Waldorf KYRA User Manual

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Page 1 USER MANUAL...
Page 2: Table Of Contents
Foreword ................3 Parts and Multis ............. 78 Control Features & Connections ........6 System Configuration ............ 85 Front Panel ....................6 Kyra Sound Programming ........... 95 Rear Panel Connections ..............7 Troubleshooting ............125 Specifications ..............8 Kyra USB Interface ............130 Introduction ..............
Page 3: Foreword
Thank you for purchasing the Waldorf Kyra. You are the owner of one of the most powerful music synthesizers ever Kyra is a true hardware synthesizer. It is not a software built. We designed Kyra as a tool to craft with, it is highly application running on generic DSP (digital signal proces- capable instrument ready and waiting for you to experi- sor) devices but a complete custom-designed FPGA hard- ment and create new sounds. Kyra comes with over a...
Page 4 Waldorf Music extends no liabilities regarding this manual other than those required by local law. This manual or any portion of it may not be reproduced in any form without the manufacturer's written consent. Please note that all elements of Kyra, its software, user interface design, synthesis, filtering and effects algorithms are proprietary © 2019 Waldorf Music GmbH. Waldorf Music GmbH, Lilienthalstraße 7, 53424 Remagen, Germany. Kyra Manual...
Page 5 Foreword Kyra Development Team We would like to thank Software + FPGA: Manuel Caballero Thomas Brenner, Karsten Dubsch, Willie Eckl, Joachim Flor, Roger Keller, Jonathan Miller, Pierre Nozet, Miroslav Hardware/Housing: Manuel Caballero, Frank Pindus, Oliver Rockstedt, Vladimir Salnikov, Winfried Schneider Schuld, Lukas Schütte, Michael von Garnier, Kurt ‘Lu’...
Page 6: Control Features & Connections
Control Features & Connections Control Features & Connections Front Panel 1) OLED Display 4) Oscillator Groups 7) LFO Section 10) Modulation Matrix 2) Patch/Multi Navigation 5) Filters Section 8) Arpeggiator Section 3) Transpose & Power 6) Envelopes Section 9) Effects Section Kyra Manual...
Page 7: Rear Panel Connections
Control Features & Connections Rear Panel Connections Power Supply Jack Headphones Output Audio Line Outputs A-D MIDI Thru, MIDI Out, MIDI In USB 2.0 Connection Kensington Compatible Lock Recepticle ® Waldorf Kyra...
Page 8: Specifications
Multitimbrality: 8 independent Parts each with • wavetable navigator. dedicated 9 module multi effects with dedicated Filters: Accurate emulations of classic analogue audio stream via USB. Each Part can be mixed to • ladder filters with low pass, band pass and high one of the four analogue stereo line outputs. pass configurations. 2-pole (12dB/octave) and 4- pole (24dB/octave) responses are available for Kyra Manual...
Page 9 Envelope Generators: Three fast-response • mands. ADSR envelope generators with slope setting. One is assigned to the VCA, another to the filter Support software: Windows driver, Kyra Firm- • and the third can be freely assigned. All are ware Manager for Windows and macOS available in the Mod Matrix.
Page 10: Introduction
Press the System Edit button. sed on the Kyra parameter names. You will find a glossary at the end of this manual; it explains the various terms • Turn the Filter Frequency control. used. Kyra’s different modes and pages are illustrated by a de- We also use a uniform set of symbols to show you topics of piction of the display. particular interest or significance. Important terms are highlighted in bold letters. Symbols Caution – The information that follows this symbol will help you avoid errors, data loss or malfunctions.
Page 11 Do not place the device near heat sources such as • Waldorf authorised service centre. radiators. This device can generate volume levels that may • Do not expose the device to direct sunlight. • do irreparable damage to your hearing when Do not expose the device to extreme vibrations. used with amplifiers, speakers, or headphones. • For this reason, you should keep the volume at safe levels. Waldorf Kyra...
Page 12 Never use cleaning solutions or similar chemicals. They will damage the surface of the chassis. Proper Use This device is designed exclusively for musical perfor- mance. Any other use is prohibited and voids the warranty extended by Waldorf Music. Waldorf Music is not liable for damages due to incorrect use. Do not place your Kyra anywhere near children, mothers-in-law or pets. This could lead to critical in- teraction. Kyra Manual...
Page 13: Setup And Connections
Setup and Connections Setup and Connections To connect Kyra to your system: Turn all units off. The Waldorf Kyra comes complete with: Connect Kyra’s Out A audio output pair to your mi- xing console or your computer audio interface. Optio- • the Waldorf Kyra synthesizer nally, connect stereo headphones to the Headphone • an external power supply 12V DC/2A Output on Kyra or your mixing console. • a printed Quickstart manual If you are using a computer, connect the Kyra’s USB 2.0 port with a USB cable to your computer (Windows...
Page 14 Setup and Connections USB Setup If you are not using a mixing console, you can connect Kyra’s line outputs directly to an a stereo Kyra's USB implementation supports Windows 7 onwards amplifier or an audio interface. Please use line-level as well as macOS. macOS users do not need to install a inputs (not a guitar, phono or microphone level in- driver but until Windows supports USB Audio Class 2.0...
Page 15 Setup and Connections Rear Panel Connections Headphone Output Kyra is a stereo instrument. For best results, use a stereo Kyra offers a convenient stereo headphone jack. As Kyra input on your mixer. If your mixer does not have stereo has 8 Parts complete with effects and an onboard mixer, it inputs, use two channels and pan them hard left and right is possible to compose a complete song without any out- to achieve stereo operation.
Page 16 The line outputs use components often found in high end Line Outputs hi-fi including audiophile grade Japanese capacitors and Kyra offers four balanced, stereo outputs which are ultra-low noise operational amplifiers. As a result, the connected to four internal stereo busses A to D. Each of outputs are of exceptionally high quality and have a high Kyra's 8 Parts can be assigned to one of these outputs. By...
Page 17 Setup and Connections Kyra has a robust USB port designed to be resistant to provides full support for DIN MIDI if your setup requires it. accidental disconnection. Be sure to unplug the cable by One good use for DIN MIDI is for simple ‘at the keyboard’ holding the connector body rather than the cable itself. playing (i.e. no computer). As keyboards and sound mo- dules (including Kyra) only have Type B USB connectors, Please ensure you user a USB 2.0 (or above) port on...
Page 18: System Overview
Part can have the same MIDI channel as another Part. In this case, the Parts are 'layered' and will sound together in response to channel messages. You can use Part note rang- es ('splits') such that Parts can be restricted to ranges of MIDI notes. Kyra supports MIDI via DIN MIDI connectors and USB. Kyra features four stereo outputs labelled A-D. Each Part You can use USB and DIN MIDI Ins at the same time...
Page 19 System Overview to connect Kyra to a mixer and/or outboard effects units to Patch Banks further extend possibilities. The headphone output mir- Kyra has a generous Patch storage capacity of 26 banks (A- rors Output A. Bear in mind that any Part configured to use Z) each containing 128 Patches. That's a total of 3328. an Output other than A will not be heard on the headphone output. The first 7 banks (A-G) are 'User' Patches stored in RAM (Random Access Memory) which means you can change Master Volume them quickly and individually using the Store sequence.
Page 20: Basic Controls
Use the Page Up/Down and Cursor Up/Down buttons to To prevent inadvertent shutdown, you'll need to hold the navigate the pages for each of the three Edit Modes Kyra buttons down for about five seconds; the transpose LEDs can operate in, namely Patch, Multi and System Edit. To will indicate the progress of the shutdown. You can release...
Page 21 Basic Controls Rotary Controls System Controls Kyra‘s rotary controls provide real time The System control buttons are located at the centre of the control over many of the instrument‘s control panel beside the display. These buttons provide parameters. Most controls carry two pa- access to the core control features of Kyra. rameters, a primary and a secondary pa- rameter. The primary parameter is con-...
Page 22 Text Edit mode. The Value buttons support auto-repeat to allow fast changes to parameters. Simply press and hold the button for a second or so to engage auto-repeat. Exit Button The Exit button ends the current edit ses- sion and returns to the home page. Exit itself does not discard any changes but you will need to save your Patch (or Multi) Kyra Manual...
