Kurzweil K2600 Musician’s Reference

Kurzweil K2600 Musician’s Reference

Kurzweil k2600: reference guide
Hide thumbs Also See for K2600:
Table of Contents

Advertisement

©1999 All rights reserved. Kurzweil is a product line of Young Chang Co.; V. A. S. T. is a registered
trademark, and Kurzweil, K2600, K2500, and K2000 are trademarks of Young Chang Co. All other
products and brand names are trademarks or registered trademarks of their respective companies.
Product features and speciÞcations are subject to change without notice.
K 2600
Musician's Reference
Part Number: 910331 Rev. A

Advertisement

Table of Contents
loading

Summary of Contents for Kurzweil K2600

  • Page 1 ©1999 All rights reserved. Kurzweil is a product line of Young Chang Co.; V. A. S. T. is a registered trademark, and Kurzweil, K2600, K2500, and K2000 are trademarks of Young Chang Co. All other products and brand names are trademarks or registered trademarks of their respective companies.
  • Page 2 CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE THE COVER NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED SERVICE PERSONNEL IMPORTANT SAFETY & INSTALLATION INSTRUCTIONS INSTRUCTIONS PERTAINING TO THE RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS WARNING: When using electric products, basic precautions should always be followed, including the following: Read all of the Safety and Installation Instructions and Explanation...
  • Page 3 Young Chang Distributors Contact the nearest Young Chang ofÞce listed below to locate your local Young Chang/ Kurzweil representative. Young Chang America, Inc. P.O. Box 99995 Lakewood, WA 98499-0995 Tel: (253) 589-3200 Fax: (253) 984-0245 Young Chang Co. 178-55 Gajwa-Dong...
  • Page 5: Table Of Contents

    Contents Young Chang Distributors ... iii Chapter 1 Front Panel Front Panel Quick Reference ... 1-1 Volume Knob/ Slider ... 1-2 Mode Buttons... 1-2 Chan/Bank Buttons ... 1-2 Edit Button ... 1-2 Soft Buttons ... 1-3 Exit Button... 1-3 Cursor Buttons... 1-3 Alpha Wheel ...
  • Page 6: Table Of Contents

    Loading a Sample into the K2600 from another K2600 ... 6-5 Dumping from the K2600 to a Sampler ... 6-5 Dumping a Sample from the K2600 to a MIDI Data Recorder... 6-5 Loading a Sample into the K2600 from a MIDI Data Recorder... 6-5 Accessing a New K2600 Sample ...
  • Page 7: Table Of Contents

    Memory Upgrades and Other Options Program RAM vs. Sample RAM ... 9-1 Viewing RAM Objects ... 9-2 Choosing and Installing SIMMs for K2600 Sample Memory ... 9-2 SIMM SpeciÞcations ... 9-2 Installing Sample RAM ... 9-3 Using Headphones with the K2600 ... 9-4 Chapter 10 KDFX Reference In This Chapter ...
  • Page 8: Table Of Contents

    K2600 Musician’s Reference Contents Appendix C Standard K2600 ROM Objects In This Appendix...C-1 K2600 Program List...C-2 Setup List ...C-2 Conventional Controller Assignments...C-2 Special Purpose Setups...C-3 Programs...C-4 Setups...C-5 QA Banks ...C-6 Studios ...C-7 Keymaps ...C-9 Samples...C-10 FX Presets ...C-11 FX Algorithms...C-13 Program Control Assignments ...C-14...
  • Page 9: Front Panel Quick Reference

    This section describes features that, unless speciÞed otherwise, are common to both the rack versions of the K2600 (K2600R and K2600RS) as well as the keyboard versions of the K2600 (K2600, K2600S, K2600X, and K2600XS). The buttons and sliders that are unique to the keyboard models are described on page 1-4.
  • Page 10: Volume Knob/ Slider

    Front Panel Front Panel Quick Reference 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. Chan/Bank Buttons Scroll through the layers of the current program while in the Program Editor. Scroll through the zones in the current setup while in Setup mode.
  • Page 11: Soft Buttons

    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 youÕve made any changes while in the editor, you will be prompted to save them. Cursor Buttons Press the corresponding button to move the cursor up, down, left, or right in the display.
  • Page 12: The Display

    Special Keyboard Functions This section describes the buttons and sliders that are unique to the keyboard models of the K2600. Features common to both rack and keyboard models are described starting on page 1-1. Programmable controllers: Sliders A–H, and the buttons...
  • Page 13: Solo Button

    Mixdown Control MIDI Faders button When you press the MIDI Faders button, the K2600Õs sliders take on the functions assigned on the current MIDI Faders page. From the MIDI Faders display you can deÞne four different pages that deÞne how the K2600Õs physical sliders will work. In the display shown below, for example, the eight sliders are each deÞned to send MIDI 6 (Data) on Channels 9 through 16.
  • Page 14: Psw1, Psw2 (Buttons 9 And 10)

    Front Panel Special Button Functions Assignable Controllers (Buttons 1–8 and Sliders A–H) The function of these controllers will depend on how theyÕve been deÞned within a setup. Buttons 1Ð8 control either zone muting or KB3 features, depending on the value of the value of the Mutes parameter on the COMMON page in the Setup Editor.
  • Page 15 Button White Blue Program Editor (Blue) Orange MIDI Successive presses take you back to Previous Pg four most recent editor pages; 5th press Gain - takes you to ALG page Master “Remembers” current editor page, so Mark you can recall multiple pages with Jump Gain + button;...
  • Page 16: 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. The following table also appears as Table 3-1 on page 3-6 of the MusicianÕs Guide.
  • Page 17: Lfo Shapes

