Page 1 Musician’s Guide ©2003 All rights reserved. Kurzweil ® is a product line of Young Chang Co., Ltd. Young Chang®, Kurzweil ® , V. A. S. T. ®, KDFX®, Pitcher®, and LaserVerb®, KSP8 ™, K2661™, K2600™, K2500™, and K2000™ are trademarks of Young Chang Co., Ltd. SmartMedia™ is a trademark of Toshiba Corporation.
Page 2 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: Important Safety Instructions
Important Safety Instructions Read these instructions Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with dry cloth. Do not block any of the ventilation openings. Install in accordance with the manufacturer’s instructions.
Page 4: World Wide Web Home Page
Kurzweil International Contacts Contact the nearest Kurzweil ofﬁce listed below to locate your local Kurzweil representative. Kurzweil Co., Ltd. Daerung Technotown 6th, 306 493-6 Gasan, Gumcheon, Seoul, Korea Tel: (+82) 2-2108-5700 Fax: (+82) 2-2108-5729 A N D Music Corp. P.O. Box 99995...
Page 5: Table Of Contents
World Wide Web Home Page: ... iv Chapter 1 Introduction Welcome! ... 1-1 Overview of the K2661 ... 1-1 VAST Synthesis... 1-3 KB3 Tone Wheel Emulation ... 1-3 How the K2661 Works ... 1-3 How to Use This Manual ... 1-4 Do I Have Everything? ...
Page 6 K2661 Musician’s Guide The Cursor Buttons... 3-3 The Chan/bank Buttons ... 3-3 The Edit Button ... 3-4 The Exit Button... 3-4 Data Entry ... 3-4 The Alpha Wheel... 3-4 The Plus/Minus Buttons... 3-4 The Alphanumeric Pad ... 3-5 Double Button Presses... 3-5 Intuitive Data Entry ...
Page 7 Hold Until Decay (TilDec) ... 6-23 The KEYMAP Page ... 6-23 Keymap... 6-23 Transpose (Xpose) ... 6-23 Key Tracking (KeyTrk) ... 6-24 Velocity Tracking (VelTrk)... 6-24 Sample Skipping (SmpSkp) ... 6-24 Stereo... 6-24 Timbre Shift... 6-25 Playback Mode ... 6-26 K2661 Musician’s Guide...
Page 8 K2661 Musician’s Guide Alternative Switch (AltControl and AltMethod)... 6-26 The PITCH Page ... 6-27 Fine Hz... 6-27 The F1–F3 Pages ... 6-27 The F4 AMP Page ... 6-28 Adjust... 6-28 Key Tracking ... 6-28 Velocity Tracking ... 6-29 Pad... 6-29 Source 1 and Source 2, Depth Controls...
Page 9 LowHarm ... 6-53 HighHarm ... 6-53 StealBar ... 6-53 The PERC2 Page ... 6-54 PercLevel, DecayTime, OrgLevel... 6-54 The KEYCLK Page ... 6-54 KeyClick ... 6-55 Volume... 6-55 Decay ... 6-55 Pitch... 6-55 VelTrk ... 6-55 Random ... 6-55 K2661 Musician’s Guide...
Page 10 K2661 Musician’s Guide ReTrigThresh... 6-55 Note Attack ... 6-56 Note Release ... 6-56 The AMP Page ... 6-56 The OUTPUT Page... 6-56 The MISC Page ... 6-57 PreampResp ... 6-57 Leakage... 6-57 LeakMode... 6-57 SpeedCtl ... 6-58 VibChorCtl ... 6-58 VibChorSel ...
Page 11 Shift Limit... 7-38 Limit Option ... 7-39 Glissando... 7-40 Velocity ... 7-40 Duration ... 7-40 Real-time Control of Arpeggiator Parameters ... 7-41 The Ribbon Conﬁguration (RIBCFG) Page ... 7-42 Large Ribbon Conﬁguration... 7-42 Position Mode (PosMode) ... 7-42 K2661 Musician’s Guide...
Page 12 The CTRL Page ... 9-9 Effects Channel (FX Chan)... 9-10 Studio...9-11 Bypass and Mute pages... 9-12 Chaining Effects... 9-15 The Structure of Kurzweil Digital Effects (KDFX) ... 9-16 The Studio ... 9-16 Normal Studio Structure... 9-19 Software Organization... 9-19 Controlling Effects... 9-19...
Page 13 Output Gain (OutGain) ... 10-10 Program Lock, Pan Lock, Volume Lock...10-11 Program Change Formats ...10-11 Extended and Kurzweil Program Change Types ...10-11 0-127 Program Change Type ... 10-13 Quick Access Banks—Extended (QA Ext) ... 10-13 Quick Access Banks—Kurzweil (QA Kurz) ... 10-15 QA 0–127 ...
Page 14 K2661 Musician’s Guide Panic... 10-18 Chapter 11 Master Mode The Master Mode Page...11-1 Tune...11-1 Transpose...11-2 KB3 Channel ...11-2 Velocity and Pressure Touch (VelTouch and PressTouch) ...11-2 Intonation ...11-2 Conﬁrm...11-4 Intonation Key (IntonaKey)...11-4 The MAST2 Page ...11-4 The Vocoder ...11-5 Using the Vocoder ...11-6 View Mode ...11-10...
Page 15 Quick Mute Track Bank Indicator... 12-40 Soft Buttons on the MIX Page... 12-40 The Song Editor ... 12-41 Soloing the Current Track ... 12-41 Song Editor: The COMMON Page ... 12-41 Tempo ... 12-42 TimeSig ... 12-42 EffectChan ... 12-42 K2661 Musician’s Guide...
Page 16 Chapter 13 Disk Mode Disk Mode Page... 13-2 Using SmartMedia Cards... 13-2 Connecting a SCSI Device... 13-3 SCSI Termination... 13-3 Using your K2661 in a SCSI System ... 13-4 Directories ... 13-4 Path ... 13-4 Startup ... 13-5 Library ... 13-5...
Page 17 Macro Entries... 13-48 Using the Bank and Mode Fields... 13-49 Viewing the Object List for a Macro Entry ... 13-50 Unspeciﬁed Disk ID... 13-50 The Library Disk ... 13-51 Loading Selected Entries from a Macro File ... 13-52 K2661 Musician’s Guide xvii...
Page 18 K2661 Musician’s Guide Editing Macros ... 13-53 Macro Insert ... 13-55 Executing the RAM Macro Table ... 13-56 Saving and Loading a Macro Table in a .K26 ﬁle ... 13-57 Aborting a Macro Load ... 13-57 Remote Macro Load... 13-58 Disk Utilities...
Page 19 Recording Samples ... 14-5 Sampling the K2661’s Output... 14-8 Sampling Digital Signals ... 14-8 Editing Samples... 14-10 The Function Soft Buttons in the Sample Editor ... 14-10 The Page Buttons... 14-13 The Miscellaneous (MISC) Page ... 14-13 The TRIM Page ... 14-16 The LOOP Page ...
Page 20 Linking to Programs and Setups ... 15-21 Setting Up FXMods... 15-22 Importing Studios From Another Program or Setup... 15-27 Using KDFX Live From the K2661 Keyboard ... 15-27 Using KDFX With a Sequencer ... 15-29 Preventing Glitches When Changing Studios ... 15-30 Tempo-based Control of KDFX...
Page 21 Building a Drum Program; Using the Keymap Editor ... 20-9 Editing a Setup for KB3 Control ...20-11 Using the KB3 Setup From the SmartMedia Card ... 20-12 Appendix A K2661 Boot Block Starting the Boot Block ... A-1 Updating K2661 Software ... A-2 Running Diagnostic Tests...
Page 22 K2661 Musician’s Guide xxii...
Page 23: Chapter 1 Introduction
You’ll deﬁnitely want to refer to the manuals as you become an advanced user, too. Overview of the K2661 The K2661 has been designed to be a versatile instrument both for performance, and for multi- timbral sequencing and recording. Its Variable Architecture Synthesis Technology lets you build sounds from realistic instrumental samples and sampled synth waveforms—then modify the...
Page 24 If your K2661 does not already have the maximum of 128 megabytes of Sample RAM installed, you can install a larger SIMM using the instructions in the Musician’s Reference. The most important thing for you to know about Sample RAM is that it is not battery-backed;...
Page 25: Vast Synthesis
ﬁxed set of DSP tools (typically ﬁltering, pitch, and amplitude modulation) the K2661’s Variable Architecture lets you arrange a combination of any ﬁve DSP functions from a long list of choices. The functions you choose deﬁne the type of synthesis you use.
Page 26: How To Use This Manual
Musician’s Reference . Only the ﬁrst one or two occurrences of these words are highlighted. You’ll also see text in bold face ( like this ). We use bold face to indicate parameter values, K2661 objects (like programs and setups), ﬁlenames (like songs and samples), and front-panel buttons (like the Program button and the soft buttons).
Page 27: The Accessory Files
ﬁle (and its dependent objects) from your K2661 when you are done listening. We also recommend that you go to the SampleMode page and set the Src parameter to Ext or the Mode parameter to something other than LiveIn, to help to avoid any unintended feedback.
Page 28: K2600 Compatibility
This ﬁle includes of all the ROM objects in the original K2600. You would use this ﬁle if you have songs created for a K2600 with v1 objects. See Loading Older Setup Versions on page 7-2 for information about using older objects with the K2661. K2500 Compatibility This contains a ﬁle of all the ROM objects in the K2500.
Page 29: Chapter 2 Startup
If hooking up new gear is familiar to you, and you just want to get going, here’s a quick description of all the basic things you need to cover to get started with your K2661. If you need more information, thorough descriptions of each step follow. In either case, check out Playing the Presets on page 2-4.
Page 30: Startup-The Details
Connecting the Power Cable (Line Cord) The K2661 runs on AC power: 100, 120, 230, or 240 volts at 50–60 Hz. Your dealer will set the voltage switch to match the voltage in your area. The voltage level is set with a selector on the rear panel of the K2661.
Page 31: Connecting Scsi
Connecting SCSI You may not have a hard disk or other SCSI device to connect to your K2661 right away, but if you do, you can connect it to the SCSI port. Please read the following information carefully; it’s very important. Also, there’s a collection of SCSI tips in Chapter 6 of the Musician’s Reference.
Page 32: Playing The Presets
The Panic button sends an All Notes Off message and an All Controllers Off message—both to the K2661 and over all 16 MIDI channels. You won’t need it often, but it’s nice to have. The Sample button takes you to Sample mode (the SampleMode page), which, as you’ve probably guessed, is where you make your own samples—if you have the sampling option in...
Page 33 Consequently, the info box shows only the waveform used in the program. Because of their architecture, KB3 programs require different processing within the K2661, and they don’t work on “regular” channels. They require a special channel to handle the KB3 program’s voices.
Page 34: Setups
Enter button to complete the selection. If you make a mistake, press Clear, then start over. The K2661 has various settings for responding to MIDI Program Change commands from external sources. These are explained in Chapter 10, so we won’t go into them here. You should be able to change programs by sending Program Change commands from your MIDI controller.
Page 35: Quick Access
While you’re in Quick Access mode, you can select any program or setup in the bank with buttons 0 through 9. The K2661 comes with a few Quick Access banks already programmed so you can get an idea of how they work. You’ll probably create your own Quick Access banks to help you select programs and setups with a minimum of searching.
Page 36: The Other Modes
Sample mode Software Upgrades Part of the beauty of the K2661 is the ease with which you can upgrade its operating system and objects (programs, setup, etc.) using the boot loader to install upgrades into ﬂash ROM. At Kurzweil and Young Chang, we have a long history of support for our instruments; the K250, K1000, K2000, and K2500 have been repeatedly enhanced, and these improvements have always been made available to instrument owners in the form of software upgrades.
Page 37: User Interface Basics
Mode Selection The K2661 is always in one of eight primary operating modes. Select a mode by pressing one of the mode buttons — they’re to the left of the display. Each mode button has an LED that lights to indicate the current mode.
Page 38: Mode Buttons
To get to Sample mode, press the Sample soft button in Program, Setup, Quick Access, or Master modes. See Chapter 14 for details. Live mode lets you route an input signal through the K2661’s DSP algorithms. See page 14-42. Mode Buttons The mode buttons are labeled in white.
Page 39: The Top Line
The cursor is a highlighted (reversed) rectangle (sometimes it’s an underscore). It marks the value of the currently selected parameter. Programming the K2661 involves selecting various parameters and changing their values. Select parameters by highlighting their values with the cursor. You can change the highlighted value with any of the data entry methods described in the data entry section below.
Page 40: The Edit Button
Press Exit to leave the current editor. If you’ve changed the value of any parameter while in that editor, the K2661 will ask you whether you want to save your changes before you can leave the editor. See page 5-3 for information on saving and naming. The Exit button also takes you to Program mode if you’re on the entry level page of one of the other modes.
Page 41: The Alphanumeric Pad
As its name implies, this set of 14 buttons lets you enter numeric values, and to enter names one character at a time. Depending on where you are, the K2661 automatically enters letters or numerals as appropriate (you don’t have to select between alphabetic or numeric entry).
Page 42: Intuitive Data Entry
User Interface Basics Intuitive Data Entry In this …pressing these buttons mode or simultaneously… editor… Plus/Minus Keymap Editor 2 leftmost soft buttons Sample Plus/Minus buttons Editor Plus/Minus 2 leftmost soft buttons Center soft buttons Any Editor 2 rightmost soft buttons Left/Right cursor buttons Up/Down cursor buttons Save Dialog...
Page 43: Changing The Current Layer In Multi-Layer Programs
When editing a multi-layer program (including drum programs), you can quickly switch between layers by holding the Enter button, then striking a key. The K2661 will change the current layer to that key’s layer. If the key is part of more than one layer, subsequent key strikes will cycle through each layer that has that key in its range.
Page 44 B-a-d, and not the entire name of the object. Enter the new string, as shown below. 7. Press OK. The K2661 asks you if you’re sure (unless you have conﬁrmations turned off). Press Yes. The NAME page reappears. Every RAM object whose name contained Bad now...
Page 45: Mixdown And Midi Faders Pages
Shows which channels are affected by sliders. On the Mixdown page, pan and volume messages are sent to the internal K2661 sounds, to MIDI Out, or both. All Mixdown-page channels have the same destination (local, MIDI, or both), which is determined by the Control parameter on the MIDI-mode TRANSMIT page. You can assign the sliders to control either volume or pan.
Page 46: Quick Song Recording And Playback
User Interface Basics Quick Song Recording and Playback The available values for the Channel parameter on this page are 1–16 (local and MIDI), 1L–16L (local only, no MIDI), and 1M–16M (MIDI only, no local). Quick Song Recording and Playback There are three buttons—labeled Record, Play/Pause, and Stop—below the mode selection buttons.
Page 47: Chapter 4 The Operating Modes
What the Modes Are The modes exist to make the K2661 logical to work with. With as many performance and programming features as the K2661 has, it’s helpful to break them into groups. These groups are called modes.
Page 48 The Operating Modes Selecting Modes The following table lists the procedures for moving between modes and editors. Note that the Exit button won’t always take you where the table says it will; it often depends on how you got where you are. The table assumes that you’ve entered a given editor via its corresponding mode. You’ll always return to Program mode eventually if you press Exit repeatedly.
Page 49: Nested Editors
Naming on page 5-3. Using the Modes You can play your K2661 regardless of the mode you’re in. In fact, the only times you can’t play it are when you’re in the middle of a disk operation (loading, saving, formatting) or a SMDI sample transfer.
Page 50: Quick Access Mode
K2661 how to select preset studios (programmed effects conﬁgurations) when you change programs or setups, or lets you choose a preset studio that’s applied to every K2661 program. The Studio Editor allows you to tweak the preset studios, and create your own. Chapters 9 and 15 show you how.
Page 51: Editing Conventions
When you change a value, you’ll normally hear its effect on the object you’re editing. The K2661 doesn’t actually write your editing changes to memory until you save the object you’re working on. It then allows you to choose between writing over the original object, or storing the newly edited version in a new memory location.
Page 52: Object Type And Id
ID to an existing object of the same type, but if you do, the new one will be written over the old one. For example, if you assign an ID of 1 to a program you’ve edited, the K2661 will ask you if you want to “replace”...
Page 53: Saving And Naming
If you have made changes, however, the K2661 will ask you if you want to save those changes. This is the ﬁrst Save dialog. A dialog is any display that asks a question that you need to answer before the K2661 can proceed.
Page 54: Rom Objects
Object Utilities (described in Chapter 13). If you select an ID that’s already in use, the K2661 will tell you that you’re going to replace the ROM object that’s already been assigned that ID. If you don’t want to do that, you can select a different ID.
Page 55: Keyboard Naming
Keyboard Naming The keyboard naming feature makes naming objects convenient (and musical!). With keyboard naming enabled, you can use the keyboard (or your MIDI controller) to enter the name of the object you’re modifying. There are three keyboard naming states: Off (disabled), On, and Adv (Advance).
Page 56: Deleting Objects
Within most editors, there are soft buttons for deleting objects. When you want to delete an object, press the Delete soft button, and the K2661 will ask you if you want to delete the object. (At this point in the dialog, you can select another object with any of the data entry methods.) Press OK if you want to delete it, or press Cancel if you don’t.
Page 57: Memory Banks
ﬁle. All objects with IDs within that range will be saved to the ﬁle. When you load a ﬁle, the K2661 asks you which bank will receive the ﬁle. You can load a ﬁle into any of the ten banks, regardless of the bank it was saved from.
Page 58: Special Button Functions
Editing Conventions Special Button Functions Special Button Functions The Mode buttons and the Chan/Bank Down button have additional functions, depending on the mode or editor you’re in. When you’re in the Program or Setup Editor, they function according to the orange labeling under each button. They also work as track mutes on the MIX page of Song mode.
Page 59: Chapter 6 Program Mode And The Program Editor
Program mode is the heart of the K2661, where you select programs for performance and editing. The K2661 is packed with great sounds, but it’s also a synthesizer of truly amazing depth and ﬂexibility. When you’re ready to start tweaking sounds, the Program Editor is the place to start.
Page 60: Vast Program Structure
The layer is the VAST program’s basic unit of polyphony, that is, each layer constitutes one of the 48 voice channels the K2661 can activate at any time. If you have a program that consists of two layers covering the note range from A 0 to C 8, each key you strike triggers two voice...
Page 61 Program Mode and the Program Editor VAST Program Structure Zone Zone Zone Zone Zone Zone Zone Zone Eight keyboard zones— each with independent program, MIDI channel, and control assignments Selected for performance and editing in Program mode; up to 32 layers per program A keymap processed through an algorithm,...
Page 62: Kb3 Program Structure
KB3 program name in parentheses in every zone that’s not on the KB3 channel. Note: If you’re using a Kurzweil PC88 to control your K2661, you shouldn’t use Channel 1 as the KB3 channel. The PC88 sends MIDI Controller 90 on Channel 1 to select effects. In KB3 mode, the K2661 maps Controller 90 to internal controller 90, which controls the emulation of leakage that we mentioned earlier.
