Page 1 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.
Page 2 The lightning flash with the arrowhead symbol, within an equilateral triangle, is intended to alert C C A A U U T T ION the user to the presence of uninsulated "dangerous voltage" within the product's RISK OF ELECTRIC SHOCK enclosure that may be of sufficient magnitude DO NOT OPEN to constitute a risk of electric shock to persons.
Page 3: Important Safety Instructions
Important Safety Instructions 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.
Page 4: Kurzweil International Contacts
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...
Page 5: Table Of Contents
Contents Kurzweil International Contacts............................. iv World Wide Web Home Page: ............................iv Chapter 1 Front Panel Front Panel Quick Reference ............................1-1 Volume Knob/ Slider .............................. 1-1 Mode Buttons................................1-1 Chan/Bank Buttons ..............................1-1 Edit Button ................................1-1 Soft Buttons ................................1-2 Exit Button.................................
Page 6: Table Of Contents
K2661 Musician’s Reference Chapter 6 MIDI, SCSI, and Sample Dumps SCSI Guidelines ................................6-1 Disk Size Restrictions .............................. 6-1 Conﬁguring a SCSI Chain............................6-1 K2661 and Macintosh Computers 6-3 The MIDI Sample Dump Standard..........................6-4 Loading Samples with the MIDI Standard Sample Dump ................6-4 Getting a Sample into a Sample Editor from the K2661..................
Page 7: Table Of Contents
Soloing and Muting ............................... 12-2 KB3 Programs ................................. 12-2 Live Mode ................................12-2 Algorithms for Triple Modular Processing ......................12-3 Compatibility with Other Kurzweil Instruments....................12-3 Creating Triples ................................12-4 Editing Triples................................12-5 Amplitude Envelopes............................12-6 Other Considerations ............................12-9 Algorithm Reference..............................
Page 8: Table Of Contents
K2661 Musician’s Reference Appendix D Contemporary ROM Block Objects Programs..................................D-2 Keymaps ..................................D-3 Program Control Assignments ............................. D-4 Controller Assignments: Contemporary ROM Block ....................D-7 Secondary Effects ..............................D-7 Program Control Assignments..........................D-8 Setup Control Assignments ..........................D-17 Appendix E Orchestral ROM Block Objects Programs...................................
Page 9: Front Panel Quick Reference
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.
Page 10: Soft Buttons
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.
Page 11: The Display
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.
Page 12: Midi Faders Button
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.
Page 13 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. Button Mode or Editor White...
Page 14: Special Button Functions: Double Button Presses
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. In this …pressing these buttons mode or...
Page 15: Lfo Shapes
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...
Page 16 LFOs LFO Shapes Sine Positive Sine Sq uare Positive Sq uare 90° 270° 90° 270° 90° 270° 90° 270° 0° 180° 360° / 0° 0° 180° 360° / 0° 0° 180° 360° / 0° 0° 180° 360° / 0° Triangle Positive Triangle Rising Sawtooth Positive Rising Sawtooth...
Page 17 LFOs LFO Shapes 6 Step Positive Sine 6 Step 7 Step Positive 7 Step 90° 270° 90° 270° 90° 270° 90° 270° 0° 180° 360° / 0° 0° 180° 360° / 0° 0° 180° 360° / 0° 0° 180° 360° / 0° 8 Step Positive 8 Step 10 Step...
Page 18 LFOs LFO Shapes...
Page 19 Chapter 3 DSP Algorithms Note: Triple Mode algorithms are described in Chapter 12. PITCH HIFREQ STIMULATOR PITCH 2PARAM SHAPER PANNER PARAMETRIC EQ 2POLE LOWPASS STEEP RESONANT BASS BANDPASS FILT 4POLE LOPASS W/SEP NOTCH FILTER 4POLE HIPASS W/SEP 2POLE ALLPASS TWIN PEAKS BANDPASS PARA BASS DOUBLE NOTCH W/SEP PARA TREBLE...
Page 20 DSP Algorithms PITCH 2PARAM SHAPER AMP U AMP L PITCH 2PARAM SHAPER LPCLIP 2POLE LOWPASS 2POLE LOWPASS SINE+ BANDPASS FILT BANDPASS FILT NOISE+ NOTCH FILTER NOTCH FILTER LOPASS 2POLE ALLPASS 2POLE ALLPASS HIPASS NONE PARA BASS ALPASS PARA TREBLE GAIN PARA MID SHAPER NONE...
Page 21 DSP Algorithms PITCH 2PARAM SHAPER LP2RES PITCH 2PARAM SHAPER LPCLIP x AMP 2POLE LOWPASS 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...
Page 22 DSP Algorithms PITCH 2PARAM SHAPER LPCLIP x AMP PITCH LOPASS LOPASS LPCLIP 2POLE LOWPASS SINE+ + AMP HIPASS HIPASS SINE+ BANDPASS FILT NOISE+ ! AMP ALPASS ALPASS NOISE+ NOTCH FILTER LOPASS GAIN GAIN LOPASS 2POLE ALLPASS HIPASS SHAPER SHAPER HIPASS NONE ALPASS DIST...
Page 23 DSP Algorithms PITCH LOPASS LOPASS LP2RES PITCH LOPASS LOPASS LPCLIP x AMP HIPASS HIPASS SHAPE2 HIPASS HIPASS SINE+ + AMP ALPASS ALPASS BAND2 ALPASS ALPASS NOISE+ ! AMP GAIN GAIN NOTCH2 GAIN GAIN LOPASS SHAPER SHAPER LOPAS2 SHAPER SHAPER HIPASS DIST DIST HIPAS2...
Page 24 DSP Algorithms PITCH LOPASS LOPASS LPCLIP x AMP PITCH LOPASS LOPASS LPCLIP x AMP HIPASS HIPASS SINE+ + AMP HIPASS HIPASS SINE+ + AMP ALPASS ALPASS NOISE+ ! AMP ALPASS ALPASS NOISE+ ! AMP GAIN GAIN LOPASS GAIN GAIN LOPASS SHAPER SHAPER HIPASS...
Page 25 DSP Algorithms PITCH LOPASS LOPASS PANNER PITCH LOPASS LOPASS AMP U AMP L HIPASS HIPASS HIPASS HIPASS ALPASS ALPASS ALPASS ALPASS GAIN GAIN GAIN GAIN SHAPER SHAPER SHAPER SHAPER DIST DIST DIST DIST SW+SHP SINE SINE SINE SAW+ LF SIN LF SIN LF SIN WRAP...
Page 26 DSP Algorithms PITCH LOPASS LOPASS AMP U AMP L PITCH LOPASS PARA BASS HIPASS HIPASS HIPASS PARA TREBLE ALPASS ALPASS ALPASS NONE GAIN GAIN GAIN SHAPER SHAPER SHAPER DIST DIST DIST SINE SINE SINE LF SIN LF SIN LF SIN SW+SHP SW+SHP SW+SHP...
Page 27 DSP Algorithms PITCH LOPASS SHAPE MOD OSC PITCH LOPASS x SHAPEMOD OSC HIPASS AMP MOD OSC HIPASS + SHAPEMOD OSC ALPASS NONE ALPASS NONE GAIN GAIN SHAPER SHAPER DIST DIST SINE SINE LF SIN LF SIN SW+SHP SW+SHP SAW+ SAW+ LF SAW LF SAW SQUARE...
Page 28 DSP Algorithms PITCH LOPAS2 SHAPE MOD OSC PITCH LOPASS x GAIN LPCLIP NONE NONE HIPASS + GAIN SINE+ ALPASS XFADE NOISE+ GAIN AMPMOD LOPASS SHAPER NONE HIPASS DIST ALPASS SINE GAIN LF SIN SHAPER SW+SHP DIST SAW+ SW+SHP SAW+ LF SAW SW+DST SQUARE NONE...
Page 29 DSP Algorithms PITCH LOPASS x GAIN x AMP PITCH LOPASS x GAIN LP2RES LPCLIP HIPASS + GAIN SINE+ + AMP HIPASS + GAIN SHAPE2 ALPASS XFADE NOISE+ ! AMP ALPASS XFADE BAND2 GAIN AMPMOD LOPASS GAIN AMPMOD NOTCH2 SHAPER NONE HIPASS SHAPER NONE...
Page 30 DSP Algorithms PITCH LOPASS x GAIN LPCLIP x AMP PITCH LOPASS x GAIN PANNER HIPASS + GAIN SINE+ + AMP HIPASS + GAIN ALPASS XFADE NOISE+ ! AMP ALPASS XFADE GAIN AMPMOD LOPASS GAIN AMPMOD SHAPER NONE HIPASS SHAPER NONE DIST ALPASS DIST...
Page 31 DSP Algorithms |||||||| PITCH LOPASS x GAIN AMP U AMP L SYNC M SYNC S PANNER HIPASS + GAIN ALPASS XFADE GAIN AMPMOD SHAPER NONE DIST SINE LF SIN SW+SHP SAW+ LF SAW SQUARE LF SQR WRAP NONE 3-13...
Page 32 DSP Algorithms |||||||| |||||||| SYNC M SYNC S LP2RES SYNC M SYNC S LPCLIP SHAPE2 SINE+ BAND2 NOISE+ NOTCH2 LOPASS LOPAS2 HIPASS HIPAS2 ALPASS LPGATE GAIN NONE SHAPER DIST SINE LF SIN SW+SHP SAW+ SW+DST NONE 3-14...
Page 33 DSP Algorithms |||||||| |||||||| SYNC M SYNC S LPCLIP x AMP SYNC M SYNC S LPCLIP x AMP SINE+ + AMP SINE+ + AMP NOISE+ ! AMP NOISE+ ! AMP LOPASS LOPASS HIPASS HIPASS ALPASS ALPASS GAIN GAIN SHAPER SHAPER DIST DIST SINE...
Page 34 DSP Algorithms 3-16...
Page 35 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.
Page 36 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.
Page 37: Control Source Lists
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.
Page 38: Descriptions Of Control Sources
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).
Page 39: Midi Control Source List
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. This value eliminates the effect of any control source parameter to which it’s assigned.
Page 40 Control Sources MIDI Control Source List MIDI 08 (Balance) MIDI 09 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.
Page 41 Control Sources MIDI Control Source List MIDI 67 (SoftPd) This is the standard MIDI Controller number for Soft Pedal. The K2661 will always respond to Soft pedal messages. MIDI 68 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.
Page 42: Main Control Source List
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. Channel State (Chan St) Chan St refers to whether any notes are currently active on a given MIDI channel.
Page 43 Control Sources Main Control Source List 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.
Page 44 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).
Page 45 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.
Page 46 Control Sources Main Control Source List Inverse Attack Velocity (InvAttVel) This is the opposite of AttVel, generating a signal value of 0 in response to attack velocity values of 127. Polyphonic Pressure (PPress) This unipolar control source responds to poly pressure (aftertouch) messages received via MIDI.
Page 47 Control Sources Main Control Source List 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.
Page 48 Control Sources Main Control Source List 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.
Page 49: Constant Control Sources
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 Assigned Corresponding Constant...
Page 50: Keyboard Shortcuts For Control Sources
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.
Page 51: K2661 Note Numbers And Midi Note Numbers
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...
Page 52: Octave Percussion Keymaps (Range: C2–C7)
MIDI Note Numbers Note Numbers for Percussion Keymaps 5-Octave Percussion Keymaps (Range: C2–C7) MIDI Note Number Key Number Sample Root 36-37 Low Tom C2-C 38-39 Low Mid Tom D2-D 40-41 E2-F2 Mid Tom 42-43 Hi MidTom 2-G2 44-45 Mid Hi Tom 2-A2 Hi Tom 47–51...
Page 53: Octave Percussion Keymaps (Range: C3 - C5)
MIDI Note Numbers Note Numbers for Percussion Keymaps 2-Octave Percussion Keymaps (Range: C3 - C5) MIDI Note Number Key Number Sample Root 48–49 Kick C 3–C Low Tom Cowbell Low Tom Mid Tom Cowbell Mid Tom Timbale High Tom Snare (Sidestick) High Tom 60-61 Snare (dual velocity)
Page 54 MIDI Note Numbers Note Numbers for Percussion Keymaps...
Page 55: Scsi Guidelines
(19.69 feet). You should limit the total length of all SCSI cables connecting external SCSI devices with Kurzweil products to 17 feet (5.2 meters). To calculate the total SCSI cable length, add the lengths of all SCSI cables, plus eight inches for every external SCSI device connected.
Page 56 8. When using a Macintosh, power up the K2661 and other devices ﬁrst. 9. The K2661 ﬁle format is a proprietary format; no other device will be able to read or write a Kurzweil ﬁle. 10. The K2661 can read from and write to the ﬁrst partition on a DOS-formatted disk.