    Chapter 2 LFOs LFO Shapes LFO Shape Sine Positive Sine Square Positive Square Triangle Positive Triangle Rising Sawtooth Positive Rising Sawtooth Falling Sawtooth Positive Falling Sawtooth 3 Step Positive 3 Step 4 Step Positive 4 step 5 Step Positive 5 Step 6 Step Positive 6 Step 7 Step...
  • Page 18 LFOs LFO Shapes Sine 360 / 0 Triangle 360 / 0 Falling Sawtooth 360 / 0 4 Step 360 / 0 Positive Sine 360 / 0 Positive Triangle Rising Sawtooth 360 / 0 Positive Falling Sawtooth 360 / 0 Positive 4 Step 360 / 0 Sq uare Positive Sq uare...
  • Page 19 6 Step Positive Sine 360 / 0 8 Step Positive 8 Step 360 / 0 6 Step 7 Step 360 / 0 10 Step 360 / 0 12 Step Positive 12 Step 360 / 0 LFO Shapes Positive 7 Step 360 / 0 360 / 0 Positive 10 Step...
  • Page 21 Chapter 3 DSP Algorithms Algorithm|1|||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrrrrrR®rrrrrrR®rrterrR®rrt| d||||||gk||||||||||||||||||||||gk||||||gh cvvvvvvbcvvvvvvvvvvvvvvvvvvvvvvbcvvvvvvb| PITCH HIFREQ STIMULATOR PARAMETRIC EQ STEEP RESONANT BASS 4POLE LOPASS W/SEP 4POLE HIPASS W/SEP TWIN PEAKS BANDPASS DOUBLE NOTCH W/SEP NONE Algorithm|2|||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrrrrrR®rrterrR®rrtYrrR®rrty d||||||gk||||||||||||||gk||||||G;||||||GH cvvvvvvbcvvvvvvvvvvvvvvbcvvvvvvbNvvvvvvbn PITCH 2PARAM SHAPER 2POLE LOWPASS BANDPASS FILT NOTCH FILTER 2POLE ALLPASS...
  • Page 22 DSP Algorithms Algorithm|3|||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrrrrrR®rrtyrrR®rrrrrrR®rrty d||||||jk||||||||||||||u:||||||||||||||GH cvvvvvvm,...M/vvvvvvvvvvvvvvbn PITCH 2PARAM SHAPER 2POLE LOWPASS BANDPASS FILT NOTCH FILTER 2POLE ALLPASS NONE Algorithm|4|||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrrrrrR®rrterrR®rrterrR®rrt| d||||||gk||||||||||||||gk||||||gk||||||gh cvvvvvvbcvvvvvvvvvvvvvvbcvvvvvvbcvvvvvvb| AMP U AMP L PITCH 2PARAM SHAPER LPCLIP 2POLE LOWPASS SINE+ BANDPASS FILT NOISE+ NOTCH FILTER LOPASS 2POLE ALLPASS HIPASS...
  • Page 23 Algorithm|5|||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrrrrrR®rrterrR®rrterrR®rrt| d||||||gk||||||||||||||gk||||||gk||||||gh cvvvvvvbcvvvvvvvvvvvvvvbcvvvvvvbcvvvvvvb| PITCH 2PARAM SHAPER 2POLE LOWPASS BANDPASS FILT NOTCH FILTER 2POLE ALLPASS PARA BASS PARA TREBLE PARA MID NONE Algorithm|6|||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrrrrrR®rrterrR®rrtYrrR®rrt| d||||||jk||||||||||||||gk||||||u:||||||gh cvvvvvvm,...M,...M/vvvvvvb| LP2RES PITCH SHAPE2 BAND2 NOTCH2 LOPAS2 HIPAS2 LPGATE NONE DSP Algorithms 2PARAM SHAPER LPCLIP x AMP 2POLE LOWPASS...
  • Page 24 DSP Algorithms Algorithm|7|||||||||||||||||||||||||||||| |||||||||||||||||||||||5rrrrrrrr6|||||||| errR®rrterrR®rrrrrrR®rrTerrR®rrt7rrR®rrt| d||||||jk||||||||||||||u?||||||i;||||||gh cvvvvvvm,...M/vvvvvvbNvvvvvvb| PITCH 2PARAM SHAPER 2POLE LOWPASS BANDPASS FILT NOTCH FILTER 2POLE ALLPASS NONE Algorithm|8|||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrterrR®rrterrR®rrterrR®rrt| d||||||gk||||||gk||||||gk||||||gk||||||gh cvvvvvvbcvvvvvvbcvvvvvvbcvvvvvvbcvvvvvvb| LPCLIP x AMP PITCH SINE+ + AMP NOISE+ ! AMP LOPASS HIPASS ALPASS GAIN SHAPER DIST SINE LF SIN SW+SHP...
  • Page 25 Algorithm|9|||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrterrR®rrterrR®rrterrR®rrt| d||||||gk||||||gk||||||gk||||||gk||||||gh cvvvvvvbcvvvvvvbcvvvvvvbcvvvvvvbcvvvvvvb| PITCH LOPASS LOPASS HIPASS HIPASS ALPASS ALPASS GAIN GAIN SHAPER SHAPER DIST DIST SW+SHP SINE SAW+ LF SIN WRAP SW+SHP NONE SAW+ LF SAW SQUARE LF SQR WRAP NONE Algorithm|10||||||||||||||||||||||||||||| |||||||||||||||5rrrrrrrr6|||||||||||||||| errR®rrterrR®rrTerrR®rrt7rrR®rrtYrrR®rrt| d||||||jk||||||u?||||||JU||||||u:||||||gh cvvvvvvm,...M/vvvvvvm,...M/vvvvvvb| LP2RES PITCH SHAPE2 BAND2...
  • Page 26 DSP Algorithms Algorithm|11||||||||||||||||||||||||||||| |||||||||||||||5rrrrrrrr6|||||||||||||||| errR®rrterrR®rrTerrR®rrt7rrR®rrtYrrR®rrt| d||||||gk||||||fk||||||jU||||||u:||||||gh cvvvvvvbcvvvvvvbcvvvvvvm,...M/vvvvvvb| PITCH LOPASS LOPASS HIPASS HIPASS ALPASS ALPASS GAIN GAIN SHAPER SHAPER DIST DIST SINE SINE LF SIN LF SIN SW+SHP SW+SHP SAW+ SAW+ LF SAW LF SAW SQUARE SQUARE LF SQR LF SQR WRAP WRAP NONE...
  • Page 27 Algorithm|13||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrterrR®rrterrR®rrtYrrR®rrty d||||||gk||||||gk||||||gk||||||G;||||||GH cvvvvvvbcvvvvvvbcvvvvvvbcvvvvvvbNvvvvvvbn PITCH LOPASS LOPASS HIPASS HIPASS ALPASS ALPASS GAIN GAIN SHAPER SHAPER DIST DIST SW+SHP SINE SAW+ LF SIN WRAP SW+SHP NONE SAW+ LF SAW SQUARE LF SQR WRAP NONE Algorithm|14||||||||||||||||||||||||||||| |||||||||||||||5rrrrrrrr6|||||||||||||||| errR®rrterrR®rrTerrR®rrt7rrR®rrrrrrR®rrty d||||||jk||||||u?||||||i;||||||||||||||GH cvvvvvvm,...M/vvvvvvbNvvvvvvvvvvvvvvbn PANNER PITCH DSP Algorithms LOPASS...
  • Page 28 DSP Algorithms Algorithm|15||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrterrR®rrtYrrR®rrrrrrR®rrty d||||||gk||||||jk||||||u:||||||||||||||GH cvvvvvvbcvvvvvvm,...M/vvvvvvvvvvvvvvbn PITCH LOPASS LOPASS HIPASS HIPASS ALPASS ALPASS GAIN GAIN SHAPER SHAPER DIST DIST SINE SINE LF SIN LF SIN SW+SHP SW+SHP SAW+ SAW+ LF SAW LF SAW SQUARE SQUARE LF SQR LF SQR WRAP WRAP NONE...
  • Page 29 Algorithm|17||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrterrR®rrrrrrR®rrterrR®rrt| d||||||gk||||||gk||||||||||||||gk||||||gh cvvvvvvbcvvvvvvbcvvvvvvvvvvvvvvbcvvvvvvb| PITCH LOPASS SHAPE MOD OSC HIPASS AMP MOD OSC ALPASS NONE GAIN SHAPER DIST SINE LF SIN SW+SHP SAW+ LF SAW SQUARE LF SQR WRAP NONE Algorithm|18||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrtYrrR®rrrrrrR®rrterrR®rrt| d||||||jk||||||u:||||||||||||||gk||||||gh cvvvvvvm,...M/vvvvvvvvvvvvvvbcvvvvvvb| PITCH LOPASS HIPASS ALPASS GAIN SHAPER DIST...
  • Page 30 DSP Algorithms Algorithm|19||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrterrR®rrrrrrR®rrterrR®rrt| d||||||gk||||||gk||||||||||||||gk||||||gh cvvvvvvbcvvvvvvbcvvvvvvvvvvvvvvbcvvvvvvb| PITCH LOPAS2 SHAPE MOD OSC NONE NONE 3-10 Algorithm|20||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrtYrrR®rrterrR®rrterrR®rrt| d||||||jk||||||u:||||||gk||||||gk||||||gh cvvvvvvm,...M/vvvvvvbcvvvvvvbcvvvvvvb| PITCH LOPASS HIPASS ALPASS GAIN SHAPER DIST SINE LF SIN SW+SHP SAW+ LF SAW SQUARE LF SQR WRAP NONE x GAIN LPCLIP + GAIN SINE+...
  • Page 31 Algorithm|21||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrtYrrR®rrterrR®rrterrR®rrt| d||||||jk||||||u:||||||gk||||||gk||||||gh cvvvvvvm,...M/vvvvvvbcvvvvvvbcvvvvvvb| PITCH LOPASS x GAIN HIPASS + GAIN ALPASS XFADE GAIN AMPMOD SHAPER NONE DIST SINE LF SIN SW+SHP SAW+ LF SAW SQUARE LF SQR WRAP NONE Algorithm|22||||||||||||||||||||||||||||| |||||||||||||||5rrrrrrrr6|||||||||||||||| errR®rrterrR®rrTYrrR®rrt7rrR®rrtYrrR®rrt| d||||||jk||||||u:||||||JU||||||u:||||||gh cvvvvvvm,...M/vvvvvvm,...M/vvvvvvb| PITCH LP2RES SHAPE2 BAND2 NOTCH2 LOPAS2 HIPAS2...
  • Page 32 DSP Algorithms Algorithm|23||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrtYrrR®rrterrR®rrtYrrR®rrt| d||||||jk||||||u:||||||jk||||||u:||||||gh cvvvvvvm,...M/vvvvvvm,...M/vvvvvvb| PITCH LOPASS x GAIN HIPASS + GAIN ALPASS XFADE GAIN AMPMOD SHAPER NONE DIST SINE LF SIN SW+SHP SAW+ LF SAW SQUARE LF SQR WRAP NONE 3-12 Algorithm|24||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| errR®rrterrR®rrtYrrR®rrterrR®rrtYrrR®rrty d||||||jk||||||u:||||||gk||||||G;||||||GH cvvvvvvm,...M/vvvvvvbcvvvvvvbNvvvvvvbn LPCLIP x AMP PITCH SINE+...
  • Page 33 Algorithm|25||||||||||||||||||||||||||||| |||||||||||||||5rrrrrrrr6|||||||||||||||| errR®rrterrR®rrTYrrR®rrt7rrR®rrrrrrR®rrty d||||||jk||||||u:||||||i;||||||||||||||GH cvvvvvvm,...M/vvvvvvbNvvvvvvvvvvvvvvbn PITCH LOPASS x GAIN HIPASS + GAIN ALPASS XFADE GAIN AMPMOD SHAPER NONE DIST SINE LF SIN SW+SHP SAW+ LF SAW SQUARE LF SQR WRAP NONE Algorithm|26||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| ||||||||errR®rrterrR®rrterrR®rrtYrrR®rrty ||||||||d||||||©d||||||gk||||||G;||||||GH ||||||||cvvvvvvbcvvvvvvbcvvvvvvbNvvvvvvbn AMP U AMP L DSP Algorithms SYNC M SYNC S...
  • Page 34 DSP Algorithms Algorithm|27||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| ||||||||errR®rrterrR®rrterrR®rrterrR®rrt| ||||||||d||||||©d||||||gk||||||gk||||||gh ||||||||cvvvvvvbcvvvvvvbcvvvvvvbcvvvvvvb| SYNC M SYNC S 3-14 Algorithm|28||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| ||||||||errR®rrterrR®rrterrR®rrterrR®rrt| ||||||||d||||||©d||||||gk||||||gk||||||gh ||||||||cvvvvvvbcvvvvvvbcvvvvvvbcvvvvvvb| LPCLIP SINE+ NOISE+ LOPASS HIPASS ALPASS GAIN SHAPER DIST SINE LF SIN SW+SHP SAW+ SW+DST NONE SYNC M SYNC S LP2RES SHAPE2 BAND2 NOTCH2 LOPAS2 HIPAS2...
  • Page 35 Algorithm|29||||||||||||||||||||||||||||| |||||||||||||||||||||||5rrrrrrrr6|||||||| ||||||||errR®rrterrR®rrTerrR®rrt7rrR®rrt| ||||||||d||||||jd||||||u?||||||i;||||||gh ||||||||cvvvvvvm,...M/vvvvvvbNvvvvvvb| SYNC M SYNC S Algorithm|31||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| ||||||||errR®rrterrR®rrtYrrR®rrrrrrR®rrty ||||||||d||||||jd||||||u:||||||||||||||GH ||||||||cvvvvvvm,...M/vvvvvvvvvvvvvvbn Algorithm|30||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||| ||||||||errR®rrterrR®rrtYrrR®rrtYrrR®rrt| ||||||||d||||||jd||||||G;||||||u:||||||gh ||||||||cvvvvvvm,...ML...M/vvvvvvb| LPCLIP x AMP SINE+ + AMP NOISE+ ! AMP LOPASS HIPASS ALPASS GAIN SHAPER DIST SINE LF SIN SW+SHP SAW+ SW+DST NONE SYNC M SYNC S...
  • Page 37 Table C-1 on page C-2. The values you assign for these parameters determine which control messages will be transmitted to the K2600 and to its MIDI Out port when you move the corresponding controls on your MIDI source. If you look at the WHEEL page in the Setup Editor, youÕll see that the parameter called MWhl has a default value of MWheel.
  • Page 38: Control Source Lists

    K2600Õs LocalKbdCh parameter matches your MIDI controllerÕs transmit channel, then in this case the Foot message will be sent to the K2600Õs MIDI Out port as well, when you generate mono pressure messages from your MIDI controller.
  • Page 39: Descriptions Of Control Sources

    0, 33 Mono Pressure (MPress) Many of the K2600Õs factory programs are assigned to modify parameters such as pitch, Þlter cutoff frequency, and depth control when MPress messages are received. The mono pressure (Press) control assignment parameters in MIDI and Setup modes are set by default to transmit MPress messages when mono pressure messages are received from a controller.
  • Page 40 MIDI 05 (PortTim) This is the standard MIDI controller number for portamento time control. The K2600 always responds to this control message. For any program that has portamento turned on (on the COMMON page in the Program Editor), MIDI Portamento Time messages received via MIDI will affect the rate of the programÕs portamento.
  • Page 41 FtSw1 is set by default to MIDI Controller 64, so a switch pedal on your MIDI controller that sends MIDI 64 will send sustain messages to the K2600 by default. The K2600 will always respond to sustain messages by sustaining currently active notes.
  • Page 42 Control Sources MIDI Control Source List MIDI 68 MIDI 69 (FrezPd) The K2600 will always respond to this message. It causes all notes to be frozen at their current amplitude levels while the function is on. 70—74 MIDI 70—74 MIDI 75 (LegatoSw) The K2600 always responds to this message.
  • Page 43: Main Control Source List

    64 would leave the pitch unchanged. Pitch Wheel Message (PWheel) The K2600 is hard-wired to respond to this message. Any parameter with PWheel assigned as its value will be affected when your MIDI controllerÕs Pitch Wheel is moved.
  • Page 44 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 on page 6-42 of the MusicianÕs Guide. This control source does not appear in the Control Source list for parameters whose functions are local.
  • Page 45 +1 and back to 0 with every clock beat. This control source looks Þrst for externally received MIDI clock messages, and if none is received, it responds to the K2600Õs internal clock, which is always running. The internal clock speed is set with the Tempo parameter in Song mode.
  • Page 46 This unipolar control source responds to Attack velocity values received at the K2600Õs MIDI In port. Velocity values of 0 cause it to generate a signal value of 0, while velocity values of 127 will generate a value of +1. All other velocity values will result in signal values proportionally scaled between 0 and +1.
  • Page 47 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. It generates a signal value scaled from 0 to +1 based on the poly pressure value range of 0Ñ127.
  • Page 48 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 49 Uses the key number (global) to modify whatever it is patched into. Higher notes will have a very different effect than will lower notes. Users can use this new Source to control any K2600 parameters, or to scale amplitude or pitch. GAttVel This is updated every time you strike another key (kind of a multi- trigger function).
  • Page 50: Constant Control Sources