Page 63: Real-Time Controls In Kb3 Mode
Real-time Controls in KB3 Mode You have real-time control over many components of KB3 programs directly from the front panel. The sliders emulate the drawbars that are so essential to the tone wheel sound, while the buttons above them (they’re called the Mute buttons, because they normally mute and solo zones in Setup mode) can control the KB3 effects: Leslie, vibrato, chorus, and percussion (key click).
Page 64: Midi Control Of Kb3 Programs
If you don’t like the changes, you can exit without saving, and the program will revert to its previous settings. The Mute buttons also send MIDI Controller information to the K2661’s MIDI Out port. See Column 2 of Table 6-3 to check which Controller numbers the buttons send.
Page 65 K2661’s current channel. For example, if your MIDI source transmits on Channel 1, and you set the K2661’s current channel to 2, you’ll still play the program assigned to Channel 1. If that’s the way you like it, there’s no problem.
Page 66 MIDI source is using (so if, for example, your MIDI source transmits on Channel 1, set LocalKbdCh to 1). All MIDI information that the K2661 receives on the local keyboard channel gets remapped to the channels and control destinations used by the zones in the setup.
Page 67: The Program Mode Page
If you select a KB3 program without being on a KB3 channel, the K2661 cannot play the program. As shown in the following illustration, the KB3 channel is 1, while the K2661’s current channel is 2. The selected program is disabled.
Page 68: Control Setup
The Octav-/Octav+ buttons are a shortcut for quick transposition in 12-semitone increments. You can use them to transpose the entire K2661 as much as three octaves up or down. The top line of the display shows the current amount of transposition (Xpose). Pressing both Octave buttons simultaneously returns the transposition to zero.
Page 69: Editing Vast Programs
Program Mode and the Program Editor Editing VAST Programs Press the Sample soft button to enter the K2661’s sampler. Refer to Chapter 14 for complete information on the sampler. Use the Chan– and Chan+ soft buttons to change the current MIDI channel. This changes the MIDI channel the K2661 uses internally, as well as the channel you’re using to send information...
Page 70: The Soft Buttons In The Program Editor
The basic deﬁnition: an algorithm is the “wiring” (signal path) of a sample to the audio outputs, through a series of digital signal processing (DSP) functions that you select. The K2661’s algorithms are the core of Variable Architecture Synthesis Technology. The DSP functions are synthesis tools (ﬁlters, oscillators, etc.) that you assign to the various stages of the algorithm.
Page 71 The ﬁve downward-pointing arrows indicate the ﬁve real-time control inputs to the DSP functions. There are usually ﬁve inputs, each of which has its own page within the Program Editor. (Algorithms 26-31, which use hard sync oscillation, have only four inputs; you can read about hard sync functions on page 16-55.) Each of these pages has several parameters that can modulate its related DSP function.
Page 72: Common Dsp Control Parameters
Coarse adjust (Coarse) • Fine adjust (Fine) Hard-wired Parameters These always take their input from MIDI events (either the K2661 or an external MIDI controller)—speciﬁcally the note number and the attack velocity values of each Note On event. • Key tracking (KeyTrk) •...
Page 73: Coarse Adjust
Adjust parameters to reduce the initial amount of that effect. The K2661 always uses real values of measurement, rather than just arbitrary numbers, for adjustable parameters. This means that you specify pitch in semitones and cents, amplitude in dB, and ﬁlter cutoff frequency in Hz.
Page 74: Key Tracking
Middle C. In the case of pitch, for example, say you assign a value of 5 cents per key for the key tracking parameter. Triggering Middle C (C 4 on the K2661) will play a normal C 4. Triggering 4 will play a note 5 cents higher than C than D 4, and so on.
Page 75: Summary Of Common Dsp Control Parameters
Program Mode and the Program Editor The Algorithm (ALG) Page Since the Mod Wheel is a continuous control, you can achieve any amount of depth control between the minimum and maximum. If you had set the Depth Control to Sustain, for example, then you’d get only two levels of depth control: the maximum (1200 cents) with your MIDI controller’s sustain pedal down, or the minimum (100 cents) with the sustain pedal up.
Page 76 Note: Changing a layer’s algorithm can affect the layer’s sound drastically. It’s a good idea to bring down the volume of your K2661 or your sound system before changing algorithms. The ﬁve downward-pointing arrows represent inputs to the DSP functions that are available for the current algorithm.
Page 77: The Layer Page
The LAYER Page Press the LAYER soft button to call up the LAYER page. Here you’ll set a number of parameters that affect the current layer’s keyboard range, attack and release characteristics, and response to various controls. Parameter Low Key High Key Low Velocity High Velocity...
Page 78: Low Velocity (Lovel)
Program Mode and the Program Editor The LAYER Page Low Velocity (LoVel) With this parameter you deﬁne the lowest attack velocity at which the layer will be enabled (generate a sound). The values for this parameter and the next are expressed in the standard musical dynamics markings, similar to the values available for the velocity maps.
Page 79: Enable
Enable This assigns a control source to activate or deactivate the layer. When the value of the assigned control source is between the minimum and maximum thresholds set by the Sense (S) parameter, the layer is active. When the value of the assigned control source is below the minimum or above the maximum, the layer is inactive.
Page 80: Opaque
If a note is already decaying, it will freeze at that level. Ignore Release (IgnRel) When on, the layer will ignore all Note Off messages received by the K2661. This should be used only with sounds that decay naturally, otherwise the sounds will sustain forever. When IgnRel is off, the layer responds normally to Note Off messages.
Page 81: Hold Until Decay (Tildec)
Hold Until Decay (TilDec) When on, this parameter causes all notes in the layer to sustain through all three attack segments in their amplitude envelopes even if the notes have been released. Looped amplitude envelopes will not loop, however, if the notes are released before reaching the end of the ﬁnal attack segment.
Page 82: Key Tracking (Keytrk)
You’ll use this parameter when you’re working with stereo samples. When you use the stereo piano programs or load stereo samples from disk, the K2661 views both sides of the sample as a single sample object. When you select a stereo sample (by setting the value of the Sample parameter in the Keymap Editor), you’ll see the letter S as part of the sample name (for example,...
Page 83: Timbre Shift
Keymap2.) If you select a keymap as the value for both Keymap1 and Keymap2, the K2661 automatically uses the left side for Keymap1, and the right side for Keymap2. Once you have the keymaps assigned, go to the OUTPUT page and set the panning for each sample as desired.
Page 84: Playback Mode
Alt point is used and you do not hear the chiff. This is because the Chan St is turned on as long as any note is being held. Most of the K2661’s ROM samples have their Alt points set for purposes of legato play.
Page 85: The Pitch Page
Although the ratio of frequencies between each layer remains constant, the detuning will increase at lower pitches, and can become extreme. The K2661 automatically limits the amount of detuning when it becomes extreme, so you’ll notice the beat frequencies moving out of sync when you play low pitches.
Page 86: The F4 Amp Page
Program Mode and the Program Editor The F4 AMP Page by the downward-pointing arrows on the ALG page. See the Musician’s Reference for a complete list of the algorithms and their available DSP functions. The F4 AMP Page Press the F4 AMP soft button to call up this page, which features ﬁve of the six common DSP control parameters, in this case controlling the ﬁnal amplitude of the current layer before it reaches the audio outputs.
Page 87: Velocity Tracking
Velocity Tracking This uses the MIDI attack velocity value of the notes you play as a control source affecting the individual amplitudes of each note in the current layer. This is the primary parameter to use for adjusting the dynamics of a layer. At a value of 0, every note in the current layer would have the same amplitude, regardless of its attack velocity.
Page 88: Pair
KDFX (effects processor) input to which the layer’s signal will ﬂow. Setting a value here is like connecting an audio output to the effects send on a mixer. The actual audio output of the K2661 is determined by the output settings for KDFX.
Page 89: Gain
Gain Boost (or cut) the amplitude of the current layer. For layers using double-output algorithms, the gain is divided evenly between the two signal paths. Since this gain is not affected by the layer’s amplitude envelope, you can use it to add a constant amount of gain to a layer. This is a good way to make a layer louder without the voices on that layer clipping.
Page 90: The Common Page
Program Mode and the Program Editor The COMMON Page When a stereo keymap layer uses a double-output algorithm, both keymaps are split between the upper and lower wires. In other words, both wires carry the signal from each of the keymaps.
Page 91: Pitch Bend Range
The pitch glides toward the most recently triggered note, and remains at that pitch as long as the note remains on. The K2661 gives you two ways to get portamento. See the Attack Portamento parameter below.
Page 92: Portamento Rate
When you’re applying large amounts of portamento to multi-sampled sounds (Acoustic Guitar, for example), the K2661 will play more than one sample root as the pitch glides from the starting pitch to the ending pitch. This may cause a small click at each sample root transition. You can reduce the number of clicks you’ll hear by entering the Program Editor and adjusting the...
Page 93: Outpair
Program Mode and the Program Editor The Amplitude Envelope (AMPENV) Page You’ll use global control sources when you want to affect each note in a given layer uniformly, and local control sources when you want to affect each layer’s note independently. For example, you’d use a global LFO controlling pitch to create a Leslie effect on an organ sound, since you want the affect applied to all the notes you play.
Page 94 The small downward-pointing arrow represents the beginning of the release section. Because the K2661’s ROM samples are stored in a compressed format, applying an altered amplitude envelope can change more than just the amplitude of your sound, since it also changes the rate at which the samples are decompressed for playback.
Page 95: Attack Segment Times
Attack Segment Times These indicate how long it takes for the current layer’s amplitude to reach its ﬁnal level from its starting level. Attack Segment Levels These are the ﬁnal levels that each segment achieves at completion. The levels are expressed as percentages of the maximum possible amplitude for the current layer.
Page 96: Number Of Loops
(described in the section entitled The LAYER Page on page 6-19), or whatever. The Envelope 2 (ENV2) and Envelope 3 (ENV3) Pages The K2661 offers two envelopes in addition to AMPENV. Like AMPENV, ENV2 and ENV3 can be assigned like any other control source. Unlike AMPENV, however, ENV2 and ENV3 can be bipolar.
Page 97: The Envelope Control (Envctl) Page
The Envelope Control (ENVCTL) Page Envelopes are control sources with outputs that evolve over time without repeating (unless you want them to). You can make the envelopes even more powerful by using envelope control. This gives you realtime control over the rates of each section of the envelopes. Press the ENVCTL soft button to reach the ENVCTL page.
Page 98: Adjust
LFO repeats, and the waveform of the modulation signal it generates. With the K2661, you can set upper and lower limits on each LFO’s rate, and assign a control source to change the LFO’s rate in realtime, if you wish.
Page 99: Minimum Rate
LFO1 is always local, meaning that it’s triggered with each Note On event, and runs independently for each note in the layer. LFO2 is local by default, but can be made global. This is done on the COMMON page, by setting the Globals parameter to On, which causes LFO2, ASR2, FUN2 and FUN4 all to become global.
Page 100: Lfo Phase
The ASR Page ASRs are three-section unipolar envelopes—attack, sustain, and release. The K2661’s ASRs can be triggered by a programmable control source, and can be delayed. ASR1 is always a local control.
Page 101: Mode
The Function parameter determines what mathematical function is applied to the two inputs. When a FUN has been assigned as a control source, the K2661 reads the values of the two control sources deﬁned as Inputs a and b. It then processes them according to the setting for the Function parameter, and the resulting value is the FUN’s output.
Page 102: The Velocity Trigger (Vtrig) Page
The velocity trigger’s level is expressed in terms of the standard dynamic markings of western music—ppp, pp, p, mp, mf, f, ff, and fff. The K2661 converts each attack velocity value it receives into one of these eight levels. When a velocity trigger has been assigned as a control source, the K2661 compares the velocity trigger’s level and sense with the attack velocity values...
Page 103 using the physical controller of your choice. FXMods provide a convenient way to gain serious performance ﬂexibility. The top line of the display indicates that you’re on the KDFX page in the Program Editor, and that any changes you make will affect all layers of the current program. The second line consists of the Studio parameter;...
Page 104: The Fxmod2-Fxmod4 Pages
They contain the parameters for the two LFOs, two ASRs, and four FUNs that the K2661 provides for KDFX control. With two exceptions, these control sources operate like the “regular” LFOs, ASRs, and FUNs. The differences are that the FX versions are global (they affect all layers in a program instead of individual layers), and they’re available only for control of KDFX.
Page 105: Function Soft Buttons
Otherwise, trigger the desired note on the K2661 keyboard or a MIDI controller. When you trigger a note, the K2661 prompts you to trigger the note you want to be the highest in the layer. When you trigger another note, the previously selected page returns, and the notes you triggered will be recorded as the new values for the LoKey and HiKey parameters on the LAYER page.
Page 106: Duplicate Layer (Duplyr)
Delete Layer (DelLyr) Delete the current layer. When you press this button, the K2661 asks you if you want to delete the layer; press the Yes soft button to start the deletion process, or the No soft button to cancel it.
Page 107: Upper Tone Wheels
switch the tone wheels, so that samples are used for the lower tone wheels and waveforms are used for the upper ones. Parameter Upper Tone Wheels Lower Tone Wheels Upper Volume Adjust Number of Tone Wheels Upper/Lower Swap Wheel Volume Map Lower Transposition Upper Transposition Lowest Pitch...
Page 108: Upper/Lower Swap
Program Mode and the Program Editor The TONEWL Page emulations. This would leave you eight voices for other programs. You can specify up to 95 tone wheels. Here’s how to do the math to calculate polyphony: the number of K2500 voices used by a KB3 program is (number of tone wheels+1)/2, rounded to the next highest whole number if the result is a fraction.
Page 109: The Drawbr Page
The DRAWBR Page Press the Drawbr soft button to view the DRAWBR Page. This page lets you edit KB3’s drawbars. Remember that your K2661’s sliders function as Drawbars 1-8, while the Mod Wheel is Drawbar 9. Mode When you set Mode to Preset, the preset drawbar settings on this page will be installed at program selection.
Page 110: The Pitch Page
Program Mode and the Program Editor The PITCH Page The PITCH Page The PITCH page for KB3 programs is much like the PITCH page for VAST programs. The only difference is that for KB3 programs, there are no FineHz, KeyTrk, or VelTrk parameters. For a full description of the PITCH-page parameters, see page 6-27.
Page 111: Volume
key is held down get no percussion. On keyboard models, you can turn percussion on or off by pressing Assignable Controller Button 5 (Mute button 5). Volume This parameter switches between loud and soft percussion settings. The actual amplitude is set on the PERC2 page.
Page 112: The Perc2 Page
Program Mode and the Program Editor The PERC2 Page The PERC2 Page Parameter Group (Available for each combination of the Volume and Decay parameters on the PERC page) Percussion Level Decay Time Organ Volume Level PercLevel, DecayTime, OrgLevel With these parameters you can control the amplitude and decay time of the percussion effect for all combinations of the Volume and Decay parameters (on the PERC page).
Page 113: Keyclick
Parameter Key Click Volume Decay Time Pitch Velocity Tracking Random Retrigger Threshold Note Attack Note Release KeyClick This is where you turn Key Click on or off. Volume This parameter sets the level of the keyclick; the noise decays from the level you set here. This level is scaled by the drawbar levels, as well as the expression pedal level.
Page 114: Note Attack
Program Mode and the Program Editor The AMP Page Note Attack Controls the attack characteristic of notes. Normal provides a smoothed attack, while a setting of Hard has an instant attack and will produce an audible click, in addition to any amount of key click speciﬁed with the other parameters on this page (you might prefer not to specify any additional key click when you use this setting).
Page 115: The Misc Page
The MISC Page The MISC page contains an assortment of control parameters, including Leslie speed control and vibrato/chorus selection. Parameter Preamp/Expression Response Leakage Leak Mode Speed Control Vibrato/Chorus Control Vibrato/Chorus Type Selection Volume Adjust Bend Range Sustain Sostenuto PreampResp Set this parameter On or Off to enable or disable the preamp+expression pedal part of the KB3 model.
Page 116: Speedctl
Assignable Controller Button 1 (Mute button 1). When you select a KB3 program, the K2661 sends several MIDI Controller messages both locally and to the MIDI Out port. One of those messages is Controller number 68, with a value corresponding to the value of SpeedCtl (Slow = 0, Fast = 127).
Page 117: The Eq Page
The EQ Page When you press the EQ soft button, you’ll see a page that at ﬁrst glance looks quite similar to the ALG page for a VAST program. The four blocks on this page, however, represent two shelving bands of equalization and two parametric bands. The KB3 EQ offered here, though, is not implemented as a true EQ section, instead it adjusts the volume of the tone wheels based on frequency.
Page 118: Using A Kb3 Program In A Setup
You can use Setup Mode to emulate a two-manual keyboard. However, you can only use a KB3 program in one zone of the setup (use a regular K2661 organ program in the other zone). Also, you will have limited polyphony on the non-KB3 channel. The actual number of voices that will be available on the non-KB3 channel depends on the number of tone wheels used by the KB3 program.
Page 119: Using The Vast Program Editor On A Kb3 Program
Using the VAST Program Editor on a KB3 Program KB3 Mode lets you use certain VAST-related parameters— such as the !AMP DSP function mentioned above—that are not found within the KB3 editor. There’s a “back door” that takes you to these non-KB3 parameters: if you mark a page (with the Mark button) while editing a VAST program, you can jump to that page (with the Jump button) while you’re editing a KB3 program.
Page 120 Program Mode and the Program Editor Programming Tips 6-62...
Page 121: Chapter 7 Setup Mode And The Setup Editor
Setup Mode and the Setup Editor Setup Mode In Setup mode, the K2661 can take on the identity of eight distinct instruments and eight distinct MIDI transmitters, each of which can use the setup’s physical controller assignments (or any subset of those controller assignments). For example, you can create a setup that is split into eight different keyboard regions (called zones).
Page 122: Loading Older Setup Versions
Sample soft button provides convenient access to the K2661’s sampler. Refer to Chapter 14 for complete information on the sampler. When you select a setup in Setup mode, the K2661 sends a number of MIDI messages, on each of the MIDI channels used by the setup. Some of these include: Program Change commands, MIDI Bank Select messages, Pan and Volume messages, and entry values for physical controllers (entry values are the values that take effect as soon as you select the setup;...
Page 123 The default control setup is 97 Control Setup, but you can choose any control setup you want. To do this, go to the MIDI-mode TRANSMIT page and use any normal data entry method to change the CtlSetup parameter. When you reenter Program mode, all programs will now respond to many of the controller assignments deﬁned in Zone 1 of the control setup (Zones 2–8 are not relevant in Program mode, because a program can occupy only one MIDI channel).
Page 124: Zone-Status Leds In Setup Mode
Setup Mode and the Setup Editor Setup Mode Setup Editor, set the value of the Press parameter to Off for Zone 1). Now whenever you want to record without aftertouch, just select this setup as the control setup. Zone-status LEDs in Setup Mode Take a minute to scroll through some of the factory setups.
Page 125: The Setup Editor
The parameters on the Setup-editor pages deﬁne what each of a setup’s zones sends—both to internal programs and to the MIDI Out port. They also determine how the K2661 responds to MIDI signals received from a MIDI controller connected to the K2661’s MIDI In port (when the Local Keyboard Channel matches the transmit channel of your MIDI controller).