Page 57: K2661 And Macintosh Computers
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).
Page 58: The Midi Sample Dump Standard
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.
Page 59: Getting A Sample Into A Sample Editor From The K2661
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.
Page 60: Accessing A New K2661 Sample
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.
Page 61: Aborting A Midi Sample Dump
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.
Page 62: Smdi Sample Transfers
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.
Page 63: K2661 System Exclusive Implementation
F0h, and represents start of System Exclusive. kid must be 07h, and is the Kurzweil Manufacturer ID. dev-id is Device ID. The K2661 will recognize a SysEx message if dev-id is the same is the SysEx ID parameter from the MIDI-mode RECEIVE page.
Page 64 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.
Page 65: Messages
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.
Page 66 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.
Page 67 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.
Page 68 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.
Page 69: Master Parameters
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 01h 04h Keymap 01h 05h Studio 00h 71h Song 00h 70h Setup...
Page 70 System Exclusive Protocol K2661 System Exclusive Implementation Alphanumeric pad Edit / Exit Button Code (hex) Button Code(hex) Cancel Edit Clear Exit Enter Navigation Mode Selection Button Code (hex) Button Code(hex) Plus (+) Program Minus (-) Setup Plus and Minus Quick Access Chan/Bank Inc Effects Chan/Bank Dec...
Page 71 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.
Page 72 System Exclusive Protocol K2661 System Exclusive Implementation 7-10...
Page 73: Preventive Maintenance
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.
Page 74: Battery Replacement
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.
Page 75: Scanner Diagnostics
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.
Page 76: Ground Hum
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.
Page 77: Power Problems And Solutions
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.
Page 78: Other Possible Problems
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).
Page 79: Program Ram Vs. Sample Ram
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.
Page 80: Viewing Ram Objects
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.
Page 81: Installing Sample Ram
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.
Page 82 Upgrading Sample Memory Choosing and Installing a SIMM for K2661 Sample Memory...
Page 83: In This Chapter
KDFX Reference In This Chapter Chapter 10 KDFX Reference In This Chapter • KDFX Algorithms........10-2 •...
Page 84: Kdfx Algorithms
KDFX Reference KDFX Algorithms KDFX Algorithms Combination Algs Special FX Algorithms Reverb Algorithms Name Name Chorus+Delay Env Follow Filt Chorus+4Tap TrigEnvelopeFilt Name Chorus<>4Tap LFO Sweep Filter Chor+Dly+Reverb Resonant Filter MiniVerb Chorus<>Reverb Dual Res Filter Dual MiniVerb Chorus<>LasrDly EQ Morpher Gated MiniVerb Flange+Delay Mono EQ Morpher Classic Place...
Page 85: Fx Presets
KDFX Reference FX Presets FX Presets NiceLittleBooth Standing Ovation News Update ChorusDelayHall Small Wood Booth Flinty Hall Basic Chorus ChorDelayRvb Lead Natural Room HighSchool Gym Chorus Comeback ChorDelayRvb Lead2 PrettySmallPlace My Dreamy 481!! Chorusier Fluid ChorDelayRvb Sun Room Deep Hall Ordinary Chorus ChorLite DelayHall Soundboard...
Page 86 KDFX Reference FX Presets PolyAmp DelayFlnge Chorus Echo LazerfazerEchoes Glacial Canyon VibrChor Rotors Chorus Echoverb Simple Lazerverb Spring Thing SlightDistRotors Fast Flange TripFilter Contact Rotostort Wash Gated Laserverb Drum Frightener VibrChor Rotors2 Into The Abyss Waterford Mad Hatter Full VbCh Rotors Space Flanger A little dirty Fallout...
Page 87: Kdfx Studios
KDFX Reference KDFX Studios KDFX Studios Name Name Name Name 1 RoomChorDly Hall 62 BthQFlg4Tap Hall 123 FlgEnv4Tap Plate 719 Mastering Studio 2 RmChorChRv Hall 63 ChmbTremCDR Room 124 EnhrFlgCDR Plate 749 E Pno Amp 3 RoomChorCDR Hall 64 ChmbCmpFlRv Hall 125 auxRingPFD Plate 750 Tron Effects 4 RoomChor Hall...
Page 88: Kdfx Algorithm Speciﬁcations
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.
Page 89 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. L Output L Input MiniVerb Balance R Input...
Page 90 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...
Page 91 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.
Page 92 KDFX Reference KDFX Algorithm Speciﬁcations 3 Gated MiniVerb A reverb and compressor in series. PAUs: 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.
Page 93 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.
Page 94 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. Room Type The conﬁguration of the reverb algorithm to simulate a wide array of carefully designed room types and sizes.
Page 95 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 modelling an assortment of reverb families.
Page 96 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.
Page 97 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).
Page 98 KDFX Reference KDFX Algorithm Speciﬁcations 12 Panaural Room Room reverberation algorithm PAUs: 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"...
Page 99 KDFX Reference KDFX Algorithm Speciﬁcations Parameters Page 1 Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 Room Size 1.0 to 16.0 m Pre Dly 0 to 500 ms Decay Time 0.5 to 100.0 s HF Damping 16 to 25088 Hz Page 2 Bass Gain -15 to 15 dB...
Page 100 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.
Page 101 KDFX Reference KDFX Algorithm Speciﬁcations 13 Stereo Hall A stereo hall reverberation algorithm. PAUs: 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"...
Page 102 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%.
Page 103 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.
Page 104 KDFX Reference KDFX Algorithm Speciﬁcations 14 Grand Plate A plate reverberation algorithm. PAUs: 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.
Page 105 KDFX Reference KDFX Algorithm Speciﬁcations Parameters Page 1 Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB Room Size 1.00 to 4.00 m 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 Page 2...
Page 106 KDFX Reference KDFX Algorithm Speciﬁcations 15 Finite Verb Reverse reverberation algorithm. PAUs: 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 107 KDFX Reference KDFX Algorithm Speciﬁcations Page 3 Early Bass -15 to 15 dB Early Damp 16 to 25088 Hz Mid Bass -15 to 15 dB Mid Damp 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.
Page 108: Complex Echo
KDFX Reference KDFX Algorithm Speciﬁcations 130 Complex Echo Multitap delay line effect consisting of 6 independent output taps and 4 independent feedback taps PAUs: 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.
Page 109 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 L Input Delay L Output Diffuser Out Gains Blend R Output Feedback FB2/FB1 > FB Blend Delay Diffuser...
Page 110 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 Page 3...
Page 111 KDFX Reference KDFX Algorithm Speciﬁcations 131 4-Tap Delay 132 4-Tap Delay BPM A stereo four tap delay with feedback PAUs: 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.
Page 112 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.
Page 113 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.
Page 114 KDFX Reference KDFX Algorithm Speciﬁcations Parameters Page 1 Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB Fdbk Level 0 to 100% Tempo System, 1 to 255 BPM Dry Bal -100 to 100% HF Damping 16 Hz to 25088 Hz Hold On or Off Page 2...
Page 115 KDFX Reference KDFX Algorithm Speciﬁcations 133 8-Tap Delay 134 8-Tap Delay BPM A stereo eight tap delay with cross-coupled feedback PAUs: 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).
Page 116 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.
Page 117 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.
Page 118 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 24.0 dB Fdbk Level 0 to 100% Tempo System, 1 to 255 BPM Xcouple...
Page 119 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.
Page 120 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. L Dry L Output Shaper...
Page 121 KDFX Reference KDFX Algorithm Speciﬁcations 0 .1 0 x 0 .2 0 x 0 .5 0 x 1 .0 0 x 2 .0 0 x 6 .0 0 x Figure 10-10 Various shaper curves used in the Spectral Multi-Taps Parameters for Spectral 4-Tap Page 1 Wet/Dry 0 to 100 %...
Page 122 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...
Page 123 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.
Page 124 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.
Page 125 KDFX Reference KDFX Algorithm Speciﬁcations L Output Level L Input Level R Output Delay Compressor Distortion Filters R Input Feedback 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...
Page 126 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...
Page 127 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) ❃...
Page 128 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.
Page 129 KDFX Reference KDFX Algorithm Speciﬁcations 139 Switch Loops Looped delay lines with input switching PAUs: 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.
Page 130 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 -100 to 100 % Max Fdbk On or Off HF Damping...
Page 131 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.
Page 132 KDFX Reference KDFX Algorithm Speciﬁcations 140 Moving Delay Generic stereo moving delay lines PAUs: 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.
Page 133 KDFX Reference KDFX Algorithm Speciﬁcations Algorithms 150–153: Choruses 150 Chorus 1 151 Chorus 2 152 Dual Chorus 1 153 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.
Page 134 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. Feedback Delay L Input...
Page 135 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. Feedback Delay L Input High Freq Damping L Output Tap Level From Right To Right...
Page 136 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 Shortest Center Longest Delay Input Delay of LFO Delay LFO Xcurs LFO Xcurs Tap Dly...
Page 137 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 Parameters for Chorus 2 Page 1 Wet/Dry -100 to 100%wet...
Page 138 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 24.0 dB L Fdbk Lvl...
Page 139 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.
Page 140 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. L Input Delay High Freq...
Page 141 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. Noise L Input Delay High Freq Damping Levels From Right To Right Static Channel Channel Level LFO Feedback L Output Static Tap Feedback Out Gain...
Page 142 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. (dB) 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.
Page 143 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. Range of LFO Shortest Center Longest Delay Input...