    Control Sources Constant Control Sources Constant Control Sources The remaining control sources are constants, which appear only when youÕre assigning control sources as inputs for the FUNs. Assigning one of these values Þxes the inputÕs control signal value at a steady level. Assigned Value 136-140...
  • Page 51: Keyboard Shortcuts For Control Sources

    Keyboard Shortcuts for Control Sources You can use the keyboard of your MIDI source 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 53: K2600 Note Numbers And Midi Note Numbers

    C 9–G 9 You can assign samples to keymaps in the range from C 0 to G 9. The K2600 will respond to MIDI events in the octave from C -1 to B -1. If a Note On event is generated in the range from C -...
  • Page 54 MIDI Note Numbers Note Numbers for Percussion Keymaps 5-Octave Percussion Keymaps (Range: C2–C7) MIDI Note Number 36-37 38-39 40-41 42-43 44-45 47–51 52–54 55-56 57-59 60-61 62–64 65–67 68–69 70–71 73-74 75-78 81-82 83-84 95–96 Key Number Low Tom C2-C Low Mid Tom D2-D E2-F2...
  • Page 55: Octave Percussion Keymaps (Range: C3 - C5)

    2-Octave Percussion Keymaps (Range: C3 - C5) MIDI Note Number 48–49 60-61 Key Number Sample Root Kick C 3–C Low Tom Cowbell Low Tom Mid Tom Cowbell Mid Tom Timbale High Tom Snare (Sidestick) High Tom Snare (dual velocity) C4-C Closed HiHat Ride Cymbal (Rim and Bell) Closed HiHat...
  • Page 57: Scsi Guidelines

    2 gigabytes, the K2600 will still be able to format it, but only as a 2 gigabyte disk. If you attach a formatted disk larger than 2 gigabytes, the K2600 will not be able to work with it; you could reformat the disk, but thisÑof courseÑwould erase the disk entirely.
  • Page 58 8. When using a Macintosh, power up the K2600 and other devices Þrst. 9. The K2600 Þle format is a proprietary format; no other device will be able to read or write a Kurzweil Þle.
  • Page 59: K2600 And Macintosh Computers

    The safest approach is to connect a drive to either the K2600 or the Mac, but not to both at the same time. Of course, you canÕt always predict when a Mac will access its drive, and it doesnÕt do SCSI bus arbitration, so using the Mac while using the SCSI bus from the K2600 (for example, doing a Disk-mode operation) is also a bad idea, and can cause the Mac to hang.
  • Page 60: The Midi Sample Dump Standard

    MIDI Out port of the sampler (or computer) to the K2600Õs MIDI In port, and connect the K2600Õs MIDI Out to the MIDI In of the sampler. This is known as a MIDI loop. Next, access the Sample Dump facility on the sampler. In addition to selecting which sample you wish to transfer over MIDI, you will need to set the correct sample dump channel number and destination sample number.
  • Page 61: Getting A Sample Into A Sample Editor From The K2600

    Computer to K2600 procedure above. On the source K2600, go to the Sample Editor and select the sample you wish to transfer. To do this, start in Program mode and press Edit, followed by the KEYMAP soft button. Now you should be on the KEYMAP page.
  • Page 62: Accessing A New K2600 Sample

    Now, enter the Keymap Editor by pressing Edit once again. Use the Sample parameter to select the new sample. If the new sample was loaded from another K2600, it will have the same ID as it did on the other K2600. If the sample was loaded from any other source, its ID will be deÞned as described in Loading Samples with the MIDI Standard Sample Dump on page 6-4).
  • Page 63: Aborting A Midi Sample Dump

    Aborting a MIDI Sample Dump The Abort soft button in the Sample Editor can be used to cancel any sample load into the K2600 from an external source (for example, a computer or a sampler). This button will also halt a sample dump from the K2600.
  • Page 65: K2600 System Exclusive Implementation

    K2000. Due to these changes, you cannot transfer a K2000 program to a K2600, or a K2600 program to a K2000 via MIDI system exclusive. The K2600 software will continue to be enhanced, and in the future the K2600 will be capable of accepting K2000 programs over MIDI.
  • Page 66 K2600 System Exclusive Implementation Data Formats K2600 SysEx messages are subdivided into Þelds that contain data in different formats. The various Þelds are shown in the Messages section below. Within a message, any Þelds 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 67: Messages

    The bit-stream format can be thought of as taking the binary bits of the K2600 data and, starting from the left, slicing off groups of 7 bits. Note that the trailing bits are set to zero. After the data Þeld, there is another Þeld, xsum. This is a checksum Þeld that is calculated as the least signiÞcant 7-bits of the sum of all of the MIDI bytes that make up the data Þeld.
  • Page 68 The response to this message will either be a DACK or a DNAK, as with the load message. The offs Þeld of the response will be zero. The K2600 will send a WRITE message whenever an object is dumped from the front-panel (using a Dump soft button), or in response to a READ message.
  • Page 69 SpeciÞcally, the sender of this message could just as easily delete every RAM object from the K2600 (for example, type = 0 and bank = 127) as it could delete all studios from bank 7 (for example, type = 113, bank = 7.)
  • Page 70 Acknowledges loading of macro. Code 0 indicates success; code 1 means failure. PANEL = 14h Sends a sequence of front-panel button presses that are interpreted by the K2600 as if the buttons were pressed at its front panel. The button codes are listed in tables beginning on page 7-7. The K2600 will send these messages if the Buttons parameter on the TRANSMIT page in MIDI mode is set to On.
  • Page 71: Master Parameters

    ID (decimal) ID (hex) Code (hex) A (leftmost) F (rightmost) CD (two center) System Exclusive Protocol K2600 System Exclusive Implementation ID (hex, type field) 01h 04h 01h 05h 00h 71h 00h 70h 01h 07h 01h 06h 00h 68h...
  • Page 72 Cursor Down Cursor Up/Down The next four commands allow you to read the screen display, both text and graphics layers. ALLTEXT = 15h Érequests all text in the K2600Õs display. PARAMVALUE = 16h Érequests the current parameter value. PARAMNAME = 17h Érequests the current parameter name.
  • Page 73 If pixels are on over characters, the text becomes inverted. Characters on the K2600 display are a monospaced font with a height of 8 pixels and a width of 6 pixels.
  • Page 75: Preventive Maintenance

    Maintenance and Troubleshooting Preventive Maintenance With a modicum of care, your K2600 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 K2600. Keyboard models should always rest on a hard ßat surfaceÑand on its rubber feet, not on the bottom panel.
  • Page 76: Battery Replacement

    K2600 warns of low battery voltage. The battery in your K2600 will last for several years (fewer if you add the P/RAM-26 option, which approximately doubles the load on the battery).YouÕll know the battery is losing power when the display says BATTERY VOLTAGE IS LOW during powerup.
  • Page 77: Scanner Diagnostics

    Note to K2500 owners: On 2500-series instruments, the LEDs on the front panel ßash three times when battery voltage is low. This isnÕt necessarily the case with the K2600Ñin fact on rack models, the LEDs always ßash three times at powerup.
  • Page 78: Ground Hum

    K2600 audio signal has a balanced input circuit. If you canÕt use the K2600 audio outputs in a balanced manner, there are a few things you can do to reduce ground hum. Although Ò3-prong to 2-prongÓ AC adapters are frequently used to break ground loops, they also break the safety ground that protects you from electric shock.
  • Page 79: Power Problems And Solutions

    We do not recommend changing the line voltage selector to 100 volts (or 220 volts in Europe) because overheating or blown fuses may occur if you leave the K2600 at the lower setting and use it later at a normal voltage level. Troubleshooting Naturally, weÕve done everything possible to ensure that your K2600 arrives free of defects.
  • Page 80: Other Possible Problems

    Maintenance and Troubleshooting Troubleshooting Lower the volume of your sound system, and turn the K2600 off, then on again (this is called a power cycle). Press the +/-, 0, and Clear buttons (on the alphanumeric buttonpad) at the same time. This is called a soft reset.
  • Page 81 3. You have instructed the K2600 to format a double-density (720K) disk as a high-density (1.4M) disk. Note: Punching a hole in a double-density disk case to try to make the K2600 read it as a high-density disk is not a good idea.
  • Page 83: Program Ram Vs. Sample Ram

    ThatÕs why you have to load RAM samples every time you power up. The amount of sample RAM in your K2600 is indicated in the center of the top line of the Disk-mode page. If the center of the displayÕs top line is blank when youÕre on this page, it means that there is no sample RAM installed in your K2600 (or that the K2600 isnÕt recognizing...
  • Page 84: Viewing Ram Objects

    Memory Upgrades and Other Options Choosing and Installing SIMMs for K2600 Sample Memory information, however, will remain in program RAM indeÞnitely. When you power up again, your RAM programs will still appear in the display as you scroll through the program list, but they wonÕt play if they use RAM samples, because the RAM samples are lost when you power...
  • Page 85: Installing Sample Ram

    DRAM memory chips soldered to the board. SIMMs with PALs, buffers, or other logic components will not work in a K2600; do not use them. Composite SIMMs may appear to work in some cases, but they will be unreliable.
  • Page 86: Using Headphones With The K2600

    1 to 3, right-to-left. Put the jumper on pins 2 and 1 (the two right-most pins) to conÞgure the K2600 for 5-volt SIMMs, or on pins 3 and 2 (the two left-most pins) to conÞgure it for 3-volt SIMMS. The circuit board is labeled accordingly.
  • Page 87: In This Chapter

    Chapter 10 KDFX Reference In This Chapter ¥ KDFX Algorithms........10-2 ¥...
  • Page 88: Kdfx Algorithms

    KDFX Reference KDFX Algorithms KDFX Algorithms Reverb Algorithms Name MiniVerb Dual MiniVerb Gated MiniVerb Classic Place Classic Verb TQ Place TQ Verb Diffuse Place Diffuse Verb OmniPlace OmniVerb Panaural Room Stereo Hall Grand Plate Finite Verb Delay Algorithms Name Complex Echo 4-Tap Delay 4-Tap Delay BPM 8-Tap Delay...
  • Page 89: Kdfx Presets

    KDFX Presets KDFX Preset Name NiceLittleBooth Small Wood Booth Natural Room PrettySmallPlace Sun Room Soundboard Add More Air Standard Booth A Distance Away Live Place BrightSmallRoom Bassy Room Percussive Room SmallStudioRoom ClassRoom Utility Room Thick Room The Real Room Sizzly Drum Room Real Big Room The Comfy Club Spitty Drum Room...
  • Page 90 KDFX Reference KDFX Presets KDFX Preset Name ChorusMedChamber Vanilla ChorRvb Chorus Slow Hall SoftChorus Hall ChorBigBrtPlate Chorus Air Chorus HiCeiling Chorus MiniHall CathedralChorus PsiloChorusHall GuitarChorLsrDly Flange + Delay ThroatyFlangeDly Flange + 4Tap Bap ba-da-dap Slapback Flange Quantize+Flange FlangeDelayHall FlangeDelayRoom SloFlangeDlyRoom FlangeDlyBigHall Flange Theatre FlangeVerb Clav...
  • Page 91: Kdfx Studios