Page 126: The Channel/Program (Ch/Prog) Page
If two zones have the same MIDI channel (and destination), but they have different program settings, there will be conﬂicts: no MIDI device, including the K2661, can respond correctly to two different simultaneous Program Change commands on one channel. The result will be that only one Program Change will be recognized, and every note played will sound double (if Note Maps are on).
Page 127: Midi Bank
MIDI Speciﬁcation says a device can have up to 16,384 banks, and the K2661 gives you access to all of them. Bank switching via MIDI makes it easy for the K2661 user to select sounds on external instruments, no matter how many banks they might have.
Page 128: Midi Program (Midiprog)
Setup Mode and the Setup Editor The Channel/Program (CH/PROG) Page MIDI Program (MIDIProg) MIDI Program deﬁnes which program number is transmitted out the MIDI Out port on the current zone’s MIDI channel. When you change the value of the LocalPrg parameter, the value of MIDIProg automatically changes correspondingly.
Page 129: Destination
Bank Select messages; instead, they use Program Changes 100–109 as Bank Selects. If you select Bank 5: Program 42 for a K2661 zone, for example, it will send out Program Change 105 followed by Program Change 42. K2661 program numbers over 99 are not sent.
Page 130: Zone Arpeggiation (Zonearpeg)
Setup Mode and the Setup Editor The Key/Velocity (KEY/VEL) Page Zone Arpeggiation (ZoneArpeg) Zone Arpeggiation determines whether the Arpeggiator will affect notes played in the current zone. The Arpeggiator affects only those zones that have this parameter set to a value of On. For any given zone, the Arpeggiator plays notes only within that zone’s Key Range.
Page 131: Transpose
MIDI note numbers will transmit, but notes will not. Note Map Note Map lets you change the way notes are sent from the K2661. The default setting is Linear: all notes go out as played. Pressing the Minus button takes you to Off; no notes are sent, but controllers and other non-note data are.
Page 132: Velocity Scale (Velscale)
Setup Mode and the Setup Editor The Key/Velocity (KEY/VEL) Page Velocity Scale (VelScale) This lets you amplify or diminish velocity response. Normal response is 100%. Higher values make the keyboard more sensitive (you don’t need to play as hard to get higher MIDI velocities) while lower values make it less sensitive (playing harder doesn’t change MIDI velocity as much).
Page 133 Velocity Offset. Note that Velocity Offset is the only parameter changed in this example; the other parameters are set to their defaults (scale = 100%, curve = linear, min = 1, max = 127). Strike Velocity Offset and Scale work together. If scaling takes the velocity out of the ballpark — for example, you want to set it to 300% but that puts all of your notes at maximum velocity —...
Page 134: Velocity Curve (Velcurve)
Setup Mode and the Setup Editor The Key/Velocity (KEY/VEL) Page Velocity Curve (VelCurve) VelCurve lets you taper the velocity response. The default setting is Linear, which means that the output velocity changes directly proportionally to the played velocity. Expand produces a curve that is less steep than the linear curve at keystrike velocities below 64, and steeper than the linear curve at keystrike velocities above 64.
Page 135 Strike Velocity The next ﬁve velocity curves are Reverse Linear (revrsLin), Reverse Expand (revrsExp), Reverse Compress (revrsCmp), Reverse Crossfade (revrsXfd), and Reverse Bump (revrsBmp). These taper velocity in reverse of the ﬁve curves we just covered. For example, Reverse Linear’s response is such that striking a key harder will produce a lower volume, striking it softer will produce a higher volume, and so on.
Page 136: Low Velocity (Lovel), Highvelocity (Hivel)
Setup Mode and the Setup Editor The Key/Velocity (KEY/VEL) Page Low Velocity (LoVel), HighVelocity (HiVel) LoVel and HiVel set the minimum and maximum velocity limits that the current zone transmits. A keystroke in the current zone whose velocity — after it has been scaled and offset — is below the minimum does not generate a Note On.
Page 137: The Pan/Volume (Pan/Vol) Page
Chapter 10) determines whether this parameter has any effect. Entry Pan, Exit Pan You can set entry and exit values for Pan as well. When you select a setup, the K2661 sends a MIDI pan control (MIDI Controller 10) message on each MIDI Channel in each zone; another MIDI pan control message is sent when you exit the setup.
Page 138: The Bend Page
(like the K2000 and K1000), you must set bend ranges on the devices themselves. Changing programs sends a Bend Range message with the current program’s values. So does pressing Panic, which is a quick way to reset your K2661 or MIDI slaves if you’ve used a controller to modulate the bend range.
Page 139: Aux Bend 1Up And Aux Bend 1 Down
Aux Bend 2 Range The K2661 allows you to specify a third pitch bend range; this is called Aux Bend 2, and it deﬁnes the range for MIDI Controller 15 messages. For AuxBend 2, you can set only one range for both upward and downward pitch bending.
Page 140: Continuous Controllers
To get an idea of the expressive capabilities of Setup mode, explore the factory setups that come with the K2661. The K2661’s physical controllers include the following: • The eight sliders (A, B, C, D, E, F, G, H) in the Assignable Controllers section •...
Page 141: Switch Controllers
Default Assignment for CC Pedal 2 Default Assignment for CC Pedal 1 Monophonic K2661 programs respond to this controller if portamento is turned on Almost all K2661 programs respond to this controller with DSP sweeps and effects MIDI Volume MIDI Balance...
Page 142 22–31 Special Function Controllers When you enter numbers 32–46 on the numeric buttonpad, you select one of the K2661’s Special Functions. Entering 47–63 sets a physical controller’s Destination to Off. Note that these are not MIDI Controller numbers; they’re the K2661’s internal global control numbers 47–63...
Page 143: Continuous Controller Parameters
Continuous Control pedals, and mono pressure (aftertouch). As the Corresponding Destination Name PortSw Monophonic K2661 programs respond to this controller if portamento is turned on SostPd Default destination for Footswitch 2–holds notes that are currently down, but not notes played subsequently SoftPd Default destination for Footswitch 3–...
Page 144: Destination (Dest)
Setup Mode and the Setup Editor Continuous Controller Parameters table on page 7-20 shows, all of them use the same parameters. Each parameter’s function is described below. Destination (Dest) Use this parameter to select a destination from the MIDI Control Source list (see page 7-21). Scale After you’ve selected a continuous physical controller, you can modify the controller’s response similarly to the ways you can modify velocity response.
Page 145: Entry (Ent) And Exit Values
Exit Value tells the K2661 to send a value for that controller whenever you leave the setup, either by selecting another setup or by selecting a different mode altogether. It can be very useful when a controller is doing something to the sound, and you don’t want that effect to continue after...
Page 146 Setup Mode and the Setup Editor The SLIDER and SLID/2 Pages Take a look at the parameters. Since all the continuous controllers work in a similar manner, you’ll ﬁnd these same parameters on the CPEDAL, RIBBON, WHEEL, and PRESS pages. Parameter Destination (Slider A) Destination (Slider B)
Page 147: The Continuous Control Pedal (Cpedal) Page
Exit Value The RIBBON Page The RIBBON page lets you deﬁne controller assignments for the K2661’s ribbon controller. Each ribbon senses movement when you press on it and move your ﬁnger left or right; this creates numerous possibilities for controlling pitch, volume, panning, crossfades between zones, or any other uses you might imagine.
Page 148 Setup Mode and the Setup Editor The RIBBON Page The ﬁrst of the following diagrams shows how the RIBBON page looks when the Large Ribbon is conﬁgured in one sections. The second shows the RIBBON page for a three-section Large Ribbon.
Page 149: The Wheel Page
Exit Value The Pressure (PRESS) Page The K2661 features mono pressure, commonly called aftertouch on other keyboards. A word about pressure: Key Range in a zone does not deﬁne which notes will generate pressure in that zone. If pressure is enabled in a zone, playing with aftertouch anywhere on the keyboard will produce data.
Page 150: Switch Controller Parameters
Curve Entry Value Exit Value Switch Controller Parameters Switch (physical) controllers have only two states: on and off. The K2661 switch controllers are: • Panel Switches 1 and 2 (PSw1 and PSw2) • Footswitch Pedals 1, 2, 3, and 4 (FtSw1, FtSw2, FtSw3, and FtSw4) Note that buttons 1–8 above the sliders are dedicated to zone status and muting, as well as...
Page 151: On Value
On Value On Value sets the value of the Controller when the switch is on. In the case of conventionally- switched functions, such as sustain, the On Value will be 127. (For example, the default for Switch Pedal 1 (FtSw1) is Controller 64 — Sustain — with an On Value of 127.) However, you might want to use a button or pedal as a “soft”...
Page 152: The Switch Page
Exit Value The SWITCH Page The K2661 keyboard offers two Panel switches, located above the pitch and mod wheels. Each of these functions exactly like the Footswitches; you can choose between momentary and toggle switches, or you can use each one to trigger a note.
Page 153: The Kdfx And Fxmod Pages
Parameter Switch Type Destination Entry Value Exit Value The KDFX and FXMOD Pages These are the same seven effects-control pages that we discussed in Chapter 6 (beginning on page 6-44). They enable you to deﬁne the studio and FXMods for all zones in the setup. As long as the FX Mode parameter is set to Auto or Setup, the values you set on these pages apply to all zones in the setup.
Page 154: Song Control
Control is set to "Setup", all events except for Notes are ﬁltered out when the Song is played. This parameter has been added for use with the preset Groove Setups (1–30)in the K2661; the Groove Setups make extensive use of song ﬁles for drum patterns. Song Control lets you choose either the Song or the Setup to be in control of selecting the programs and other controller info.
Page 155: The Arpeggiator (Arpeg) Page
The Arpeggiator (ARPEG) Page The Arpeggiator takes input from the K2661 keyboard (or via MIDI) and turns it into a constant rhythmic pattern. You can control the speed and nature of the pattern in real time. The Arpeggiator resembles what were called “sequencers” on old analog synths—playing a ﬁnite series of notes repeatedly, with changes in the series controlled by the notes you play.
Page 156: Active
MIDI Controller number 116. This can either be assigned as the destination of a K2661 physical controller, or it can come from an external MIDI source. Turning Active on affects zones whose ZoneArpeg values are also set to On. By setting the ZoneArpeg parameter (on the CH/PRG page) to Off or On in the individual zones of a setup, you can choose which zones will be controlled by the Arpeggiator when it is on.
Page 157: Latch
Setup Mode and the Setup Editor The Arpeggiator (ARPEG) Page Latch Latch determines how the Arpeggiator responds to notes when they are triggered. Keys means that the Arpeggiator plays only while you are holding one or more keys down (or note triggers on).
Page 158: Order
This sets the tempo, in beats per minute (bpm), at which the Arpeggiator plays when activated. Tempo is tied to the K2661’s internal MIDI clock, as is song playback. Consequently, if a song is playing when you activate the Arpeggiator, the song’s tempo deﬁnes the Arpeggiator’s tempo, overriding the Arpeggiator’s settings.
Page 159: Limit Option
4, A4, C5, A4, F 4, D 4, C4, 4, but that’s above the shift limit—so the K2661 4 and the shift limit (G4): one semitone. It adds that Setup Mode and the Setup Editor The Arpeggiator (ARPEG) Page Comment...
Page 160: Glissando
MIDI Controller number 117, which can be assigned as the destination of any K2661 physical controller or can come from an external MIDI source. There’s another element that affects arpeggiator velocity: ArpVel, whose global control number is 45 (not MIDI 45).
Page 161: Real-Time Control Of Arpeggiator Parameters
Real-time Control of Arpeggiator Parameters You can have real-time control over several arpeggiator parameters, by assigning physical controllers to special arpeggiator Controller Destinations. Any input (or entry value) from a physical controller assigned to an arpeggiator Controller Destination overrides the programmed values for the parameters.
Page 162: The Ribbon Conﬁguration (Ribcfg) Page
Position Mode (PosMode) When you touch the ribbon, the K2661 responds in one of two ways, depending on the setting of the PosMode parameter. Relative means that wherever you touch the ribbon becomes the “zero point” for whatever the ribbon is controlling; you won’t notice any change in the sound until you slide your ﬁnger.
Page 163: Spring
This erases a setup from RAM, freeing up space to store setups in other locations. (You can check the free memory in the K2661 at any time, on the top line of the Master-mode page.) Press Delete, and use a data entry method to choose which setup you want deleted. Press Delete again, and an “Are You Sure?”...
Page 164: Dump
As with programs, setups can be saved to and deleted from RAM only. The names of all setups in RAM have an asterisk ( ) next to them. If you try delete a setup from ROM, the K2661 will ignore the delete command, and the setup will remain in memory.
Page 165: Clear
As we mentioned earlier in this chapter, SetRng gives you a quick way to set the values for the LoKey and HiKey parameters in the currently selected zone. Press this button, and the K2661 prompts you to strike the low and high keys. When you’ve done so, the Setup-editor page returns, and the notes you triggered are the new values for the LoKey and HiKey parameters.
Page 166: Do I Need All Those Pedals
Sometimes you’ll want to assign the same Controller number as the destination of more than one physical controller. For example, you might want to be able to control modulation depth both with Wheel 2 and with pressure. The K2661 has no restrictions on assigning multiple physical controllers to a particular MIDI Controller.
Page 167: Quick Access Mode And The Quick Access Editor
Access-bank IDs that belong in each memory bank. Press both Chan/Bank buttons simultaneously to quickly move between memory banks. The MIDI Program Change commands that the K2661 sends when in Quick Access mode can differ from those in Program or Setup mode. This depends on the setting you have for the PChgType parameter in MIDI mode.
Page 168 Quick Access Mode and the Quick Access Editor The ﬁrst step in editing Quick Access banks is to select Quick Access mode. Then use the Chan/ Bank buttons to select the bank you wish to edit. The currently selected bank is shown in the top line of the Quick Access-mode page.
Page 169: Basic Effects Mode
Aux processor, where they could be given a room reverb. At the outputs of the K2661, the reverb could show up on one pair, while the other instruments’ dry or processed (prereverb) signals could show up at the others, either in mono or stereo. Or the entire mix, carefully balanced and panned, could appear at a single pair, ready to be recorded or played through a PA.
Page 170: Terminology
FX presets, parameter settings, overrides, and outputs. One studio is current at a time in Effects mode. Studios are objects, like K2661 programs, and have a number. They can be linked to programs or setups using the FXCtrl setting. The K2661 comes with a large number of factory studios.
Page 171: Fxbus (Also Called Insert Fxbus)
Any number of FX presets can use the same algorithm. The K2661 comes with a large number of FX presets, and you can modify them or create new ones and store them in RAM. Algorithms, however, are stored in ROM, so you can’t change them.
Page 172: Fxmods
K2661 also loads the studio linked with that program. This activates all the FXMods deﬁned within the program. If the value of FXCtrl is Setup or Auto, then as you change setups in Setup mode, the K2661 also loads the studio linked with that setup. This activates all the FXMods deﬁned within the setup.
Page 173: Main Page
The second line of the display shows the ID and name of the current studio. When you enter KDFX Mode directly (i.e., not through another one of the K2661’s editors) you can scroll through the displayed list of studios. This allows you to choose a different studio on the KDFXMode:MAIN page.
Page 174: Soft Buttons In Effects Mode
You can individually bypass any of the EQ and effects inputs, and also mute any of the FXBuses (the four insert FXBuses and the AuxFX bus). In the enabled state, nothing is muted or bypassed. The K2661 always starts up in the enabled state. Use these soft buttons to perform bypasses and muting:...
Page 175: Effects Bus Editor
Your K2661 keeps track of effects usage for you, and won’t let you add an effects block to a bus if you’re already max’ed out.
Page 176: Effects Send Page
Basic Effects Mode Effects Send Page Effects Send Page The FXSEND page lets you send the output of each stereo effects bus to the stereo mixdown and auxiliary buses. |||||!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!h 0wwwwt CVVVVB Figure 9-4 0wwwwt CVVVVB Effects Bus Send display...
Page 177: The Ctrl Page
If the value of FXCtrl is Setup or Auto, then as you change setups in Setup mode, the K2661 also loads the studio linked with that setup. This activates all the FXMods deﬁned within the setup. If the value of FXCtrl is Auto, and the value of FX Chan is Current, then when you’re in Program, Setup, Quick Access, or Song mode, programs, setups and songs...
Page 178: Effects Channel (Fx Chan)
FXMods are determined as follows: in Program mode, it’s determined by the program assigned to the current K2661 MIDI channel; in Setup mode, it’s determined by the program in Zone 1 of the current setup; in Song mode (or during song playback regardless of mode), it’s determined by the program on the channel designated as the song’s effects channel—...
Page 179: Studio
The CTRL Page Studio When FXCtrl is Master, the Studio parameter selects the studio for the entire K2661. When FXCtrl is Program or Setup, this parameter is unavailable, since setup selection and FXMods are determined by program or setup selection. When FXCtrl is Auto, setup selection and FXMods are under program or setup control, but the Studio parameter is still available;...
Page 180: Bypass And Mute Pages
Basic Effects Mode Bypass and Mute pages Bypass and Mute pages You can bypass effects buses, inside or outside of an editor, by pressing the Effects button followed by either the BypAll soft button or one of the Chan/Bank buttons. Although similar, the two methods are slightly different: •...
Page 181 The EQBYP Page Figure 9-6 EQ Bypass Page The MAIN soft button takes you to the KDFXMode:MAIN page. The soft buttons EQ A, EQ B, EQ C, and EQ D toggle the bypass/active status for the EQ on the corresponding input buses. The EQBYP page looks a little different when there are mono inputs to the studio.
Page 182 Basic Effects Mode Bypass and Mute pages The Bus Mute Page Figure 9-9 The MAIN soft button takes you to the KDFXMode:MAIN page. The soft buttons FXBus1– FXBus4 and AuxFX toggle the mute/active status for the corresponding input buses. 9-14 Bus Mute Page...
Page 183: Chaining Effects
Chaining Effects One of the most powerful features in KDFX is effects chaining, which allows you to send a signal through four consecutive KDFX effects. The screen below shows an example of this: qWWWWT CVVVVB Figure 9-10 Effects chaining allows the 4 PAUs of processing shared among Buses 1-4 of a Studio to be used in series.
Page 184: The Structure Of Kurzweil Digital Effects (Kdfx)
KDFX-A, KDFX-B, KDFX-C, and KDFX-D. Instead of going directly to the K2661’s physical outputs, these program outputs go to the inputs of a studio. Only after going through the studio does the audio output appear at the physical outputs. The inputs to the studio can come from one multi-layered program, or from several programs, or from the K2661’s own sample input when the instrument is in Live mode.
Page 185 ﬂanger, or compressor; or a combination of processing functions in a particular order, like a ﬂanger followed by a delay followed by a reverb. The algorithms themselves are ﬁxed in ROM, like Kurzweil ROM samples, but you can change the values of their operating parameters.
Page 186 Basic Effects Mode The Structure of Kurzweil Digital Effects (KDFX) program output A outputs Level Balance/Pan/ Width All signal paths are stereo unless noted FX Presets Figure 9-2 9-18 output B output C output D FXBus1 Pre FXBus1 physical output A...