Page 144 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...
Page 145 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...
Page 146 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. StatDlyFin A ﬁne adjustment to the static delay tap length. The resolution is one sample. StatDlyLvl The level of the static delay tap.
Page 147 KDFX Reference KDFX Algorithm Speciﬁcations Algorithms 156–160: Phasers 156 LFO Phaser 157 LFO Phaser Twin 158 Manual Phaser 159 Vibrato Phaser 160 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.
Page 148 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 10 Hz 1000 10 Hz 1000 Freq Freq (ii) Figure 10-23 Response of typical phaser with (i) Wet/Dry = 50% and (ii) WetDry = -50%.
Page 149 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 10 Hz 1000 Freq Figure 10-24 Response of LFO Phaser Twin with Wet/Dry set to 100%.
Page 150 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...
Page 151 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.
Page 152 KDFX Reference KDFX Algorithm Speciﬁcations 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.
Page 153 KDFX Reference KDFX Algorithm Speciﬁcations 161 Allpass Phaser 3 Allpass ﬁlter phasers PAUs: 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.
Page 154 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).
Page 155 KDFX Reference KDFX Algorithm Speciﬁcations Combination Algorithms 700 Chorus+Delay 701 Chorus+4Tap 703 Chor+Dly+Reverb 706 Flange+Delay 707 Flange+4Tap 709 Flan+Dly+Reverb 722 Pitcher+Chor+Dly 723 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.
Page 156 KDFX Reference KDFX Algorithm Speciﬁcations Parameters for Two-effect Routing Page 1 Wet/Dry -100 to 100 % Out Gain Off; -79.0 to 24.0 dB Mix Effect -100 to 100 % Mix Effect -100 to 100 % A/Dry->B 0 to 100% Mix Effect Adjusts the amount of each effect that is mixed together as the algorithm wet signal.
Page 157 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.
Page 158 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.
Page 159 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.
Page 160 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...
Page 161 KDFX Reference KDFX Algorithm Speciﬁcations Conﬁgurable Combination Algorithms 702 Chorus<>4Tap 704 Chorus<>Reverb 705 Chorus<>LasrDly 708 Flange<>4Tap 710 Flange<>Reverb 711 Flange<>LasrDly 712 Flange<>Pitcher 713 Flange<>Shaper 714 LasrDly<>Reverb 715 Shaper<>Reverb A family of combination effect algorithms PAUs: Signal Routing Each of these combination algorithms offer 2 separate effects combined with ﬂexible signal routing mechanism.
Page 162 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. A/Dry->B Mix Chorus Input 2-Tap Blend 4-Tap Chorus Delay Mix 4 Tap Wet/Dry Output Blend...
Page 163 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.
Page 164 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. Left Right LFO1L LFO1R LFO2R LFO2L Figure 10-28 LFO delay taps in the conﬁgurable chorus and ﬂange Left Right...
Page 165 KDFX Reference KDFX Algorithm Speciﬁcations Left Right Contro l Set 1 LFO1L LFO1R Contro l Set 2 LFO2R LFO2L Figure 10-31 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...
Page 166 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.
Page 167 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. Laser Delay L Input...
Page 168 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.
Page 169 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.
Page 170 KDFX Reference KDFX Algorithm Speciﬁcations 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.
Page 171 KDFX Reference KDFX Algorithm Speciﬁcations 714 Quantize+Flange Digital quantization followed by ﬂanger PAUs: 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.
Page 172 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.
Page 173 KDFX Reference KDFX Algorithm Speciﬁcations Page 2 Fl Tempo System, 1 to 255 BPM Fl Fdbk -100 to 100% Fl Period 0 to 32 bts 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 174 KDFX Reference KDFX Algorithm Speciﬁcations the Tempo. At “0”, the LFOs stop oscillating and their phase is undetermined (wherever they stopped). 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).
Page 175 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.
Page 176 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.
Page 177 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%. PeakShape = 1.0 PeakShape = -1.0 PeakSplit = 0% PeakSplit = 0% Figure 10-36 Response of Pitcher with different PkShape settings. Applying Pitcher to sounds such as a single sawtooth wave will tend to not produce much output, unless the sawtooth frequency and the Pitcher frequency match or are harmonically related, because otherwise the peaks in the input spectrum won't line up with the peaks in the Pitcher ﬁlter.
Page 178 KDFX Reference KDFX Algorithm Speciﬁcations Page 2 Pt Inp Bal -100 to 100% Pt Out Pan -100 to 100% Pt Pitch C-1 to G 9 Pt Offset -12.0 to 12.0 ST Pt PkSplit 0 to 100% Pt PkShape -1.0 to 1.0 Page 3 ChPtchEnvL Triangle or Trapzoid...
Page 179 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.
Page 180 KDFX Reference KDFX Algorithm Speciﬁcations Distortion Algorithms 724 Mono Distortion 725 MonoDistort + Cab 726 MonoDistort + EQ 728 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...
Page 181 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 L Output Distortion R Input R Output Distortion 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.
Page 182 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.
Page 183 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...
Page 184 KDFX Reference KDFX Algorithm Speciﬁcations 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.
Page 185 KDFX Reference KDFX Algorithm Speciﬁcations 727 PolyDistort + EQ Eight stage distortion followed by equalization PAUs: 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.
Page 186 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.
Page 187 KDFX Reference KDFX Algorithm Speciﬁcations Page 4 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 Mid1 Gain -79.0 to 24.0 dB Mid2 Gain -79.0 to 24.0 dB Mid1 Freq 16 to 25088 Hz Mid2 Freq...
Page 188 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 ®...
Page 189 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).
Page 190 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 DistWarmth 16 to 25088 Hz Roto InOut In or Out Cabinet LP 16 to 25088 Hz Page 2...
Page 191 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.
Page 192 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. 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.
Page 193 KDFX Reference KDFX Algorithm Speciﬁcations 734 Distort + Rotary Small distortion followed by rotary speaker effect PAUs: 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.
Page 194 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.
Page 195 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.
Page 196 KDFX Reference KDFX Algorithm Speciﬁcations 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.
Page 197 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).
Page 198 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.
Page 199 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. (ii) Figure 10-51 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.
Page 200 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.
Page 201 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;...
Page 202 KDFX Reference KDFX Algorithm Speciﬁcations 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.
Page 203 KDFX Reference KDFX Algorithm Speciﬁcations Rotary Effects 738 VC+Dist+1Rotor 2 739 VC+Dist+HiLoRotr 740 VC+Tube+Rotor 4 741 Rotor 1 742 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 ®...
Page 204 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.
Page 205 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 DistWarmth 8 to 25088 Hz Roto InOut In or Out...
Page 206 KDFX Reference KDFX Algorithm Speciﬁcations L Output L Input Rotator Out Gain Vibrato/ Distortion Mic Levels Chorus Out Gain Rotator R Input R Output L Output L Input Rotator Out Gain Vibrato/ Distortion Mic Levels Chorus Out Gain Rotator R Input R Output Figure 55 VC+Dist+HiLoRotr and VC+Dist+HiLoRot2...
Page 207 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...
Page 208 KDFX Reference KDFX Algorithm Speciﬁcations L Input L Output Out Gain Rotator Cabinet Levels Out Gain 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...
Page 209 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...
Page 210 KDFX Reference KDFX Algorithm Speciﬁcations Roto InOut When set to In the rotary speaker is active; when set to Out the rotary speaker is bypassed. Dist Drive or Applies a boost to the input signal to overdrive the distortion algorithm. When Tube Drive overdriven, the distortion algorithm will soft-clip the signal.
Page 211 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.
Page 212 KDFX Reference KDFX Algorithm Speciﬁcations 743 Subtle Distort Adds small amount of distortion to signal. PAUs: 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.
Page 213 KDFX Reference KDFX Algorithm Speciﬁcations 744 Quantize+Alias Digital quantization followed by simulated aliasing. PAUs: 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.
Page 214 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.
Page 215 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.
Page 216 KDFX Reference KDFX Algorithm Speciﬁcations 745 Pitcher+MiniVerb Combination algorithm of Pitcher followed by MiniVerb PAUs: 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”...
Page 217 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...
Page 218 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.
Page 219 KDFX Reference KDFX Algorithm Speciﬁcations 746 Reverb+Compress A reverb and compressor in series. PAUs: 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.
Page 220 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.
Page 221 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.
Page 222 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. The difference for algorithms with “St” in the name is that they use stereo controls (ganged controls) rather than dual mono controls for the chorus and ﬂange components of the algorithms.
Page 223 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”...
Page 224 KDFX Reference KDFX Algorithm Speciﬁcations Page 3 Comp Atk 0.0 to 228.0 ms Comp Ratio 1.0:1 to 100:1, Inf:1 Comp Rel 0 to 3000 ms Comp Thres -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...
Page 225 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.
Page 226 KDFX Reference KDFX Algorithm Speciﬁcations speciﬁed frequency. Negative values cut the signal at the speciﬁed frequency. 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.
Page 227 Kurzweil engineers. It is adjusted with the Bass Tone, Mid Tone, and Treb Tone controls with values ranging from 0 to 10 commonly found on many guitar amps. The ﬂattest frequency response is obtained by setting Mid Tone to 10, and both Bass and Treb Tone controls to 0.