    KDFX Studios Name RoomChorDly Hall RmChorChRv Hall RoomChorCDR Hall RoomChor Hall RoomChrCh4T Hall RoomFlngCDR Hall RoomFlgEcho Hall RmFlngStImg Garg RmFlgChDly Room ChmbFlgGtRv Hall RoomFlngCDR Hall RoomFlngLsr Echo RmFlgFXFlng Flng SpaceFlng Hall ChmbFlngCDR Verb RoomPhsrCDR Hall RmPhsrQuFlg Hall RoomPhsr Space RmEQmphEcho Comp RmEQmphEcho Hall RmEQmph4Tp Space RmEQmph4Tap Hall...
  • Page 92 KDFX Reference KDFX Studios Name CompEQmphCh Room BthQFlg4Tap Hall ChmbTremCDR Room ChmbCmpFlRv Hall ChamDstEcho Room ChamFlg4Tap Hall ChmbEnv4Tap GtRv CmbrShapLsr Hall auxPtchDst+ Chmb auxChorFlRv Cmbr auxChorFlRv Cmb2 auxChorFlRv Cmb3 auxChorFlRv Cmb4 HallFlgChDl Room HallPtchLsr Hall HallGateFl4T Bth HallChorFDR Room HallPtchPtFl Lsr HallFlng8Tp Room HallChrEcho Room HallChorCDR Hall...
  • Page 93 Bus1 Name FX Preset auxMPFlgLasr Plt auxShap4MD Plate FlgEnv4Tap Plate EnhrFlgCDR Plate auxRingPFD Plate GtRvShapMDl Room GtdEnhcStIm Room Gtd2ChrEcho 2Vrb GtdEnhcStIm Hall auxEnvSp4T GtVrb GtRbSwpFlt Lasr GtRbSwpFlt FlDly ChRvStIEcho Hall ChorChorCDR Spac ChDlDstEQ Hall auxDPanCDR ChPlt AuxChorFlng CDR auxEnhcSp4T CDR auxPtchDst+ ChRv EnhcChorChDl PCD auxPoly...
  • Page 94 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 is found in many combination algorithms, but is equally useful on its own because of its small size.
  • Page 95 seamless. Density controls how tightly the early reßections are packed in time. Low Density settings have the early reßections grouped close together, and higher values spread the reßections for a smoother reverb. L Input MiniVerb R Input MiniVerb Figure 10-2 Simplified Block Diagram of Dual MiniVerb Dual MiniVerb has a full MiniVerb, including Wet/Dry, Pre Delay and Out Gain controls, dedicated to both the left and right channels.
  • Page 96 KDFX Reference KDFX Algorithm Specifications Dual MiniVerb Parameters Page 1 L Wet/Dry 0 to 100%wet L Out Gain Off, -79.0 to 24.0 dB L Wet Bal -100 to 100% L Dry Pan -100 to 100% Page 2 L RoomType Hall1 L RvrbTime 0.5 to 30.0 s, Inf L Diff Scl...
  • Page 97 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 98 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 99 If Gate Duck is turned on, then the behaviour 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 100 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 conÞguration of the reverb algorithm to simulate a wide array of carefully designed room types and sizes.
  • Page 101 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 102 KDFX Reference KDFX Algorithm Specifications Size Scale InÞnDecay LF Split LF Time TrebShlf F TrebShlf G BassShlf F BassShlf G DiffAmtScl DiffLenScl DiffExtent Diff Cross Expanse LFO Rate LFO Depth 10-16 elements are accurately representing their preset values determined by the current Room Type.
  • Page 103 modeling real spaces. High depth settings can create chorusing qualities, which wonÕt be unsuitable for real acoustic spaces, but can nonetheless create interesting effects. Instruments that have little if no inherent pitch ßuctuation (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 104 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 105 Parameters Page 1 Wet/Dry 0 to 100%wet Room Size 1.0 to 16.0 m Pre Dly 0 to 500 ms HF Damping 16 to 25088 Hz Page 2 Bass Gain -15 to 15 dB Wet/Dry The amount of the stereo reverberator (wet) signal relative to the original input (dry) signal to be output.
  • Page 106 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 107 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 108 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 109 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 110 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 Þrst appeared in 1976.
  • Page 111 Parameters Page 1 Wet/Dry 0 to 100%wet Room Size 1.00 to 4.00 m Pre Dly 0 to 500 ms HF Damping 16 to 25088 Hz Page 2 Lowpass 16 to 25088 Hz Wet/Dry The amount of the stereo reverberator (wet) signal relative to the original input (dry) signal sent to the output.
  • Page 112 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 113 Dly Lvl control. The Dry signal is the stereo input signal. Out Gain This controls the level of the output mix, wet and dry, sent back into the K2600. Fdbk Lvl This controls the feedback gain of the separate, (mono) delay tap. A high value contributes a long repeating echo character to the reverb sound.
  • Page 114: 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 115 Also at the input to the delays are 1 pole (6dB/oct) lopass Þlters controlled by the HF Damping parameter. L Input Diffuser Blend Feedback FB2/FB1 > FB Blend Diffuser R Input Figure 10-6 Signal flow of Complex Echo Parameters Page 1 Wet/Dry 0 to 100 %wet Feedback...
  • Page 116 KDFX Reference KDFX Algorithm Specifications L Tap1 Dly 0 to 2600 ms L Tap2 Dly 0 to 2600 ms L Tap3 Dly 0 to 2600 ms Page 3 L Tap1 Lvl 0 to 100 % L Tap2 Lvl 0 to 100 % L Tap3 Lvl 0 to 100 % Page 4...
  • Page 117 131 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 deÞned in milliseconds (ms). The left and right channels are fully symetric (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 118 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 indeÞnitely. 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 119 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. At 0%, equal amounts of the left and right dry signals pass to their respective outputs.
  • Page 120 KDFX Reference KDFX Algorithm Specifications Parameters Page 1 Wet/Dry 0 to 100%wet Fdbk Level 0 to 100% HF Damping 16 Hz to 25088 Hz Page 2 LoopLength 0 to 32 bts Tap1 Delay 0 to 32 bts Tap2 Delay 0 to 32 bts Tap3 Delay 0 to 32 bts Tap4 Delay...
  • Page 121 133 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 deÞned 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 122 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 123 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. The cross coupling control lets you send the feedback from a channel to its own input (0% cross coupling) or to the other channelÕs input (100% cross coupling) or somewhere in between.
  • Page 124 KDFX Reference KDFX Algorithm Specifications the measure with interesting rhythmical patterns. Setting tap levels allows some ÒbeatsÓ to receive different emphasis than others. Parameters Page 1 Wet/Dry 0 to 100%wet Fdbk Level 0 to 100% Xcouple 0 to 100% HF Damping 16 Hz to 25088 Hz Page 2 LoopLength...
  • Page 125 135 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 126 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 Input R Input Figure 10-9...
  • Page 127 0 .1 0 x 1 .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 % Fdbk Level 0 to 100 % HF Damping 16 to 25088 Hz LF Damping 16 to 25088 Hz Page 2...
  • Page 128 KDFX Reference KDFX Algorithm Specifications Page 3 Tap3 Delay 0 to 32 bts Tap3 Shapr 0.10 to 6.00 x Tap3 Pitch C-1 to C8 Tap3 PtAmt 0 to 100% Tap3 Level 0 to 100% Tap3 Bal -100 to 100% Parameters for Spectral 6-Tap Page 1 Wet/Dry 0 to 100 %...
  • Page 129 Wet/Dry The relative amount of input signal and effected signal that is to appear in the Þnal 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. Negative values polarity invert the wet signal. Out Gain The overall gain or amplitude at the output of the effect.
  • Page 130 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 131 Chorus 2 is a 2 unit allocation multi-tapped delay (3 taps) based chorus effect with cross-coupling and individual output tap panning. Figure 10-11 is a simpliÞed block diagram of the left channel of Chorus 2. L Input From Right To Right Channel Channel Figure 10-12...
  • Page 132 KDFX Reference KDFX Algorithm Specifications Chorus 1 uses just 1 unit allocation and has one delay tap. Figure 10-13 is a simpliÞed block diagram of the left channel of Chorus 1. L Input From Right To Right Channel Channel Figure 10-14 Block diagram of left channel of Dual Chorus 1 (right channel is similar) The left and right channels pass through their own chorus blocks and there may be cross-coupling between the channels.
  • Page 133 In the stereo Chorus 1 and Chorus 2, the relative phases of the LFOs modulating the left and right channels may be adjusted. Delay Input Figure 10-15 Delay for a Single LFO The settings of the LFO rates and the LFO depths determine how far the LFOs will sweep across their delay lines from the shortest delays to the longest delays (the LFO excursions).
  • Page 134 KDFX Reference KDFX Algorithm Specifications Page 2 Tap Lvl -100 to 100% Tap Dly 0.0 to 1000.0 ms Parameters for Chorus 2 Page 1 Wet/Dry -100 to 100%wet Fdbk Level -100 to 100% Xcouple 0 to 100% HF Damping 16 Hz to 25088 Hz Page 2 Tap1 Lvl -100 to 100 %...
  • Page 135 Page 3 L PitchEnv Triangle or Trapzoid Parameters for Dual Chorus 2 Page 1 L Wet/Dry -100 to 100%wet L Out Gain Off, -79.0 to 24.0 dB L Fdbk Lvl -100 to 100% Xcouple 0 to 100% Page 2 L Tap1 Lvl -100 to 100 % L Tap2 Lvl -100 to 100 %...
  • Page 136 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 137 154 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 ßanger effect with two LFOs per channel. L Input From Right Channel Figure 10-17 Simplified block diagram of the left channel of Flanger 1 (right channel is similar) High Freq...
  • Page 138 KDFX Reference KDFX Algorithm Specifications Flanger 2 is a 2 processing allocation unit (PAU) multi-sweep Thru-zero ßanger effect with two LFOs per channel. Noise L Input From Right Channel Figure 10-18 Simplified block diagram of the left channel of Flanger 2 (right channel is similar) Flanging was originally created by summing the outputs of two un-locked tape machines while varying their sync by pressing a hand to the outside edge of one reel, thus the historic name reel-ßanging.
  • Page 139 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) Figure 10-19 Comb Filters : Solid Line for Addition; Dashed Line for Subtraction The heart of the ßanger implemented here is a multi-tap delay line. You can set the level of each tap as a percentage of the input level, and the level may be negative (phase inverting).
  • Page 140 ßanger, you can hear the noise Òwhooshing.Ó In the K2600, the noise level is very low, and in fact if no sound is being played, there is no noise at all at this point in the signal chain.
  • Page 141 be added to the input of the ßanger 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 Þrst order lowpass Þlter. Parameters for Flanger 1 Page 1 Wet/Dry -100 to 100% wet...
  • Page 142 The amount of noise (dB relative to full scale) to add to the input signal. In many ßangers, you can hear the noise ßoor of the signal being ßanged, but in the K2600, if there is no input signal, there is no noise ßoor unless it is explicitly added. [Flanger 2 only] Noise LP The cut-off frequency of a one pole lowpass Þlteracting on the noise injection signal.
  • Page 143 VAST function to smoothly vary the delay length. The range for all delays and excursions is 0 to 230 ms, but for ßanging the range 0 to 5 ms is most effective. StatDlyFin A Þne adjustment to the static delay tap length. The resolution is one sample. StatDlyLvl The level of the static delay tap.
  • Page 144 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 Þlter response making the effect much more pronounced.
  • Page 145 instead of addition by setting Wet/Dry to -50%, then the notches become peaks and the peaks become notches. Gain 0 dB 10 Hz 1000 Freq Figure 10-21 Response of typical phaser with (i) Wet/Dry = 50% and (ii) WetDry = -50%. Some of the phaser algorithms have feedback.
  • Page 146 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. Figure 10-22 Response of LFO Phaser Twin with Wet/Dry set to 100%. The Vibrato Phaser algorithm has a couple of interesting twists.
  • Page 147 Page 2 LFO Rate 0.00 to 10.00 Hz CenterFreq 16 to 25088 Hz FLFO Depth 0 to 5400 ct FLFO LRPhs 0.0 to 360.0 deg Wet/Dry The amount of phaser (wet) signal relative to unaffected (dry) signal as a percent. Out Gain The output gain in decibels (dB) to be applied to the combined wet and dry signals.
  • Page 148 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 Þlter response is a peak at the center frequency. 0% is the dry unaffected signal.
  • Page 149 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 Þlter. 100% is a pure allpass Þlter (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 150 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 Þrst and second listed effects in the algorithm name.
  • Page 151 Parameters for Two-effect Routing Page 1 Wet/Dry -100 to 100 % Mix Effect -100 to 100 % Mix Effect -100 to 100 % Mix Effect Adjusts the amount of each effect that is mixed together as the algorithm wet signal. Negative values polarity invert that particular signal.
  • Page 152 KDFX Reference KDFX Algorithm Specifications Page 2 A/Dry>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. Separate left and right controls are provided. Negative values polarity invert that particular signal.
  • Page 153 Flange The ßangers are basic 1 tap dual ßangers. 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 154 KDFX Reference KDFX Algorithm Specifications maximum possible time. Because of this, when you slow down the tempo, you may Þnd 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 155 Page 2 Tap1 Delay 0 to 8 bts Tap1 Level -100 to 100 % Tap1 Bal -100 to 100 % Tap2 Delay 0 to 8 bts Tap2 Level -100 to 100 % Tap2 Bal -100 to 100 % Reverb The reverbs offered in these combination effects is MiniVerb. Information about it can be found in the MiniVerb documentation.
  • Page 156 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 ßexible signal routing mechanism.
  • Page 157 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. Input 4-Tap Delay Configured as Ch -> 4T Input 2-Tap Chorus Configured as 4T -> Ch Figure 10-24 Chor<>4Tap with A->B cfg set to Ch->4T and 4T->Ch Bi-directional Routing...
  • Page 158 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 159 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. Figure 10-25 LFO delay taps in the configurable chorus and flange Figure 10-26 LFO control in Dual1Tap mode Figure 10-27 LFO control in Link1Tap mode...
  • Page 160 KDFX Reference KDFX Algorithm Specifications Figure 10-28 LFO control in Link2Tap mode Parameters for Chorus Page 1 Ch LFO cfg Dual1Tap... Ch Rate 1 0.01 to 10.00 Hz Ch Depth 1 0.0 to 100 ct Ch Delay 1 0 to 1000 ms Ch Fdbk L -100 to 100 % Ch Xcouple...
  • Page 161 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 162 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. L Input Delay Feedback Figure 10-29...
  • Page 163 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 164 KDFX Reference KDFX Algorithm Specifications All other parameters Reverb The reverbs offered in these combination effects is MiniVerb. Information about it can be found in the MiniVerb documentation. Parameters associated with this reverb begin with Rv. MiniVerb Rv Type Hall1 Rv Time 0.5 to 30.0 s;...
  • Page 165 Shp Inp LP Adjusts the cutoff frequency of the 1 pole (6dB/oct) lopass Þlter at the input of the shaper. Shp Out LP Adjusts the cutoff frequency of the 1 pole (6dB/oct) lopass Þlter at the output of the shaper. Shp Amount Adjusts the shaper intensity.
  • Page 166 00, 01, 10 or 11. A three bit number can take one of eight different values, a four bit number can take one of sixteen values, etc. The 18 bits of the K2600Õs digital to analog converter (DAC) represents 262144 different amplitude levels (2 words affects audio signals.
  • Page 167 quantized (its word length is being shortened), quantization usually sounds like additive noise. But notice that as the signal decays in the above Þgures, 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 168 KDFX Reference KDFX Algorithm Specifications Page 2 Fl Tempo System, 1 to 255 BPM Fl Period 0 to 32 bts Fl L Phase 0.0 to 360.0 deg Fl StatLvl -100 to 100% Page 3 FlStatDlyC 0.0 to 230.0 ms FlStatDlyF -127 to 127 samp In/Out When set to ÒInÓ, the quantizer and ßanger are active;...
  • Page 169 the Tempo. At Ò0Ó, the LFOs stop oscillating and their phase is undetermined (wherever they stopped). Fl Fdbk The level of the ßanger feedback signal into the ßanger 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 170 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 conÞguration. Each separate moving delay can be used as a ßanger, chorus, or static delay line selectable by the LFO Mode parameter.
  • Page 171 720 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 Þlter which has a series of peaks in the frequency response to the input signal.
  • Page 172 KDFX Reference KDFX Algorithm Specifications The Þgures below show Pt PkShape of -1.0 and 1.0, for a Pitch of C6 and a PkSplit of 0%. PeakShape = 1.0 PeakSplit = 0% Figure 10-33 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 Þlter.
  • Page 173 Page 2 Pt Inp Bal -100 to 100% Pt Pitch C-1 to G 9 Pt PkSplit 0 to 100% Page 3 ChPtchEnvL Triangle or Trapzoid Ch Rate L 0.01 to 10.00 Hz Ch Depth L 0.0 to 100.0 ct Ch Delay L 0.0 to 720.0 ms Ch Fdbk L -100 to 100%...