Page 187: Normal Studio Structure
Like K2661 programs, the software user interface of a studio is organized in a “top-down” way: A studio is an “object” in K2661 terms, and the FX presets within a studio are also objects, “dependent” to the studio, the way a keymap is to a program. Studios and FX presets that you modify or create are stored in program RAM.
Page 188: Controlling Effects With A Sequencer
MIDI channel for studio control. See page 15-29 and page 12-21 for more information. Controlling Effects with SysEx messages You can also control KDFX by sending MIDI system-exclusive (SysEx) messages to the K2661. See Appendix B in the Musician’s Reference for speciﬁc information. 9-20...
Page 189: A Tour Of Effects Mode
10. Press Exit to get back to Program mode. A Simple Studio Call up Program #199 on your K2661. In Program mode, either scroll the Alpha wheel to Program 199 Default Program, or press 1-9-9-Enter on the Alphanumeric pad. Now go into Effects mode by pressing the Effects button, and you’ll see this page:...
Page 190 (Beats Per Minute). Use the Alpha wheel to scroll through the many other FX presets that come with KDFX. Like all K2661 objects, those that are in RAM (like this one) will have an asterisk in their name, and those that are in ROM will not.
Page 191 K2661 Program Editor’s Output section. Depending on how the K2661 is set up, this could be a single layer of a single program, or multiple layers, or multiple programs, or one or more zones from a setup, or the output from one or more MIDI channels.
Page 192 Basic Effects Mode A Simple Studio frequency. In the input section for this example, the high frequencies are boosted 6.0 dB above 1568 Hz. Sends The third and fourth blocks determine the destinations of the Input A signal: each block can be set to route the signal to any of the four insert FXBuses, or to None.
Page 193 The OUTPUT page is the interface to the real world. It determines which of the signals going through the various effects buses show up at the K2661's physical outputs. Outputs A and B are brought out in analog format to two pairs of stereo jacks on the rear panel. Outputs A through D can be found in ADAT digital format at the ADAT/AES Out optical jack on the rear panel.
Page 194: A More Complex Studio
Basic Effects Mode A More Complex Studio Here’s a diagram of what this studio looks like: Program output A Figure 9-4 A More Complex Studio Press Exit as many times as necessary to get to Program mode. Call up Program 200 ElecPno/ Flute.
Page 195 These overrides (that is, which parameters are available, and their values) are stored as part of the studio, not as part of the FX preset, and therefore you don’t have to create new FX presets just because you want to change a couple of parameters. There are two bus overrides available for each of the four insert FXBuses and the Aux bus.
Page 196 Basic Effects Mode A More Complex Studio This input is conﬁgured to be stereo. It has a large bass boost: 12.0 dB of everything at 370 Hz and below, which adds a strong low-frequency emphasis to the signal being ring-modulated. Its signal is being sent only to the ﬁrst FXBus.
Page 197 Outputs Finally, press the OUTPUT soft button to get to the OUTPUT page. Here we see that the four physical output pairs are each passing different parts of the studio. If the outputs are connected to an external mixer, you can treat each of them separately: recording them on different tracks of a tape deck, sending them to different outboard processors, or mixing them differently in a monitor mix.
Page 198: Chaining Effects
Basic Effects Mode Chaining Effects Chaining Effects Now we’ll see how you can employ multiple effects on a single bus using the chaining feature. Start in Program Mode by highlighting Program 199 Default Program, then pressing the Effects button. From the KDFXMode:MAIN page, select Studio 199 Default Studio (highlight the Studio name, then scroll through the list or press 1-9-9-Enter on the Alphanumeric pad).
Page 199 We’ll now add phaser and reverb effects to the chain: Use the cursor keys to highlight the second effects block, then select Preset 191 Slow Deep Phaser: qwwwwt qWWWWT g!!!k ©!!!!!!!!!!!!!!!!!!!h CVVVVB CVVVVB Press Add again to add another effects block. If the “Out of effect blocks” message displays (and it should), then you’ll have to remove an effects block from one of the other buses in this studio.
Page 200 Basic Effects Mode Chaining Effects chain, since you have now maximized your PAU usage. If you’d like to have four effects on the chain, you’ll have to select only effects that use a single PAU. (You’ll also have to remove the empty effects block from FXBus 3 so that it will be available for FXBus 1.) Keep in mind, however, that you can still send the output of this chain to an effect on the Aux bus, which allows effects using up to 3 PAUs.
Page 201: A Complex Studio With Real-Time Control
Setting the FXCTRL To enable real-time control of the studio from the setup, we have to put the K2661 in the correct Effects mode. Go to the KDFXMode:CTRL page (press Effects followed by the CTRL soft button), and set FXCtrl to Setup.
Page 202 As it happens, it’s controlled by the soft pedal, MIDI Controller 67—Switch Pedal 3 for K2661 keyboard users. We’ll see how this is done in a moment. Pressing this pedal causes the compressor to kick in, squashing the dynamic range of the sound.
Page 203 ﬁrst FXMod it’s SoftPd (that’s MIDI 67, which is Soft Pedal according to the MIDI speciﬁcation, and which the K2661 uses as the default destination for Switch Pedal 3). While this setup is current, any K2661 controller—be it a wheel, slider, ribbon, or button—that’s programmed to send MIDI 67 will affect the In/Out parameter on the FX1 bus of this studio.
Page 204 Basic Effects Mode A Complex Studio with Real-Time Control If you now go inside the FX Preset (by pressing Edit), you’ll see that the left and right feedback levels (“Fdbk Lvl”) are under FXMod control: Press PARAM2, you’ll see that the Left and Right LFO Rates are also under FXMod control. Go back out of the FXPreset and the Studio, to the Setup’s KDFX page, by pressing Exit twice.
Page 205 On the FXMOD3 page, we see that the Delay Scale, which scales all of the various delays in the Algorithm, is controlled by the Foot Pedal, MIDI controller 4—Control Pedal 1 for K2661 keyboard users. The delay is nominally a 480 ms loop, with four equal-spaced taps inside it, 120 ms apart.
Page 206 Basic Effects Mode A Complex Studio with Real-Time Control And in Conclusion... Here’s a summary of the FXMods in our complex studio with real-time control: • Soft pedal puts compression on the bass and drums. • Slider F controls the feedback on the chorus on the piano/string pad. Slider E controls the LFO speed on that chorus.
Page 207: Building Your Own
First, you want to decide whether you want the studio to be static, or to be dynamic under FXMod control from the K2661 keyboard and/or an external MIDI source. If it’s to be static, the value of FXCtrl must be Master, while if it’s to be dynamic, the value of FXCtrl must be Program, Setup, or Auto, depending on how you want to approach it.
Page 208 Basic Effects Mode Building Your Own 9-40...
Page 209: Chapter 10 Midi Mode
MIDI messages it receives—as well as how each MIDI channel behaves. When you enter MIDI mode, you’ll see one of the three available MIDI-mode pages. When you exit MIDI mode, the K2661 remembers which page you were on. The next time you select MIDI mode, that page appears.
Page 210: Control Setup
Control Here you determine where the K2661 sends MIDI information. A value of MIDI sends the MIDI signal to the K2661’s MIDI Out port, but not to the K2661 itself. This is also known as Local Control Off. If you’re using your K2661 with a MIDI sequencer and have a MIDI loop (K2661’s Out to sequencer’s In, and vice versa), you’ll need to select a value of MIDI when your sequencer’s...
Page 211: Velocity Map-Transmit (Velocmap)
MIDI channel. A value of Local disables the MIDI Out port. Use this setting when you want to play the K2661, but not to send any MIDI information to other MIDI instruments (local control only). A value of Both (the default) enables you to play the K2661 and send MIDI information from its MIDI Out port.
Page 212: Buttons (Bttns)
SysEx software package. If you have the MIDI In port of another K2661 (or K2600, K2500, or K2000) connected to the ﬁrst one’s MIDI Out port, the second instrument will respond to every button press on the ﬁrst instrument, just as if you were pressing the buttons of the second one.
Page 213: The Receive Page
This is normally used for diagnostic purposes only. At a setting of Poly, the K2661 responds only to events that are sent on the same channel as the K2661’s current MIDI channel (the one displayed on the top line of the Program-mode page). In Poly mode, the currently selected channel is always the basic channel, so if you change channels, the basic channel changes accordingly.
Page 214: All Notes Off
SCSI device (external SCSI disk or CD-ROM drive) to the K2661’s SCSI port. You can use the SCSI port to chain up to seven SCSI devices to the K2661 (a total of eight devices can be chained together); just be sure to set each one to a different SCSI ID. Most SCSI devices available today make it easy to change their SCSI IDs, so you may not have to adjust this parameter even if you have several SCSI devices connected.
Page 215: Bend Smooth
You may ﬁnd that pitch bending seems to carry over from the previous note to the next note, causing it to start on the wrong pitch. This is probably due to the automatic pitch smoothing provided by the K2661. If this is happening, try setting the BendSmooth parameter to a value of Off.
Page 216: Bank Select
(MIDI 01) from the MIDI controller, you’ll affect the K2661’s volume (unless the VolLock parameter for Channel 1 is on), and the K2661 will send a Volume message to its MIDI Out port, on Channels 1, 2, and 3.
Page 217: Power Mode
For example, you might turn off the Enable parameter for one or more channels to mute the tracks on those channels. You could also set the VolLock parameter to On, to ignore any MIDI volume messages the K2661 receives on a given MIDI channel.
Page 218: Enable
MIDI Mode The Channels Page Parameter Pan Lock Volume Lock Enable Use this parameter to turn the currently selected channel on or off. When on, the channel will receive MIDI information, and the settings of the parameters on the MIDI CHANNELS page will be in effect.
Page 219: Program Lock, Pan Lock, Volume Lock
100 each (the memory banks). A program’s object ID is its program change number, as discussed on page 5-2. This makes it easy to keep track of your programs. The K2661 can use several different formats for interpreting program change commands. The value for the ProgChgType parameter on the RECEIVE page determines which format is used, and the one you should select depends on your MIDI system.
Page 220 (MC 0 or MC 32) Standard (PCH) If your K2661 is already in the memory bank you want to use, you can send it single PCHs from 0 to 99, to select programs within that memory bank. The K2661’s response depends on the setting for the MIDIBankMode parameter on the CH/PRG page in the Setup Editor.
Page 221: 0-127 Program Change Type
First, a brief review of Quick Access bank structure. Each Quick Access bank can store ten entries, each of which can be a program or a setup. Each of the K2661’s 10 memory banks can store 20 Quick Access banks (except the Zeros bank, which can store 75). Therefore when you’re in Quick Access mode, you have access to 200 (or 750 in the Zeros bank) programs or setups without leaving the currently selected memory bank.
Page 222 MIDI Mode Program Change Formats When you’re using this format, the K2661 will respond to MC 0 or 32 messages for selecting QA banks, and to PCHs for selecting entries within the current bank. PCHs select entries according to their “chronological” listing within the QA bank (not according to their IDs).
Page 223: Quick Access Banks-Kurzweil (Qa Kurz)
This works almost exactly like the QA Ext format. The only exception is that within the QA Kurz format, the K2661 expects the bank range command to be a PCH, and not MC 0 or 32. MIDI Controller 0 or 32 messages are not recognized. The K2661 expects to receive PCHs of value 0–99 to select a bank and entry, or a pair of PCHs, the ﬁrst having a value of 100–107 to...
Page 224: Qa Formats And Midi Transmission
If you’re in Quick Access mode and you’re using one of the QA formats for the program change type, selecting QA banks or bank entries from the K2661 (with the alphanumeric buttonpad, the cursor buttons, the Alpha Wheel, the Plus/Minus buttons, or the Chan/Bank buttons) also sends corresponding program change commands to the K2661’s MIDI Out port.
Page 225: The Soft Buttons In Midi Mode
MIDI channel. The RsetCh soft button lets you return all channel parameters to their default values. The Panic soft button sends an All Notes Off and an All Controllers Off messages to the K2661 and on all 16 MIDI channels. Program Change (PrgChg)
Page 226: Reset Channels (Rsetch)
Reset Channels (RsetCh) When you press this soft button, the K2661 will ask you if you want to reset all channels, and a pair of Yes/No soft buttons will appear. If you press the Yes soft button, all settings on the CHANNELS page will return to their default values.
Page 227: Chapter 11 Master Mode
On the Master-mode page you’ll ﬁnd parameters for setting the overall tuning and transposition of the K2661, the MIDI channel to be used for KB3 programs (explained below), and for several keyboard and programming adjustments. You can also enter the sampler from the Master-mode page.
Page 228: Transpose
Many different intonation intervals have evolved over the centuries, however, and the K2661 supplies you with 17 different intonation “tables” to choose from. (There are also a few extra “tables” listed, which we’ll describe in a moment.) By changing the value for this parameter, you select from among the intonation tables stored in the K2661’s memory.
Page 229 18 Obj vn.nn. This isn’t really another intonation table. Rather, this is where the K2661 stores the version number of some of your ROM objects. If you ever need to ﬁnd out what version of ROM objects you’ve got loaded, this is where you look.
Page 230: Conﬁrm
B -1 (MIDI note numbers 0 through 11) will set the intonation key at C through B, respectively. To trigger notes in the range required to set the Intonation key, you can transpose the K2661 temporarily from its front panel, or from your MIDI controller if it has the ability. Alternatively, you could create a setup with just the lowest octave transposed down two octaves, then select it when you want to change the Intonation key.
Page 231: The Vocoder
MIDI If your external slave is a rack (or it is a keyboard but you want to use the K2661’s keyboard to control the slave), connect a MIDI cable from the MIDI Out port of the K2661 to the MIDI In port of the slave.
Page 232: Using The Vocoder
ﬁle. If you are using an external sound source for your slave, choose the setup Vocoder- ExtSlave. If you are using the K2661 as the input source for the slave, then you can choose either Vocoder-22 Band or Vocoder-20 Band. The 22-band vocoder will allow you to play up to 4 voices of polyphony on the slave program;...
Page 233 24. (24*2=48, which is your maximum polyphony.) The programs in the Setup called Vocoder-ExtSlave use 24 bands. If you want to use the K2661 to generate your slave signal, then you have to use either the 22- or 20-band vocoder setups, which have fewer bands, and therefore leave 4 or 8 voices of polyphony available for the slave signal program.
Page 234 Master Mode The MAST2 Page Layers are grouped in pairs, with the master signal going to the ﬁrst layer, and the slave to the second. All odd numbered layers are master and all even numbered layers are slave. If you look at the algorithms in the vocoding programs, you will see that the ﬁrst two DSP blocks (after PITCH) of each layer are a bandpass ﬁlter (or low pass or hi pass ﬁlters for the ﬁrst and last bands).
Page 235 The analog sample inputs on the K2661 are line level, not mic level. This means you have to boost the gain on the sample page to get a good signal. But this also increases the general noise level of the input signal.
Page 236: View Mode
The MAST2 Page • If you are using the K2661 for the slave signal and need more polyphony, you can delete some of the layers in the vocoding programs. Make sure to delete matching sets of master and slave layers. You will probably want to readjust the frequencies and widths of the remaining layers accordingly.
Page 237: Digital Output Format
KDFX studio. To use ADAT In, the K2661's ADAT Out cable must be connected to the sending device. K2661 must be the “master,” and the other device(s) must "slave" to it. Output sample rate (and therefore input as well) is ﬁxed at 48 kHz.
Page 238: Util
When you press the Voices soft button, the display shows the K2661’s active voice channels as you play. Blocks of capital Xs in six columns of eight represent the 48 notes that the K2661 can play simultaneously. The Xs change to lower case xs, then to commas and periods, then ﬁnally drop out as each voice releases or decays to silence.
Page 239: Sample
Sample Press the Sample soft button to enter the K2661’s sampler. Refer to Chapter 14 for complete information on the sampler. Press the GM soft button to call up the GM page: Enable GM Mode by setting the GM parameter to On. When GM is on, GM is displayed on the top line of the screen.
Page 240: Reset
K2661’s memory to the state it was in when you bought it. Caution! The K2661 will ask you if you want to delete everything (meaning all RAM objects), and a pair of Yes/No soft buttons will appear. Press No if you want to keep any objects you may not have saved.
Page 241: Object Utilities
Object Utilities Object Utility functions are useful for moving or copying objects into various banks, naming or renaming objects, deleting objects, and dumping objects over MIDI. To access these functions, press the Object soft button while in Master mode. You will see the following dialog: The soft buttons are used to choose the various object utility functions.
Page 242: Move
Master Mode Object Utilities All of the features of the Save Object dialog are accessible here: You can use the Multiple Object Selector (described on page 13-35) to select ranges of objects according to object types, IDs, strings in the object names, or dependent relationships.
Page 243: Copy
Master Mode Object Utilities This is similar to the Load function, where you are asked to choose a bank and mode for loading. If you have selected more than one object, and all of the selected objects have the same type, then there will be an additional button available, ID: Here is a description of the above soft buttons: Append: Try to use each object’s ID offset within its current bank as the ID offset within the...
Page 244: Name
This makes it easy to copy the name of one object on to another. As in all naming dialogs on the K2661, you can do a double-press of the Left/Right cursor buttons to put the naming cursor on the last character of the string. This is helpful when putting unique characters at the ends of names.
Page 245: Dump
ﬁxed in the object. This means that if you load the sample object back into the K2661 via MIDI, there is virtually no way it will point to and play back the same area of sample memory as when it was dumped, let alone the same sample data.
Page 246: Using The Object Utilities From The Editor
Master Mode Object Utilities Using the Object Utilities from the Editor You can get to the object utilities while editing any object. This is provided as a convenience, for example to be able to do certain housekeeping work such as deleting samples to free up room in your sample RAM, or making copies of objects.
Page 247: Chapter 12 Song Mode And The Song Editor
If you are familiar with other sequencers, you will have no problem using Song mode in the K2661. Read through this section, however, to learn about the features that make the K2661’s sequencer unique.
Page 248: Tutorial: Recording A Song
• 79 Modulead Set up your K2661 so that each of these instruments is on a separate MIDI channel. Since Song mode automatically assigns each channel to a separate sequencer track (1-16, consecutively), you’ll then be all set when you start laying down tracks, and won’t have to go scrolling through the program list.
Page 249 Follow these steps to assign the programs to separate channels: 1. Press the Song mode button to enter Song mode. The display will look something like this: Recording track is set to Track 1 Notice that the sequencer is ready for you to record a new song, and the recording track (RecTrk) is set to track 1.
Page 250 Notice the Locat parameter on the right side of the display, which shows the current Bar and Beat number. When you begin recording, the K2661 provides you with a four-beat countoff, during which time Locat’s Bar and Beat number are preceded by a minus sign.
Page 251 You can change the length of the countoff by changing the value of the Countoff parameter on the MISC page. Since we are recording four measures of silence, press the Stop soft button as soon as Locat reads 5:1. NOTE: The sequencer will truncate to the nearest downbeat, so as long as you press Stop before Locat reads 5:2 (but after it reads 4:4) you’ll be OK.
Page 252 Song Mode and the Song Editor Getting Started with the Sequencer The last event listed is the endpoint, which should correspond to the ﬁrst beat of the Bar following the last Bar in the song. For our four measures of silence, then, the endpoint should be 5:1.