Page 228 KDFX Reference KDFX Algorithm Speciﬁcations Basic Flat response from 100 Hz to 4 khz with 24dB/oct rolloffs on each end Lead 12 Open back hard American type with one 12” driver 2x12 Closed back classic American type with two 12” drivers Open 12 Open back classic American type with one 12”...
Page 229 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.
Page 230 KDFX Reference KDFX Algorithm Speciﬁcations 900 Env Follow Filt Envelope following stereo 2 pole resonant ﬁlter PAUs: 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).
Page 231 KDFX Reference KDFX Algorithm Speciﬁcations Envelope Follower L Input L Input Resonant Filter R Input R Input Figure 10-66 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...
Page 232 KDFX Reference KDFX Algorithm Speciﬁcations 901 TrigEnvelopeFilt Triggered envelope following stereo 2 pole resonant ﬁlter PAUs: 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.
Page 233 KDFX Reference KDFX Algorithm Speciﬁcations Triggered Envelope Trigger Envelope Follower Generator 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).
Page 234 KDFX Reference KDFX Algorithm Speciﬁcations 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.
Page 235 KDFX Reference KDFX Algorithm Speciﬁcations 902 LFO Sweep Filter LFO following stereo 2 pole resonant ﬁlter PAUs: The LFO following ﬁlter is a stereo resonant ﬁlter with the resonant frequency controlled by an LFO (low- frequency 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).
Page 236 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 Saw+ Saw- Pulse...
Page 237 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%.
Page 238 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).
Page 239 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 Page 2 L FiltType Lowpass R FiltType Highpass...
Page 240 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.
Page 241 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. 0 dB 0 dB Bandwidth Freq Freq (ii) Figure 10-73 Frequency response of (i) a single bandpass ﬁlter; (ii) the sum of two bandpass ﬁlters Now that we’ve gone through what the algorithm does, the question becomes “Why are we doing this?”...
Page 242 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...
Page 243: Ring Modulator
KDFX Reference KDFX Algorithm Speciﬁcations 907 Ring Modulator A conﬁgurable ring modulator PAUs: 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.
Page 244 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: Out Gain L Input L Output R Output R Input Figure 10-75 “L*R”...
Page 245 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 Saw+ Saw- Pulse Expon Figure 10-77 Conﬁgurable Wave Shapes Parameters Page 1 Wet/Dry 0 to 100%wet...
Page 246 KDFX Reference KDFX Algorithm Speciﬁcations 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.
Page 247 KDFX Reference KDFX Algorithm Speciﬁcations 908 Pitcher Creates pitch from pitched or non-pitched signal PAUs: 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.
Page 248 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. Figure 10-80 [100, 0, 0, 0] In Figure 10-80, there are deeper notches between wider peaks Figure 10-81 [-100, 0, 0, 0] In Figure 10-81, there are peaks on odd harmonic multiples and notches on even harmonic multiples of a...
Page 249 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. Figure 10-83 [50,100,100,100] Figure 10-83 is halfway between [0,100,100,100] and [100,100,100,100]. Figure 10-84 [-50,100,100,100] 10-167...
Page 250 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. Figure 10-85 [100, -100, 100, 100] Figure 10-86 [100, 100, -100, 100] Figure 10-87 [100, 100, 100, -100]...
Page 251 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.
Page 252 KDFX Reference KDFX Algorithm Speciﬁcations 909 Super Shaper Ridiculous shaper PAUs: 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.
Page 253 KDFX Reference KDFX Algorithm Speciﬁcations 910 3 Band Shaper 3 band shaper PAUs: 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.
Page 254 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.
Page 255 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.
Page 256 KDFX Reference KDFX Algorithm Speciﬁcations 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.
Page 257 KDFX Reference KDFX Algorithm Speciﬁcations 914 Revrse LaserVerb A bizarre reverb which runs backwards in time. PAUs: 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.” Since KDFX cannot break the universal rules of causality (sorry, KDFX doesn’t know what you are about to play!), there can be a signiﬁcant delay between what you play and when you hear it.
Page 258 KDFX Reference KDFX Algorithm Speciﬁcations L Input Contour L Output Delay R Output "Dry" Out Gain 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 -100 to 100 % Page 2 Dly Coarse...
Page 259 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.”...
Page 260 KDFX Reference KDFX Algorithm Speciﬁcations 915 Gated LaserVerb The LaserVerb algorithm with a gate on the output. PAUs: 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.
Page 261 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 |||||||||||||||||||||||||||||| Reduction ❃...
Page 262 KDFX Reference KDFX Algorithm Speciﬁcations 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.
Page 263 KDFX Reference KDFX Algorithm Speciﬁcations 916 Poly Pitcher Creates pitch from pitched or non-pitched signal—twice. PAUs: 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.
Page 264 KDFX Reference KDFX Algorithm Speciﬁcations 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 An offset from the pitch frequency in semitones. Not only are the A and B pitchers PchOff AR treated separately, the left and right channels have their own controls for increased PchOff BL...
Page 265 KDFX Reference KDFX Algorithm Speciﬁcations 917 Frequency Offset 918 MutualFreqOffset Single Side Band Modulation PAUs: 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.
Page 266 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.
Page 267 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...
Page 268 KDFX Reference KDFX Algorithm Speciﬁcations 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.
Page 269 KDFX Reference KDFX Algorithm Speciﬁcations 919 WackedPitchLFO An LFO based pitch shifter. PAUs: 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).
Page 270 KDFX Reference KDFX Algorithm Speciﬁcations 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.
Page 271 KDFX Reference KDFX Algorithm Speciﬁcations 920 Chaos! Fun with chaos and instability PAUs: 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.
Page 272 KDFX Reference KDFX Algorithm Speciﬁcations ( i ) ( i i ) Figure 98 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.
Page 273 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.
Page 274 KDFX Reference KDFX Algorithm Speciﬁcations 948 Band Compress Stereo algorithm to compress a single frequency band PAUs: 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.
Page 275 KDFX Reference KDFX Algorithm Speciﬁcations Filter Gain Select Select Compressor L, R or L, R or Computation Max L, R Max L, R L, R, Bandpass Bandpass or L&R Compress Filters Filters Channel L Input L Output Delay Notch Gain Filters Delay R Input...
Page 276 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.
Page 277 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).
Page 278 KDFX Reference KDFX Algorithm Speciﬁcations 949 CompressDualTime Compression with 2 release time constants PAUs: 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.
Page 279 KDFX Reference KDFX Algorithm Speciﬁcations Maximum Magnitude Maximum Compressor Magnitude Computations L Input L Output Delay Compressor Out Gain Delay Compressor R Input R Output Figure 102 Opto Compress The soft-knee compressor is used which has a more gradual transition from compressed to unity gain. Threshold In Amp Figure 103...
Page 280 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 Page 2 Atk Time 0.0 to 228.0 ms...
Page 281 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.
Page 282 KDFX Reference KDFX Algorithm Speciﬁcations 950 HardKnee Compress 951 SoftKneeCompress Stereo hard- and soft-knee signal compression algorithms PAUs: 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.
Page 283 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. Threshold In Amp Threshold In Amp Figure 10-105 Hard- and Soft-Knee Compression Characteristics...
Page 284 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.
Page 285 KDFX Reference KDFX Algorithm Speciﬁcations 952 Expander A stereo expansion algorithm PAUs: 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.
Page 286 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. 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.
Page 287 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.
Page 288 KDFX Reference KDFX Algorithm Speciﬁcations 953 Compress w/SC EQ Stereo soft-knee compression algorithm with ﬁltering in the side chain PAUs: 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.
Page 289 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...
Page 290 KDFX Reference KDFX Algorithm Speciﬁcations 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.
Page 291 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.
Page 292 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.
Page 293 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.
Page 294 KDFX Reference KDFX Algorithm Speciﬁcations Page 4 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...
Page 295 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.
Page 296 KDFX Reference KDFX Algorithm Speciﬁcations 956 Compress 3 Band Stereo soft-knee 3 frequency band compression algorithm PAUs: 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.
Page 297 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.
Page 298 KDFX Reference KDFX Algorithm Speciﬁcations 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”.
Page 299 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.
Page 300 KDFX Reference KDFX Algorithm Speciﬁcations attack gate release time time time signal rises signal falls above threshold 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.
Page 301 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.
Page 302 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.
Page 303 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.
Page 304 KDFX Reference KDFX Algorithm Speciﬁcations 959 2 Band Enhancer 2 band spectral modiﬁer PAUs: 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 non- destructively split into 2 frequency bands using 6 dB/oct hipass and lopass ﬁlters (Figure 1).
Page 305 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.
Page 306 KDFX Reference KDFX Algorithm Speciﬁcations 960 3 Band Enhancer 3 band spectral modiﬁer PAUs: 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).
Page 307 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...
Page 308 KDFX Reference KDFX Algorithm Speciﬁcations 961 Tremolo 962 Tremolo BPM A stereo tremolo or auto-balance effect PAUs: 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.