Page 23 Follow Mode on will cause the in the relevant Edit Path. An Edit Path is a display to flip between the pages. In this situation, switch sequence of pages used to control one of off Follow Mode. the three core settings groups within Kyra, Almost all Follow Mode page changes will engage Patch namely, Patch, Multi and the System confi- Edit Mode as most controls relate to Patch parameters but guration. Sequential presses on an Edit there are some exceptions. For example, Transpose is a...
Page 24 The Store button also lights during a firmware up- shows the original, effective value of the parameter. Undo date. It is important not to power Kyra down at this still works if you're not in Follow Mode, the only difference time. is the display won't change to show the parameter. As Kyra uses a proportional font, it is possible for A final use of Undo is to reverse an inadvertent or unex- some characters in a Patch name to be truncated. If pected change in a parameter. this happens, please consider using a shorter name for the Patch.
Page 25 As there is an Edit Buffer per Part, changing the Undo to back out the change before storing the Patch. current Part does not discard the edits you made to the Finally, note that it can take a few seconds for Kyra to Part that was selected before but note that changes are not commit a Patch or Multi to memory. You can keep playing stored until the store sequence is completed for the spe- and editing other Patches during this time but don't power cific Part that was changed.
Page 26 8 The Part buttons also fulfil a third function of selecting Parts including references to (as capital 'A' (left Part button) or lower case 'a' (right Part opposed to copies of) the Pat- button) when in Text Editor Mode. ches loaded into the Parts at the time the Multi was stored. Kyra Manual...
Page 27 Category Filter is set to a category for which no Patches editing of Patch names. exist, the Patch select buttons revert to their standard function of selecting the next or previous Patch regardless Patch Buttons of category. The Patch buttons allow In Text Editor Mode, the left Patch button moves the cur- you to select the Patch to sor left and the right Patch button moves the cursor right be loaded into the current to allow rapid navigation to any part of the Patch name. Part. The current Part is displayed on the top line Waldorf Kyra...
Page 28 Otherwise, the change will be lost when the Multi is LEDs might not change as the octave could be unchanged. changed or the unit is powered down (although it is retai- ned when a Patch is changed as it is not a Patch parame- The Transpose buttons are also used to start Kyra ter). Recall that because each Part has its own transpose up and place it into standby. settings, if you want to transpose all Parts to a new key (or...
Page 29: The Control Panel Sections
(including the headphones output). Note that Master The Dual Mode button configures the Volume is a System Configuration parame- voice for Dual Mode that uses two hard- ter and the value set is used next time Kyra ware voices for additional depth, stereo is powered up. Use the Master Volume width and presence. Dual Mode can control to set a comfortable listening volu- apply to a Wave or Hypersaw Patch. Please refer to the...
Page 30 Dual Mode, will be absent. Note that the Panorama control is applied before Please see the descriptions of the voice mode but- any effects so narrowing the width does not narrow the tons (Wave Mode and Hypersaw Mode). stereo effects subsequently applied to the Patch. When Kyra Manual...
Page 31 The Control Panel Sections configured for Dual Mode, Kyra provides a complete stereo Hard Sync signal path. Please see the description of the Hard Syc function. The second of the three Voice Control pages is shown below: Key Mode Key Mode has no physical control and is only available on the Voice Control page. Key Mode limits the Part to only play a single note at a time (monophonic). This is useful for specific sounds such as basses. If the Patch has any porta- mento, it will only glide for notes played legato - staccato notes will suspend the portamento effect.
Page 32 Wave Patches. Dual Mode Detune is a polyphonic Mod Matrix destination. It’s a good idea to add at least a small Aux Oscillator Mode amount of detuning to all Dual Mode Wave Patches to This function has no physical control. A fast way to naviga- avoid them sounding hollow and ‘phasey’. te to this parameter is to press the Patch Edit button and then the Cursor Down button twice. With a Dual Mode Patch, Try routing channel pres- sure (aftertouch) or Velocity to Dual Detune. Kyra Manual...
Page 33: Oscillator Groups
Hypersaw Mode configured. Use the Hypersaw Button to configure the voice for Hy- Wave Mode persaw Mode. Kyra's hypersaw uses a special algorithm comprising six real oscillators to create lush soundscapes Use the Wave Mode button to configure quickly. Hypersaw Mode replaces Wave Mode's two Oscil- the voice for Wave mode. Kyra adopts a...
Page 34 Hypersaw. In Dual Mode Hypersaw, the two filters are controlled together as Filter 1. Select The Oscillator Group Select button allows quick access to the Oscillator Group 1 parameters for inspection or modi- fication. Each press of the button will scroll through the page groups that display the Oscillator Group's parame- ters. Use the Cursor Up/Down buttons to access interme- diate pages. Tune The Tune control sets the pitch of Oscillator Group 1 in semitone steps from minus two to plus two octaves (rela- tive to the pitch the note should be for the MIDI note play- Kyra Manual...
Page 35 Selecting Hard Sync when FM is in use (non- pulse component of the Oscillator Group. zero amount) is not recommended as the two algorithms are contradictory and do not produce a useful result (usu- ally out of tune) when used together. Hard Sync applies only in Wave Mode. There’s more information about Hard Sync in the Sound Programming section of this manual. Waldorf Kyra...
Page 36 Tune control. sorts of useful effects. Oscillator 1 Wavetable 2 FM Applying stereo LFOs and different modulating This controls sets the amount of FM (frequency modulati- shapes to Oscillator Pitch can produce some ama- on) of the three core Oscillator Group 1 source (sawtooth, zing effects. pulse and wavetable) from Oscillator Group 2's wavetable. There’s more information about FM on Kyra in the Sound Programming section of this manual. Kyra Manual...
Page 37 Please see the description of the Oscillator Group 1 Pulse Level control. Modulating the Pulse Width of a pulse wave using a modulator (such as an LFO) is an all-time classic Aux (Noise or Ring Mod) Level synthesizer technique. Kyra provides a hard-wired routing from LFO 1 or a flexible routing via the Mod You can adjust Aux Level using the Pulse Level Matrix. control with Shift Mode engaged. Sets the level of the Auxiliary (Aux) Oscillator. The Aux...
Page 38 Mod Matrix destination and can therefore be modified by selected. any modulation source. This is a very effective technique. Hypersaw controls are effective only if the voice is Hypersaw Sub Oscillator configured for Hypersaw Mode. When switched on, the two partials furthest from the fun- damental are played one octave lower. This gives the hy- persaw sound extra bass presence. There is no physical control for the Hypersaw Sub Oscillator. Kyra Manual...
Page 39: Sub Oscillator 1 & 2 Controls
Sub Oscillator (‘Subs‘). As the parameters and con- Sub Octave trols for the two Subs are identical, they’re only Selects whether the oscillator plays at the same pitch as described once here; just remember there are two of the host Oscillator Group (‘root’) or one octave below them. (‘sub’). Waldorf Kyra...
Page 40 Oscillator Group 2 Sub Oscillator is semitone either side. Negative values will flatten the Sub similar. Oscillator and positive values will sharpen it. Oscillator 1/2 Pulse Width Please see the description of the relevant Pulse Width control in the relevant Oscillator Group. Note that this isn’t a Sub Oscillator parameter. Sub Oscillator Level Please see the description of the relevant Sub Level control. Sub Oscillator Shape Please see the description of the relevant Sub Shape buttons. Kyra Manual...
Page 41 In Wave Mode, the Pulse Width controls sets the pulse role to Oscillator Group 1. The basic architecture of width of the pulse component of the Oscillator Group. the two Groups is the same though. Saw Level Select In Wave mode, the Saw Level control sets the basic level of The Oscillator Group Select button allows quick access to the sawtooth component of the Oscillator Group. the Oscillator Group 2 parameters for inspection or modi- fication. Each press of the button will scroll through the page groups that display the Oscillator Group's parame- Waldorf Kyra...
Page 42 Group 1. If you want both groups to be modulated in the same way (e.g. the same pitch modulation using LFO1 to Pitch) you must set the modulation in both Oscillator Groups. This gives you maximum flexibility as you can Kyra Manual...
Page 43 Sets the amount of Pulse Width Modulation (PWM) from LFO2. Please see the description of the Oscillator Group 2 Wave Level control. Modulating the Pulse Width of a pulse wave using a modulator (such as an LFO) is an all-time classic Pulse Level synthesizer technique. Kyra provides a hard-wired routing from LFO 1 or a flexible routing via the Mod Please see the description of the Oscillator Group 2 Matrix. Pulse Level control. Waldorf Kyra...