Page 253 Exit or the MAIN soft button to return to the MAIN page in Song mode. NOTE: The K2661’s sequencer also provides a full range of advanced quantization features that you can apply to previously recorded tracks. To learn about these, check out the Quantize and Reference Quantize functions on the TRACK page in the Song Editor See page 12-48.
Page 254 Song Mode and the Song Editor Getting Started with the Sequencer Record a Bass Line When you are satisﬁed with your drum loop, you can begin using it as the foundation for a song. What we’ll do here is set RecMode to Unloop while leaving PlayMode set to Loop. This means that the drum loop will keep playing while we record new unlooped material of any length.
Page 255 Remember that by default there is a four-beat count off, during which time the Locat value is preceded by a minus sign (-). No material is recorded during the count off, though anything you play during the countoff gets quantized to the ﬁrst Beat of the song. As you are recording the bass track, your drum loop will keep playing.
Page 256 MAIN page. Using the Mode Buttons to Mute a Track Finally, we’ll take a quick look at the track mute feature, which lets you use the K2661’s mode buttons to mute individual tracks. This can be invaluable during mixdown.
Page 257 Track 1 (the drum track) is muted. 3. Press the Program mode button again to unmute the drum track. Using your K2661’s front panel buttons, you can mute one or more tracks at once, or even mute eight tracks at a time.
Page 258: Tutorial: Arrangements
That way, you can create a ﬁle containing the arrangement song and its constituent songs, and when you load it into the K2661, the arrangement (the one you’re likely to want to play) will be the ﬁrst song in the bank.
Page 259 If you press the Play soft button while on this page, you’ll hear the currently selected step. (If the step’s Mode parameter is set to Next, the K2661 will play the next step when the current step ﬁnishes.) Once you have more than one step in an arrangement, you can use the Chan/Bank buttons to scroll through the steps.
Page 260 Here’s how to avoid the problem. Each time you record a track for the ﬁrst time, the K2661 places four events right at the beginning of the track: Bank Change, Program Change, Volume, and Pan. If you go into the Event Editor, you’ll see these four messages appearing at 1:1:000.
Page 261: Recording Additional Tracks
Therefore there is no way to have more than 16 different programs playing at the same time on the K2661. But there are two reasons why you would want to use more than 16 tracks.
Page 262: Triggering Arrangement Steps From The Keyboard
MIDI playback, go into the Song Editor and on the COMMON page you’ll see 16 Track Destination parameters. If the value is a dash, the track is going to both the K2661 and its MIDI Out port. L means local, and plays the K2661 only. M means that the track goes only to the K2661’s MIDI Out port.
Page 263: Ram Tracks
The RAM Tracks feature enables you to create a sample during song playback, then have the K2661 do the work of building a program out of the sample. The K2661 also inserts the sample into the song so that it plays back in sync with the song.
Page 264: Creating Ram Tracks
6. The K2661 prompts you to strike a key to set the sample root. Strike any key (or trigger any note) that you want, or press Default to set the root at C 4. The K2661 shows you the maximum signal level, or if the sample clipped, it shows you the number of clips. It also prompts you to save the sample.
Page 265: Using Song Mode
(the program you created when you pressed OK in Step 8. Press Yes. The K2661 prompts you to strike a key, as in Step 9. If you strike a key that’s already being used by one of the samples in the program, the K2661 alerts you, and lets you to assign a different key (press No) or the same key (press Yes—...
Page 266: Effect Selection During Recording And Playback
16 MIDI channels. When a channel’s ProgLock parameter is set to a value of On, the K2661’s sound engine will ignore all program changes it receives on that channel, whether it’s via MIDI or from the K2661’s front panel, or from within the song.
Page 267 Both, to enable the K2661 to receive sync messages as well as MIDI clock. To play back a song, press Play, and the K2661 starts as soon as it receives both MIDI clock and a Song Start message. Or if you want to record, press Record, and the K2661 starts recording as soon as it receives both MIDI clock and a Song Start message.
Page 268 2. Record a couple of bars. This automatically puts a Program Change command at the beginning of the track. Each time you play the song, the K2661 selects that program—and consequently the studio and FXMods associated with that program.
Page 269: Memory Limits
If you have a Type 0 or Type 1 MIDI sequence ﬁle stored on a SmartMedia card or a SCSI device, you can load it into one of the RAM banks, and the K2661 will be able to play it from Song mode.
Page 270: Song Mode: The Main Page
Song Mode and the Song Editor Song Mode: The MAIN Page Song Mode: The MAIN Page The Song-mode MAIN Page allows real time recording and playback, song and track selection. From this page you can view and edit the tracks’ channel, program, volume and pan settings, as well as other useful items.
Page 271: Current Song (Cursong)
Appears when the Play button is pressed, while Song Status is STOPPED or REC READY, if the Clock parameter on the MISC page is set to Ext. EXT. CLOCK ﬂashes to show that the K2661 is waiting for an external MIDI clock message to start recording or playing.
Page 272: Recording Track (Rectrk)
Song Mode and the Song Editor Song Mode: The MAIN Page Fractional Tempos You can use fractional tempos (120.5, etc.) in your sequence. However, the initial tempo can not be fractional, and you cannot enter a fractional number in the tempo parameter on the MAIN or COMMON pages.
Page 273: Channel (Chan)
To change a track’s program quickly, press Record, select the program, then press Stop. Or you could press MIXER to go to the MIX page, change the program as desired, then press Keep. This preserves all changes you have made to any other tracks: volume, pan, tempo, etc. Channel (Chan) This parameter determines the control channel and is available only when RecTrk is set to None or Mult.
Page 274: Volume (Vol)
Song Mode and the Song Editor Song Mode: The MAIN Page Volume (Vol) You can set an initial volume level for the playback and recording of each track as a value between 0 and 127. If the channel of the RecTrk (or the control channel, if RecTrk is set to Multi or None) contains any recorded volume change (controller code 7), the change will be reﬂected as the Vol parameter’s value in real time.
Page 275: Activity Indicators ( )
These buttons are similar to the transport controls on a tape deck. Some of those decks require you to press Play and Record simultaneously to begin recording. The K2661’s transport buttons aren’t like that, however. It’s important that you press only one of these soft buttons at a time to insure proper recording start points, and to always be sure of the current sequencer status.
Page 276 Song Mode and the Song Editor Song Mode: The MAIN Page When the Song Status is REC READY, pressing the Play soft button will begin recording. Pause and Play share the same soft button. Pause appears only when the Song Status is PLAYING or RECORDING.
Page 277: Save This Song? Dialog
Save this song? Dialog The following dialog appears after you have recorded a track and pressed Stop, or if you have entered the Song Editor and made changes, then pressed Exit, or if you press Save in the Song Editor. PlayOld appears along with the PlayNew soft button in the “Save this song?”...
Page 278: Erase Track Dialog
This page contains parameters that determine how the sequencer behaves during playback and recording, and when the K2661 is connected to another MIDI sequencer. Most of these settings are stored in the Master Object, (all except the Auto punch-in points) and none of these are saved with the song.
Page 279: Recmode
Parameter Record Mode Play Mode Key Wait Locate Auto In Auto Out Input Quantize Grid Swing Sync Clock Tempo Countoff Click Click Channel Click Program Click Key Click Velocity The top line displays the amount of free event space and the current sequencer state, which is one of the following: STOPPED, PLAYING, REC READY, RECORDING, KEY WAIT, or EXT.
Page 280: Playmode
Song Mode and the Song Editor Song Mode: The MISC Page 4. A new End point is entered on the EVENTS page. 5. Using the Track-edit functions Copy, Insert, and Delete to alter the song’s length. The End point of a song is used as a loop point in Loop and UnLoop modes, and it deﬁnes the Fixed Length of a song when you record in FixLen mode.
Page 281: Keywait
memory has played through to its End point, the sequencer will stop and that song will be the new CurSong. Chain: For every song, there is a parameter called ChainTo found on the COMMON page that determines what other song, if any, will immediately follow this song’s playback when PlayMode is set to Chain.
Page 282: Grid
MIDI. Like other MIDI messages, Song Select has 128 values. That’s about half the number of songs you can store in the K2661, so if you have a lot of songs, you can’t use Song Select to select all of them.
Page 283: Clock
The K2661 lets you set a negative value for Locate, which gives you a countoff before the song starts (if you do this, set the Countoff parameter on the MISC page to Off, so you don’t repeat the countoff).
Page 284: Clickvel
More speciﬁcally, the ﬁrst time you press In/Out, the K2661 sets AutoOut to match the current value of Locate. Press In/Out again, and the K2661 shifts the current value of Auto Out to the value of Auto In, and updates AutoOut to match the current value of Locate.
Page 285: Song Mode: The Mix Page
Song Mode: The MIX Page The MIX page allows you to set and keep new initial settings for all sixteen tracks’ program changes, volumes, and pan positions. You can set these three parameters for each track, then press the Keep button, prompting a dialog that asks if you really want to update these settings. Press Yes to make the changes.
Page 286: Track Status Indicators
Song Mode and the Song Editor Song Mode: The MIX Page Track Status Indicators Using the Up, Down, Left, and Right cursor buttons to position the cursor onto a Track Status Indicator, you can toggle an empty track (-) into Record (R) with the Alpha Wheel or Plus or Minus buttons.
Page 287: The Song Editor
Song Editor: The COMMON Page Press the Edit button on the front panel of the K2661 to display the COMMON page and begin editing a song. This is where you will ﬁnd parameters common to all tracks, such as tempo and time signature, control parameters for effects and arrangements, and soft buttons for switching to other Song-editor pages.
Page 288: Tempo
Song Mode and the Song Editor Song Editor: The COMMON Page The top line of this page displays the selected track or tracks. Select the available current track for editing by using the Chan/Bank buttons. Press both of the Chan/Bank buttons together to select all tracks.
Page 289: Parameters Used With The Arrangement Feature
When you set GM On (if the K2661 is not already in GM Mode), the unit will put itself into GM Mode when the song starts, and get out of GM when the song stops. The GM Mode setting will be saved with the song ﬁle.
Page 290 –: This is the default setting for all tracks in a new song. It means that MIDI data on the track are transmitted both locally to the K2661, and out the MIDI Out Port on the track’s channel to any external devices.
Page 291: Soft Buttons On The Common Page
Song Mode and the Song Editor Song Editor: The EVENT Page keys, and you want the sounds produced by each note number in that program to be preserved in each transposition. If in the song being used as a step in an arrangement (NOT the arrangement song itself), there is a (D) designating the track playing the drum program as a Drum Track, the originally recorded Note events on that track will remain unchanged.
Page 292: Location
Song Mode and the Song Editor Song Editor: The EVENT Page results. For example, if you have program changes at bar 1 and bar 8, then if you jump from bar 1 to bar 9 any notes you scroll through will be played with the program change from bar 1. The channel of the selected event is displayed on the top line of the page.
Page 293: Soft Buttons On The Event Page
Table 12-2 lists the ranges of the editable event values. MIDI Events MIDI Note Events MIDI Controller Events Table 12-2 MIDI-event Value Ranges Soft Buttons on the EVENT Page Cut: Removes the currently selected event from the Event list and temporarily stores it in a memory buffer so that you can immediately paste it into a new location.
Page 294: Song Editor: The Track Page
Song Mode and the Song Editor Song Editor: The TRACK Page The View page determines which events you see when you’re on the EVENT page. If you set a parameter on the View page to Off, you won’t see any of the corresponding events on the EVENT page, and the events won’t be executed as they normally are when you scroll through the Event list.
Page 295: Common Parameters For Edit Song: Track Functions
Song Mode and the Song Editor Song Editor: The TRACK Page Below is an example of the TRACK page for the Bounce function. Region/Criteria Box You will notice that the page is divided into two halves, with the right half being a separate box This is called the Region/Criteria box.
Page 296: Region / Criteria Box Parameters
Song Mode and the Song Editor Song Editor: The TRACK Page Region / Criteria Box Parameters From and To From and To are available in most TRACK edit functions to deﬁne a range of time on the selected track(s). The From value deﬁnes the ﬁrst Bar and Beat in a range of time selected for editing. Although From is always expressed in Bars and Beats, and will be aligned exactly on the Beat when adjusted manually, it is possible for From to represent a value with ﬁner resolution when a range of time is deﬁned in real time using the FromTo soft button.
Page 297: Soft Buttons On The Track Page
Locate parameter) at the time you press FromTo. If you press it while the Locate value is earlier in the song than the current To value, the K2661 updates the From value. If you press FromTo again (without stopping playback) while the Locate value is later than the current From value, the K2661 updates the To value.
Page 298: Song Editor: Track Functions
Song Mode and the Song Editor Song Editor: Track Functions Song Editor: Track Functions Erase This function erases speciﬁed events from a region of time, but it doesn’t delete the region of time. The result is like erasing a section of recording tape. If you want to completely remove a segment and shorten the length of the track, you can do it with the Delete function.
Page 299: Bounce
Song Mode and the Song Editor Song Editor: Track Functions Mode: Merge / Erase The Mode setting determines whether the copied events merge with, or erase existing events on the destination track from the location point to the end of the copied region. Times: 1 –...
Page 300: Insert
Song Mode and the Song Editor Song Editor: Track Functions Insert The Insert function is used to add blank time to the current song, modifying the song’s End point appropriately. The Insert function will affect all tracks. This is similar to splicing a piece of blank tape to an existing segment of recording tape.
Page 301: Quantize
Song Mode and the Song Editor Song Editor: Track Functions Quantize Use the Quantize function to adjust the timing of Note events. Keep in mind that only Note events are quantized; other types of events, such as controllers, are not quantized. Quant: Off / 1% –...
Page 302: Reference Quantize
Song Mode and the Song Editor Song Editor: Track Functions Reference Quantize The Reference Quantize function is similar to the Quantize function in that it aligns Note events to a grid. The difference is that the grid locations are not mathematically perfect divisions of a Bar.
Page 303: Shift
Shift The Shift function allows you to offset the existing MIDI events forward or backward in time any number of ticks (1/480th of a Beat) up to approximately 26 Beats. This function does not affect the End point. Events can not be shifted beyond the End point or before Bar 1 : Beat 1. The events can be shifted only as far as these temporal boundaries.
Page 304 Song Mode and the Song Editor Song Editor: Track Functions are sometimes more difﬁcult to change since there can be inconsistent gaps of time between each controller event. Scale: 0% – 20000% The selected velocity or controller events’ values can be changed to a percentage of the original values determined by the Scale parameter.
Page 305: Thin
Thin Use the Thin function to reduce the number of actual controller events used for any controller type on the current track. Sometimes a controller can produce the same noticeable effect by using fewer events to describe its change, which in turn will save memory and possibly prevent timing delays caused by an excess of MIDI data.
Page 306: Grab
Song Mode and the Song Editor Song Editor: Track Functions Grab Grab is similar to the Copy function, except that the Grab function allows you to copy selected data from tracks that exist in other songs in memory. SrcSong: 1 NewSong The Source Song parameter is set to the ID and name of the song in RAM that contains the desired track data you wish to grab in order to use it in the current song.
Page 307: Song Editor: The Step Page
Song Editor: The STEP Page Parameter Dubmode Duration Modiﬁer Gatetime Velocity The Step Editor allows for nonreal-time entry of note events and rests of varying durations and attack velocities at any location within a song. The Step Editor can be used to enter the ﬁrst note events into a new song, but it will not set the song’s End point.
Page 308 Song Mode and the Song Editor Song Editor: The STEP Page duration. For example, if you have a Duration of 1/8 and a Gate Time of 75%, then striking a note will produce a duration of 180 (75% of 240). But if you hold the note and press Step>, then the duration will be 420 (180 + 240), instead of 360 (75% of 480).
Page 309: Soft Buttons On The Step Page
Song Mode and the Song Editor Song Editor: The STEP Page Modiﬁer The Modiﬁer parameter allows you to change the Duration value with three standard modiﬁers. Set to None if you do not chose to use a modiﬁer. Use the triplet modiﬁer for a resulting duration 2/3 of the value set in the Duration parameter. (For example, an eighth note = 240 ticks, an eighth note triplet = 160 ticks.) A Dotted modiﬁer adds half of the current Duration value to that duration, and a DotDot modiﬁer will add 3/4 of the current Duration value to itself.
Page 310: Song Editor: The Arrange Page
Song Mode and the Song Editor Song Editor: The ARRANGE Page Song Editor: The ARRANGE Page This page allows you to create a song by arranging other songs together in the order you specify. The other songs become sections (called steps) of the current song, which can be repeated, transposed, etc.
Page 311 When a song containing an arrangement is selected as the CurSong on the MAIN page, three dashes (---) appear above the Track parameter name to indicate that the current song has been saved with arrangement information. These three dashes show that the song includes arrangement information. When you play a song that includes arrangement information, dashes are replaced by the play indicator (>), song ID number, and step number.
Page 312: Step
Song Mode and the Song Editor Song Editor: The ARRANGE Page Parameter Step Song Mutes Xpose Times Mode LoKey HiKey Latch VelTrk The ﬁrst number displayed in the Step ﬁeld on the top line is the current step. The second number is the total amount of steps in the arrangement.
Page 313: Mode
played, or you can specify an inﬁnite loop (Inf), in which case the arrangement will play that step until Stop is pressed. Mode The Mode setting found in the Arrangement Editor determines whether an arrangement plays the next step or if the sequencer will stop after playing the current step. Unless you want the arrangement to loop (that is, return to step one after playing the song’s ﬁnal step) set the ﬁnal step’s mode to stop.
Page 314: Soft Buttons On The Arrange Page
Song Mode and the Song Editor Song Editor: The ARRANGE Page Soft Buttons on the ARRANGE Page Add adds another step to the arrangement. The new step will be inserted as the step number directly after the current step. You would add a step to place a new section into a song arrangement or to deﬁne another keyboard range for triggering.
Page 315: Chapter 13 Disk Mode
CDs (CD-Rs), although it can’t write to them. The K2661 can address up to 8 Gigabytes (8 G) of hard-disk space, in 2-G partitions. This is true for any hard disk formatted with the DOS-compatible FAT-16 format. Hard disks larger than 8 G can be formatted to make 8 G (in four partitions) accessible to the K2661.
Page 316: Disk Mode Page
You can use SmartMedia cards for all your backup and storage requirements. SmartMedia cards are sold in a variety of sizes; the K2661 will work with any size, so long as it’s 4M or larger. Also, you should double-check to make sure that you always buy 3.3v cards, which is the most common type.
Page 317: Connecting A Scsi Device
You’ll need a SCSI cable with a 25-pin SCSI connector on the end to be connected to the K2661. If your SCSI device does not have a 25-pin connector at one end, you can ﬁnd SCSI cables like these at any personal computer store.
Page 318: Using Your K2661 In A Scsi System
Disk Mode Directories If you’re planning to buy an external SCSI hard disk to use with your K2661, it’s a good idea to buy one with two SCSI ports. Most new hard disks have two ports, and can be terminated or unterminated relatively easily.
Page 319: Startup
BOOT.MAC (see Creating a Startup File on page 13-70). If this is set to None, then the K2661 will power-up in a normal fashion. If this is set to a SCSI device or SMedia, when the K2661 is next powered on it will look for the BOOT.MAC ﬁle in the root directory of the speciﬁed disk, and load each of the entries in the macro speciﬁed within.