  • Page 174 KDFX Reference KDFX Algorithm Specifications Mix Chorus, Mix Flange Pt/Dry->Ch, Pt/Dry->Fl Pt Inp Bal Pt Out Pan Pt Pitch Pt PkSplit Pt Offset Pt PkShape All other Chorus parameters Fl LFO cfg Fl LRPhase Fl Phase 1, Fl Phase 2 All other Flange parameters 10-88 The amount of the ßanger or chorus signal to send to the output as a...
  • Page 175 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 R Input Figure 10-34 Block diagram of Mono Distortion...
  • Page 176 KDFX Reference KDFX Algorithm Specifications and lowpass Þlters are then followed by an EQ section with bass and treble shelf Þlters and two parametric mid Þlters. L Input Distortion R Input Distortion Figure 10-36 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 177 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 178 KDFX Reference KDFX Algorithm Specifications Page 2 Bass Gain -79.0 to 24.0 dB Bass 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 The amount of distorted (wet) signal relative to unaffected (dry) signal. Out Gain The overall gain or amplitude at the output of the effect.
  • Page 179 Mid Gain The amount of boost or cut that the mid parametric Þlter should apply in dB. Every increase of 6 dB approximately doubles the amplitude of the signal. Positive values boost the signal at the speciÞed frequency. Negative values cut the signal at the speciÞed frequency.
  • Page 180 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 Þlter. There is also a one pole LP in front of the Þrst stage.
  • Page 181 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 Þlter.
  • Page 182 KDFX Reference KDFX Algorithm Specifications Page 4 Bass Gain -79.0 to 24.0 dB Bass Freq 16 to 25088 Hz Mid1 Gain -79.0 to 24.0 dB Mid1 Freq 16 to 25088 Hz Mid1 Width 0.010 to 5.000 oct Wet/Dry This is a simple mix of the distorted signal relative to the dry undistorted input signal. Out Gain The overall gain or amplitude at the output of the effect.
  • Page 183 733 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 mode). These effects are the Hammond ¨ (Leslie ).
  • Page 184 KDFX Reference KDFX Algorithm Specifications microphone. The signal is then passed through a Þnal lowpass Þlter to simulate the band-limiting effect of the speaker cabinet. Figure 10-41 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 185 Parameters Page 1 In/Out In or Out VibChInOut In or Out Vib/Chor Roto InOut In or Out Page 2 Xover 16 to 25088 Hz Lo Gain Off, -79.0 to 24.0 dB Lo Rate -10.00 to 10.00 Hz Lo Size 0 to 250 mm Lo Trem 0 to 100% Lo Beam W...
  • Page 186 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 187 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 188 KDFX Reference KDFX Algorithm Specifications 734 Distort + Rotary Small distortion followed by rotary speaker effect PAUs: Distort + Rotary models an ampliÞer 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 ampliÞer simulation.
  • Page 189 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 190 KDFX Reference KDFX Algorithm Specifications Cabinet HP A highpass Þlter to simulate the band-limiting of a speaker cabinet. The Þlter controls the lower frequency limit of the output. Cabinet LP A lowpass Þlter to simulate the band-limiting of a speaker cabinet. The Þlter controls the upper frequency limit of the output.
  • Page 191 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 192 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 193 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 ampliÞer 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 194 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. Figure 10-48 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 195 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 196 KDFX Reference KDFX Algorithm Specifications Page 4 LoResonate 0 to 100% Lo Res Dly 10 to 2550 samp LoResXcurs 0 to 510 samp ResH/LPhs 0.0 to 360.0 deg In/Out When set to ÒInÓ, the algorithm is active; when set to ÒOffÓ the algorithm is bypassed. For the entire algorithm to be active, KB3 FXBus must also be active with its Roto InOut parameter set to ÒInÓ.
  • Page 197 Mic Pos The angle of the virtual microphones in degrees from the ÒfrontÓ 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 198 KDFX Reference KDFX Algorithm Specifications 900 Env Follow Filt Envelope following stereo 2 pole resonant filter PAUs: The envelope following Þlter is a stereo resonant Þlter with the resonant frequency controlled by the envelope of the input signal (the maximum of left or right). The Þlter type is selectable and may be one of low pass (i), high pass (ii), band pass (iii), or notch (iv).
  • Page 199 Envelope Follower L Input R Input Figure 10-50 Block diagram of envelope following filter Parameters Page 1 Wet/Dry 0 to 100%wet FilterType Lowpass 0Hz 2k 4k 6k Page 2 Threshold -79.0 to 0.0 dB Wet/Dry The amount of modulated (wet) signal relative to unaffected (dry) signal as a percent. Out Gain The overall gain or amplitude at the output of the effect.
  • Page 200 KDFX Reference KDFX Algorithm Specifications 901 TrigEnvelopeFilt Triggered envelope following stereo 2 pole resonant filter PAUs: The triggered envelope following Þlter is used to produce a Þlter sweep when the input rises above a trigger level. The triggered envelope following Þlter is a stereo resonant Þlter with the resonant frequency controlled by a triggered envelope follower.
  • Page 201 Envelope Follower L Input R Input Figure 10-52 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). After the detected envelope rises above the Trigger level, a trigger event cannot occur again until the signal drops below the Retrigger level.
  • Page 202 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 203 902 LFO Sweep Filter LFO following stereo 2 pole resonant filter PAUs: The LFO following Þlter is a stereo resonant Þlter with the resonant frequency controlled by an LFO (low- frequency oscillator). The Þlter type is selectable and may be one of low pass (i), high pass (ii), band pass (iii), or notch (iv) (see Þgure below).
  • Page 204 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. Sine Figure 10-54 Configurable Wave Shapes Parameters Page 1...
  • Page 205 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%. This parameter is active only when the Pulse waveform is selected. LFO Smooth Smooths the Saw+, Saw-, and Pulse waveforms.
  • Page 206 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 Þlter is available as a stereo (linked parameters for left and right) or dual mono (independent controls for left and right).
  • Page 207 Parameters for Dual Res Filter Page 1 L Wet/Dry 0 to 100%wet L Output Off, -79.0 to 24.0 dB Page 2 L FiltType Lowpass L Freq 58 to 8372 Hz LResonance 0 to 50 dB Wet/Dry The amount of Þltered (wet) signal relative to unaffected (dry) signal. Out Gain The overall gain or amplitude at the output of the Þlter.
  • Page 208 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 Þlters acting on the input signal and the Þlter results are summed for the Þnal output.
  • Page 209 arranged in parallel and their outputs summed, so the bandpass peaks are added together and the multiple resonances are audible. 0 dB Bandwidth Figure 10-57 Frequency response of (i) a single bandpass filter; (ii) the sum of two bandpass filters Now that weÕve gone through what the algorithm does, the question becomes ÒWhy are we doing this?Ó...
  • Page 210 KDFX Reference KDFX Algorithm Specifications Page 2 A Freq 1 16 to 25088 Hz A Width 1 0.010 to 5.000 oct A Gain 1 -79.0 to 24.0 dB A Freq 2 16 to 25088 Hz A Width 2 0.010 to 5.000 oct A Gain 2 -79.0 to 24.0 dB Page 3...
  • Page 211: 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 212 KDFX Reference KDFX Algorithm Specifications parameters on parameter pages 2 and three will be inactive while in ÒL*RÓ mode. Figure 2 shows the signal ßow when in ÒL*RÓ mode: L Input R Input Figure 10-59 “L*R” Mode Ring Modulator The other modulation mode is ÒOscÓ. In ÒOscÓ mode, the algorithm inputs and outputs are stereo, and the carrier signal for both channels is generated inside the algorithm.
  • Page 213 change in amplitude of the sawtooths develops a more gradual slope with smoothing, ending up as triangle waves when set to 100% smoothing. Sine Saw+ Figure 10-61 Configurable Wave Shapes Parameters Page 1 Wet/Dry 0 to 100%wet Mod Mode L*R or Osc Page 2 Osc1 Lvl 0 to 100%...
  • Page 214 KDFX Reference KDFX Algorithm Specifications Osc1 Freq The fundamental frequency of the conÞgurable oscillator. The oscillators can be set through the audible frequencies 16-25088 Hz with 1 semitone resolution. This parameter is active only in ÒOscÓ mode. Osc1Shape Shape selects the waveform type for the conÞgurable oscillator. Choices are Sine, Saw+, Saw-, Pulse, Tri, and Expon.
  • Page 215 908 Pitcher Creates pitch from pitched or non-pitched signal PAUs: This algorithm applies a Þlter 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 216 KDFX Reference KDFX Algorithm Specifications In Figure 10-63, 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 10-64 [100, 0, 0, 0] In Figure 10-64, there are deeper notches between wider peaks Figure 10-65 [-100, 0, 0, 0] In Figure 10-65, there are peaks on odd harmonic multiples and notches on even harmonic multiples of a...
  • Page 217 Figure 10-66 is like [100,100,100,100], except that all the peaks are at (all) multiples of half the Pitch frequency. Figure 10-67 [50,100,100,100] Figure 10-67 is halfway between [0,100,100,100] and [100,100,100,100]. Figure 10-68 [-50,100,100,100] KDFX Algorithm Specifications KDFX Reference 10-131...
  • Page 218 KDFX Reference KDFX Algorithm Specifications Figure 10-68 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 10-69 [100, -100, 100, 100] Figure 10-70 [100, 100, -100, 100] Figure 10-71 [100, 100, 100, -100]...
  • Page 219 Wet/Dry The relative amount of input signal and effected signal that is to appear in the Þnal 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 220 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 MusicianÕs 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 221 910 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) Þlters, and applies a VAST-type shaper to each band separately. Refer to the Musicians Guide for an overview of VAST shaping.
  • Page 222 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 223 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. The 2 processing allocation unit (PAU) version is a sparser version than the 3 PAU version.
  • Page 224 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 225 950 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 226 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. Figure 10-76 Hard- and Soft-Knee Compression Characteristics To determine how much to compress the signal, the compressor must measure the signal level.
  • Page 227 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 conÞguration. A meter is provided to display the amount of gain reduction that is applied to the signal as a result of compression.
  • Page 228 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 signalÕs 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 229 noise), and the threshold set just above the noise level. You can set just how far to drop the noise with the expansion ratio. Figure 10-78 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 230 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 231 953 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 Þlters and a parametric mid-range Þlter.
  • Page 232 KDFX Reference KDFX Algorithm Specifications Page 2 Atk Time 0.0 to 228.0 ms Rel Time 0 to 3000 ms SmoothTime 0.0 to 228.0 ms Signal Dly 0.0 to 25.0 ms Page 3 SCBassGain -79.0 to 24.0 dB SCBassFreq 16 to 25088 Hz SCMidGain -79.0 to 24.0 dB SCMidFreq...
  • Page 233 SCTrebGain The amount of boost or cut that the side chain treble shelving Þlter 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 speciÞed frequency. Negative values cut the treble signal above the speciÞed frequency.
  • Page 234 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 235 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 236 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 237 Page 4 Bass Gain -79.0 to 24.0 dB Bass 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 When set to ÒInÓ the compressor/expander is active; when set to ÒOutÓ the compressor/ expander is bypassed.
  • Page 238 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 Þlter should apply to the low frequency signals in dB.
  • Page 239 956 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 240 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 behaviour, 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 241 In/Out When set to ÒInÓ the compressor is active; when set to ÒOutÓ 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 ÒOutÓ.
  • Page 242 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 conÞgured as a stereo or mono effects. As a stereo effect, the stereo signal gates itself based on its amplitude.
  • Page 243 attack time signal rises signal falls above threshold below threshold Figure 10-86 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 244 KDFX Reference KDFX Algorithm Specifications If Ducking is turned on, then the behaviour 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 245 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 246 KDFX Reference KDFX Algorithm Specifications SCTrebFreq The center frequency of the side chain treble shelving Þlters in intervals of one semitone. SCMidGain The amount of boost or cut that the side chain parametric mid Þlter should apply in dB to the speciÞed frequency band.
  • Page 247 959 2 Band Enhancer 2 band spectral modifier PAUs: The 2 Band Enhancer modiÞes 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 Þlters (Figure 1).
  • Page 248 KDFX Reference KDFX Algorithm Specifications Hi Shelf G The boost or cut of the high shelving Þlter. 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 249 960 3 Band Enhancer 3 band spectral modifier PAUs: The 3 Band Enhancer modiÞes 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 Þlters (Figure 1).
  • Page 250 KDFX Reference KDFX Algorithm Specifications Page 2 Lo Enable On or Off Lo Drive Off, -79.0 to 24.0 dB Lo Xfer -100 to 100% Lo Delay 0 to 1000 samp Lo Mix Off, -79.0 to 24.0 dB Page 3 Hi Enable On or Off Hi Drive Off, -79.0 to 24.0 dB...
  • Page 251 961 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 252 KDFX Reference KDFX Algorithm Specifications Parameters for Tremolo BPM Page 1 In/Out In or Out Page 2 LFO Rate 0 to 12.00 x LFO Phase 0.0 to 360.0 deg Depth 0 to 100 % 0% 50% 100% In/Out When set to ÒInÓ the effect is active; when set to ÒOutÓ the effect is bypassed. Out Gain The overall gain or amplitude at the output of the effect.
  • Page 253 963 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 254 KDFX Reference KDFX Algorithm Specifications Parameters Page 1 In/Out In or Out Page 2 LFO Rate 0 to 10.00 Hz Rate Scale 1 to 25088 x Origin -100 to 100 % PanWidth 0 to 100 % ImageWidth 0 to 100 % CentrAtten -12 to 0 dB In/Out...
  • Page 255 964 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 ÒLÓ...
  • Page 256 KDFX Reference KDFX Algorithm Specifications Sine Figure 10-93 LFO Shapes available for Dual AutoPanner Parameters Page 1 L In/Out In or Out L Out Gain Off, -79.0 to 24.0 dB Page 2 L LFO Rate 0 to 10.00 Hz L RateScal 1 to 25088 x L Origin -100 to 100 %...
  • Page 257 -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 258 KDFX Reference KDFX Algorithm Specifications 965 SRS Licenced Sound Retrieval System 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 259 966 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 Þeld and increased sound Þeld envelopment.
  • Page 260 KDFX Reference KDFX Algorithm Specifications Parameters Page 1 L In Gain Off, -79.0 to 24.0 dB CenterGain Off, -79.0 to 24.0 dB L/R Delay -500.0 to 500.0 samp Page 2 DiffBassG -79.0 to 24.0 dB DiffBassF 16 to 25088 Hz Stereo Correlation L In Gain The input gain of the left channel in decibels (dB).
  • Page 261 967 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 262 KDFX Reference KDFX Algorithm Specifications Page 2 Crossover1 16 to 25088 Hz Crossover2 16 to 25088 Hz Pan High -100 to 100% Pan Mid -100 to 100% Pan Low -100 to 100% In/Out The algorithm is functioning when In/Out is set to ÒInÓ. If set to ÒOut, whatever is on the input channels gets passed to the output unaltered.
  • Page 263 968 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 Þlters per channel. For each band the gain may be adjusted from -12 dB to +24 dB.
  • Page 264 KDFX Reference KDFX Algorithm Specifications (dB) Figure 10-97 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 62Hz G -12.0 to 24.0dB 125Hz G -12.0 to 24.0dB...
  • Page 265 Page 3 R 31Hz G -12.0 to 24.0dB R 62Hz G -12.0 to 24.0dB R 125Hz G -12.0 to 24.0dB R 250Hz G -12.0 to 24.0dB R 500Hz G -12.0 to 24.0dB In/Out When set to In the left channel equalizer is active; when set to Out the left channel equalizer is bypassed.
  • Page 266 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 267 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 Þlter response.
  • Page 268: 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 269: Stereo Analyze