Page 44 The Wavetable Navigator for the Oscillator Group can be accessed by pressing the Oscillator Group 2 Select button until the navigator is shown (three times from the Home page). Use the Wavetable Navigator to select the wavetable required for Oscillator Group 2. The 4096 tables are grouped by type to make selection easier. For your refe- rence, the page also shows the waveform of the wavetable selected. Kyra Manual...
Page 45: Filter Controls
The six Filter Type buttons set the current filter response type. The options are: low pass 2 pole (12dB LP), low pass 4 pole (24dB LP), band pass 2 pole (12dB BP), band pass 4 pole (24dB BP), high pass 2 pole (12dB HP) and high pass 4 pole (24dB HP). Please refer to the section on Sound Programming for more information on the filter types. Filter Frequency This section describes the function of Kyra’s filters. The Filter Frequency control sets the cutoff frequency for the low pass and high pass filter types and the centre fre- Filter Select 1 & 2 quency for the band pass filter types. The two Filter Select buttons select which filter the Filter Group rotary controls apply to. Filter 2 controls only apply The Filter Frequency can be controlled using fixed when Dual Filter mode is selected. The Filter Select but-...
Page 46 The Control Panel Sections levels to avoid distortion in the Limiters although such Kyra’s filters come to life when they are modulated. distortion can be useful at times. A wide range of hardwired modulations are provi- ded and you can always add more possibilities u- The Filter Resonance can be controlled using fixed sing the Mod Matrix. routings of MIDI CC #87 for Filter 1 and MIDI CC #88 for Filter 2.
Page 47 EG1 to Cutoff Frequency le in the corresponding Filter page. This control is identical to the LFO2 to Cutoff Frequency control (which does This parameter has no physical control and is only availab- have a physical control) but uses LFO3 as the modulation le in the corresponding Filter page. This control is identical source rather than LFO2. to the EG2 to Cutoff Frequency control (which does have a physical control) but uses EG1 as the modulation source With so many hardwired filter modulations availab- rather than EG2. le, you won’t need to use valuable Mod Matrix slots for the majority of routine filter modulation tasks. EG2 to Cutoff Frequency Please see the description of the EG2 to Frequency control. Waldorf Kyra...
Page 48 Key Follow Root Key This parameter is only available in the Filter page, it does not have a physical control. Use the Root Key to assign the MIDI note that the filter frequency is tied to and the Key Follow Amount to adjust the slope (adjustment to the frequency by MIDI key) around that. In most cases, you can leave these controls at their default settings so that the filters track the MIDI key with a standard slope. Kyra Manual...
Page 49: Envelope Generator Controls
EG. This is amount of time it takes for the EG output to go from zero to maximum level. Decay Overview The Decay setting determines the decay rate for the selected envelope generator. This is the amount of time it Kyra provides three Envelope Generators (EGs). takes for the EG output to drop from maximum level to reach the Sustain level. EG1 is dedicated to modulating the Amplifier. • EG2 is dedicated to modulating the Filter Sustain •...
Page 50 All the EG pages are the same with the single exception EG1 doesn’t offer the Bass Delay feature. The descriptions Decay below otherwise relate to all three EGs. The Decay setting determines the decay rate for the EG2. This is the amount of time it takes for the EG output to drop from maximum level to reach the sustain level. Kyra Manual...
Page 51 You can adjust the Slope setting using the Sustain quency) to be skewed relative to the onset of the note. The control with Shift Mode engaged. result of this is variation of the amount of modulation that is heard up to and including not being able to hear it at all. This parameter controls the slope of the EG. Kyra’s EGs This occurs only at very low frequencies (typically those build on the basic ADSR envelope format to include a Slope Waldorf Kyra...
Page 52 The Control Panel Sections used for basses) and is caused by Kyra’s click suppressor modulation. This will result in a consistent sound (some delaying the signal for up to one wave cycle. At higher variation will remain, but it will be minimal). Note that on frequencies, this time is so short so as not to be important certain sounds it might not be possible to remove all varia- but at very low frequencies, it can be long enough such tion. If the track you’re recording requires identical beats,...
Page 53: Amplifier Controls
Please refer to the sec- LFO2 to Pan tion on Sound Programming for more information about Limiters and compression in general on Kyra. You can adjust the LFO2 to Pan setting using the filter EG2 Release control in the Filter section with For most Patches, you can leave compression its Shift Mode engaged.
Page 54: Lfo Controls
LFO wave shape. With 128 shapes available, there’s a lot of potential for creative modulation. You can go beyond the 128 shapes available and achieve Kyra offers three Low-Frequency Oscillators (LFOs), all of complex, evolving LFO waveforms by configuring fre- which are identical except LFO3 does not have the Delay or quency modulation (FM) on the LFOs by routing the out- Dual Antiphase/Quadrature feature. Each LFO can be used...
Page 55 Please see the description of the Shape control. Rate A small amount of delay on the LFO will remove any attack clicks that can occur when an LFO starts Please see the description of the Rate control. at non-zero phase in Random Phase mode. Dual Antiphase - The LFO runs freely (Monophonic) but when Kyra is in Dual Mode, the LFO output is inverted (antiphase, 180 degrees out of phase) on the second voice. Waldorf Kyra...
Page 56 Dual Mode must be selected for the Dual (stereo) LFO modes to be effective. Before selecting a MIDI clock option for an LFO, ensure MIDI clock is configured in the MIDI Configuration pages Be sure to make good use of Kyra’s stereo LFOs. by selecting the correct MIDI port (USB or MIDI) to match You can achieve some wonderful animated stereo the source of the MIDI clock. If for any reason the LFO does effects with Kyra’s advanced LFO modes.
Page 57: Mod Matrix Controls
Mod Matrix channels are in use in the On the other hand, a polyphonic source is one that is spe- current Patch. cific to a note. The most obvious examples of this are ve- Kyra offers a wide range of modulation locity and polyphonic pressure. Each note has its own sources and destinations. The connection velocity and you would reasonably expect that velocity to between a modulator and a destination is only apply to that specific note.
Page 58 An obvious example would be filter phase for each note but all the other parameters such as cutoff frequency. As would be expected of any polyphonic rate and shape are common for all notes on the Part. synthesizer, Kyra has a filter for each voice and it is reasonable to assume modulation would be per note. For this reason, Kyra does not support routing polyphonic sources to monophonic destinations but it does support...
Page 59 'MIDI controller #n'. These are sources available for you to use as you wish. Most DAWs Random per Note is useful for making tracks sound allow you to 'paint' in controllers and many master key- less mechanical. boards allow you to assign MIDI controllers to its front panel controls. Use these sources to take advantage of this. Waldorf Kyra...
Page 60 The number following the hash/pound is the actual MIDI controller value to use in your DAW or master keyboard. Most DAWs will allow you to paint in other MIDI modula- tors such as polyphonic pressure so you can use these resources even if your keyboard doesn't support them directly. Use the MIDI CC# inputs to the Mod Matrix to enab- le your DAW or master keyboard to modulate just about any parameter on Kyra. Kyra Manual...
Page 61: Effects Controls
Kyra has comprehensive Effects (FX) Unit on each of its The Effects Unit provides considerable opportunity to eight Parts. The Effects Unit comprises nine stereo effects shape and process the final sound coming from each Part modules. The function of the five controls in the Effects ready for final output. Live musicians can use the effects to...
Page 62 However, should you wish to (bypass) the internal effects on a per-Part basis, so you can use outboard or plug-in effects for one or more Parts, Kyra apply outboard effects without having to modify Patches. offers total flexibility either via by using the line outputs For example, you could dedicate one or more of Kyra's connections as effects sends or via USB direct to your DAW stereo outputs to be effects sends and route any Parts due with selectable per-Part effects defeats provided. for outboard effects to those outputs. Then you disable the...
Page 63 With effects, sometimes, less is more ! The first effect in the Kyra’s Effects Unit is the EQ. The module provides a 3-band shelving EQ with sweepable mid. Use the EQ to shape the sound by boosting or at- tenuating (cutting) certain frequency ranges. The EQ pro-...