Page 320: Macro On Indicator
Many SCSI devices will “sleep” when they’ve been idle for a few minutes. In other words, the disk will stop spinning, in order to save power and reduce wear. The K2661 lets you tell your SCSI devices to sleep. Just press the Sleep soft button, and if your devices have this feature, they will sleep.
Page 321: File List Dialog
K2661 can read these ﬁle formats. When loading ﬁles, the K2661 will try to ﬁnd out the type of ﬁle if the extension is not the same as is suggested above (with one exception: .MAC ﬁles). The K2661 can create ﬁles with almost all of the above extensions;...
Page 322: The File Index
Disk Mode File List Dialog The top line of the ﬁle list contains several items of information pertaining to the currently displayed directory contents. A typical information line looks like this: In the center of this line is an indicator of the number of ﬁles in the currently displayed directory. This number is grouped together with the number of selected ﬁles, for example: This example indicates that you have selected none of the 54 ﬁles in the current directory,.
Page 323: Soft Buttons In The File List Dialog
Disk Mode File List Dialog In addition to remembering the current directory on the most recently used disk, the K2661 also remembers the index within the ﬁle list for the current directory. For example, if you were to hit Cancel on the above page, go to Setup mode to check the current setup, then return to Disk mode to load a ﬁle, the ﬁle index would still show 3 DOORS.K26 after you pressed Load.
Page 324: Total
ﬁle list. When you ﬁrst open a directory for viewing, the index is 1 (the ﬁrst ﬁle in the list). The K2661 remembers the index of the previous directory you were in before you pressed Open, so if you return to that directory by pressing Parent, the index changes accordingly.
Page 325: Quick Scrolling To Subdirectories
Creating Directories As stated above, you can create directories for organizing your K2661 ﬁles, whether you are using SCSI or SmartMedia. You can create directories on any disk formatted by a K2661, K2600, K2500, or K2000. Directories appear in the normal ﬁle list with the indicator ( name.
Page 326: Creating A Directory From The Disk Mode Page
NewDir in the Save dialog. You’ll get the same prompts as when you create a directory from the Disk-mode page. When you press OK, the display shows that the K2661 has created the directory, then the Save dialog reappears.
Page 327: The Directory Selection Dialog
The Directory Selection Dialog When making a new directory, as well as in many of the disk functions, you will be presented with the opportunity to change the current directory, or the default directory for a disk operation. A good example is the “Use current directory? ”prompt that you see when you create a directory.
Page 328: Disk Mode Functions
Loading Files The Load button instructs the K2661 to copy a ﬁle from the current disk to the K2661’s RAM. Press the Load button, and a list of ﬁles stored in the currently selected device will appear. Scroll through the list of ﬁles with the Alpha Wheel or Plus/Minus buttons, then press OK—or press Cancel to return to the Disk-mode page.
Page 329 The soft buttons in the above display do not become active until the process of scanning is ﬁnished. When this happens, the K2661 will display a list of the ﬁle’s objects, in the exact order that they are stored in the ﬁle: The objects in the list are usually grouped by type (sample, program, keymap, etc.).
Page 330 This same dialog is also used for many other functions in the K2661, namely for saving selected objects to disk and for several object utility functions that are described later.
Page 331: Shortcuts When Loading Objects
This page shows three samples selected for loading (IDs 201, 203, and 304): The Next button will cause the index into the list to jump to the next selected object, forward in the list. When the end of the list is reached, the search will wrap around from the beginning. If you have more than one object selected, then if you repeatedly press Next you can easily cycle through all selected items.
Page 332: Loading Dependent Objects
To audition a sample, ﬁrst scroll to the sample that you wish to hear. Then, press either the Left or Right cursor. The K2661 will load the sample (or 1 second of it if it’s longer than a second). The audition starts from the very beginning of the sample data (note that if the ﬁrst second of data is silence then you won’t hear very much when the sample is auditioned).
Page 333: Load Function Dialog
100K bytes. If the auditioned sample does not play, check that there is enough free sample memory in the K2661. It is also possible to see the following error if the K2661 object RAM is full or very near full:...
Page 334 K2661 rebanks the object ID into the bank that you specify. For example, if you save Program 453 into a ﬁle, and load it back into the 300s bank, the K2661 will use the number 53 when deciding upon a new object ID. If the 300s bank was previously empty, and the load mode is Append, then the program will end up with ID 353.
Page 335 For loading as “Everything,” the ID number for an object stored in a ﬁle is taken literally, and not rebanked (except if Fill or OvFill mode is chosen, in which case the K2661 will use ID numbers starting from 200).
Page 336: Selecting Multiple Files To Load
Load Function Dialog Selecting Multiple Files to Load As stated previously, you can select multiple ﬁles for loading into the K2661 from within a single directory, in one operation. This is done from the ﬁle list dialog with the Select button.
Page 337: More Load Function Features
Minus (-) buttons that are located just below the Alpha wheel. This should be done at least one- half second before you anticipate the current ﬁle to ﬁnish loading, or else the K2661 will not sense that you wish to abort the load.
Page 338: Saving Files
When you’ve entered a name, press OK to save the ﬁle as shown in the display, or press Cancel to return to the ﬁle dialog. When the ﬁle is saved, the K2661 adds an extension (.K26) to the ﬁlename. This enables the K2661 to recognize it as a Kurzweil ﬁle when it examines the disk’s directory.
Page 339: Soft Buttons In The Save Selection Dialog
ﬁles. Saving Individual Objects You can select any group of objects in the K2661’s RAM for saving into a single ﬁle.To save individual objects, from the above dialog, press Object. The K2661 will display a scrollable list of all the objects in RAM, very similar to the display for the Load Object feature (described...
Page 340: More Features Of The Save Dialog
The Choose File Name Function When entering in a ﬁlename for saving, there is a Choose soft button. When Choose is pressed from the ﬁle naming dialog, the K2661 will access the current disk directory and display the following: The function of this dialog is to grab the text of any ﬁlename on the current disk, and either use it as a starting point in the ﬁle naming dialog, or else use the chosen ﬁlename exactly.
Page 341: Auditioning Objects In Ram
This is especially true if many objects have similar or identical names, or if the names of the objects are not descriptive enough to know what they are. The K2661 has a feature that allows auditioning of samples, keymaps, programs, and songs right from the Save Object dialog (as well as all of the other object utility dialogs that are discussed later).
Page 342: Saving Dependent Objects
RAM samples. So far, so good. Suppose you then load that ﬁle into the 300s bank. The K2661 will load the 30 programs into the 300s bank just ﬁne, but it will be able to load (at most) only the ﬁrst 100 dependent objects to the 300s bank (each memory bank can hold a maximum of 100 objects of a given type).
Page 343: The Name Table
A ﬁle’s name table is used by the K2661 at only one time: when the ﬁle is loaded. At that time, the K2661 will search for dependent objects that were not saved in the ﬁle originally. The search matches dependent objects by name with objects that are already in RAM, and links them to the “parent”...
Page 344: Working With Relink-By-Name
“before” the bank containing the objects you wish to relink to. Note that this can only be taken so far, since it would be impossible for the K2661 to differentiate between objects with the same name within the same bank.
Page 345 Yes to “Save dependent objects?” instead of answering by pressing Names. More importantly, it allows you to see what objects need to be in the K2661’s RAM before loading this ﬁle. The object IDs shown in the table are the same numbers that those dependent objects used at the time this ﬁle was saved.
Page 346 Here is another practical example using songs (sequences). Suppose you have loaded several ﬁles into your K2661, such that you now have all your favorite instruments in RAM. Then, you make a bunch of songs using a combination of ROM programs and the RAM programs you loaded.
Page 347 The dependent object structure of the songs would look something like this: Songs 400 Wild Jam Programs 600 Drawbarz 231 Funky GTR 50 Studio Kit 1 (from ROM) Effects ROM Effects Keymaps, Samples Lots of ‘em… In this case you might want to save all of the songs in one ﬁle, and be able to automatically relink the dependent programs used by the song tracks.
Page 348: Not Loading The Name Table
There may be a time that you wish to load objects from a ﬁle containing a name table, but you don’t want the K2661 to relink any dependent objects according to the name table. This can be accomplished by “Opening” the ﬁle from the Load function, and selecting any desired objects from within the ﬁle, except the name table.
Page 349: The Multiple Object Selector Page
The Multiple Object Selector Page The Multiple Object Selector gives you several ways to select multiple objects for various operations—for example, to load all setups with IDs between 250 and 299, to save all programs in the 400s bank, including their dependent RAM keymaps (but not their dependent RAM samples), or to delete all samples whose name includes “Gazonk.”...
Page 350 (for example, when you want to save 20 programs and their dependent keymaps). A different set of parameters appears. You can’t use this mode with the Load function, since the K2661 can’t calculate dependencies on objects that aren’t already in RAM. You can use this mode with all the other functions mentioned at the beginning of the Multiple Objects Selector section.
Page 351: Multiple Object Selector Soft Buttons
In SearchStrg mode, the K2661 selects every object whose name contains a user-deﬁned string of characters. In this case, when you press Set, the K2661 prompts you to enter a string of characters using the alphanumeric buttonpad. Enter the characters, and press OK. The K2661 returns you to the page you were on before you pressed Multi, selecting the objects whose names contain your string.
Page 352 4. Set the value of Type to Program, and the value of Bank to All Banks. 5. Press Clear. The K2661 returns to the Save dialog. As you scroll through the object list, you’ll notice that no programs are selected, and all objects that aren’t programs are selected.
Page 353: Entering Selection Criteria In The Multiple Object Selector
Entering Selection Criteria in the Multiple Object Selector This section describes the operation of the selection modes provided on the Multiple Object Selector page. These are accessed by scrolling the Select: parameter to different values, as pictured above. Type/Range Mode This mode lets you select objects based on their type, and on a particular range of object IDs.
Page 354 Working with the Multiple Object Selector The Multiple Object Selector minimizes button presses and quickly allows you to select whatever group of items you want from the K2661’s RAM. It’s available for all of the related object management functions. You may notice that the cursor positions and parameter settings are remembered whenever you exit the Multi Selector dialog, even if you exit the dialog and choose a different function.
Page 355: Macros
Select all of the keymaps and samples that are dependents of songs 400-410. Macros The K2661 lets you create lists of disk ﬁles called macros. The ﬁles can be located on any SCSI- based disk or SmartMedia card. Files from SCSI disks in Roland and Akai format can also appear in macros.
Page 356: Macro Modes
The K2661 has three macro modes: Record, Pause, and Off. There is no Macro table in the K2661. Record A Macro table exists, and the K2661 adds all ﬁle-loading operations to the Macro table. Pause A Macro table exists, but the K2661 does not add ﬁle-loading operations to it.
Page 357: The Macro Table
Macro table remains in memory but does not change size since ﬁle operations are not recorded. This is useful if you need to load ﬁles into the K2661 but you don’t want them to be entered into the Macro table.
Page 358: How To Make A Macro File
The extra soft buttons are available only in Macro Record mode. First, select the bank that you want, as usual. Press OK means to load all of the selected ﬁles into the K2661, and add all of the ﬁles to the Macro table. If you’re just creating a macro ﬁle, and don’t need to load any ﬁles at the moment, press Macro, which adds the ﬁles to the Macro table, but doesn’t load them into the...
Page 359 K2661 executes the OK or Macro command you entered earlier. If you had pressed Macro, the K2661 would add the selected objects to the Macro table. If you had pressed OK, the K2661 would add the selected objects to the Macro table, and load them into the selected bank as well.
Page 360 If you know that you want to save all of the entries into the macro ﬁle (as we do for this example,) just press All. The K2661 will go through the standard ﬁle saving dialog in which you choose a ﬁlename and select a directory to save the ﬁle in.
Page 361 Whatever method of loading you choose (that is, speciﬁed in the macro or overriding the macro), the K2661 locates each ﬁle in the macro in the exact order in which the entries are listed. If the ﬁles are on different disks in your disk system, you can observe your various disks as they’re selected in turn and ﬁles are loaded from them.
Page 362: Macro Entries
3. Select a bank (or select speciﬁed or Everything), and press OK. 4. The K2661 begins loading ﬁles. When it tries to load a ﬁle that’s not on the disk, the display shows you the name of the ﬁle that it couldn’t ﬁnd. Press OK.
Page 363: Using The Bank And Mode Fields
ﬁelds in the macro entries won’t matter much to you. The bank and mode ﬁelds are more important when you want to use macros to ﬁll the K2661’s memory banks a particular way, and you want to be able to do it automatically and consistently.
Page 364: Viewing The Object List For A Macro Entry
RAM Macro table to a macro ﬁle. The next time you load that macro ﬁle, the K2661 looks for a disk with SCSI ID 5 and expects to load ﬁles from that disk.
Page 365: The Library Disk
CD-ROM ﬁle’s sample and keymap data. If you set up your CD-ROM drive as the library disk, then create a macro ﬁle with entries that specify Library (L) for the Disk ID, the K2661 will be able to load ﬁles directly from the CD-ROM, then load the programs from the SmartMedia, link the programs with the sample and keymaps using the Relink-by-Name feature.
Page 366: Loading Selected Entries From A Macro File
.K26 ﬁle to check out what objects are stored in it—by highlighting the .MAC ﬁle and pressing Open: The K2661 will need to read the macro ﬁle into a temporary area of internal memory, which means there needs to be enough free RAM to accommodate it. Press Open during the Load function to enter a dialog similar to the MACRO page and the Save Macro page.
Page 367: Editing Macros
LOAD MACRO page), or just press OK to load the entire macro ﬁle. When you see the following display, press the Macro soft button, so that the K2661 will not load the ﬁles listed in the macro.
Page 368 Disk Mode Macros does not need to be explicitly selected with the Select soft button). You can use the following double-presses to select and deselect all entries in the list: • Left/Right cursor double-press: Select all macro entries • Up/Down cursor double-press: Clear all selections With all the entries selected, our display looks like this: The two remaining soft buttons are Modify and Load.
Page 369: Macro Insert
with the same entries still selected. Any modiﬁcations to the parameters will be visibly apparent. Selecting multiple entries for editing allows you to change those entries in a uniform way. In our example above, you could change the macro so that all the ﬁles were loaded into a single bank, instead of the separate banks they had previously been loaded to.
Page 370: Executing The Ram Macro Table
Disk Mode Macros When you press Insert, you will see a dialog displaying the current RAM Macro table: Scroll the Macro table until the entry before which you want to insert is highlighted. In the above display, any new macro entries added by this load operation will be inserted in the Macro table just before the entry for METALIC.K26.
Page 371: Saving And Loading A Macro Table In A .K26 File
Aborting a macro load is done by pressing and holding down either of the Plus or Minus buttons. This should be done at least one-half second before you anticipate the current ﬁle to ﬁnish loading, or else the K2661 will not sense that you wish to abort the load. Disk Mode...
Page 372: Remote Macro Load
Remote Macro Load You can remotely load a macro into the K2661 from a sequencer. This can be useful, for example, if the K2661 is inaccessible or inconveniently situated. Once you’ve created the macro that you will be remotely loading from the sequencer, set the sequencer to record, then dump the macro object to the sequencer using the Dump soft button on the Master-mode Object page.
Page 373: Disk Utilities
Left or Right cursor button. The K2661 will display: “Send SysEx Load Macro command?” Press the Yes soft button and the K2661 will add the LOADMACRO SysEx command to the sequence. Note: You cannot remotely load a macro to the K2661 while the K2661 is on the Disk-mode page or in an edit mode.
Page 374: Find Files
ﬁle is highlighted doesn’t do anything). Pressing Up always takes you to the parent directory of the current directory (if you’re at the partition’s root directory, the K2661 prompts you to select a partition.). As you’ve probably guessed, pressing Root takes to the root directory of the current partition.
Page 375 You can use the Choose button to grab the text of a ﬁlename from the current disk, as described previously. If you press OK, the K2661 will begin to search the disk for any ﬁles or directories that contain the search string in their names. The search starts in the root directory and searches the entire disk.
Page 376: List
If no matching ﬁles were found, you will also see The K2661 will remember the last search string that you entered. This makes it easy to repeat the same search. If you press Util-> Find again, the “Search string:” dialog will contain the previously used string.
Page 377: Free
The next disk function you choose will display the current directory with the found ﬁle already highlighted. If a directory was found, then the ﬁrst ﬁle in the directory list will be highlighted. Cancel Exit to the Disk-mode page. The current directory is unchanged. The ﬁles are listed in the order that they appear on the disk, unalphabetized.
Page 378 The move operation begins when you press either Current or SetDir. If the default destination directory is the same as the source directory, the K2661 will skip the Use default directory? question and instead go right to the Select dest dir dialog.
Page 379: Renaming Files
ﬁles found on the current disk. When you’ve selected the ﬁle to be renamed, press OK, and the K2661 will ask you to enter the new ﬁlename. When you’ve done this, press OK, and the ﬁlename will be changed.
Page 380: Deleting Files And Directories
(once it’s empty, of course), highlight the directory and press OK. If the Conﬁrm parameter on the Master-mode page is set to On, the K2661 will ask you if you’re sure. Press Yes and the K2661 begins deleting the selected objects. If one of the selected objects is a directory that contains ﬁles, the K2661 will tell you that it can’t delete the directory.
Page 381 Select a directory to be backed up (see The Directory Selection Dialog on page 13-13). Backup allows you to copy all of the ﬁles within a directory from one disk to another. All of the ﬁles within the directory that you choose (plus all of its subdirectories and the ﬁles within them) will be copied to the new disk.
Page 382: File Copy
Disk Mode Backup and Copy Functions After you select the Backup mode, you will see a conﬁrmation dialog with all of your selections so far: Begin the Backup function according to the parameters on this page. Cancel Exit to Disk mode. SetFile Set Backup starting ﬁle.
Page 383 You can’t copy directories. • The Replace or increment mode dialog does not appear. Instead, if you’re copying a ﬁle that already exists in the destination directory, the K2661 asks “Replace existing ﬁlename on destination disk? Disk Mode Backup and Copy Functions...
Page 384: Creating A Startup File
Cancel button. If BOOT.MAC is found by the K2661, it will begin to load the macro ﬁle as if you had loaded it explicitly from the Load function in Disk mode. When the macro has completed, you will see the following: The K2661 will go directly to Program mode afterwards.
Page 385: Ms-Dos File System Compatibility
Create a ﬁle somewhere on (preferably) your Startup disk, by saving an empty bank from the K2661. Call the ﬁle NULL.K26. Now, insert this ﬁle at the beginning of a boot macro you are creating: load the ﬁle, specify the bank you want to delete in the Startup ﬁle (or specify Everything if you want to clear RAM completely), and specify Overwrite for the load mode.
Page 386: Importing And Exporting Data Using Standard File Formats
The K2661 can recognize these ﬁle types automatically on loading, regardless of the ﬁle extension. You can load these ﬁles as you would any standard K2661 ﬁle, and also as part of a macro ﬁle load. The most recent sample ﬁle loaded will become the “preview” sample, which means you can quickly access it for playing or editing on the SampleMode page (press the Master mode button, then the Sample soft button).