Page 309 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 LFO Phase 0.0 to 360.0 deg PulseWidth 0 to 100 %...
Page 310 KDFX Reference KDFX Algorithm Speciﬁcations 963 AutoPanner A stereo auto-panner PAUs: 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).
Page 311 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 Rate Scale 1 to 25088 x PulseWidth 0 to 100% Origin -100 to 100 % PanWidth 0 to 100 %...
Page 312 KDFX Reference KDFX Algorithm Speciﬁcations 964 Dual AutoPanner A dual mono auto-panner PAUs: 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”...
Page 313 KDFX Reference KDFX Algorithm Speciﬁcations PulseWidth Sine Saw+ Saw- Pulse 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 Page 2...
Page 314 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. 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.
Page 315 KDFX Reference KDFX Algorithm Speciﬁcations 965 SRS ® Licenced Sound Retrieval System or SRS effect PAUs: The SRS 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.
Page 316 KDFX Reference KDFX Algorithm Speciﬁcations 966 Stereo Image Stereo enhancement with stereo channel correlation metering PAUs: 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.
Page 317 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...
Page 318 KDFX Reference KDFX Algorithm Speciﬁcations 967 Mono -> Stereo Stereo simulation from a mono input signal PAUs: 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.
Page 319 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...
Page 320 KDFX Reference KDFX Algorithm Speciﬁcations 968 Graphic EQ 969 Dual Graphic EQ Dual mono 10 band graphic equalizer PAUs: 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.
Page 321 KDFX Reference KDFX Algorithm Speciﬁcations (dB) 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...
Page 322 KDFX Reference KDFX Algorithm Speciﬁcations Page 3 R 31Hz G -12.0 to 24.0dB R 1000Hz G -12.0 to 24.0dB R 62Hz G -12.0 to 24.0dB R 2000Hz G -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...
Page 323 KDFX Reference KDFX Algorithm Speciﬁcations 970 5 Band EQ Stereo bass and treble shelving ﬁlters and 3 parametric EQs PAUs: This algorithm is a stereo 5 band equalizer with 3 bands of parametric EQ and with bass and treble tone controls.
Page 324 KDFX Reference KDFX Algorithm Speciﬁcations 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.
Page 325 KDFX Reference KDFX Algorithm Speciﬁcations 971 3 Band EQ Bass and treble shelving ﬁlter and parametric EQs PAUs: 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.
Page 326 KDFX Reference KDFX Algorithm Speciﬁcations 972 HF Stimulate 1 High-frequency stimulator PAUs: 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.
Page 327 KDFX Reference KDFX Algorithm Speciﬁcations 975 HarmonicSuppress Stereo algorithm to expand a single frequency band or harmonic bands. PAUs: 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.
Page 328 KDFX Reference KDFX Algorithm Speciﬁcations Filter Gain Select L, Expander R, or Computation Max L, R L, R, 0 dB 0 dB Or L & R Exp Channel Analysis Filters (Single or Multi Band) L Input L Output Delay Notch Filters Out Gain (Single or Multi Band) Delay...
Page 329 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 Out Gain Off, -79.0 to 24.0 dB Harmonics Even, Odd, All Fund FreqC...
Page 330 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.
Page 331: Fxmod Diagnostic
KDFX Reference KDFX Algorithm Speciﬁcations 998 FXMod Diagnostic FXMod source metering utility algorithm PAUs: 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.
Page 332: Stereo Analyze
KDFX Reference KDFX Algorithm Speciﬁcations 999 Stereo Analyze Signal metering and channel summation utility algorithm PAUs: 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.
Page 333 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.
Page 334 KDFX Reference KDFX Algorithm Speciﬁcations 10-252...
Page 335 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.
Page 336 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.
Page 337 Glossary 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).
Page 338 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.
Page 339 VAST Variable Architecture Synthesis Technology. The term created by Kurzweil engineers to describe the multi-faceted capabilities of the K2661, combining sample playback (ROM and RAM), and waveform generation with a broad array of processing functions.
Page 340 Glossary 11-6...
Page 341: Overview
Chapter 12 Triple Modular Processing Overview Triple-modular processing is an enhancement to Kurzweil’s VAST synthesis model (Variable- Layer-1 algorithm Architecture Synthesis Technology). The VAST model incorporates Layer-2 algorithm multi-layer programs; each layer in a VAST program uses an algorithm Layer-3 algorithm...
Page 342: Triples And Polyphony
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).
Page 343: Algorithms For 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.
Page 344: Creating Triples
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.
Page 345: Editing Triples
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.
Page 346: Amplitude Envelopes
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.
Page 347 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 •...
Page 348 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. EditProg:ALG|||||||||||||||<>LyrT2:2/3|| |||||||||||||||||||||||||||||||||||||||| Algorithm:65|||||[Triple,|layer|2|of|3]| |||||||||||||||| ||||||||||||||||||||||| PITCH| NONE|| XFADE|...
Page 349: Other Considerations
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. There are three primary points to remember, each of which signiﬁcantly affects the sound of a triple: •...
Page 350 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.
Page 351 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.
Page 352: Algorithm Reference
Triple Modular Processing Algorithm Reference Algorithm:35 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 PITCH NONE NONE NONE each block of the algorithm.
Page 353 Triple Modular Processing Algorithm Reference Algorithm:37 Algorithm:39 |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| PITCH NONE NONE PITCH NONE NONE NONE NONE PARAMETRIC EQ STEEP RESONANT BASS LOPASS LOPASS LOPASS LOPASS LOPASS HIPASS HIPASS HIPASS HIPASS HIPASS ALPASS ALPASS ALPASS ALPASS ALPASS GAIN GAIN GAIN GAIN GAIN SHAPER...
Page 354 Triple Modular Processing Algorithm Reference Algorithm:41 Algorithm:43 |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| PITCH NONE NONE NONE NONE PITCH NONE NONE NONE NONE xGAIN xGAIN LOPASS LOPASS LOPASS +GAIN LOPASS LOPASS +GAIN LOPASS HIPASS HIPASS HIPASS XFADE HIPASS HIPASS XFADE HIPASS ALPASS ALPASS ALPASS AMPMOD ALPASS ALPASS...
Page 355 Triple Modular Processing Algorithm Reference Algorithm:45 Algorithm:47 |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| PITCH NONE NONE NONE NONE PITCH NONE NONE NONE xGAIN 2PARAM SHAPER xGAIN LOPASS +GAIN LOPASS LOPASS LOPAS2 GAIN LOPASS +GAIN HIPASS XFADE HIPASS HIPASS 2POLE LOWPASS HIPASS XFADE ALPASS AMPMOD ALPASS ALPASS BANDPASS FILT...
Page 356 Triple Modular Processing Algorithm Reference Algorithm:49 Algorithm:51 |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| PITCH NONE NONE NONE PITCH NONE NONE 2PARAM SHAPER xGAIN PARAMETRIC EQ xGAIN LOPAS2 GAIN LOPASS +GAIN STEEP RESONANT BASS +GAIN 2POLE LOWPASS HIPASS XFADE XFADE BANDPASS FILT ALPASS AMPMOD AMPMOD NOTCH FILTER GAIN 2POLE ALLPASS...
Page 357 Triple Modular Processing Algorithm Reference Algorithm:53 Algorithm:55 |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| PITCH NONE NONE NONE NONE PITCH NONE NONE NONE NONE xGAIN xGAIN xGAIN xGAIN LOPASS +GAIN LOPASS +GAIN LOPASS +GAIN +GAIN LOPASS HIPASS XFADE HIPASS XFADE HIPASS XFADE XFADE HIPASS ALPASS AMPMOD ALPASS AMPMOD...
Page 358 Triple Modular Processing Algorithm Reference Algorithm:57 Algorithm:59 PITCH NONE NONE NONE NONE PITCH NONE NONE NONE NONE xGAIN xGAIN xGAIN xGAIN xGAIN LOPASS LOPASS +GAIN +GAIN LOPASS +GAIN +GAIN +GAIN HIPASS HIPASS XFADE XFADE HIPASS XFADE XFADE XFADE ALPASS ALPASS AMPMOD AMPMOD ALPASS...
Page 359 Triple Modular Processing Algorithm Reference Algorithm:61 Layer-2 Algorithms (63–100) Algorithm:63 SYNCM SYNCS NONE NONE xGAIN +GAIN LOPASS XFADE HIPASS PITCH NONE NONE NONE NONE AMPMOD ALPASS xGAIN GAIN +GAIN LOPASS LOPASS LOPASS SHAPER XFADE HIPASS HIPASS HIPASS DIST AMPMOD ALPASS ALPASS ALPASS GAIN...
Page 360 Triple Modular Processing Algorithm Reference Algorithm:65 Algorithm:67 PITCH NONE NONE NONE NONE PITCH NONE NONE NONE xGAIN xGAIN LOPAS2 GAIN LOPASS +GAIN LOPASS LOPASS LOPASS +GAIN HIPAS2 GAIN HIPASS XFADE HIPASS HIPASS HIPASS XFADE BAND2 GAIN ALPASS AMPMOD ALPASS ALPASS ALPASS AMPMOD NOTCH2 GAIN...
Page 361 Triple Modular Processing Algorithm Reference Algorithm:69 Algorithm:71 PITCH NONE NONE NONE PITCH NONE NONE NONE NONE xGAIN LOPAS2 GAIN xGAIN LOPASS +GAIN HIPAS2 GAIN LOPASS LOPASS LOPASS +GAIN HIPASS XFADE BAND2 GAIN HIPASS HIPASS HIPASS !GAIN ALPASS AMPMOD NOTCH2 GAIN ALPASS ALPASS ALPASS...
Page 362 Triple Modular Processing Algorithm Reference Algorithm:73 Algorithm:75 PITCH NONE NONE NONE NONE PITCH NONE NONE NONE NONE xGAIN xGAIN xGAIN xGAIN +GAIN LOPASS LOPASS +GAIN +GAIN LOPASS LOPASS +GAIN XFADE HIPASS HIPASS !GAIN XFADE HIPASS HIPASS !GAIN AMPMOD ALPASS ALPASS AMPMOD ALPASS ALPASS...
Page 363 Triple Modular Processing Algorithm Reference Algorithm:77 Algorithm:79 PITCH NONE NONE NONE NONE PITCH NONE NONE NONE NONE xGAIN xGAIN xGAIN xGAIN +GAIN LOPASS LOPASS +GAIN +GAIN LOPASS LOPASS +GAIN XFADE HIPASS HIPASS !GAIN XFADE HIPASS HIPASS !GAIN AMPMOD ALPASS ALPASS AMPMOD ALPASS ALPASS...
Page 364 Triple Modular Processing Algorithm Reference Algorithm:81 Algorithm:83 NONE GAIN NONE NONE HIFREQ STIMULATOR 2PARAM SHAPER LOPAS2 GAIN PARAMETRIC EQ LOPAS2 GAIN HIPAS2 GAIN STEEP RESONANT BASS 2POLE LOWPASS BAND2 GAIN 4POLE LOPASS W/SEP BANDPASS FILT NOTCH2 GAIN 4POLE HIPASS W/SEP NOTCH FILTER LP2RES GAIN TWIN PEAKS BANDPASS...
Page 365 Triple Modular Processing Algorithm Reference Algorithm:85 Algorithm:87 NONE NONE NONE NONE NONE NONE 2PARAM SHAPER xGAIN LOPAS2 GAIN LOPAS2 GAIN LOPASS +GAIN LOPASS LOPASS HIPAS2 GAIN 2POLE LOWPASS HIPASS !GAIN HIPASS HIPASS BAND2 GAIN BANDPASS FILT ALPASS ALPASS ALPASS NOTCH2 GAIN NOTCH FILTER GAIN GAIN...
Page 366 Triple Modular Processing Algorithm Reference Algorithm:89 Algorithm:91 NONE NONE NONE NONE NONE NONE GAIN xGAIN 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...
Page 367 Triple Modular Processing Algorithm Reference Algorithm:93 Algorithm:95 NONE NONE GAIN NONE NONE NONE NONE x SHAPEMOD OSC xGAIN LOPASS + SHAPEMOD OSC LOPASS +GAIN LOPASS LOPASS HIPASS HIPASS XFADE HIPASS HIPASS ALPASS ALPASS AMPMOD ALPASS ALPASS GAIN GAIN GAIN GAIN SHAPER SHAPER SHAPER...
Page 368 Triple Modular Processing Algorithm Reference Algorithm:97 Algorithm:99 NONE NONE NONE NONE NONE NONE NONE NONE xGAIN xGAIN xGAIN LOPASS +GAIN LOPASS +GAIN LOPASS LOPASS LOPASS +GAIN HIPASS XFADE HIPASS !GAIN HIPASS HIPASS HIPASS XFADE ALPASS AMPMOD ALPASS ALPASS ALPASS ALPASS AMPMOD GAIN GAIN...