Page 64 (selective) amount to and the mid can be swept over the full audio range, inclu- clearly emphasise the vocal formants. The two frequencies ding an overlap of the shelves. The Mid also has a Q-factor are chosen to model the human voice and are adjusted setting - higher values make the cut or boost more selecti- according to an algorithm controlled using the Tune con- ve (narrower). trol. Increase the formant level to boost the intensity of the Kyra Manual...
Page 65 The Formant Filter is particularly effective for choral pad the Gnasher is a band-limited tube limiter/compressor sounds but can also be used for short percussive sounds. model. Gnasher is unique amongst Kyra's distortion algo- For convenience, the Formant Filter has a dedicated LFO rithms in leaving low level signals undistorted, so it is very for basic formant modulation effects. If more advanced...
Page 66 As a result, if curves (e.g. light or medium). There are no hard and fast the Distortion Module is bypassed (the mix is set to com- rules here but as you get used to how Kyra works, you'll pletely dry), the filter will have no effect. get a feel for it. Remember it's not just the overall percei- ved loudness of the signal, a sound that doesn’t sound...
Page 67 (or lack of distortion) required. The Input Limiter has three selectable curves offering Kyra‘s Digital Delay module fulfils the role of the classic increasing levels of compression but note compression is Digital Delay Line (DDL). Kyra has a stereo Delay module not the same as a volume control; the Input Limiter curve...
Page 68 Mix control on the delay module ranges a useful standalone effect - try modulating the delay time between 0 and 50% wet rather than 100%. The most with an LFO routing. If this effect is not desired, it is best not to change the delay time setting when audio is playing Kyra Manual...
Page 69 The Control Panel Sections on the Part. The Delay module does not offer direct modu- no modulation to provide sound colouring to emulate lated delay effects, use the separate Chorus/Flanger modu- instrument resonances. Several of the Kyra presets use the le to achieve modulated delay effects such as vibrato, cho- Phaser in this configuration to provide a colouration and rus and flanging. boxy faux stereo effect. In this configuration use the Pha- ser's frequency control to choose the colouration required. The Phaser is also very useful for vocal effects and works Phaser Module well with the Formant Filter. Check out some of the vocal preset Patches - many have the Phaser frequency wired up to the modulation wheel to adjust the timbre of the effect.
Page 70 Kyra’s Chorus/Flanger module is very versatile. It is able the peaks. to deliver a range of effects including those associated with comb filters, chorus units, flangers, doublers and slap-back delays. As with all the effects modules, Kyra has a Cho- rus/Flanger module on each Part and each module has a dedicated dual output (quadrature) LFO to provide modu- lation effects. Experience and your ears will soon guide you with the best configuration for the Chorus/Flanger module but be sure to check out the preset Patches for some examples. As a...
Page 71 Cho- Kyra features a Reverb module on each Part offering re- rus/Flanger modulation (speed and intensity) as well as verberation times up to about 20 seconds. The Reverb reducing the feedback and delay time.
Page 72 Advanced users may wish to use the Part reverb defeats and apply reverb in their DAW during the mastering phase of their project. The defeats allow removal of onboard effects without having to mo- dify Patches. The Mix control allows the reverberation effect to be mixed in from 0% (i.e. no effect) to 100% wet. Kyra Manual...
Page 73: Arpeggiator Controls
The Control Panel Sections Arpeggiator Controls Arpeggiators work best with sharp, percussive sounds. Review some of Kyra’s preset sounds that Kyra features a Arpeggiator feature the Arpeggiator (the Category Filter is on each of its eight Parts. useful for finding them) and experiment with diffe- Arpeggiators process notes rent sounds to understand its abilities. from your keyboard and...
Page 74 Note that if the Arpeggiator time source is set to MIDI, a chord was played repeatedly) MIDI clock must be present for the Arpeggiator to start, it Random: Notes are played in a random order will not 'free run' like an LFO does. Kyra will respond to MIDI start, stop and continue messages to ensure the beat Range is synchronised to your DAW even if you stop and restart playback mid song (even mid bar). When using the MIDI...
Page 75 Range control). Adding a range to a random arpeggiation results in a very interes- ting effect as notes played are selected randomly from the entire range. Tempo The Tempo control adjusts the rate of the Arpeggiator Active BPM (beats per minute) from 58 to 185. It has no effect if the Arpeggiator time source is set to MIDI. If you require Please see the description of the Arpeggiator Enable button. Waldorf Kyra...
Page 76 (the random values are cal- culated in real time, so the pattern does not repeat). The effect of Gate Length is very much dependent on the envelope settings of the Patch. Depending on the settings, there may be little or no sound or Gate Length will have no Kyra’s arpeggiator patterns are preset and inten- obvious effect. ded for live performances. Whilst there’s a lot of them, advanced users may prefer to use their Tempo...
Page 77 This setting configures where the Arpeggiator gets its timebase from. If set to Internal, the Arpeggiator uses the value set for the Tempo parameter. If set to MIDI, the Ar- peggiator uses an incoming MIDI Clock signal for synchro- nisation. Remember that Kyra requires a MIDI start/continue command to start the Arp when it is confi- gured to use MIDI clock. Beat The Beat setting determines the time division for the Ar- peggiator tempo when using MIDI clock as a timebase.
Page 78: Parts And Multis
For studio applications, Multis are useful for grouping On Kyra, a Part does not exist in isolation, it always has Patches together for instant recall for a song. A song can seven siblings giving a total of eight. Together, the family of consist of just one Multi with different Parts sounding in...
Page 79 Multi which can be recalled with a single MIDI pro- Part Configuration gram change message. Part Parameters As Kyra has dedicated resources for each Part and effects are an integral part of the Patch, a Patch will always sound To inspect and modify the Part parameters, enter Multi the same regardless of which Part hosts it. So, as you as- Edit mode using the Multi Edit button. You can select...
Page 80 No 'Single Mode’? Kyra will be instantly configured and ready to play the Kyra does not have a 'Single mode' that some other syn- song. The DAW can then simply use the Multi throughout thesizers have. It is by design a multitimbral system and...
Page 81 This is useful if other instruments are connected via the MIDI Thru port. The MIDI channel of the current Part is displayed (as 'MIDI') on the bottom line of the home page. The ‘MIDI’ label flashes to indicate Kyra is receiving MIDI (on any channel, not just the channel of the current Part). Volume Part Output...
Page 82 Patch Bank configures the bank of the Patch currently The Transpose setting configures transposition (key loaded into the Part. Currently, the Patch name is not shifting) of the Patch in the range -24 to +24 semitones shown here so it’s easier to exit Multi Edit (just press Exit) relative to the MIDI note played. This parameter reflects Kyra Manual...
Page 83 The setting can't be lower than the Lower key range. Receive Volume The Receive Volume setting is a per-part setting to allow or disallow the reception of MIDI volume commands (CC #7). Receive Volume in the MIDI Configuration page must also be configured for MIDI volume to work on a given Part. Note that the level that MIDI Volume configures is the same as the Part Level, it isn't an additional level control. Waldorf Kyra...
Page 84 Enable Reverbs mands. Receive Program Change in the MIDI Configuration page must also be configured for MIDI Program Change to Enables or disables (defeats) the Reverberation module for work on a given Part. the Part. Advanced users may wish to use these defeats to apply some or all effects in their DAW during the mastering phase of their project. The defeats allow selective removal of onboard effects without ha- ving to modify Patches. Enable Delays Enables or disables (defeats) the Digital Delay module for the Part. Kyra Manual...
Page 85: System Configuration
Soundcard Mode System Edit Pages Kyra’s Soundcard Mode allows you to route stereo audio from your DAW to Kyra. The audio will be sent to Output A (and correspondingly the headphone output). This allows you to use Kyra as a ‘soundcard’ to render the audio from your DAW (which could include sound from Kyra as well as virtual instruments on your DAW). As ASIO (currently) only allows on driver to be loaded at a time, you can’t have Kyra and a separate soundcard active under ASIO on your computer although there are workarounds such as asio4all for Windows if you really want to use a separate sound-...
Page 86 48kHz or 96kHz (it must be the same quality results, configure your DAW to stream at 96kHz 24 sample rate as audio from Kyra) so you’re unlikely to no- bit. This will give you the best quality possible for any tice any quality loss compared to using a separate sound signal processing performed subsequently in your DAW.
