Kurzweil K2600 - MUSICIANS GUIDE REV A PART NUMBER 910330 CHAP 6 Manual page 29

Velocity Tracking
This uses the MIDI attack velocity value of the notes you play as a control source affecting the
individual amplitudes of each note in the current layer. This is the primary parameter to use for
adjusting the dynamics of a layer. At a value of 0, every note in the current layer would have the
same amplitude, regardless of its attack velocity. When the value is positive, note amplitude
increases as attack velocity increases. When the value is negative, note amplitude decreases as
attack velocity increases. Larger values increase the range between minimum and maximum
amplitude, so with a large positive value, the amplitude will be low when you play softly. Small
values decrease the range between min and max, so with a small positive value, youÕll get
nearly full amplitude even with light attack velocities.
Pad
Select one of four attenuation levels for cutting the amplitude of the current layer before the Þnal
amp stage (preamp pad). Use the pad if the layerÕs sound distorts when played. Note: clipping
can occur in earlier algorithm blocks as well. If this is the case, youÕll probably want to try to
remove the clipping in the earlier block, if possible.
Source 1 and Source 2, Depth Controls
These are common DSP control parameters, which in this case let you assign control sources to
affect the amplitude of the current layer. The functions of common DSP control parameters are
explained in their own section earlier in this chapter.
The OUTPUT Page
Press the OUTPUT soft button to get to the OUTPUT page, where you set the layerÕs output
routing. This doesnÕt assign the layerÕs audio signal to the audio outputs, as you might expect. It
assigns the signal to a KDFX input, which determines what effects, if any, get applied to the
signal before the actual audio output. The routing of the signal from KDFX to the audio outputs
happens on the OUTPUT page in the Studio Editor. See page 9-15, as well as Chapter 19, for
more information about audio output.
There are actually four different conÞgurations of the OUTPUT page. The one you see depends
on whether the current layer uses a stereo keymap, and whether it uses a double-output
algorithm. A double-output algorithm is one whose signal path is split into two parts before
Þnal ampliÞcation.
Regardless of the pageÕs conÞguration, there are parameters for adjusting the Output Group, the
Pan position, the Output Mode, the Gain, the Crossfade control, and the Crossfade sense. Layers
that use stereo keymaps, or that use double-output algorithms, have additional sets of Output
Group and Pan parameters on their OUTPUT pages.
Program Mode and the Program Editor
The OUTPUT Page
6-29