    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 270 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 Òphasey-nessÓ. Usually in stereo recordings, you can localize the phantom image of sound sources somewhere between the two loudspeakers.
  • Page 271 Bank There are two types of banks in the K2600Õs memory: memory banks, which store and organize the programs and other objects you create, and Quick Access banks, where you can store programs and setups for one-button access while in Quick Access mode.
  • Page 272 (unlike periodic modiÞers like LFOs, which repeat at regular intervals). File A group of objects stored to a ßoppy or hard disk, or loaded into the K2600Õs RAM from disk. Global In this manual, used primarily in reference to control sources. A global control source affects all notes in a layer uniformly.
  • Page 273 Note State Any K2600 note is either on or off; this is its note state. Normally, any given noteÕs Note State switches on when you strike the key for that note. It switches off when you release the key, and any sustain controls you may have applied to the note (Sustain or Sostenuto pedal, etc.).
  • Page 274 Random Access Memory, one of the two basic types of computer memory. RAM can be both read from and written to. When you load samples into the K2600, or save a program youÕve created, youÕre writing to RAM. Compare ROM.
  • Page 275 Returns the K2600 to Program mode without affecting the contents of RAM. Press the +/-, 0, and Clear buttons to do a soft reset. If your K2600 is hung up for some reason, this will usually get take care of the problem. See Hard Reset.
  • Page 277: K2600 Features