Page 369 Triple Modular Processing Algorithm Reference Algorithm:103 Layer-3 Algorithms (101–126) Algorithm:101 NONE NONE LOPAS2 GAIN LOPASS HIPAS2 GAIN HIPASS BAND2 GAIN NONE NONE ALPASS NOTCH2 GAIN LOPAS2 GAIN GAIN LP2RES GAIN HIPAS2 GAIN LOPASS SHAPER SHAPE2 GAIN BAND2 GAIN HIPASS DIST LPGATE GAIN NOTCH2 GAIN ALPASS...
Page 370 Triple Modular Processing Algorithm Reference Algorithm:105 Algorithm:107 NONE NONE NONE PANNER LOPAS2 GAIN LOPAS2 LOPAS2 GAIN HIPAS2 GAIN HIPAS2 HIPAS2 GAIN BAND2 GAIN LPGATE BAND2 GAIN NOTCH2 GAIN LP2RES NOTCH2 GAIN LP2RES GAIN SHAPE2 LP2RES GAIN SHAPE2 GAIN SHAPE2 GAIN LPGATE GAIN LPGATE GAIN PARA MID...
Page 371 Triple Modular Processing Algorithm Reference Algorithm:109 Algorithm:111 NONE NONE xAMP NONE NONE xAMP LOPAS2 GAIN +AMP LOPAS2 GAIN +AMP HIPAS2 GAIN LOPASS !AMP LOPASS HIPAS2 GAIN !AMP BAND2 GAIN HIPASS HIPASS BAND2 GAIN NOTCH2 GAIN ALPASS ALPASS NOTCH2 GAIN LP2RES GAIN GAIN GAIN LP2RES GAIN...
Page 372 Triple Modular Processing Algorithm Reference Algorithm:113 Algorithm:115 NONE NONE NONE xAMP NONE NONE NONE xAMP +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...
Page 373 Triple Modular Processing Algorithm Reference Algorithm:117 Algorithm:119 NONE NONE NONE NONE NONE NONE xAMP xGAIN LOPAS2 xGAIN +AMP LOPASS +GAIN HIPAS2 LOPASS +GAIN LOPASS !AMP HIPASS !GAIN LPGATE HIPASS !GAIN HIPASS ALPASS LP2RES ALPASS ALPASS GAIN SHAPE2 GAIN GAIN SHAPER SHAPER SHAPER DIST...
Page 374 Triple Modular Processing Algorithm Reference Algorithm:121 Algorithm:123 NONE NONE NONE xAMP NONE xAMP NONE xAMP xGAIN xGAIN +AMP +AMP +AMP LOPASS +GAIN +GAIN !AMP LOPASS !AMP LOPASS !AMP HIPASS !GAIN !GAIN HIPASS HIPASS ALPASS ALPASS ALPASS GAIN GAIN GAIN SHAPER SHAPER SHAPER DIST...
Page 375 Triple Modular Processing Algorithm Reference Algorithm:125 NONE NONE 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 NONE NONE LOPAS2 LOPAS2 HIPAS2 HIPAS2...
Page 376: K2661 Triple Programs: Controller Assignments
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.
Page 377 Triple Modular Processing K2661 Triple Programs: Controller Assignments Program ID Program Name MIDI Controller Assignment MWheel Pitch modulation Data Shaper amount MIDI22 Lowpass ﬁlter frequency MIDI23 X gain amount MIDI24 Impact Mono Triple Lead MIDI25 Chorus-delay-reverb wet/dry amount MIDI26 Chorus amount MIDI27 Delay amount MIDI28...
Page 378 Triple Modular Processing K2661 Triple Programs: Controller Assignments Program ID Program Name MIDI Controller Assignment MWheel Modulating sawtooth, ﬂange rate (FX) Data Filter frequency MIDI22 Amplitude modulation depth MIDI23 Attack envelope control MIDI24 Frizzle distortion StringMod Pad MIDI25 Aux reverb send & aux reverb time MIDI26 Bus2 reverb wet/dry MIDI27...
Page 379: Alphanumeric Buttonpad Entries For Dsp Functions
Triple Modular Processing Alphanumeric Buttonpad Entries for DSP Functions Program ID Program Name MIDI Controller Assignment MWheel Clocked pitch effect depth Data Lowpass frequency MIDI22 Lowpass2 freq / Parametric EQ frequency MIDI23 Lowpass2 Gain / Shaper Amount MIDI24 Crossfade master / slave H.Sync Rhythm MIDI25 Stereo delay level...
Page 380 Triple Modular Processing Alphanumeric Buttonpad Entries for DSP Functions Function Block Numeric Function Block Numeric DSP Function DSP Function Size Entry Size Entry !AMP + SHAPE MOD OSC +AMP 2PARAM SHAPER +GAIN 2POLE ALLPASS ALPASS 2POLE LOPAS AMP MOD OSC AMPMOD AMP U AMP L BAND2...
Page 381 Triple Modular Processing Alphanumeric Buttonpad Entries for DSP Functions Function Block Numeric Function Block Numeric DSP Function DSP Function Size Entry Size Entry LOPASS 2POLE LOPAS HIPASS BANDPASS FILT ALPASS NOTCH FILT GAIN 2POLE ALLPASS SHAPER PARA BASS DIST PARA TREBLE AMP U AMP L SINE BAL AMP...
Page 382 Triple Modular Processing Alphanumeric Buttonpad Entries for DSP Functions 12-42...
Page 383: K2661 Features
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. •...
Page 384: Environmental Speciﬁcations
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;...
Page 385: Safe Voltage Ranges
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.
Page 386: Midi Implementation Chart
Speciﬁcations MIDI Implementation Chart MIDI Implementation Chart Model: K2661 Manufacturer: Date: 3/21/95 Young Chang Version 1.0 Digital Synthesizers Function Transmitted Recognized Remarks Default Memorized Basic Channel Changed 1 - 16 1 - 16 Default Mode 3 Mode 3 Use Multi mode for multi- timbral applications Mode Messages...
Page 387: Sysex Message Structure
Corresponding SysEx Command Value Decimal Value Start of SysEx message Manufacturer ID (7 is Kurzweil/Young Chang) Unit ID; if you’re sending SysEx from the same source to multiple K2661s, use a different ID value for each one Product ID (78 is K2000/K2500/K2600/K2661)
Page 388: Body
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. Allowable Values Allowable Values Command Type...
Page 389: Device Codes
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. Device Code Device Code Studio Component (Hexadecimal)
Page 390 SysEx Control of KDFX MSB and LSB 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. MSB and LSB The K2661 can accept either unsigned (positive only) or signed (positive and negative) values. Unsigned values can range from 0 to 255, and signed values can range from -128 to 127.
Page 391 SysEx Control of KDFX MSB and LSB Here’s a different way to look at it: Parameter Value MSB (Hexadecimal) (Decimal) Unsigned, 128 to 255 (Parameter Value - 128 decimal) Unsigned, 0 to 127 Parameter Value (decimal) Signed, 0 to 127 Parameter Value (decimal) Signed, -128 to -1 (Parameter Value + 128 decimal)
Page 392 SysEx Control of KDFX MSB and LSB...
Page 393: Groove Setups
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.
Page 394: Special Purpose 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.
Page 395: Qa Banks
Standard K2661 ROM Objects QA Banks QA Banks 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...
Page 396: Setups
Standard K2661 ROM Objects Setups Setups setup long ribbon function See Groove Setups (above) for information Barren Landscape Lunar Wind trigger about Groove Setups (setups 1–30). Otherworldly LP freq Super Lush pitch bend setup long ribbon function Pad Soundscape BP Freq Tripped Up Fonk Fill Glassy Eyed...
Page 397: Songs
Standard K2661 ROM Objects Songs Songs song name SUV Ad? Arr SUV Ad? Grv song name SUV Ad? Fll New Song 80sLoveJam Arr Tripped Up Arr 80sLoveJam Grv Tripped Up Grv 80sLoveJam Fll Tripped Up Fll HoeDown! Arr Groovay Grv HoeDown! Grv Groovay Toms HoeDown! Fll...
Page 398: Programs
Standard K2661 ROM Objects Programs Programs name ctrl function MWheel "LFO Detune, Layer Delay" Tine Overtones (modula- name ctrl function Data tor pitch) MIDI25 (aux) Hall Lvl+Time MIDI22 FM Depth Concert Piano MIDI29 Soundboard W/D MIDI23 Attack Rate Soft Pedal is active MIDI24 LFO Pan Depth Data...
Page 399 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel Leslie Depth MWheel Fade Solo Strings Data Drawbar 1 Data Fade Ensemble Strings MIDI22 Drawbar 2 (Aux) Rev Time (ensemble Pachelbel Strngs MIDI25 strings) "Drawbar 3, (aux) Plate MIDI23 Lvl"...
Page 400 Standard K2661 ROM Objects Programs name ctrl function name ctrl function LoPass Freq cut+Res MWheel Vibrato Data (string) Data Lyr Enable MIDI22 LoPass Freq cut (vox) MIDI22 EnvCtl: Imp MIDI23 "Lyr detune, LoPass Res" MIDI23 EnvCtl: Att+Dec MIDI24 Panner Width MIDI24 EnvCtl: Rel Steel Str Guitar...
Page 401 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel Vibrato MWheel Vibrato Toggle: to Stereo Guitar Data toggle: Lyrs Data Mutes "LoPass adj, Shaper amt, MIDI22 MIDI22 Para EQ (VAST) EnvCtl: Imp+Att" Guitar Mutes MIDI25 (Aux) Reverb Wet/Dry "EnvCtl: Imp, Para- MIDI23 MIDI26...
Page 402 Standard K2661 ROM Objects Programs name ctrl function name ctrl function Vibrato MWheel Multiple Layer toggle Data LoPass Freq Data "Pitch: Kicks, Toms" MIDI22 "LoPass Freq, Impact" MIDI22 Pitch: Snares MIDI23 Env Ctl: Attack "HF Stimulator: Cymbal, MIDI23 MIDI24 Env Ctl: release HiHats"...
Page 403 Standard K2661 ROM Objects Programs name ctrl function name ctrl function Pitch for most Needle FX MWheel Tremolo Depth MWheel and other SFX Data Tremolo Rate "Pitch: Kicks, Toms, "Partial Pitches, Layer Data MIDI22 HiHats" Delay" MIDI22 "Pitch: Snares, Crash1" MIDI23 InEQ: Bass Assorted Filters: Kick,...
Page 404 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel "swell, Vibrato" MWheel Vibrato toggle: DynTrumpet ^ Data "InEQ: Bass, LoPass Freq" Data Miles MIDI22 InEQ: Treb MIDI22 LoPass Freq+Res MIDI23 "EnvCtl: Imp, Att+Dec" MIDI23 "EnvCtl: Imp, InEQ: Bass" MIDI24 EnvCtl: Rel MIDI24...
Page 405 Standard K2661 ROM Objects Programs name ctrl function name ctrl function "Vibrato, LoPass sep MWheel Vibrato MWheel (expression / dynamic ctl)" "Low Pass Freq,Env Ctl Data Data toggle: Horn ^ Solo String Attack & Release" MIDI22 LoPass Freq+Res cut MIDI23 (Aux) Lazerverb spacing MIDI23 Ens Strings Vol cut...
Page 406 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel Vibrato MWheel Vibrato Data FM Depth (timbre) Data Modulator Pitch (timbre) MIDI22 Layer Delay MIDI22 Layer enable MIDI23 "Env Ctl, atk & decay" "Env Ctl Atk Rate, Decay MIDI23 MIDI24 Release Rate...
Page 407 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel none Band Pass Freq, Width, MWheel Data High Pass Freq Amplitude MIDI22 Saw+ Pitch Data Lyr enable BandPass Freq + Width - MIDI23 LFO depth - LP Freq Portal MIDI22 Lyr 2...
Page 408 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel String Lvl MWheel Wah Filter Data InEQ: Treb boost Foot Wah Filter (aux) Room Lvl, (aux) FDR Data Tremolo Depth MIDI25 MIDI22 Tremolo Rate 104 E Grand Stack MIDI26 Flange Mix MIDI23...
Page 409 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel Leslie Depth MWheel none Data Drawbar 1 Data Treble Shelf EQ MIDI22 Drawbar 2 122 Adagio Strings MIDI22 Bass Shelf EQ "Drawbar 3, (aux) Plate MIDI25 Hall Wet/Dry MIDI23 Lvl"...
Page 410 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel "Vibrato, Para EQ Freq" MWheel Notch Filt Tremolo Data Boost Vox Layer Data Para Mid Freq MIDI23 Bass EQ (KDFX) MIDI22 "Para Mid Amp (ES335), " MIDI24 Treble EQ (KDFX) MIDI23 EnvCtl: Att 129 Bamboo Voices...
Page 411 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel Vibrato/Tremolo MWheel Vibrato Data Enables Dist Gtr Lyrs Data Low Pass Freq "Para EQ ^ Hi Freq Stim MIDI22 EnvCtl: Imp MIDI22 Drive, Dist EQ" MIDI23 EnvCtl: Att MIDI23 "EnvCtl: Imp, Dist Drive"...
Page 412 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel Vibrato "Assorted Filters, on most MWheel Data "Shaper amt, HiPass Freq" elements" MIDI22 InEQ: Bass "PItch: Kicks (B1, C2), and Data Toms" MIDI23 EnvCtl: Imp "Pitch: Snares (D2, E2), MIDI24 EnvCtl: Rel MIDI22...
Page 413 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel none MWheel "Vibrato, mute adj" Data "Pitch Toms, Kicks" Data LoPass Freq MIDI22 Pitch Snares MIDI22 HiPass Freq 152 e Drums MIDI23 Para EQ Toms MIDI23 EnvCtl: Imp MIDI25 (aux) Hall Level MIDI24...
