key ranges as you like (in this example, doing so would have no effect, since we’ve limited each layer to a narrow 3-key span).

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