    Appendix A Specifications K2600 Features ¥ 240 x 64-pixel backlit ßuorescent graphic display with adjustable contrast ¥ 3.5-inch ßoppy disk drive, for DD or HD disks, DOS compatible ¥ MIDI In, Thru, and Out with selectable second MIDI Out ¥...
  • Page 278: Temperature Ranges

    Specifications Environmental Specifications ¥ 500K battery-backed RAM for user programs, setups and other objects, expandable to 1500K ¥ Two SCSI ports for connection with external SCSI disks, CD-ROM drives, or personal computers ¥ Optional internal hard disk ¥ Optional eight-channel interface to AES, ADAT, DA-88 ¥...
  • Page 279: Safe Voltage Ranges

    Safe frequency range: If the voltage drops below the minimum safe level at any voltage setting, the K2600 will reset, but no data will be lost. If the voltage exceeds the maximum safe level, the K2600 may overheat. K2600R K2600 43.0 cm...
  • Page 280: Audio Jacks

    Specifications Analog Audio Specifications Analog Audio Specifications Audio Jacks ¥ 1/4-inch TRS balanced/unbalanced ¥ Tip = Positive ¥ Ring = Negative ¥ Sleeve = Chassis Ground Separate Outputs Maximum Output Output Impedance Mix Outputs Maximum Output Output Impedance Headphone Output Maximum Output Output Impedance Balanced...
  • Page 281: Midi Implementation Chart

    System Real Time Messages Local Control All Notes Off Aux Messages Active Sense Notes Mode 1: Omni On, Poly Mode 3: Omni Off, Poly Model: K2600 Transmitted Default Changed 1 - 16 Default Mode 3 Altered 0 - 127 Note ON...
  • Page 283: Sysex Message Structure

    (SysEx) messages. This takes a little more effort, but allows more ßexibility. ItÕs especially useful when the K2600 is in Master effects mode (the FX Mode parameter on the Effect-mode page is set to Master). ItÕs also a way to get additional real-time controlÑbeyond the 18 FXMods that are available for a given program or setup.
  • Page 284: Body

    SysEx Control of KDFX SysEx Message Structure Body The body of each SysEx message is where you issue one or more speciÞc commands for KDFX control. Each speciÞc command consists of four bytes (a string of four hexadecimal numerals). Each SysEx message you send can contain as many of these speciÞc commands as you want. Command Type Device selection Parameter selection...
  • Page 285: 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 (Hexadecimal) 08–0F 10–17 18–1F 20, 22, 24, 26 21, 23, 25, 27 2B–2E Parameter Codes...
  • Page 286 MIDI information. Since each byte of MIDI information contains only 7 meaningful bits, you need two bytes to send eight bits of information. The K2600 interprets these bytes as a two-byte pair and not as unrelated bytes. The Þrst byte, called the most-signiÞcant byte (MSB) sets the general range of the value, while the second byte (the least-...
  • Page 287 HereÕs a different way to look at it: Parameter Value MSB (Hexadecimal) (Decimal) Unsigned, 128 to 255 Unsigned, 0 to 127 Signed, 0 to 127 Signed, -128 to -1 For example, if you wanted to send a value of 216, the MSB would be 01 hex, and the LSB would be (216 - 128), or 88 decimal (58 hex).
  • Page 289: In This Appendix

    3. Change its value to 18. You should see something like this: 18 Obj B1.00. This Òintonation tableÓ is actually the version number of the K2600Õs basic object Þle (hence the B). If you scroll higher in the list, you may see other version numbers, depending on the ROM block options you have.
  • Page 290: K2600 Program List

    K2600 Program List K2600 Program List The preset programs in the K2600 are organized by instrument category. YouÕll Þnd a few representatives of each instrument sampled for the base ROM sound block, as well as synthesized instrument emulations, commonly used synthesizer timbres, and templates for new programming.
  • Page 291: Special Purpose Setups

    A template for creating your own control assignments from a clear palette. Lets you create your own setups from our common settings. The NewZn parameter uses this setup as its template for creating new zones. Standard K2600 ROM Objects Special Purpose Setups...
  • Page 292: Programs

    Standard K2600 ROM Objects Programs Programs Concert Piano 1 Stereo Solo Pno Brt Concert Pno Rok Piano Piano for Layers DrkPno^ArakisPno Honky-Tonk Pno&Syn/AcString ClassicPiano&Vox E Grand Stack Piano D'Biggy DynEPiano^EPnoPF FM-ish E-Piano Suitcase E Piano PhunkEPno^FonkMW Clavinators 1^2 Spaceychord 1^2...
  • Page 293: Setups

    Pad W/ Rotor Tang Nebulae Boink Head Voyager Changling Wash Cycle NewTaleSpinnin' Electric Swirl Land Of Giants Desert Planet Terraformation Sparkle & Bass Area 51 1/2 Slider Player Synthozilla Dr.Distorted ControlSetup Clear Setup Default Setup Standard K2600 ROM Objects Setups...
  • Page 294: Qa Banks

    Standard K2600 ROM Objects QA Banks QA Banks Keys Analog Hard Edge Jazz Rock/Blues Classical Film Score Jukebox Basic QA Bank Songs Slow Drive Arr Slow Drive Sng "2WaveSeqCh5,6Arr" "2WaveSeqCh5,6Sng" HybridGroove Arr Wave Seq Ch6 Arr Wave Seq Ch6 Sng...
  • Page 295: Studios

    PltEnvFl4T Room PlatEnvFl4T Filt PltEnvFl4T Plate PltTEnvFlg Plate PlateRngMd Hall AuxDist+Echo Plt AuxEnvSp4T Plate AuxShap4MD Plate AuxChorDist+ Plt AuxShFlgChDl Plt Standard K2600 ROM Objects Studios AuxMPFlgLasr Plt AuxShap4MD Plate FlgEnv4Tap Plate EnhrFlgCDR Plate AuxRingPFD Plate GtRvShapMDl Room GtdEnhcStIm Room Gtd2ChrEcho 2Vrb...
  • Page 296 Standard K2600 ROM Objects Studios AuxRot&Ds2FDRPlt AuxFlgChDl Hall AuxDstLsr CDR CPDlEnFltCmpGtRv RotoOrgFX2 Hall ChDlFlPtLzVb Plt CDFlDelayPhRm Hall CDR FlgRvb Hall DstPhsPnLzVb CDR DistRoom GrphEQ Enh Ch 4T Hall FiltCmpExpFl CDR LzVbFlDstEQ Room PhseDist Room ChDelayRvFlRv Hall RmRotr&DstChrPlt Clear Studio Pre-KDFX Studio...
  • Page 297: Keymaps

    Drawbars 1-4 Sine Wave Click Drawbars1-3 Dist Fingered Bass 2 Full Drawbars Ext Dual Bass Syn Bass Pick Syn Bass Slap Standard K2600 ROM Objects Keymaps Shift Guitar Syn Guitar Syn Voices Syn Voices 2 Perc Voice Synstrings 1 Synstrings 2...
  • Page 298: Samples

    Standard K2600 ROM Objects Samples Samples Grand Piano Rhodes E Piano Voices Ensemble Strings Elec Jazz Guitar Acoustic Guitar Electric Bass Flute Tenor Saxophone Trumpet/Trombone Ride Rim Cymbal Ride Bell Cymbal Crash Cymbal Closed Hihat Slt Open Hihat Open Hihat Open>Close Hihat...
  • Page 299: Fx Presets

    ChorLite DelayHall 8-Tap Delay ChorusSmallRoom Spectral 4-Tap DeepChorDelayHall Astral Taps Chorus PercHall SpectraShapeTaps Chorus Booth Basic Chorus ClassicEP ChorRm Standard K2600 ROM Objects FX Presets ChorusMedChamber Vanilla ChorRvb Chorus Slow Hall SoftChorus Hall ChorBigBrtPlate Chorus Air Chorus HiCeiling Chorus MiniHall CathedralChorus...
  • Page 300 Standard K2600 ROM Objects FX Presets TubeAmp Flange PolyAmp Chorus PolyAmp DelayFlnge VibrChor Rotors SlightDistRotors Rotostort VibrChor Rotors2 Full VbCh Rotors KB3 FXBus KB3 AuxFX Pitch Spinner VibrChrDstRotor1 VibrChrDstRotor2 VibChrDstRotor3 FullVbChTubeRotr ChorDelayHall 2 Flange Hall 2 SpeeChorusDeep Fluid Wash VC+DistRotor...
  • Page 301: Fx Algorithms

    Gate w/ SC EQ 2 Band Enhancer 3 Band Enhancer Tremolo Tremolo BPM AutoPanner Dual AutoPanner Stereo Image Mono -> Stereo Graphic EQ Dual Graphic EQ 5 Band EQ FXMod Diagnostic Stereo Analyze Standard K2600 ROM Objects FX Algorithms C-13...
  • Page 302: Program Control Assignments