Page 87 If you only have one Kyra on a given areas. MIDI port or are using USB, leave this value at its default setting of 17. The Device ID applies to USB and DIN MIDI but is only useful for DIN MIDI setups with more than one Kyra in it.
Page 88 System Configuration There’s no disable option as MIDI Clock can be used by Don’t change the Device ID from its default value several modules with Kyra, each of which has an individual unless you have more than one Kyra on a single DIN MIDI clock configuration. MIDI interface. There is never a reason to change it if you use USB for MIDI. Receive MIDI Volume The Receive MIDI Volume setting enables or disables the reception of MIDI volume (CC#7) messages. This is a glo- bal setting that applies to all Parts. If MIDI volume recepti-...
Page 89 System Configuration Multi Program Channel Selects the MIDI channel used by the Multi Program Chan- ge feature. The value is ignored if Multi program change is disabled. As Kyra has 8 Parts (and hence up to 8 MIDI channels) it makes sense to use a MIDI channel not used by any Part. That way, MIDI Program Changes on Part chan- nels operate exactly as intended and the additional feature Transmit Arp Clock of Multi Program Change uses its own channel. See also Multi program change.
Page 90 System Configuration of MIDI bandwidth, especially when the Arpeggiator is in Chord Mode. The options allow you to configure Kyra to send the notes via DIN MIDI or USB (but not both). You can overwhelm DIN MIDI quite easily with Arp note transmissions, especially in Chord Mode. This will result in poor timing and/or lost notes. Bulk Send/Receive Bank...
Page 91 When Send Selected Bulk Bank is activated (using the a computer (by wiring the MIDI out of the first system to Value Up button), Kyra will immediately send the whole MIDI in of the second system). Ensure SysEx is enabled on bank selected by the Bulk send/receive bank option as a the receiving system and the Device IDs are the same on series of SysEx messages. Owing to the amount of data...
Page 92 Bulk send/receive bank defaults to Off so no Pat- ches will be overwritten unless you changed this set- ting since you last powered up Kyra. Send All Multis When Send All Multis is activated (using the Value Up button), Kyra will immediately send all the Multis as a SysEx message. Use this feature to back up your Multis to The Copy Patch Bank feature allows you to copy whole another Kyra system, a DAW, a generic or custom librarian banks of Patches between any of Kyra’s 26 memory banks.
Page 93 Patch using the Store sequence. Once the Patch is initialised, the page switches to the Home Kyra automatically de-activates Copy after it has page ready for you to start work. A default patch has the completed the copy operation. name "Default Patch Name" and plays a simple sawtooth waveform.
Page 94 Patch buttons step through all the Use the Software version number to determine if Patches in the Bank and the Bank buttons can be used. To there’s an updated version of firmware available for disable the Category Filter, change it back to 'no filter' in your Kyra. the Patch Control page. The Bank buttons do not have a function when a Category Filter is active. The Category Filter does not affect MIDI Program changes, they operate as before and are able select a Patch regard less of category.
Page 95: Kyra Sound Programming
Wave or Hypersaw mode. It isn’t possible to To move beyond using preset Patches and making simple configure both at the same time but with Kyra’s massive edits to them, you’ll need a deep understanding of Kyra’s polyphony, you can achieve this by layering a Wave mode architecture.
Page 96 Kyra Sound Programming In Wave Mode, when Dual Mode is off, two independent Wave Mode Architecture – Single Filter Oscillator Groups are mixed together and are routed to the Filter as shown in the diagram. When Dual Mode is selected, everything is doubled up (not shown in the diagram) so there are two Oscillator Group pairs (a total of 20 oscillator sources!) and each pair is routed to a separate filter with a true stereo signal path.
Page 97 Kyra Sound Programming When Dual Filter mode is selected, the signal routing Wave Mode Architecture - Dual Filter changes as shown in the diagram. Even though Dual Filter mode uses two voices, only one Oscillator Group pair exists (unlike Dual Mode, Single Filter mode). However, they are individually mixed and routed to separate Filters which can be configured and modulated individually. Note that the Aux Oscillator is present in both groups but has a common Mode and Level setting. As a result, the output of the Aux Oscillator will always be presented to both Filters. This is not the case for the other oscillators which allow individual control per Oscillator Group.
Page 98 When Dual Mode is selected, the hypersaw algorithm is extended twelve oscil- lators and two filters are used for a true stereo signal path. The diagram shows the signal flow for Hypersaw Mode (in single and Dual Mode configuration). Remember Kyra manages the two filters for you in Dual Mode Hypersaw – Dual Filters Mode isn’t available in Hypersaw Mode. In Hypersaw Dual Mode, Kyra interleaves the par- tials and spreads them across the stereo stage re- sulting in some very phat sounds. Kyra Manual...
Page 99 Subs as bass-enhancing sound sources or as When Kyra is in Dual Mode and Dual Filter mode is also generic, detunable components to add thickness to the enabled, each of the Oscillator Groups is routed through its sound. Sub Oscillators in root pitch mode are especially own, independent filter. If Kyra is in Dual Mode but Dual...
Page 100 Kyra Sound Programming Noise: A special, unpitched tone used to model wind and can have one or other depending on the Aux Oscillator rushing effects produced by the Aux Oscillator. Note that Mode setting in Voice Control. even though each Oscillator Group does in fact have its...
Page 101 Root Pitch mode or turn can generate sounds that are not possible to achie- them off as their wide tonality can be a distraction from ve any other way. On Kyra, it excels at obtaining the pure Hard Sync sound. On the other hand, they offer evolving harmonic textures from the two Wavetab- the ability to provide additional detuning effects that may les.
Page 102 You’ll need to experiment much more to get useful mapping to achieve a very distinctive techno effect. sounds with FM. It’s worth the effort though. In summary, be sure to make good use of Hard Sync. Note On Kyra, FM operates by using the wavetable output of that at least one sound source in Oscillator Group 2 must Oscillator Group 2 to modulate the frequency of Oscillator be audible for hard sync to have any effect. You can use Group 1. As with hard sync, noise the sub oscillators are hard sync on the basic virtual analogue sounds (pulse, not affected and can be used independently as before. As...
Page 103 Kyra Sound Programming of the modulation creates additional harmonics (usually only two components participating in FM (the two Oscilla- quite a lot of them!). Those harmonics will be pleasing at tor Groups), recall that the carrier can be any of the VA certain ratios or highly dissonant otherwise. Depending on waves or any wavetable and the modulator can be any the sound you're looking to achieve you may want to turn wavetable. FM on these complex waveforms can result in...
Page 104 Be sure to use Kyra’s Mod Matrix to control the FM new sound source. variables (the frequencies and shape of the carrier On Kyra, the Ring Mod operates on the two wavetable and modulator as well as the FM output level). oscillators, one of which is present in each of the Oscillator Groups. The two signals are taken before the wavetable Wave Mode Ring Modulator...
Page 105 Kyra Sound Programming As Ring Mod is performed by the Aux Oscillators, you'll need to choose the Ring Mod as the Aux Oscillator function in the Voice Control page before it can be used. Once enab- led, the Aux Level control in Oscillator Group 1 will set the level of the Ring Mod output. You can modulate this in the Mod Matrix as required. Routing velocity to Ring Mod EG modulation amount using the Mod Matrix is a great technique to bring up additional harmonics during the attack phase of a note as notes are played harder. Several of the factory presets use this technique. 105 Waldorf Kyra...
Page 106 FM, Hard Sync and Ring Modulation VA All the source Level controls can be controlled via synthesizers as they caused a lot of aliasing. With the Mod Matrix. There’s a lot of possibilities! 32x oversampled hardware sound generation, Kyra’s wavetables offer almost limitless possibilities. that’s not a problem on Kyra. There are a few useful tips to bear in mind when using the A good technique to learn is to use a wavetable sound at wavetables: the beginning (the attack portion) of a sound. For musici-...
Page 107 It can take some time to find the right The two Hypersaw parameters are available as destina- waveshape and combining effect, but you’ll get more adept tions in the Mod Matrix for some truly wonderful modula- at it as you work with Kyra and get to know your way tion possibilities. Mappings of channel pressure (after- around the wavetable groups. touch) or envelope generators to Hypersaw Spread is...