Page 414 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel Vibrato MWheel Vibrato Data Low Pass Freq Data LoPass Freq 163 Bassoon MIDI25 FX1 Wet/Dry MIDI22 Pitch Shift - Fifths MIDI26 "FX1, Aux Reverb Time" MIDI23 EnvCtl: Decay MPress Vibrato MIDI24...
Page 415 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel Vibrato MWheel Vibrato Data Pulse Width Data Octave Pitch Shift Layer 1 MIDI22 Env Ctl: Attack Low Pass Freq, fade Layer MIDI22 MIDI23 Env Ctl: Impact 172 Pulsepluck MIDI24 Disable Layer 3 177 Modular Lead...
Page 416 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel Vibrato MWheel Vibrato Data InEQ: Bass Hi Freq Stimulator Drive Data MIDI22 InEQ: Treb (less) MIDI22 Fade Out Layer 1 MIDI23 Env Ctl: Attack MIDI24 Env Ctl: Release MIDI24 Env Ctl: Release MIDI25...
Page 417 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel Vibrato MWheel SFX Pitch Data Low Pass Freq Data "Pitch: Kick, Toms" MIDI22 Env Ctl: Attack MIDI22 "Pitch: Snares, AuxPerc" MIDI23 Env Ctl: Release MIDI23 "Filter: Hihats, Cymbals" MIDI24 FX3 Delay Mix MIDI24...
Page 418 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel Multiple Layer toggle "Vibrato, HiPass Freq MWheel "Pitch: Kicks, Snares, Toms, (Chirp)" Data ""Shaker""" Data LoPass Gate Crossfade to tertiary Kicks; MIDI22 EnvCtl: Imp MIDI22 Pitch: Elec. Snare only MIDI23 EnvCtl: Att Filter: Kicks, Snares,...
Page 419 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel Vibrato MWheel "Vibrato, LoPass Res" Data toggle: Mellostr ^ ShineOn Data toggle: WispSingrs + Glass LoPass+BandPass LoPass Freq+Res, HiPass MIDI22 MIDI22 Freq+Width Freq MIDI23 "EnvCtl: Att, LoPass Res" "LoPass Freq, HiPass MIDI23 MIDI24...
Page 420 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel toggle: Alaska + Glide MWheel string and brass balance Data EnvCtl: Imp toggle: DynOrch ^ WTel- Data MIDI22 EnvCtl: Att lOrch "ParaMid and LoPass Freq, MIDI23 EnvCtl: Dec MIDI22 Shaper Drive"...
Page 421 Standard K2661 ROM Objects Programs name ctrl function name ctrl function "Shaper ctl, Vibrato ^ Pan "3-way toggle: Ens Strg, MWheel MWheel adj" Solo Strg(dwn 8ve), Flute" Data toggle: Crystaline ^ RX7 Data Octave jump "ShapeMod osc Pitch, LoPass Freq; ParaTreb Freq MIDI22 MIDI22 Shape amt ^ LoPass Freq,...
Page 422 Standard K2661 ROM Objects Programs name ctrl function name ctrl function MWheel Vibrato (ArakisPno) MWheel "hi bird" LFO Rate, Pan adj toggle: DrkPno ^ Arak- Data "lo bird" LFO Rate" Data isPno MIDI22 "ParaEQ Freq, shaper amt" MIDI22 detune "Pitch adj, LoPass Freq, MIDI23 DrkPno^Arak- (aux) Chorus/Plate Lvl +...
Page 423 Contemporary ROM Block Objects Appendix D Contemporary ROM Block Objects This Appendix describes the Contemporary ROM objects provided with your K2661.
Page 424 Contemporary ROM Block Objects Programs Programs Setups QA Banks Ethnic / World Instruments HyperGroov<-C4-> Bands Crowd Stomper Jungle Jam PianoPad w/Percs Grooves Econo Kit Mbira Stack Slo Held Arper World EDrum Kit 1 Ritual Metals Don'tGetFooled EDrum Kit 2 Prepared Mbira Touch Game More Keys Loops...
Page 425: Keymaps
Contemporary ROM Block Objects Keymaps Keymaps Samples Hybrid Pan Hybrid Pan Tibetan Cymbal Tibetan Cymbal Glass Rim Tone Glass Rim Tone Tibetan Bowl Tibetan Bowl Synth Vox Synth Vox Indo Bowl Gong Indo Bowl Gong Orch Pad Orch Pad Prev Ethnic Perc EDrum1 Kick Koreana Koreana...
Page 426: Program Control Assignments
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.
Page 427: Drum Kits
Contemporary ROM Block Objects Program Control Assignments Prg ID Program Name Mod Wheel Data MPress Comments 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 Brass and Reeds...
Page 428 Contemporary ROM Block Objects Program Control Assignments Prg ID Program Name Mod Wheel Data MPress Comments 863 Touch MiniBass Vibrato Vibrato, Swell 864 Ostinato Bass 865 House Bass Vibrato Release ctl Vibrato 866 Dubb Bass Vibrato Release ctl Vibrato Guitars 867 Straight Strat Tremolo 868 Chorus Gtr...
Page 429: Controller Assignments: Contemporary Rom Block
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.
Page 430 Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program Control Assignments Program Studio Controller Assignments Name Name hall reverb level (FX1+FX2) hall reverb level (FX4) quantization dynamic range Jungle Jam BthQFlg4Tap Hall ﬂange feedback ﬂange tempo quantization wet/dry PSw2 quantization + ﬂange in/out hall reverb level hall reverb level...
Page 431: Controller Assignments
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program Studio Controller Assignments Name Name hall reverb level Bell Players RoomFlngCDR Hall room reverb & ﬂange wet/dry PSw2 toggle: room + ﬂange/ﬂange + CDR room1 reverb wet/dry aux room reverb level Prs Koto RmFlgChDly Room ﬂange level, ﬂange Xcouple...
Page 432 Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program Studio Controller Assignments Name Name hall reverb level ﬂange feedback level Super Clav auxFlgDist+ Hall delay wet/dry PSw2 toggle: ﬂange/distortion+delay+chorus hall reverb level StrataClav auxFlgDist+ Hall ﬂange feedback level PSw2 toggle: ﬂange/distortion+delay+chorus hall reverb level Touch Clav...
Page 433 Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program Studio Controller Assignments Name Name room reverb wet/dry, hall reverb level room reverb time room reverb high-frequency damp Jazz Lab Band RoomChorCDR Hall hall reverb level chorus wet/dry chorus feedback level PSw2 toggle: room reverb/chorus chamber reverb level...
Page 434 Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program Studio Controller Assignments Name Name FX1 reverb wet/dry, aux reverb wet/dry & time Crowd Stomper RoomRoomSRS CmRv FX1 aux level & predelay, FX2 reverb time PSw2 toggle: room1/room2 reverbs hall reverb level & time Econo Kit RoomCmpCh4T Hall room reverb wet/dry &...
Page 435 Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program Studio Controller Assignments Name Name hall reverb level sweep ﬁlt wet/dry sweep ﬁlt LFO period Touch MiniBass RmSweepEcho Hall sweep ﬁlter phase sweep ﬁlter LFO amplitude min frequency sweep ﬁlter LFO amplitude max frequency PSw2 toggle: sweep ﬁlt/echo hall reverb level...
Page 436 Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program Studio Controller Assignments Name Name delay level, reverb level distortion+chorus wet/dry distortion+chorus feedback level Rock Axe mono auxChrDst+ Hall distortion+chorus rate distortion+chorus depth PSw2 toggle: chorus/distortion+chorus+delay reverb levels, times Attack Stack HallFlgChDl Hall high-frequency damp, EQ boost PSw2...
Page 437 Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program Studio Controller Assignments Name Name room & hall reverb level, room wet/dry chorus feedback level Mello Hyb Brass RoomChorCDR Hall chorus Xcouple GAttVel EQ bass boost PSw2 toggle: room & chorus hall reverb level, time, &...
Page 438 Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Program Studio Controller Assignments Name Name PCD chorus feedback, enhancer mid & lo drive Tangerine EnhcChorChDl PCD PCD delay mix & feedback PCD level CDR level & reverb mix & time ﬂange wet/dry &...
Page 439: Setup Control Assignments
Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Setup Control Assignments Setup Studio Controller Assignments Name Name ﬁlter type HyperGroov<-C4-> PlatEnvFl4T Filt ﬁlter level reverb wet/dry & quality; ﬂange feedback level ﬁlter ﬂange feedback PianoPad w/Percs HallFlgChDl Room ﬂute & percussion reverb level piano reverb wet/dry Slo Held Arper RoomFlngCDR Hall...
Page 440 Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Setup Studio Controller Assignments Name Name piano1 reverb wet/dry Electric Grand Room Room Hall piano2 reverb wet/dry hall reverb level LaserDelay time Bad Trip FtSw/MW auxDistLasr Room room reverb level (Zones 1, 3, 7) ﬂange level & feedback WhirliToys auxPhsrFDR Hall (Zones 1, 3, 7) delay level;...
Page 441 Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block Setup Studio Controller Assignments Name Name kit1 phaser wet/dry kit2 quantize + ﬂange wet/dry Machine Shop RmPhsrQuFlg Hall lead reverb wet/dry hall reverb level Tempo hall reverb space, phaser rate pad hall reverb level Farawaway Place auxPhsrFDR Hall organ hall reverb level...
Page 442 Contemporary ROM Block Objects Controller Assignments: Contemporary ROM Block D-20...
Page 443 Orchestral ROM Block Objects Appendix E Orchestral ROM Block Objects This Appendix describes the Orchestral ROM objects provided with your K2661.
Page 444 Orchestral ROM Block Objects Programs Programs Setups QA Banks Orchestras Deep Piano Rbn Piano Patch Big String Ens TotalCntrl Orch1 Choir & Harp Full Orch Bass String Sec TotalCntrl Orch2 Orchestrator Strings Pizzicato String BaroqueOrchestra Piano Concerto Horns Wet Pizz Oboe&Flute w/Str Xmas Carols Winds...
Page 445 Orchestral ROM Block Objects Keymaps Keymaps Samples Oboe Oboe Plucked Harp Buzz Wave 2 English Horn English Horn Harp Gliss Ahh Buzz Wave Bassoon Bassoon Nylon String Gtr OB Wave 1 Clarinet Clarinet Nylon Str noA2 OB Wave 2 Bassoon/Oboe Dbl Reeds Nylon for dulc OB Wave 3...
Page 446 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.
Page 447 Orchestral ROM Block Objects Program Control Assignments Prg ID Program Name Mod Wheel Data MPress Comments 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...
Page 448 Orchestral ROM Block Objects Program Control Assignments Prg ID Program Name Mod Wheel Data MPress Comments 966 Harp Arps None Selects diminished None Keyboards 967 Celesta None Wet/Dry mix None 968 Pipes Timbre (hollow) Wet/Dry mix None 969 Pedal Pipes None None None...
Page 449: Controller Assignments: Orchestral Rom Block
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.
Page 450 Orchestral ROM Block Objects Controller Assignments: Orchestral ROM Block Program Control Assignments Program Studio Controller Assignments Name Name room, hall, & chapel reverb time TotalCntrl Orch1 Chapel Room Hall chapel level PSw2 toggle room reverb room, hall, & chapel reverb level & time TotalCntrl Orch2 Chapel Room Hall PSw2...
Page 451 Orchestral ROM Block Objects Controller Assignments: Orchestral ROM Block Program Studio Controller Assignments Name Name hall reverb level 2nd Violin RoomComp Hall room level Orch Viola RoomComp Hall room & hall reverb level Solo Viola RoomComp Hall room & hall reverb level Slow Viola RoomComp Hall...
Page 452 Orchestral ROM Block Objects Controller Assignments: Orchestral ROM Block Program Studio Controller Assignments Name Name hall reverb level Magic Guitar RoomChorCDR Hall chorus+delay+reverb wet/dry reverb wet/dry Glass Bow 2 RoomSrsCDR Hall hall reverb level room reverb level room reverb time Synth Orch auxChrMDly Room LFO depth...
Page 453 Orchestral ROM Block Objects Controller Assignments: Orchestral ROM Block Setup Control Assignments Setup Studio Controller Assignments Name Name Deep Piano Rbn RoomPhsrCDR Hall CDR wet/dry, pad & piano hall reverb level room wet/dry & time Choir & Harp RoomRmHall Hall choir hall reverb time all zones (aux) hall2 level Orchestrator...