Page 387: Aiff And Aiff-C Files
K2661. The K2661 will save 16-bit AIFF ﬁles, either mono or stereo. WAVE Files The K2661 can read 8 or 16 bit WAVE ﬁles, mono or stereo. It can also save 16-bit WAVE ﬁles, either mono or stereo. Standard MIDI Files (MIDI Type 0 and Type 1 Files) The K2661 reads and writes MIDI Type 0 (single-track) and Type 1 (multi-track) ﬁles.
Page 388: Importing Samples From Other Manufacturers
When the load is complete, the Disk-mode page will reappear. You can now proceed with another load, or go to any other mode. If you exit Disk mode, the K2661 will remember the ﬁle that you selected most recently. When you return to Disk mode, this ﬁle will be highlighted.
Page 389: Roland
If you load sample objects, you’ll see the following prompt: Create preview program/keymap? If you answer Yes, the K2661 will load the samples into a program that it creates based on Layer 1 of Program 199. Loading program objects will load multi-layer samples and keymaps, and sometimes velocity switches.
Page 390: Disk Partitioning
• Using your K2661 in a SCSI System ....13-4 Partitioning is part of the formatting procedure. When you format a disk from the K2661, you can choose whether to add partitions.
Page 391: Doing A Hard Format
K2661. (You should do this because any residual ﬁle data left by normal formatting could cause the K2661 to miscalculate partition boundaries.) Any time you’re using a PC or a Mac to format or reformat a disk for use with the K2661, you should start with a hard format to remove residual ﬁle data.
Page 392: Partitioning With A Computer
Unless this ﬂexibility is extremely important to you, however, we strongly recommend that you use the K2661 to partition your hard disk for use with either a PC or a Mac. Our tests show that this provides the greatest cross-platform compatibility.
Page 393: Partitioning Large Disks
The K2661 can address a maximum of 8 G of disk space, so there’s not much point in connecting a larger disk to the K2661—unless you like to do a bit of hacking, in which case you may be able to use a personal computer to format the extra space for use with that computer.
Page 394: Managing A Scsi Chain That Includes A Computer
Managing a SCSI Chain that Includes a Computer If you create a SCSI chain that contains both a K2661 and a computer, you’ll need to use caution to prevent ﬁle corruption. We’ll explain how this risk of ﬁle corruption occurs, then describe how to avoid it.
Page 395 8. Select the System icon in the Control Panels window. 9. Select the Device Manager tab in the System Properties window. 10. Click the icon for Other Devices. You’ll see the eight entries for the K2661. Note the exclamation marks, indicating problems with the corresponding device drivers.
Page 396: If A Partition Is Inaccessible
You’re not likely to have problems addressing K2661 partitions from your PC, especially if you created those partitions on the K2661 itself. If you can’t mount a partition on your PC, try reformatting the partition, using the K2661. If that doesn’t work, do a hard format, then format and partition the disk again.
Page 397: Partition Support In Disk Mode
The K2661 records path information up to the disk level. In other words, the K2661 tracks your movement within directories and partitions (but not from disk to disk). As long as you’re addressing the same disk, the K2661 has all the information it needs to load or save ﬁles (or any other Disk-mode command).
Page 398: Backups And Copies
Disk Mode Partition Support in Disk Mode Backups and Copies You can use the Backup and Copy operations to copy ﬁles to different partitions on the same disk, or even to some directories within the same partition. You can always back up or copy ﬁles to a different partition, regardless of location. If you’re backing up or copying to the same partition, there’s a restriction: you can’t back up or copy to the same directory, or to a subdirectory of the current directory (you can back up and copy to parent directories, however).
Page 399: Chapter 14 Sampling And Sample Editing
1/4-inch jack when you’re making stereo samples, since doing so can cause phase cancellation in your signals. Using a mono cable sends the signal to the K2661’s left channel. If you use a mono cable, be sure to set the Mode parameter on the SampleMode page to a value of Mono(L).
Page 400: From Program, Setup, Master, Or Quick Access Mode
This will increase the noise level as well, however. Running your sample signal through a mixer before sending it to the K2661 will give you the most ﬂexibility in controlling your signal level, since you can use its gain or pad if needed. This may add noise to the signal, however.
Page 401: Input
Therefore, you won’t necessarily see every transient in every sample you take. You will be able to see any transient that is clipped, however, since whenever a clip occurs, the K2661 will display the word “CLIP” above the meters, and will ﬂash the Master-mode LED. It will also give you the number of clips in each sample before you save it.
Page 402 32 KHz takes up about 63K. If you plan to do a lot of sampling, you may be able to add more sample memory to your K2661 (if it’s not already maxed out at 128 MB). SIMMs (Single In-line Memory Modules) are available at your dealer, or at most computer stores or mail-order houses.
Page 403: Recording Samples
Time parameter accordingly. At a value of 0 for this parameter, the K2661 will not record. (Of course, you can always stop sampling before the speciﬁed time by pressing the Stop soft button.) Sample The Sample parameter lets you select any sample in memory for auditioning.
Page 404 If you press the Default soft button, the K2661 uses C 4. You can change the root key at any time on the MISC page in the Sample Editor.
Page 405 K2661 assumes you want to preview them all. 3. Press OK. If you’ve selected more than one sample, the K2661 asks you if you want to combine the sample objects into a single keymap and program. (If you’ve selected only one sample —one that doesn’t consist of multiple sample roots—the K2661 returns to the...
Page 406: Sampling The K2661'S Output
When you press No, you’ll see the Bank dialog. Press OK, and the K2661 takes the list of sample objects you selected in Step 2, and in order of their IDs, starts assigning them to keys, beginning at C 2, one root per key. The coarse tune gets adjusted so they all play at their root pitches.Keys below C 2 play the...
Page 407 Ext if you want to sample the signal from an external source that's connected to the AES/SPDIF In optical jack. Use a value if Int if you want to resample K2661 internal audio data. Note that the digital internal sampling source corresponds to output A from KDFX. Other outputs will not be sampled digitally.
Page 408: Editing Samples
In addition to the MISC, TRIM, and LOOP soft buttons, which select Sample-editor pages, there are several function soft buttons. As with other K2661 editors, the function soft buttons are labeled with upper and lower case letters, to distinguish them from the page selection soft buttons, which are labeled in all capital letters.
Page 409 ﬁrst sample. Select an ID with the Alpha Wheel or Plus/Minus buttons, then press the OK soft button. If you’ve selected a stereo sample, the K2661 splits it into left and right sides. If it’s a block of samples, the K2661 splits it into individual sample roots. In either case, the split samples will automatically be assigned IDs, starting with the ID you select.
Page 410 ID. The names and note numbers are different. When you save the sample, the K2661 will ask you if you want to copy the sample data. There’s no need to do this; it will only take up additional memory. Everything works properly if you don’t copy the data, and when you save your new sample to disk, everything gets saved accordingly.
Page 411: The Page Buttons
When you press the Save soft button, and choose to save the sample to a new ID, the K2661 will ask you if you want to copy the sample data. If you answer Yes, the K2661 will make a separate copy of the sample.
Page 412 Sampling and Sample Editing Editing Samples The default values shown in this diagram reﬂect the settings for the Default program 199. Parameter Root Key Number Pitch Adjust Volume Adjust Alternative Volume Adjust Decay Rate Release Rate Loop Switch Playback Mode Alternative Sample Sense Ignore Release Root Key Number...
Page 413 DecayRate operates in two different ways, depending on the nature of the sample. If it’s a ROM sample or a Kurzweil-format RAM sample, DecayRate takes effect in the loop portion of the sample, after all the attack stages of the amplitude envelope are complete. For non-Kurzweil RAM samples, DecayRate takes effect as soon as the sample starts, regardless of the length of the attack stages.
Page 414: The Trim Page
Sampling and Sample Editing Editing Samples Sample Size and Sample Rate These are not editing parameters. They’re on this page to give you a convenient place to check the size in kilobytes of the current sample, and the rate at which it was sampled. The TRIM Page The TRIM page lets you set the Start, Alt, Loop, and End points of the current sample.
Page 415: The Loop Page
Sampling and Sample Editing Editing Samples is above its halfway point.) The Alt can be set before, after, or at the same point as the Start or End. If you set the Alt after the End, you can extend the play of looped samples. Normally, looped samples will play through to the End, then will loop back to the Loop point, and continue looping like this until the note is released, when they go into their normal release.
Page 416 Minus button, you’ll reverse the direction of the search, and the next time you press the Plus/Minus buttons together, the K2661 will search for the next zero-crossing to the left. Press the Plus button again to search toward the right.
Page 417: The Dsp Page (Ram Samples Only)
The actual processing of the sample begins when you press the Go button. The K2661 will display a row of scrolling dots while it’s processing. When it’s ﬁnished, it will prompt you: Keep these changes? Trigger a note to hear the result.
Page 418: The Soft Buttons On The Dsp Page
K2661 is shut off or reset (soft or hard). The buffer is also cleared if you execute a master delete, and select “Delete everything.”...
Page 419: Dsp Functions
Sampling and Sample Editing Editing Samples the changes. You can audition your changes and decide whether to keep them, then press Yes or Done Press the Done soft button to return to the previously selected Sample-editor page when you’re ﬁnished with the DSP functions. DSP Functions Once you’ve entered the Sample Editor, press the DSP soft button to gain access to the DSP functions.
Page 420 Use the Start and End parameters to select a speciﬁc sample range. Set the Thresh parameter from -96 to 0dB to set the noise ﬂoor. When you press the Go soft button, the K2661 will search inward from the start and end points you set, until it ﬁnds the ﬁrst sample that exceeds the noise ﬂoor.
Page 421 Sampling and Sample Editing Editing Samples The result of this function is like erasing a section of recording tape. Use it to create sections of silence without changing the overall length of the sample. If you want to completely remove a segment and shorten the sample, you can do it with the Delete function.
Page 422 Sampling and Sample Editing Editing Samples 6 Reverse With this function you can reverse the order of the individual samples between the start and end positions you set. The Xfade parameter lets you apply a crossfade to the start and end of the reversed segment.
Page 423 If the sample rate of Sample 2 is different from that of Sample 1, the K2661 will alert you that the sample rates differ. If you mix samples with different rates, you’ll hear a pitch shift in the mixed sample.
Page 424 If the sample rate of Sample 2 is different from that of Sample 1, the K2661 will alert you that the sample rates differ. If you insert a sample with a different rate, you’ll hear a pitch shift in the inserted sample.
Page 425 Sampling and Sample Editing Editing Samples 11 Volume Ramp This function lets you apply a ramp to the volume of the selected sample range. The Start Level and End Level parameters let you set the amount of cut (negative value) or boost (positive value) at the start and end points of the segment.
Page 426 If the loop points of a looped sample are included in the segment to be converted, the K2661 will ask you if you want to adjust the rate slightly to optimize the loop. Press the No soft button if you don’t want the rate adjusted.
Page 427 Sampling and Sample Editing Editing Samples function is in progress, the display will indicate the percentage of individual sample segments that have been processed. The Quick parameter lets you select one of three warping routines. Use Quick 0 to audition your new sample, then use Quick 1 or 2 for your ﬁnal take.
Page 428 Sampling and Sample Editing Editing Samples interesting and unusual effects by mixing different types of samples, especially if you set the Tempo parameter to a high value. The Tempo parameter sets the interval between repetitions in beats per minute. The Of parameter establishes the number of beats per measure, and the Beat parameter sets which beat gets mixed.
Page 429 Sampling and Sample Editing Editing Samples parameter to 4, then Sample 2 will play on the ﬁrst, ﬁfth, and ninth beat of your six-second Sample 1 segment. The result will look something like the diagram below. If you change Beat to 3, Sample 2 will play on beats 3, 7, and 11. If you set Beat to 1 and Of to 6, Sample 2 will play on beats 1 and 7.
Page 430 Sampling and Sample Editing Editing Samples 18 Mix Echo This function operates much like Mix Beat, but instead of the Beat and Of parameters, you have Start and # parameters. The Start parameter sets the beat at which the selected Sample 2 segment begins being mixed with the selected Sample 1 segment.
Page 431 Sampling and Sample Editing Editing Samples 20 Crossfade Loop (XfadeLoop) The Crossfade Loop function lets you create smoother loops by crossfading the beginning segment of the loop with a segment of equal length at the end of the loop. These segments can be deﬁned by the Loop and End parameters as set on the TRIM or LOOP page for the current sample, or with the Loop and End points on the XfadeLoop page.
Page 432: Crossfade And Volume Adjust Curves
The diagram below shows each of the curves as it would be applied to a cut in amplitude. The Keymap Editor The Keymap Editor lets you customize the K2661’s factory preset keymaps and save them to RAM. You can also build your own keymaps from scratch.
Page 433 Sampling and Sample Editing The Keymap Editor When you trigger a note, the K2661 identiﬁes the key range where the Note On event occurred. It also checks the attack velocity value of the note. It then addresses its memory, and retrieves the sample root that’s assigned to that key range and attack velocity value.
Page 434: The Soft Buttons In The Keymap Editor
Just press NewRng, then trigger the note you want as the low note, then the high note. The K2661 will prompt you for each note. When you trigger the high note, you’ll return to the Keymap-editor page, and the edit range you deﬁned will be selected.
Page 435: Special Double Button Presses In The Keymap Editor
These parameters let you extend or shorten the width of a key range. You can extend a key range to the full capacity of the K2661 (C 0 to G 10). Sampling and Sample Editing...
Page 436 Sampling and Sample Editing The Keymap Editor The setting for the low key cannot be higher than the setting for the high key. Similarly, the setting for the high key cannot be lower than the setting for the low key. Sample This is where you assign a sample root to the current key range.
Page 437: Building A Keymap
Sampling and Sample Editing Building a Keymap The K2661 supports keymaps with up to eight velocity levels. You can’t add velocity levels to existing keymaps; if you want to create your own multi-velocity keymaps, select an existing multi-velocity keymap in the Program Editor before entering the Keymap Editor. Then you can select the different velocity levels with the Chan/Bank buttons, and assign samples to the different levels.
Page 438: Using The Analog Inputs To Trigger Samples
The following steps explain how to use the trigger inputs. 1. Connect cables from the outputs of your external audio source to the analog sampling inputs on the K2661. For details on which cables to use with the analog sampling inputs, read Setting Up For Sampling on page 14-1.
Page 439 One great use for the trigger inputs is to replace the kick and snare from a multi-track recording with samples in your K2661. Assuming the kick and snare are recorded on separate tracks, and the Click Key is C4, the recorded drums will trigger samples assigned to C 4 and D4 in the click program.
Page 440: Live Mode
Live Mode Live Mode If you have the sampling option, you can use what we call Live mode. In Live mode, the K2661 takes any input signal and routes it through the VAST DSP algorithms and KDFX. You can connect any audio source—synths, mics, CD players, anything—to any of the K2661’s sampling inputs, and treat that input as if it were a regular VAST program.
Page 441: Live Mode Programs
K2661 on any kind of input signal. For starters, you can simply hook up a CD player to one of the K2661’s sampling inputs, get a bunch of your favorite CDs, and start fooling around. (A turntable works well too.) Here are...
Page 442 Again, some of the audio disappears. When you bend pitch upward, the K2661 plays buffered data from the input source, which enables the K2661 to “play ahead” of the input. You may hear some of the input data repeat when you release the pitch bend.
Page 443 If the passage you want to play is long, and the input signal isn’t so long—say, the sax player needs to take a breath—you may run into a problem as the K2661 tries to play the buffer where the audio was interrupted. If the input signal is mono, you might be able to overcome this by using a delay line to “hold”...
Page 444 K2661, at the same rhythm as your recorded chords. If you change the notes on the instrument, the chords will transpose. If you play intervals or chords, you're on your own as to...
Page 445: Chapter 15 Advanced Kdfx
If FX Mode is set to anything else —Program, Setup, or Auto—then one or more parameters within the studio may be under the control of an outside source, such as MIDI or one of the K2661’s control sources, and can be continuously changed in real time without editing the studio or any FX presets.
Page 446: Fxbus
FXBUS page. There are four FXBUS pages, one for each FXBus in the studio. These four buses are the inputs to KDFX, and receive the output from the K2661’s sound engine, as deﬁned on the OUTPUT page in the Program Editor.
Page 447: Parameters
Advanced KDFX Navigating KDFX inside the Studio Editor, however, when you press the FXBUS soft button from another page, it will take you to whichever FXBUS page you were last looking at. The four FXBuses are the equivalent of four effects processors inserted into the effects loop of a mixing console.
Page 448 Advanced KDFX Navigating KDFX Input From the FXBUS page, or anywhere inside the Studio Editor, pressing the INPUT soft button brings you to the Input A page. The other Input pages—B, C, and D—are selected by using the Chan/Bank Up and Down buttons.
Page 449: The Compare And Fx Bypass Buttons
From any of the EditStudio pages, pressing either of the <more> soft buttons accesses Name, Save, Delete, and Dump pages for the studio. Studios are stored in RAM, like K2661 programs, and when a studio is recalled, all of its associated FX presets and parameters are recalled with it.
Page 450: Exploring The Studio Parameters
Inputs are referred to as A, B, C, and D, and correspond to the four output buses (KDFX-A through KDFX-D) from the K2661’s Program Editor. These signals can be treated as stereo pairs or as individual mono signals. This is determined by the ﬁrst parameter on an Input page, the Mono/Stereo switch.
Page 451: The Arrow Meter
The Arrow Meter On an Input page, whenever there is signal present on its bus, the arrow next to the letter of the bus ﬂashes. This is a good way to check that you have set up your program output routings correctly.
Page 452 Advanced KDFX Exploring the Studio Parameters Stereo Inputs with Pan (SP) If the input is set to SP, then each FXBus send has a Pan parameter and a Width parameter. The Width parameter determines how much separation there will be between the left and right input signals as they are sent to the FXBus: assuming Pan is set to 0%, a Width of 100% means the signals will be completely separate, while 0% means they will be combined into “dual mono.”...
Page 453: Effects Buses
Effects Buses The four insert Effects buses (FXBuses) receive the signals from the Input Editor and process them. Press the FXBUS soft button to go to one of the FXBUS pages—the ﬁrst time you do this after entering the Studio Editor, it will be the FXBus1 page.To go to the other FXBUS pages, use the Chan/Bank Up and Down buttons.
Page 454: The Aux Bus
Advanced KDFX Effects Buses There is no external level control over the output of the FXBus itself—it just shows up, in pre- effect and post-effect versions, on the OUTPUT page. Figure 15-4 The Aux Bus The Auxiliary effects bus is accessed by pressing the AUXFX soft button on any page in the Studio Editor.
Page 455: About Fx Presets
Aux bus have their own FX preset, and they are all independent of each other. If you think of a studio as being the equivalent of a K2661 program, then an FX preset is the equivalent of a layer or keymap.
Page 456: Bus Overrides (Bus Mods)
<more> soft buttons accesses Name, Save, Delete, and Dump pages for the FX preset. FX presets are stored in RAM, just like K2661 keymaps. When an FX preset is recalled, either by itself (from within the Studio Editor) or as part of a studio, its associated algorithm and all parameters are recalled with it.
Page 457 Advanced KDFX Effects Buses pressing Edit, and ﬁnd those two parameters on the ﬁrst parameter page (PARAM1). You’ll see their values are the same as on the FXBUS page. Exit Edit Figure 15-6 Bus Overrides in Place, But Not Engaged Press Exit to go back to the FXBUS page.