    Standard K2600 ROM Objects Program Control Assignments Program Control Assignments Name MIDI 25 (Aux) Hall Level+Time Concert Piano 1 MIDI 29 Soundboard Wet/Dry Soft Pedal is active Data InEQ: Treb MIDI 25 (Aux) Hall Level+Time Stereo Solo Pno MIDI 29...
  • Page 303 KeyClick MIDI 26 Perc Harmonic (Hi/Low) MIDI 27 "HFDamp, Perc Decay" MIDI 28 Plate Level MIDI 29 Toggle: VibeChorus I/O Standard K2600 ROM Objects Program Control Assignments Name MWheel Leslie Depth Data Drawbar 1 MIDI 22 Drawbar 2 MIDI 23 "Drawbar 3, (Aux) Plate Level"...
  • Page 304 Standard K2600 ROM Objects Program Control Assignments Name MWheel "DecRescendo, Slight Vibrato" Data Layer Balance MIDI 25 (Aux) Hall Level+Wet/Dry Pedal Pipes MIDI 26 Hall Time MIDI 27 Hall EarlyRefLevel MIDI 28 Chorus FB MIDI 29 "Chorus I/O, Hall adj"...
  • Page 305 Chorus Mix MIDI 27 Chorus Rate MIDI 28 Chorus FB MIDI 29 Toggle: Chorus(4Tap) + Flange MPress Vibrato Standard K2600 ROM Objects Program Control Assignments Name MWheel Vibrato Data Toggle: SkoolBass ^ SImple "Pulse Width+Freq, Pitch adj, MIDI 22 EnvCtl: Imp+Att"...
  • Page 306 Standard K2600 ROM Objects Program Control Assignments Name MWheel Vibrato "Toggle: Ace Bass ^ Chirp Bass, Data LoPass Filt+Res" "HiPass Freq, LoPass Res, MIDI 22 EnvCtl: Imp" MIDI 23 "LoPass Res, EnvCtl: Att" MIDI 24 EnvCtl: Att+Rel MIDI 25 (Aux) Room Level Ace Bass^ChirpBas "Flange Wet/Dry, Chorus Wet/...
  • Page 307 "(FX2) Pitcher Wet/Dry, (FX3) MIDI 27 LaserVerb Wet/Dry" "(FX2) Pitcher Pitch, (FX3) MIDI 28 LaserVerb Delay" MIDI 29 Toggle: Pitcher + LaserVerb Standard K2600 ROM Objects Program Control Assignments Name MWheel Alternate Kick (B2-C3) Data Pitch: nearly all elements MIDI 22 "Filter: Kicks, AuxPerc"...
  • Page 308 Standard K2600 ROM Objects Program Control Assignments Name "Lowpass Filter and Filter Env MWheel Ctrl, many elements" Data "Pitch: Kicks (B1, C2, D6)" "Pitch: Snares (D2, E2), Toms, MIDI 22 HiHats" "Filters: Kicks and Snares MIDI 23 (above), Toms; HiHat boost"...
  • Page 309 "Delay FB, Chorus FB" MIDI 28 Delay Time MIDI 29 Toggle: FDR + Chorus MPress Vibrato AttVel EnvCtl: Decay Standard K2600 ROM Objects Program Control Assignments Name MWheel Vibrato + EQ Data Toggle: Cee Taur ^ Kotolin MIDI 22 EnvCtl: Imp...
  • Page 310 Standard K2600 ROM Objects Program Control Assignments Name MWheel Vibrato Data LoPass Res MIDI 22 LoPass Freq MIDI 23 "InEQ: Bass, EnvCtl: Att" MIDI 24 "InEQ: Treb, EnvCtl: Rel" Polyreal Mini MIDI 25 (Aux) Hall Level+Wet/Dry MIDI 26 Hall Decay Time+HFDamp...
  • Page 311 Delay (sys) Mix MIDI 29 Hall PreDelay + room size adj "Vibrato, LoPass Freq+Res, MPress Shape adj" ChanSt "Layer AltCtl, EnvCtl: Rel" Standard K2600 ROM Objects Program Control Assignments Name MWheel "swell, Vibrato" Data Toggle: DynTrumpet ^ Miles MIDI 22...
  • Page 312 Standard K2600 ROM Objects Program Control Assignments Name Toggle: W.C. Flute ^ Winds; Data BndPass adj "Sax / square Layers enable, Pan MIDI 22 position, BndPass adj" MIDI 23 adds chiff (sax / square inactive) MIDI 24 EnvCtl: Dec (sax / square)
  • Page 313 MIDI 28 "Filt Vibrato, Delay Mix" Toggle: Res Filt + ChorDelay MIDI 29 (Mellostr only) MPress "Vibrato, HiPass Freq" Standard K2600 ROM Objects Program Control Assignments Name "3-way Toggle: Ens Strg, Solo Strg(dwn 8ve), Flute" Data Octave jump LoPass Freq; ParaTreb Freq ;...
  • Page 314 Standard K2600 ROM Objects Program Control Assignments Name Vibrato Data Toggle: NUChoir ^ SpaceVox "EnvCtl: Att, Shaper amt ^ MIDI 22 LoPass Freq" MIDI 23 EnvCtl: Rel MIDI 24 LoPass Freq (SpaceVox) (Aux) Hall: Level+buildTime+DecayTime+Pr NUChoir^SpaceVox MIDI 25 eDelay+HFDamp MIDI 26...
  • Page 315 Matchstik^NUDigi MIDI 26 AstralTaps Wet/Dry+FB MIDI 27 AstralTaps FB image MIDI 28 AstralTaps Tempo MPress Vibrato Standard K2600 ROM Objects Program Control Assignments Name "Pitch chng+mod, LFO Depth(VAST+(Aux) Hall)" Data LoPass Freq "Pitch jump, Pitch LFO Rate MIDI 22 Toggle"...
  • Page 316 Standard K2600 ROM Objects Program Control Assignments Name Vibrato "PWM Width, LoPass Freq, Dist Data Drv cut" EnvCtl: Att+Dec+Rel MIDI 22 Dist Drv cut MIDI 23 InEQ: Bass Pulsemonster5ths MIDI 24 InEQ: Treb MIDI 25 (Aux) Hall Level "(Aux) Hall PreDelay, Decay MIDI 26 Time, HFDamp, Bass gain"...
  • Page 317 Env Filt min Freq MIDI 27 InEQ: Bass MIDI 28 InEQ: Treb MIDI 29 Toggle: Sweep Filt I/O MPress Gain boost Standard K2600 ROM Objects Program Control Assignments Name Vibrato Data Layer enable MIDI 22 EnvCtl: Att MIDI 23 EnvCtl: Dec...
  • Page 318 Standard K2600 ROM Objects Program Control Assignments Name Vibrato Data LoPass Freq MIDI 22 EnvCtl: Att MIDI 23 Saw wave Pitch adj MIDI 24 EnvCtl: Imp MIDI 25 "(Aux) Hall Level, Wet/Dry" Rezzysaws "EnvFilt thReshold, Chorus MIDI 26 Level" MIDI 27 "EnvFilt sweep, Delay Level"...
  • Page 319 MIDI 28 Chorus Rate "ChorusDelay I/O (sys), InEQ: MIDI 29 Treb boost" MPress Vibrato ControlD Amp cut Standard K2600 ROM Objects Program Control Assignments Name MWheel Vibrato Data Layer 3 volume (ride cymbal) MIDI 22 "BandPass Width, HiPass Res" MIDI 23...
  • Page 320 Standard K2600 ROM Objects Program Control Assignments Name MWheel Tremolo Data Toggle: Frozen ^ Pizzibell MIDI 22 Hi+LoPass Freq ^ EnvCtl: Imp MIDI 23 "LoPass Res, Env Ctl - Att" "LoPass Freq+Res, HiPass Freq MIDI 24 ^ EnvCtl: Rel" Frozen^ Pizzibell...
  • Page 321 Hall PreDelay MIDI 27 Chorus Depth+Delay MIDI 28 Delay Mix+FB MIDI 29 Hall HFDamp MPress Vibrato Standard K2600 ROM Objects Program Control Assignments Name MWheel LoPass Freq Data Toggle: Hello + A No Way MIDI 22 "LoPass Freq LFO, Pitch mod"...
  • Page 322 Standard K2600 ROM Objects Program Control Assignments Name MWheel "Pitch LFO, Shaper amt" "Pitch (Sine+) adj, BandPass Data Freq, Dist amt" "Pitch adj, Shaper LFO, HiPass MIDI 22 Freq" "LoPass + HiPass Freq, EnvCtl: MIDI 23 Att" MIDI 24 EnvCtl: Rel...
  • Page 323: Monaural Piano Programs

    A440. Programs that use these keymaps (for example 780 Ballad Piano) will mix better with other acoustic and electronic instruments. This type of tuning, therefore, is sometimes known as ÒensembleÓ tuning. Standard K2600 ROM Objects Monaural Piano Programs C-35...
  • Page 325 3. Change its value to 19. You should see something like this: 19 Obj C1.00. This Òintonation tableÓ is actually the version number of the K2600Õs basic object Þle (hence the C). If you scroll higher in the list, you may see other version numbers, depending on the ROM block options you have.
  • Page 326 Contemporary ROM Block Objects Programs Programs Pianos Drum Kits Water Piano StPno & OrchPad Grand & Pad Pop Grand Stack Prepared Piano Tack Piano Stack Ethnic / World Instruments Jungle Jam Mbira Stack Ritual Metals Prepared Mbira Loops Balinesque Ambient Bells World Jam 1 Basses World Jam 2...
  • Page 327 Keymaps Hybrid Pan Glass Rim Tone Synth Vox Orch Pad Koreana Heaven Bells MIDI Stack Synth Brass DigiBass AnaBass Mini Saw EBass Pick EBass Slap Clean Elec Gtr Distorted Guitar Dist Harmonics Clav Tone Wheel Organ Muted Trumpet Soft Alto Sax Koto Mbira Tabla Ta...
  • Page 328 Program Control Assignments Program Control Assignments The preset programs in the K2600 Contemporary ROM option 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 329 Prg ID Program Name Mod Wheel Keyboards 823 Dyno EP Lead Tremolo, Env ctl 824 ParaKoto Pad tremolo 825 Super Clav Phase clav enable 826 StrataClav Vibrato 827 Touch Clav EQ, Vibrato 828 Bad Klav 829 Rad Rotor Rotary speaker 830 B-2001 Rotary speaker 831 Perc Organ...
  • Page 330 Contemporary ROM Block Objects Program Control Assignments Prg ID Program Name Mod Wheel Basses 857 Two Live Bass Vibrato 858 Dual/Tri Bass Vibrato 859 Clav-o-Bass Vibrato 860 ChirpBass Vibrato 861 DigiBass 862 Mono Synth Bass 863 Touch MiniBass Vibrato 864 Ostinato Bass 865 House Bass Vibrato 866 Dubb Bass...
  • Page 331 Prg ID Program Name Mod Wheel Pads 894 Mandala Filter ctl 895 Slow Strat Vibrato 896 Fluid Koto Vibrato 897 Koreana Pad Tremolo 898 Tangerine Enable 5th 899 Planet 9 Contemporary ROM Block Objects Data MPress Pitch change Filter sweep enable Vibrato Vibrato Filter, Wet/Dry mix...
  • Page 333 3. Change its value to 20. You should see something like this: 20 Obj O1.00. This Òintonation tableÓ is actually the version number of the K2600Õs basic object Þle (hence the O). If you scroll higher in the list, you may see other version numbers, depending on the ROM block options you have.
  • Page 334 Orchestral ROM Block Objects Programs Programs Pianos String Sections Piano Trio Pno & Syn String Fluid Grand Haunted Piano Xylopiano Orchestras Grand,Harp&Lead TotalCntrl Orch1 TotalCntrl Orch2 BaroqueOrchestra Oboe&Flute w/Str Horn&Flute w/Str Plucked Strings Trp&Horns w/Str Winds Piccolo Orchestral Flute Solo Flute Orchestral Oboe Solo Oboe 2nd Oboe...
  • Page 335 Keymaps Oboe English Horn Bassoon Clarinet Bassoon/Oboe Bsn/EHrn/Oboe Flute 2 Eng Horn/Oboe Soft Trumpet French Horn French Hrn Sec Tuba Tuba/Horn Tuba/Hrn Sec Tuba/Sft Trmp Trombet Trumpbone Trombne/SftTrmpt Timpani Snare Roll Snare Hit Orch Bass Drum Orch Crash Tam Tam Triangle Tambourine Roll Tamb Hit...
  • Page 336 Program Control Assignments Program Control Assignments The preset programs in the K2600 Orchestral ROM option 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 337 Prg ID Program Name Mod Wheel Brass 920 Dynamic Trumpet Swell 921 Copland Sft Trp Vibrato off 922 Orch Trumpet Timbre (darker) 923 Soft Trumpet None 924 Strght Mute Trp Vibrato off 925 French Horn MW Timbre (brighter) 926 Slow Horn Vibrato 927 F Horn Con Sord Timbre (brighter)
  • Page 338 Orchestral ROM Block Objects Program Control Assignments Prg ID Program Name Mod Wheel Plucked Strings Fade/disables 960 Classical Guitar key-up layer 961 Virtuoso Guitar Vibrato rate & depth 962 Acoustic Bass Vibrato rate & depth 963 Snappy Jazz Bass Vibrato rate & depth 964 Dynamic Harp Release time (longer) 965 Harp w/8ve CTL...
  • Page 339: Live Mode Programs

    3. Change its value to 21. You should see something like this: 21 Obj L1.00. This Òintonation tableÓ is actually the version number of the K2600Õs basic object Þle (hence the L). If you scroll higher in the list, you may see other version numbers, depending on the ROM block options you have.
  • Page 341 Index Numerics 440-tuned piano voice C-35 A clock 4-9 Absolute Pitch Wheel 4-7 Amplitude envelope 4-12 ASR1, ASR2 4-11 Attack state 4-12 Attack velocity 4-10 B clock 4-9 Balance (MIDI 08) 4-4 Balance control 4-8 Battery replacement 8-2 Beat tuning C-35 Bipolar attack velocity 4-11 Bipolar key number 4-10 Bipolar Mod Wheel 4-7...
  • Page 342 Headphones 9-4 Inverse attack velocity 4-11 Jump to page 1-7 K2000 SysEx compatibility 7-1 K2500 Features A-1 K2600 and Macintosh Computers 6-3 Key number 4-10 Key numbers 5-1 Key state 4-10 Keymaps (ROM), list C-9, D-3, E-3 Layers Muting 1-6...
  • Page 343 Songs (ROM), list C-6 Sostenuto (MIDI 66) 4-5 Special button functions 1-6 Special-purpose Setups C-3 SpeciÞcations K2500 A-1 Standard K2600 ROM Objects C-1 Stretch tuning C-35 Studios (ROM), list C-7 Sustain (MIDI 64) 4-5 Sync state 4-9 System Exclusive Button press values 7-7...
  • Page 345 space shift bcksp 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 ].

Table of Contents