Page 454 Orchestral ROM Block Objects Controller Assignments: Orchestral ROM Block Setup Studio Controller Assignments Name Name lead delay mix Hybrid Reeds RoomChorDly Hall lead chorus mix reverb & effects wet/dry reverb wet/dry Two Hand Pizz RoomChorDly Hall GAttVel bass cut Slo Str & Horn Room Room Hall2 reverb wet/dry drums reverb wet/dry...
Page 455: Smartmedia Contents
To create a more realistic acoustic piano sound for the SD Piano option, Kurzweil sound engineers have developed special effects settings that imitate sympathetic vibrations. When you’re playing one of the SD Piano programs with ID 700–713, and you’re not using the sustain...
Page 456: Controller Assignments For Sd Piano Programs
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. 700 New Classical 1 MIDI 6 Disables sympathetic vibrations MIDI 25...
Page 457 SD Piano ROM Option Controller Assignments for SD Piano Programs 706 Songwriter’s Pno 713 Rock Grand Mono MIDI 6 Disables sympathetic vibrations MIDI 6 Disables sympathetic vibrations MIDI 25 Wetter MIDI 25 Reverb time MIDI 67 Soft pedal For use with a mono PA system Play simple block chords to accompany a pop or rock song 714 GrPno &...
Page 458 SD Piano ROM Option Controller Assignments for SD Piano Programs 721 Bowed Piano MIDI 6 Fades to bowed layer only MIDI 25 Controls send to ﬂanger 722 GPno & Puff MIDI 25 Wetter MIDI 67 Soft pedal For percussive playing 723 SynGrand &...
Page 459 Each program was created using high-quality audio samples of electric pianos as a starting point. The sounds were then processed using Kurzweil’s V.A.S.T. synthesis engine. This allowed us to apply powerful ﬁlters, velocity layers and cross-fades, envelopes and a host of other sound-sculpting tools. In some cases, samples from the K2661’s base-ROM were also used in combination with the Vintage EPs samples in order to add a certain ﬂavor or...
Page 460 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.
Page 461: Fender Rhodes
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.
Page 462: Yamaha Cp-80
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.
Page 463: Vintage Ep Programs
The sound itself recreates the Rhds on Stevie Wonder's “Living for the City”. Featured in KDFX is Kurzweil's emulation of the classic Echoplex tape delay, with sliders assigned to con- trol the tone and pitch of the echo effect.
Page 464 Vintage Electric Pianos ROM Option Vintage EP Programs Name Control Function Name Control Function MWheel Enables mono tremolo MWheel 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 Behaves exactly like a Wah Pedal when MIDI29 is pressed.
Page 465 Vintage Electric Pianos ROM Option Vintage EP Programs Name Control Function Name Control Function MWheel Stereo Tremolo Depth 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 MIDI 23 Phaser Depth (Brightness)
Page 466 Vintage Electric Pianos ROM Option Vintage EP Programs Name Control Function Name Control Function MWheel Enables Mono Tremolo MWheel Enables mono Tremolo Data Tremolo Rate Data Tremolo Rate MIDI 22 Brightness MIDI 25 Reverb Wet/Dry 624 Triple Tines (Filter Cutoff Freq in VAST) MIDI 26 Chorus Mix 618 Serious EPno...
Page 467 Vintage Electric Pianos ROM Option Vintage EP Programs Name Control Function Name Control Function MWheel Enables Mono Tremolo MWheel Enables Mono Tremolo Data Tremolo Rate Data Tremolo Rate MIDI 25 Reverb Wet/Dry MIDI 22 Brightness (Filter Cutoff Freq in VAST) MIDI 26 Distortion Warmth MIDI 25...
Page 468 Vintage Electric Pianos ROM Option Vintage EP Programs Name Control Function Name Control Function MWheel Enables Mono Tremolo MWheel Enables Tremolo and Vibrato (VAST) Data Tremolo Rate Data Tremolo/Vibrato Rate MIDI 22 Brightness (Filter Cutoff Freq in VAST) MIDI 22 Brightness (Filter Cutoff Freq in VAST) MIDI 23...
Page 469 Vintage Electric Pianos ROM Option Vintage EP Programs Name Control Function Name Control Function MWheel Enables mono Tremolo MWheel Enables Mono Tremolo Data Tremolo/Vibrato rate Data Tremolo Rate MIDI 22 Brightness (Filter Cutoff Freq in MIDI 23 Enables Alt Start VAST) AND KDFX EQ (Mellows the attack) MIDI 23...
Page 470 Vintage Electric Pianos ROM Option Vintage EP Programs Name Control Function Name Control Function MWheel Tremolo Depth MWheel Enables Tremolo Data Tremolo Rate Data Tremolo Rate MIDI 22 LoPass Frequency MIDI 25 Reverb Wet/Dry 657 CP80 All Purpose MIDI 23 Alt Start Control MIDI 27 Chorus Wet/Dry...
Page 471 Vintage Electric Pianos ROM Option Vintage EP Programs Name Control Function Name Control Function MWheel Tremolo Depth Data InEQ: Bass Gain Data Tremolo Rate MIDI 22 Para EQ Amp MIDI 22 LoPass Frequency MIDI 23 EnvCtl: Impact MIDI 23 InEQ: Bass 667 Lamb's Wool MIDI 24 EnvCtl: Release Time...
Page 472 Vintage Electric Pianos ROM Option Vintage EP Programs Name Control Function Name Control Function MIDI 22 Phaser Rate MWheel Enables Mono Tremolo MIDI 25 Reverb Wet/Dry Data Tremolo Rate MIDI 29(Sw2) Enables Volume Pedal MIDI 24 Switches to Stereo Tremolo CCPedal1 Volume (When Enabled) MIDI 25...
Page 473 Vintage Electric Pianos ROM Option Vintage EP Programs Name Control Function Name Control Function MWheel Vibrato, Vibrato Rate, Flange MWheel Bandpass Filter Freq, EQ, Dist Mid Freq, Tremolo, Tremolo Drive, Rev W/D Rate Data Hi Freq. Stimulation Drive Data Enables “Feedback” Layer, MIDI 22 Notch frequency Crossfades Wurly Layer...
Page 474 Vintage Electric Pianos ROM Option Vintage EP Programs Name Control Function Name Control Function MWheel Tremolo 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 693 Electro Fugue...
Page 475 Vintage Electric Pianos ROM Option Vintage EP Programs Name Control Function MWheel Tremolo Data Tremolo Rate MIDI 22 LoPass Freq, LoPass resonance 698 Ambient Swells MIDI 23 Alt Control MIDI 24 Slow Vibrato MIDI 25 (Aux) Hall Level MIDI 26 Delay Level MWheel Real time LaserVerb control...
Page 476: Vintage Ep Setups
Vintage Electric Pianos ROM Option Vintage EP Setups Vintage EP Setups Note: SW 1 (above pitch wheel) turns arpeggiator on/off in all setups. Name Control Function MWheel Sw Mellotron Ens Strings/ Name Control Function SoloStrings/Flutes MWheel Tremolo Depth Data Octave Switch (Mellotron) Data Phaser LFO Rate MIDI 22...
Page 477 Vintage Electric Pianos ROM Option Vintage EP Setups Name Control Function Name Control Function MWheel Vibrato Depth (Fretless Bass) MWheel Tremolo MIDI 22 Hi EQ Boost (KDFX 1c) Data Tremolo Rate, InEQ: Bass Gain MIDI 23 Flute Timbre, Voices Timbre MIDI 22 Double Notch Separation MIDI 24...
Page 478: Vintage Electric Piano Keymaps
Vintage Electric Pianos ROM Option Vintage Electric Piano Keymaps Vintage Electric Piano Keymaps Keymap Keymap Rhoadz Hard Wurly Key Rel Rhoadz Soft RMI_EP Rhoadz 2-vel RMI_ACC Rhoadz Thump RMI_accenter lo Rhoadz Soft c7 RMI_accenter hi Wurly Hard RMI_accenter jk Wurly Med RMI ds6 Wurly Soft CP80 E Grand...
Page 479: Inside Gm Mode
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.
Page 480: General Midi Programs
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.
Page 481: Gm Drum Kits
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.
Page 482: Standard Mode Controller Assignments
General MIDI Standard Mode Controller Assignments Standard Mode Controller Assignments Name Ctrl Function Name Ctrl Function Grand Piano MWheel Vibrato 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...
Page 483 General MIDI Standard Mode Controller Assignments Name Ctrl Function Name Ctrl Function Perc Organ MIDI 22 Reverb Wet/Dry level 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...
Page 484 General MIDI Standard Mode Controller Assignments Name Ctrl Function Name Ctrl Function Pick Bass MWheel Vibrato 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 MIDI 25...
Page 485 General MIDI Standard Mode Controller Assignments Name Ctrl Function Name Ctrl Function Choir Aahs MWheel Vibrato 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...
Page 486 General MIDI Standard Mode Controller Assignments Name Ctrl Function Name Ctrl Function Bassoon MWheel Vibrato 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 MIDI 25...
Page 487 General MIDI Standard Mode Controller Assignments Name Ctrl Function Name Ctrl Function Fantasia MWheel Vibrato 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 MIDI 25...
Page 488 General MIDI Standard Mode Controller Assignments Name Ctrl Function Name Ctrl Function Shamisen MWheel Vibrato 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 MIDI 25...
Page 489 General MIDI Standard Mode Controller Assignments Name Ctrl Function Name Ctrl Function Telephone MWheel Vibrato 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...
Page 490 General MIDI Standard Mode Controller Assignments H-12...
Page 491: Live Mode Programs
Live Mode Objects Live Mode Programs Appendix I Live Mode Objects Live Mode Programs LM VirtualDesk 1 LM VirtualDesk 2 LM EQ Room Hall LM TubeAmp+ Gtr LM Synth Sliders LM EQ StIm Hall LM ParaFlange LM EQ Overload LM Filters LiveMode Default...
Page 492 Live Mode Objects Live Mode Programs...
Page 493 K2661 Musician’s Reference Index Index Chor+Dly+Reverb 10-73 Chorus 1 10-51 Chorus 2 10-51 Chorus+4Tap 10-73 Chorus+Delay 10-73 Numerics Chorus4Tap 10-79 2 Band Enhancer 10-222 ChorusLasrDly 10-79 3 Band Enhancer 10-224 ChorusReverb 10-79 3 Band EQ 10-243 Classic Place 10-13 3 Band Shaper 10-171 Classic Verb 10-13 4-Tap Delay 10-29 Cleaning your K2500 8-1...
Page 494 K2661 Musician’s Reference Index Envelopes 2 and 3 4-13 Dual MiniVerb 10-6 FUN1, FUN2 4-12 Dual MovDelay 10-93 FUN3, FUN4 4-13 Dual Res Filter 10-156 GAttVel 4-14 Dumping samples via SMDI 6-8 GKeyNum 4-14 Global ASR2 4-9 Global FUN2 4-9 Global FUN4 4-9 Edit button 1-5 Global LFO2 4-9...
Page 495 K2661 Musician’s Reference Index Hard Reset G-2 Macintosh Computers and K2600 6-3 HardKnee Compress 10-200 Main Control Source list 4-8 HarmonicSuppress 10-245 Maintenance and Prevention 8-1 HF Stimulate 1 10-244 Manual Phaser 10-65 Marking pages 1-5 Master button 1-5 Memory management 9-1 MIDI importing triples 12-5 Key and note numbers 5-1...
Page 496 K2661 Musician’s Reference Index padding ﬁlter input 12-10 Sample Pages SMDI transfers 6-8 Jumping to 1-5 Sample dumps 6-4 Marking 1-5 Sample ID offset 6-6 Previous 1-5 Sample playback rate 4-13 Pan (MIDI 10) 4-6 Sample RAM vs. Program RAM 9-1 Pan control 4-9 Samples (ROM), list D-3, E-3 Panaural Room 10-16...
Page 497 K2661 Musician’s Reference Index 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...
Page 498 K2661 Musician’s Reference Index...
Page 499 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 ].

Kurzweil K2661 Musician’s Reference Manual

Chapter 1 Front Panel Quick Reference

Chapter 2 Lfos

Chapter 3 DSP Algorithms

Chapter 4 Control Sources

Chapter 5 MIDI Note Numbers

Chapter 6 MIDI, SCSI, and Sample Dumps

Chapter 7 System Exclusive Protocol

Chapter 8 Maintenance and Troubleshooting

Chapter 9 Upgrading Sample Memory

Chapter 10 KDFX Reference

Quick Links

Troubleshooting

Related Manuals for Kurzweil K2661

Summary of Contents for Kurzweil K2661

Table of Contents