Page 108 Remember to consider the overall Patch Level when in- creasing the Hypersaw intensity as increasing the intensity adds significant energy to the signal. If Hypersaw Patches get too loud, the limiters will kick in. This may or may not be desirable depending on the sound you're trying to achieve. As hypersaws are so harmonically rich, they provi- de a great source for Kyra’s filters. Try feeding the Hypersaw into Kyra‘s 24dB (4-pole filters) with a good amount of resonance and modulate the filter. It’s easy to get great results with the Hypersaw and Kyra’s ladder VA filters. 108 Kyra Manual...
Page 109 As always, expe- Using Dual Mode rimentation is the key to getting the right sound. Dual Mode doubles up two Kyra voices to build on both You can re-create most of the functionality of Hypersaw Wave Mode and Hypersaw Mode configurations. Dual Mode in Wave Mode; you get the same number of oscilla- Mode is not simply a unison of two voices.
Page 110 Dual Mode will often add substantial depth ched on. This still only uses two hardware voices, not four. and presence that can't be achieved purely with effects. When Kyra is configured for Wave Mode and Dual Mode, A particularly interesting use of Dual Mode is combining it the Dual Mode Detune control in Voice Control allows the with stereo LFOs. When modulated by a stereo LFO, each two stacked voices to be detuned to add extra depth. Dual of the two voices in a Dual Mode configuration will have Mode Detune isn’t used in Hypersaw mode as the Hyper-...
Page 111 Kyra’s Dual Mode uses special algorithms to provide more flexibility than simple unison. Unison is simply playing the a sound stacked up with an exact copy of itself, perhaps with some detuning. Kyra doesn't offer a polyphony-robbing unison mode as there's really no need for it with up to 20 sound sources per note in Dual Mode combined with extensive detuning capabilities. If you feel the need to stack more sounds up, layer Paches in a Multi. Layering is far more flexible than unison as the Patches loaded into the component Parts of the layer need not be the same. They can also have separa-...
Page 112 There is also an additional per-Part Formant Filter in the the Hypersaw) are mixed together, they are passed to the EQ module to impart vocal effects onto Patches. You can Kyra’s Filter section. Kyra has one filter per voice by also use the EQ module in the Part effects to further shape default but when Dual Mode is enabled, two independent the sound. These filters are detailed in the Effects section.
Page 113 LFO. The Input Mixer takes the Output Mixer mixed output from the Oscillator Groups (or two groups if Dual Voice is configured) and mixes the resulting output The Output Mixer allocates each of Kyra‘s 8 Parts to one onto one of the stereo busses that represent Kyra‘s 8 Parts. of the four stereo line outputs. Any number of Parts can be 113 Waldorf Kyra...
Page 114 Kyra Sound Programming assigned to each output but a Part itself can only be assig- ned to one output. If more than one Part is assigned to an output, they are mixed together. Note that the Output Mixer does not affect USB audio which is presented to the USB host as the original 8 stereo Parts from the Part Mixer. Note that it is highly unusual but possible to overload the Output Mixer if several Parts are assigned to a single Out- put and the levels on those Parts are very high. If you hear clipping when routing multiple Parts to a single output, use the Part Mixer's levels to moderate the Part levels such that the relative levels are the same but the overall level is reduced. The Master Volume control will not solve clip- ping in the Output Mixer.
Page 115 Western, these other tunings are used extensively. Kyra supports all tuning schemes by means of full key- Kyra maintains a single, global tuning scheme at any given board tunability using the MIDI Tuning Standard (MTS). time and does not store tuning information in non-volatile With MTS, Kyra can tune any key to any frequency to sin- memory. Being global, the tuning configured applies to all...
Page 116 Kyra Sound Programming steps. This is a persistent global parameter that affects all parts and tunings. Kyra also supports per-Part tuning. The Part Parameters allow cent-level tuning of a Part. Kyra recognises MIDI RPNs 0 and 1 so tuning can be configured by your DAW at the start of a song or in real time during the song. Further References Microtuning is an advanced topic and support for real time tuning varies widely amongst the various DAW applica- tions. Check the user manual of your DAW for microtuning and MTS support. Bulk tuning can be achieved with any software capable of sending MIDI SysEx messages. Check...
Page 117 There are six slots, but you can run out if you use slots on Overview routings that can be had 'for free' using the hardwired mods. As mentioned earlier, Kyra has a comprehensive set of hardwired modulation routes that take care of the bulk of The second, more interesting reason is that many of the routine modulation programming needs. However, there hardwired modulators are themselves destinations for the are a lot of possible modulation routes in the system and to Mod Matrix. For example, you could configure channel...
Page 118 Kyra Sound Programming channel). In that case, the total modulation value is deter- Structure mined by adding up all the routes, accounting for the fact A Mod Matrix route consists of a modulation source a some modulations can be negative. This can be useful if a modulation destination (the sources and destinations are single Mod Matrix route does not provide the range you collectively referred to as agents in the user interface).
Page 119 Off Velocity Release velocity value MIDI CC 12 see Source name MIDI CC 13 see Source name Remember you don’t have to use modulation sources for their original purposes. With Kyra, if MIDI CC 14 see Source name you want to wire the Pitch Bend wheel to the Sub MIDI CC 15 see Source name Oscillator level, go ahead and do it. This is why the- MIDI CC 16 see Source name re’s an option to defeat the standard operation of...
Page 120 This is especially useful OSC2 LFO2 to pulse width <- see destination name for EG sources. OSC2 sawtooth level <- see destination name OSC2 wavetable level <- see destination name Modulation Destinations OSC2 pulse level <- see destination name Almost all Kyra’s parameters are available as Mod Mat OSC2 sub level <- see destination name destinations. OSC2 sub detune <- see destination name OSC2 pulse width <- see destination name Destination Description Hypersaw intensity <- see destination name OSC1 tune <- see destination name...
Page 121 Kyra Sound Programming Filter 1 EG2 to cutoff <- see destination name EG3 release <- see destination name Filter 1 LFO2 to cutoff <- see destination name LFO1 speed <- see destination name Filter 2 cutoff frequency <- see destination name LFO1 delay <- see destination name Filter 2 resonance <- see destination name LFO2 speed <- see destination name Filter 2 EG1 to cutoff <- see destination name LFO2 delay <- see destination name Filter 2 EG2 to cutoff <- see destination name LFO3 speed <- see destination name Filter 2 LFO2 to cutoff <- see destination name DDL mix <- see destination name VCA level (pre-effects) <- see destination name DDL delay <- see destination name VCA pan <- see destination name DDL feedback <- see destination name VCA stereo width <- see destination name Phaser mix <- see destination name...
Page 122 Kyra Sound Programming Reverb darkness <- see destination name EQ mid gain <- see destination name EQ mid frequency <- see destination name Formant filter gain <- see destination name Formant filter tune <- see destination name Distortion mix <- see destination name Distortion drive <- see destination name Final level (post-effects) <- see destination name Dual Detune amount <- see destination name 122 Kyra Manual...
Page 123 DAW as they are Control Automation standard MIDI messages rather than system exclusive All of Kyra‘s controls (rotary controls and buttons) that messages. MIDI CCs use considerably less MIDI bandwidth relate to Patch parameters can be automated. This allows...
Page 124 MIDI Configuration page is the same as it was when the automation was recorded. There is no reason to change the Device ID unless you have more than one Kyra on a single DIN MIDI cable. Use a Program Change message in the song preroll to set the automated parameters to their default values. If the...
Page 125: Troubleshooting
Don't use microphone, phono the recorded audio. or guitar inputs on your amplifier, mixer or soundcard. Some mixers and soundcards have switchable inputs - ensure the switch is in the balanced line level input setting. Check nothing near Kyra or the leads to your mixer is 125 Waldorf Kyra...
Page 126 There are a few reasons why there might be no output. A Next, check that the level of the Patch isn’t too high. If a good check is to insert headphones directly into Kyra's Patch level is too high, the limiters will kick in and cause headphone jack. If audio is present there, the problem is...
Page 127 MIDI note on event of one for the USB streams. note before the note off event of the previous one. As Kyra can only play one instance of a note on a given This small risk of distortion is a design compromise to Part, this will result in the note not being heard. To fix...
Page 128 SysEx messages during a song is not recom- cables. Reboot your computer to check if that resolves the problem. mended, especially if using DIN MIDI. If you’re feeding Kyra’s audio back into your DAW and Stuck Notes have other tracks using VST instruments or other instru- ments, you will need to adjust the settings on your DAW to Notes that seem to be ‘stuck’ is almost certainly a sign that match these. This is referred to Delay Compensation.
Page 129 If you are using USB MIDI and/or audio, connect Kyra directly to your computer. Do not use hubs. They are often non-compliant and will introduce additional latency and other problems. Use good quality cables. The line outputs are still active when you use USB audio but we recommend you don’t use the line out-...
Page 130: Kyra Usb Interface
USB audio (but remains functional for the line outputs) and each Part is streamed independently As Kyra has a USB 2.0 port with a capacity of 480 directly from its Part without any further mixing or pro- Mbits/sec, there are no inherent constraints on audio cessing.
Page 131 8 stereo sources - refer to the user peripherals such as mice and keyboards. Many stand-alone manual of your DAW for directions on how to achieve this hubs do not implement USB correctly. as it will depend on which DAW you are using. The channel allocations are for 8 stereo pairs in order, left then right; Plug Kyra directly into a USB 2.0 or above port on for example, source channel 0 is the left channel of Part 1, your computer. Avoid using hubs. 131 Waldorf Kyra...
Page 132 Other factors can cause audio defects including If your computer is not sufficiently powerful to handle buggy USB drivers, low quality cables, low quality USB Kyra's USB audio stream (which is likely to be the case if hubs and the hard disk in your computer being too slow to you can't get perfect audio with satisfactory latency), keep up, especially once you start multi-track record and consider using the line outputs instead of USB audio. With...
Page 133 Kyra USB Interface a good quality mixer, Kyra’s four stereo outputs will sound ASIO is only relevant to Windows users. Kyra is just as good as USB audio. compatible with macOS CoreAudio without the need to install any additional drivers. ASIO Kyra's USB driver is ASIO compliant. ASIO provides for ultra-low latency capability allowing you to route studio quality audio via USB and not get any discernible latency between playing notes and hearing them (subject to the performance of your computer).
Page 134: Kyra Firmware Update
Start the Kyra Manager application. On the left side of • the application window the checklist guides you through the firmware update process. Start with Step 1 and confirm every step. Make sure to • set up the correct MIDI connection within the software. This is important in case you use more than one Kyra within your setup. With the last step, the firmware update finally starts. • The application shows a progress bar. Kyra will either • restart or shutdown after the update. Do not under any circumstances turn off Kyra while the update step is in progress.
Page 135: Technical Data
Technical Data Technical Data Kyra Factory Bank List Power Supply Bank Name Description Supply Voltage Power: 100 – 240 V AC A RAM Selection 1 Best of Factory B RAM Selection 2 Best of Factory Supply Voltage Kyra: 12 V DC C RAM Factory 1 Maximum power consumption: 9.5 W D RAM Factory 2 Dimensions and Weight E RAM Factory 3 F RAM Factory 4 Width: 440 mm G RAM Empty bank for storing own patches Depth: 305 mm H ROM Selection 1 Best of Factory...
Page 136: Glossary
A phrase-playing unit that allows sequential playing of Balanced notes played as a block chord on a keyboard. A balanced cable carries a single signal along two conduc- tors each with opposite polarity. This allows the receiver to remove most of the noise induced by the cable by sub- tracting the signal from one conductor from the other. Kyra features balanced line outputs and you should use 136 Kyra Manual...
Page 137 If you're planning to grouped into Banks. Kyra supports 26 Banks of Patches store the synthesizer for an extended period without labelled A to Z. The instrument supports MIDI Bank Select...
Page 138 Chorus sounds. Kyra was designed to be completely contention A modulated delay-based effect that gives the impression free as all sound generation is done by dedicated hardware multiple instruments are playing at once. When used in...
Page 139 Glossary Continuous Controller DAC A feature of MIDI to allow channel-based continuous pa- Digital-to-Analogue Converter. The DAC convers the digital rameters to be adjusted. Kyra responds to a defined set of audio into analogue audio such that it can be mixed using standard MIDI continuous controllers (CCs). In addition to an analogue mixer and rendered by an amplifier. Kyra these standard CCs, Kyra offers additional fixed routings features a high-quality 32-bit stereo DAC running at 96kHz (specifically, for Filter settings) as well as several additio- for studio quality sound. nal controllers into the Mod Matrix to allow custom confi- Daisy Chain gurations. A feature of DIN MIDI where you can connect devices in Comb Filter series using the MIDI Thru connector. As Kyra responds to...
Page 140 Glossary Kyra’s DDL can be used to achieve special effects or com- you find audio from Kyra is out of sync with your software plex rhythmic effects on percussive sounds. Kyra provides instruments, find out how to adjust the delay compensati- a delay module on each Part capable of providing delays on on your DAW. up to 2.7 seconds and the delay time can be synchronised Detune to a MIDI clock so it follows the tempo of your song accura- tely. The technique of varying the pitch interval between two oscillators by a relatively small amount (typically just a DAW few cents). Two oscillators playing the same pitch will...
Page 141 Dual Mode Short for Envelope Generator. A modulator used to achieve evolving modulation effects, most commonly using an A feature on Kyra that allows two hardware voices to be amplifier to give a sound its own amplitude contour. used to generate a stereo note. This can be applied to Wave and Hypersaw Mode Patches. Dual Mode is the only feature of Kyra that reduces its polyphony. Short for Equalization or Equalizer. A process used to...
Page 142 A tuning method whereby the ratio between any two ad- techniques. Kyra supports FM between its two Oscillator jacent notes is the twelfth root of two. By default, Kyra Groups. Kyra also has a large wavetable bank of pre-made plays Equal Temperament tuning but it can be configured...
Page 143 This The assembly containing the OLED display, rotary controls, usually involves subtle randomization of timing, pitch and push buttons and LEDs. The Front Panel has its own pro- loudness of notes and beats. Kyra provides Mod Matrix cessor which can be updated as part of the Software Up- agents (particularly the 'Random per Note' source) to help date.
Page 144 The reference pitch to which instruments playing together but poor configuration of your computer or the software are tuned. Kyra allows its pitch to be set such that the A running on it, or poor performance of the computer itself, above middle C is in the range 430 to 450Hz. This is the can result in the overall latency being unsatisfactory.
Page 145 A stored configuration of all 8 Parts. A Multi allows instant place as well as the right tempo. Kyra is able to lock its recall of the configuration of all 8 Parts - either from the arpeggiator, DDL and LFOs to MIDI clock. You must ensure front panel or via MIDI (using the Multi program change your master device (a sequencer, drum machine etc.) is...
Page 146 'moves' providing a total of ten sound sources per voice. within the stereo field. Outboard Part Signal processing units in the Kyra signal chain that are The configuration of one of the 8 independent sub- applied externally, i.e. beyond its own internal effects modules of Kyra. It is reasonable to view a Part as a com- units.
Page 147 Very few keyboards support the generation of The timbre is very much dependent on the width of the polyphonic pressure information but it is possible to add it pulses and modulation of the pulse width (PWM) provides in many DAWs. Kyra can receive poly pressure informati- a distinctive sound. Available as a basic waveform in both on; the data is fed into the Mod Matrix and can be used to Oscillator Groups and their sub-oscillators. modulate any polyphonic destination. Poly pressure can generate a lot of MIDI information so use it sparingly when using DIN MIDI.
Page 148 Glossary powered down). RAM is, however, limited in size and Kyra PWM supports 7 Banks of Patch storage, each containing 128 Pulse Width Modulation. The technique of modulating Patches along with 128 locations for Multi storage. ROM (varying) the width of a pulse wave to change its timbre. storage can be used to extend the capacity, please see When modulated by an LFO, PWM provides a very plea- ROM.
Page 149 Rolloff Registered Parameter Number. This is a set of MIDI- defi- The rate at which a filter attenuates harmonics as they ned parameters. Kyra responds to RPN 0 for bend range, beyond the cutoff frequency. Kyra offers two pole filters RPN 1 for fine tuning and RPN 2 for coarse tuning of a Part. with a relatively gentle 12dB/octave rolloff and four pole filters with a more aggressive 24dB/octave rolloff.
Page 150 Higher sample rates allow the re- it on for very long periods may shorten its lifetime. Note presentation of higher frequency sounds as well as allo- that the screensaver will activate after 24 hours even if it is wing the system to be more tolerant of out of band signals disabled. that can cause aliasing. Kyra has a native sample rate of Semitone 32x (1536kHz) for all sound generation and 2x (96kHz) for filtering, effects and final audio output. The result of this is A musical interval representing 100 cents or one twelfth of sounds that are virtually alias-free.
Page 151 A variation of note sustain whereby only notes played noise (hissing) from Kyra, check that volumes are at the whilst the sostenuto pedal is down are sustained. Not as right level. If you find the Master volume is much below...
Page 152 TRS key is released. The sustain pedal effectively holds the Tip, ring, sleeve. A type of audio cable that carries a single sustain period of a note until the sustain pedal is released, channel of balanced audio. On Kyra, two cables are requi- regardless of when the keys themselves are released. red for stereo operation. Kyra's line outputs are balanced Sustain Pedal TRS-type jacks. Kyra will operate with non-balanced cables and mixers but you will lose the benefits of balanced audio Sometimes shortened to sus or hold pedal. A pedal (and (primarily, increased tolerance of interference and noise). corresponding MIDI command) to sustain notes regardless...
Page 153 Oscillator Group. under the control of a modulator such as an envelope Often shorted to just 'wave'. generator. In digital instruments such as Kyra, the VCA is implemented digitally but the concept is identical so Wet there's no reason not to use the existing terminology.
Page 154: Product Support
Product Support Service & Repair Kyra does not contain any user-serviceable parts. If your Kyra develops a fault or needs servicing, please refer to a Waldorf authorised service center. For more information, please ask your musicians dealer or your local Waldorf distributor.
Page 155: Midi Implementation Chart
Remarks Export Import MIDI channels Via USB or MIDI Note numbers 1-127 1-127 Program change 0-127 Bank Select response? (Yes/No) Yes 0-25 If yes, list banks utilized in remarks column Modes supported: No Always Omni-Off, Poly Mode 1: Omni-On, Poly (Yes/No) Mode 2: Omni-On, Mono (Yes/No) Mode 3: Omni-Off, Poly (Yes/No) Mode 4: Omni-Off, Mono (Yes/No) Multi Mode (Yes/No) Note-On Velocity (Yes/No) Yes Yes Arpeggiator can transmit note events Note-Off Velocity (Yes/No) Yes Channel Aftertouch (Yes/No) Yes Poly (Key) Aftertouch (Yes/No) Yes Pitch Bend (Yes/No) Yes Active Sensing (Yes/No) Yes System Reset (Yes/No) Tune Request (Yes/No) 154 Kyra Manual...
Page 156 Yes File Dump (Yes/No) MIDI Tuning (Yes/No) Master Volume (Yes/No) Yes Setting is persistent Master Balance (Yes/No) Notation Information (Yes/No) No Turn GM1 System On (Yes/No) No Turn GM2 System On (Yes/No) Turn GM System Off (Yes/No) DLS-1 (Yes/No) File Reference (Yes/No) Controller Destination (Yes/No) Key-based Instrument Ctrl (Yes/No) Master Fine/Coarse Tune (Yes/No) Yes Fine only, 430 to 450Hz in 1Hz steps, persistent Other Universal System Exclusive Manufacturer or Non-Commercial System Yes Yes Exclusive NRPNs (Yes/No) RPN 00 (Pitch Bend Sensitivity) (Yes/No) Yes 1-12 semitones RPN 01 (Channel Fine Tune) (Yes/No) Yes Plus or minus one semitone, 64 is base RPN 02 (Channel Coarse Tune) (Yes/No) Yes Two octaves either way, 64 is base 155 Waldorf Kyra...
Page 157 MIDI Implementation Chart RPN 03 (Tuning Program Select) (Yes/No) RPN 04 (Tuning Bank Select) (Yes/No) RPN 05 (Modulation Depth Range) (Yes/No) MIDI Clock (Yes/No) Yes Yes Song Position Pointer (Yes/No) Yes Song Select (Yes/No) Start (Yes/No) Yes Continue (Yes/No) Yes Stop (Yes/No) Yes MIDI Time Code (Yes/No) MIDI Machine Control (Yes/No) MIDI Show Control (Yes/No) If yes, MSC Level supported General MIDI compatible? (Level(s)/No) Is GM default power-up mode? (Level/No) DLS compatible? (Levels(s)/No) (DLS File Type(s)/No) Standard MIDI Files (Type(s)/No) XMF Files (Type(s)/No) SP-MIDI compatible? (Yes/No) 156 Kyra Manual...
Page 158 MIDI Implementation Chart Function Transmit- Recognized Control Remarks ted (Y/N) (Y/N) Bank Select (MSB) Modulation Wheel (MSB) Breath Controller (MSB) Foot Controller (MSB) Portamento Time (MSB) Data Entry (MSB) Channel Volume (MSB) Configures Part level Balance (MSB) Pan (MSB) Configures Part Pan Expression (MSB) Effect Control 1 (MSB) Effect Control 2 (MSB) General Purpose Controller 1 (MSB) General Purpose Controller 2 (MSB) General Purpose Controller 3 (MSB) General Purpose Controller 4 (MSB) Yes 157 Waldorf Kyra...
Page 159 MIDI Implementation Chart Function Transmit- Recognized Control Remarks ted (Y/N) (Y/N) Bank Select (LSB) Modulation Wheel (LSB) Breath Controller (LSB) Foot Controller (LSB) Portamento Time (LSB) Data Entry (LSB) Channel Volume (LSB) Balance (LSB) 158 Kyra Manual...
Page 160 MIDI Implementation Chart Function Transmit- Recognized Control Remarks ted (Y/N) (Y/N) Pan (LSB) Expression (LSB) Effect Control 1 (LSB) Effect Control 2 (LSB) General Purpose Controller 1 (LSB) General Purpose Controller 2 (LSB) General Purpose Controller 3 (LSB) General Purpose Controller 4 (LSB) 159 Waldorf Kyra...
Page 161 MIDI Implementation Chart Function Transmit- Recognized Control Remarks ted (Y/N) (Y/N) Sustain Pedal Portamento On/Off Sostenuto Soft Pedal Legato Footswitch Hold 2 Sound Controller 1 (default: Sound Variation) Sound Ctrl 2 (default: Timbre/Harmonic Quality) Sound Controller 3 (default: Release Time) Sound Controller 4 (default: Attack Time) Sound Controller 5 (default: Brightness) Maps to Filter 1 Cutoff Frequency Sound Controller 6 (GM2 default: Decay Time) Sound Controller 7 (GM2 default: Vibrato Rate) Sound Controller 8 (GM2 default: Vibrato Depth) Sound Controller 9 (GM2 default: Vibrato Delay) Sound Controller 10 (GM2 default: Undefined) General Purpose Controller 5 General Purpose Controller 6 General Purpose Controller 7 General Purpose Controller 8 160 Kyra Manual...
Page 162 MIDI Implementation Chart Function Transmit- Recognized Control Remarks ted (Y/N) (Y/N) Portamento Control (custom) Filter 1 Cutoff Frequency (custom) Filter 2 Cutoff Frequency (custom) Filter 1 Resonance (custom) Filter 2 Resonance Effects 1 Depth (default: Reverb Send) Effects 2 Depth (default: Tremolo Depth) Effects 3 Depth (default: Chorus Send) Effects 4 Depth (default: Celeste [Detune] Depth) Effects 5 Depth (default: Phaser Depth) Data Increment Data Decrement Non-Registered Parameter Number (LSB) Non-Registered Parameter Number(MSB) 100 Registered Parameter Number (LSB) 101 Registered Parameter Number(MSB) 102 103 104 161 Waldorf Kyra...
Page 163 MIDI Implementation Chart Function Transmit- Recognized Control Remarks ted (Y/N) (Y/N) 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 All Sound Off 121 Reset All Controllers 122 Local Control On/Off 123 All Notes Off 124 Omni Mode Off 125 Omni Mode On 162 Kyra Manual...
Page 164 MIDI Implementation Chart Function Transmit- Recognized Control Remarks ted (Y/N) (Y/N) 126 Poly Mode Off 127 Poly Mode On 163 Waldorf Kyra...

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