Page 458 Advanced KDFX Effects Buses Edit Figure 15-7 If you now change the parameter value from inside the FX preset, it breaks the bus override. By doing this, however, you have changed the FX preset, and when you leave the FX preset you will be asked if you wish to save it.
Page 459: Allocation
Advanced KDFX Effects Buses Allocation Understanding PAU allocation and how it works is very important for using KDFX to its fullest potential. What’s a PAU? The basic unit of signal processing in KDFX is the Processing Allocation Unit, or PAU. There are a total of 4 PAUs that can be split among the four insert FXBuses, and another 3 PAUs for the Aux bus.
Page 460 Advanced KDFX Effects Buses set take precedence over Auto Allocations. So for example, if you set the Allocation of FXBus1 to 3, and set the Allocation of FXBus2 to Auto, the maximum number of PAUs available to FXBus 2 is still only 1, and if you try to load a Size-2 FX preset into FXBus2, it won’t work and the FX preset’s name will show up in parentheses.
Page 461: Metering
14 bits below full scale, which is -84 dB relative to the maximum level the KDFX can handle. Since typically the K2661 operates with about 20 dB of headroom, this translates to about -64 dB relative to normal operating level In addition, a number of KDFX’s algorithms include a fast visual metering system for...
Page 462: Output Section
FXBuses Figure 15-8 In the Output section, the various signal paths are routed to the K2661’s physical outputs. Each of the four output pairs, A, B, C, and D, has a selector switch to determine which signal it will carry. All signals are stereo. The choices are: No output.
Page 463: Separate Analog And Digital Outputs
Separate Analog and Digital Outputs The K2661's separate analog outputs (two pairs: A and B) are wired in parallel and are "live" at all times. So are the eight digital outputs (four stereo pairs) available in ADAT format at the ADAT/AES optical jack.
Page 464: Saving Studios And Other Objects
Saving Studios and Other objects Saving Saving a studio or an FX preset is handled the same as any other K2661 object—see Saving and Naming on page 5-3 if you need help with this. To save an object, from any of the editing pages within the object, press <more or more>, until you see the ﬁle-management pages:...
Page 465: Linking To Programs And Setups
Effects-mode page must be set to Setup. Setting the FX Mode parameter on the Effects-mode page to Auto means that it will follow whatever mode the K2661 is in—Program or Setup— which can be particularly useful when you are switching between programs and setups in a Quick Access bank, or when you just don’t want to worry about which mode you’re in.
Page 466: Setting Up Fxmods
Advanced KDFX Real-time Control of KDFX The KDFX Pages If you look inside any program, you will see several pages that handle the studio and KDFX control assignments. Open up a program with the Edit button and press more> until you see this at the bottom of the display: These are the FXMod setup pages, and in fact there are eight of them—press more>...
Page 467 ﬁve setups. This gives a grand total of 18 studio parameters that can be under real-time control. Don’t worry, you don’t have to use them all. Bus Assignments The ﬁrst column lets you choose which bus inside the studio you want this FXMod to control: Input A, B, C, or D (if any of the Inputs is set to Mono, you will get to choose individual channels, for example A/L and A/R);...
Page 468 Source The Source parameter determines which real-time control—internal, MIDI, etc.—is going to affect the selected studio parameter. As with all K2661 real-time controls, the range of control sources is very large: • OFF (the parameter is not affected by any source and stays at its Adjust value) •...
Page 469 Advanced KDFX Real-time Control of KDFX Tempo-based Parameters There are several different ways KDFX can respond to tempo information, from the internal sequencer or an external one. These are discussed later in this chapter (see Tempo-based Control of KDFX on page 15-32). Depth The Depth parameter lets you specify a range of change in values that the real-time control will make, using the Adjust value as a minimum or starting point.
Page 470 Advanced KDFX Real-time Control of KDFX saving it, and go back to the FXMod pages of the Program Editor, the link automatically reestablishes itself. If you change the FX preset on an FXBus, the FXMod links to the preset on that bus may or may not break.
Page 471: Importing Studios From Another Program Or Setup
FXMods, the old ones are all erased. Using KDFX Live From the K2661 Keyboard The sliders and wheels on the K2661 keyboard, and the pedals connected to the keyboard, can be extremely useful with KDFX, if you assign FXMods to the K2661’s controllers. The ribbon, for example, can be used in a “Pitcher”...
Page 472 K2661 keyboard in Setup mode. KDFX in Program Mode If you are playing the K2661 in Program mode, then you must make sure that the current channel of the K2661 (at the upper right of the Program-mode page) agrees with the FX Channel (on the Effects-mode page).
Page 473: Using Kdfx With A Sequencer
0 None. This program will now make no sound in response to MIDI notes, and use up none of the K2661’s polyphony. Use the <more> buttons to get to the KDFX page, and start setting up your studio and FXMods, or, if you have another program already set up with the studio and FXMods you want, use Import FX to bring that studio and FXMods into the current program.
Page 474: Preventing Glitches When Changing Studios
Also as we saw earlier, this technique can be useful even when you are playing the K2661 in Setup mode along with a sequencer. If FX Mode is Program, and the FX channel is 16, the sequencer can control the FXMods independently of which setups are in use on the keyboard.
Page 475 Advanced KDFX Real-time Control of KDFX experimentation will help you determine how to achieve acceptable transitions between studios. if algorithm is the same, transition between FX Presets is smooth if algorithm is different, FX Preset output ramps down, then back up Figure 15-10 Effect of FX Algorithm on Transition Between FX Presets Changing PAU Allocations...
Page 476: Tempo-Based Control Of Kdfx
MIDI Time Code, which is used for syncing a sequencer to an audio or video tape or disk system, does not. KDFX (and the K2661 in general) responds to MIDI Sync, but not to MIDI Time Code.
Page 477 If the Clock setting is Ext, the external sequencer (assuming it is sending MIDI Clock) controls the Tempo parameter. If no MIDI Clock is being received by the K2661, the tempo will not go to 0; instead, it will retain the last valid value it saw—either the tempo of the internal sequencer at the time when you switched the Clock to Ext, or the last tempo sent by an external sequencer before it stopped.
Page 478: Kdfx In Master Mode
When the FX Mode is set to Auto, then control of KDFX changes according to where you take the K2661: either Program mode or Setup mode. But when you are on the Effects-mode page itself, you are actually in Master mode. Therefore, you can go into the studio whose name appears on the page and tweak its parameters, but there won’t be any FXMods.
Page 479: Using The Algorithms
Kurzweil’s own engineers have approached the complex issue of studio organization. And certainly it can serve as a good starting point when you start creating your own studios.
Page 480: Reverbs
Advanced KDFX Using the Algorithms Out Gain sets the level of the signal after it passes through the FXpreset. From here the signal goes directly to the Output page, if one of the Outputs is set to FXBusn. The level can be further changed before it goes to the Mix and/or Aux buses.
Page 481: Delays
Advanced KDFX Using the Algorithms settings the early reﬂections are seamless. It is adjustable from 0.00 to 2.00, with 1.00 being nominal for the given Room Type. Density controls how tightly the early reﬂections are packed in time. Low Density settings group the early reﬂections close together, while higher values spread the reﬂections for a smoother reverb.
Page 482: Complex Echo
Advanced KDFX Using the Algorithms DelayScale lets you change the lengths of all the taps together. Its range is 0 to 10x. Note that it is possible for KDFX to run out of delay memory with over-generous settings of DelayScale or very slow Tempos.
Page 483: Compressors, Expanders, And Gates
Treb Gain and Bass Gain control the amount of cut or boost above (Treb) or below (Bass) the center frequency. The range is -79 to +24 dB. Midn Gain sets the cut or boost for the parametric band n, with a range of -79 to +24 dB. Midn Freq sets the center frequency for parametric band n, with a range of 16 to 25088 Hz, in increments of a semitone.
Page 484 Advanced KDFX Using the Algorithms source. Feedback compression tends to be more subtle, but it does not allow instantaneous attack compression. Atk (Attack) Time for the compressor is adjustable from 0.0 to 228.0 ms. Rel (Release) Time for the compressor is adjustable from 0 to 3000 ms. Smooth Time smooths the output of the expander’s envelope detector by putting a lowpass ﬁlter in the control signal path.
Page 485: Chorus
Advanced KDFX Using the Algorithms Gate Time is the time that the gate will stay open when the sidechain signal reaches the Threshold. Its range is 0 to 3000ms. Ducking reverses the action of the gate. Normally this if set to Off, and the gate opens when the input signal rises above the threshold.
Page 486: Flanger
Advanced KDFX Using the Algorithms Flanger Flanging is the process of adding or subtracting a signal with a time-displaced replica of itself, which results in a series of notches in the frequency spectrum, generally referred to as a comb ﬁlter. In KDFX, the ﬂanger is a multi-tap delay line, all (but one) of whose taps can have their lengths modulated up and down by a low frequency oscillator (LFO).
Page 487: Filters
Advanced KDFX Using the Algorithms sample. At low values, the buzz starts at high frequencies and drops slowly, while at high values the buzz starts at a lower pitch and drops rapidly. Range is 0.0 to 40.0 samples. Contour controls the overall shape of the reverb. When set to a high value, sounds passed through the reverb start at a high level and slowly decay.
Page 488: Distortion
Advanced KDFX Using the Algorithms Retrigger is the input-signal threshold at which the envelope detector resets, so that it can trigger again. This parameter is only useful when it is set below the value of Trigger. Range is from -79 to 0 dB. Env Rate is the envelope detector decay rate.
Page 489: Rotating Speakers
Advanced KDFX Using the Algorithms Cabinet HP and Cabinet LP are highpass and lowpass ﬁlters to set the frequency response limits of the cabinets. Range of both ﬁlters is 16 to 25088 Hz. Polydistort This is a more complex distortion algorithm that provides two, four, or six stages of distortion. Curve n controls the curvature of the individual distortion stages.
Page 490: Tremolo And Autopan
Advanced KDFX Using the Algorithms Vibrato/Chorus The Vibrato/Chorus algorithm (and also the KB3 effects algorithm) simulates the vibrato and chorus effects on a Hammond organ, and is used in conjunction with the Rotary Speaker. It has several unique parameters: VibChInOut is an in/out switch for the Vibrato/Chorus effect. Vib/Chor is the type of Vibrato/Chorus effect to be used.
Page 491: Pitch Shifter (Pitcher)
CentrAtten (Attenuation) (AutoPan) is the amount the signal level drops as it is panned through the center of the stereo image. For the smoothest tracking, a widely accepted subjective reference is -3dB. Values above -3dB will cause somewhat of a bump in level as an image passes through the center, while values below -3dB will cause a dip.
Page 492: Srs (Sound Retrieval System)
Advanced KDFX Using the Algorithms The other four oscillators, Sine2 through Sine5, each have Lvl and Freq controls. SRS (Sound Retrieval System) SRS, which is used under license from SRS Labs, Inc., is a single-ended processing system that produces a fully immersive, three-dimensional sound image from any audio source—mono, stereo, surround sound or encoded with any other audio enhancement technology—with two or more standard speakers.
Page 493: Stereo Analyze
Stereo Analyze In this algorithm you can look at the two channels of a stereo signal, and also their inversions, sums, and differences. You can adjust their gains, and apply small delays to either or both channels. L Invert and R Invert invert the phase of the channels. L Out Mode and R Out Mode determine which signal is going to be metered and sent to the output of each of the channels.
Page 494: Special Topics
FX Mode in Song Mode If FX Mode on the Effects-mode page is set to Program, and you put the K2661 into Song mode, control of KDFX remains with the program that is on the current FX Channel, as set on the Effects-mode page.
Page 495: Kb3 Effects
Master mode. KB3 Effects In the K2661’s KB3 mode, KDFX processing is being used to its utmost. Several studios have been included for use with KB3. These studios have a special characteristic: the FXBuses and Aux bus are used together, forming a “virtual”...
Page 496 Advanced KDFX Special Topics 15-52...
Page 497: Chapter 16 Dsp Functions
Sound synthesis can be most simply described as the manipulation of either the amplitude or phase of one or more of the partials constituting a sound. The K2661’s various DSP functions give you a variety of methods for manipulating those partials. We’ve grouped our explanations of the DSP functions according to the types of specialized manipulation they enable you to perform on a given sound.
Page 498 DSP Functions Introduction to Algorithm Programming Deciding which algorithm to use for a new sound is primarily a process of planning a layer’s signal path through the sound engine. The real sound manipulation is done by the DSP functions you insert into the algorithm. The algorithm simply lays a framework that determines how the DSP functions interact.
Page 499: Additional Parameters
has its own algorithm, as well as Triple Mode, which amalgamates the DSP capabilities of three layers). You can create completely new sounds just by tweaking the parameters on the control-input page for a single DSP function. When you begin adjusting these parameters, it’s a good idea to start with all of them set to 0 (or the value that minimizes their effects), then adjust them one by one.
Page 500 DSP Functions Introduction to Algorithm Programming Key Track Start (KStart) This parameter appears on many control-input pages, and gives you added control over the effect of key tracking. For each note you play, it multiplies the value of the KeyTrk parameter by a number that varies with the note’s MIDI key number.
Page 501 Figure 16-2 Unipolar Keystart Bipolar Keystart For bipolar KStart values with positive key tracking values, the effect on key tracking depends on whether the KStart parameter is set above or below C 4. When it’s above, the effect on key tracking will be minimum at C -1, reaching its maximum effect on key tracking at the keystart setting.
Page 502: The Dsp Functions
DSP Functions The DSP Functions Use bipolar settings for KStart when you want to gradually increase or decrease the key tracking effect of the currently selected DSP function across the entire keyboard range. With KStart at C 4 bipolar, playing C 4 will apply the DSP function at the level you set with the Adjust parameter, and will increase or decrease with higher or lower notes, depending on your settings for KeyTrk.
Page 503: Filter Terminology
You will notice on several graphs that the curve becomes more dramatic as the cutoff frequency is set at a higher value. This is because the highest frequency the K2661 can produce is 20Khz, so as the cutoff is set to higher values, there are fewer frequencies available before it is past the range of the K2661.
Page 504 DSP Functions The DSP Functions One-pole Lowpass Filter (LOPASS) Frequencies below the cutoff frequency are unaffected by this ﬁlter. At the cutoff frequency, the signal is attenuated 3 dB. There’s a rolloff of 6 dB per octave above the cutoff frequency—that is, the signal is attenuated 6 dB with each octave above the cutoff.
Page 505 The Coarse Adjust parameter sets the cutoff frequency in terms of a key name. The remaining parameters (except Pad) alter the cutoff frequency in increments of cents. You’ll notice that positive values for key tracking have an interesting effect on the function of lowpass ﬁlters; positive key tracking values raise the cutoff frequency for high notes and lower it for low notes.
Page 506 DSP Functions The DSP Functions are high-amplitude partials, the signal may clip. The Pad parameter on the F1 FRQ page will reduce the clipping, but there’s no harm in keeping it if you like the sound. Parameter Adjust Key Tracking Velocity Tracking Source 1 Source 1 Depth...
Page 507 Two-pole Lowpass Filter, +12 dB Resonance (LP2RES) Resonance = 12 dB cutoff frequency from C 4 to C 10 This is similar to LOPAS2; the only difference is that its resonance is ﬁxed at +12 dB. Four-pole Lowpass Filter with Separation (4POLE LOPASS W/ SEP) Resonance = 12 dB;...
Page 508 DSP Functions The DSP Functions 4-Pole Lowpass Filter: Resonance 4-Pole Lowpass Filter: Separation in Octaves This combines 2POLE LOWPASS and LOPAS2 in one three-stage function. The parameters on the F1 FRQ control-input page affect the cutoff frequencies of both ﬁlters. The parameters on the F2 RES page affect the resonance of 2POLE LOWPASS.
Page 509 ﬁlters. Positive values raise the cutoff frequency of LOPAS2, while negative values lower it. If no separation is applied, there’s a 24 dB per octave rolloff above the cutoff frequency. Parameter Range of Values Coarse Adjust ± 10800 cents Fine Adjust ±...
Page 510 DSP Functions The DSP Functions One-pole Highpass Filter (HIPASS) High-frequency partials pass through this ﬁlter unaffected. At the cutoff frequency, the signal is attenuated 3 dB. There’s a roll-off of 6 dB per octave below the cutoff frequency. The resonance is ﬁxed at -3dB.
Page 511 Two-pole Highpass Filter (HIPAS2) This is very similar to HIPASS. The primary difference is in the steepness of the rolloff at the cutoff frequency. Below the cutoff frequency, the rolloff is similar to that of HIPASS, except that there’s a one-octave shift—that is, HIPASS with a cutoff frequency of C 3 will sound nearly the same as HIPAS2 with a cutoff of C 4.
Page 512 DSP Functions The DSP Functions 4-Pole Highpass Filter: Resonance 4-Pole Highpass Filter: Resonance This combines two of the 2POLE HIPASS ﬁlters into one three-stage function. It has a rolloff of 6 dB per octave below the cutoff frequency. The parameters on the F1 FRQ control-input page affect the cutoff frequencies of both ﬁlters.
Page 513 One-pole Allpass Filter (ALPASS) -100 -120 -140 -160 Cutoff frequency from C 4 to C 10 -180 Allpass ﬁlters do not affect a sound’s frequency response (the amplitude of partials at various frequencies), but change the phase of each partial depending on its proximity to the center frequency.
Page 514 DSP Functions The DSP Functions Two-pole Allpass Filter (2POLE ALLPASS) Using 2POLE ALLPASS is very similar to using ALPASS, with two differences. First, the phase shift is -180 degrees for partials at the center frequency, approaching 0 degrees for partials at low frequencies, and approaching -360 degrees for partials at high frequencies.
Page 515 If you leave the center frequency constant and assign an LFO to vary the width, partials with frequencies above the center will shift their pitches in the opposite direction of partials below the center frequency. Parameter Range of Values Adjust 0.010 to 5.000 octaves Key Tracking ±...
Page 516 DSP Functions The DSP Functions 2-Pole Notch Filter: Width in octaves The two-pole notch ﬁlter has two control-input pages, one for center frequency, one for width. Partials with frequencies above or below the notch will be unaffected. Within the notch, partials will be attenuated according to the width of the notch.
Page 517 Two-pole Bandpass Filter (BANDPASS FILTER) This is essentially the opposite of a notch ﬁlter; it passes all partials at the center frequency, and cut the levels of partials above or below the center frequency. The width is deﬁned the same as for the double notch ﬁlter.
Page 518 DSP Functions The DSP Functions Two-pole Bandpass Filter, Fixed Width (BAND2) The only functional difference between BAND2 and BANDPASS FILTER is that the width of BAND2 is ﬁxed at 2.2 octaves. This gives you a one-stage bandpass ﬁlter function. Double Notch Filter with Separation (DOUBLE NOTCH W/ SEP) 16-22 Frequency in Hertz 1000...
Page 519 Center frequency = C 7; separation = 1 octave; width at .5, 1, 2 octaves This is a three-stage function that puts two notches in the frequency response. As with NOTCH FILTER and NOTCH2, there are control-input pages for frequency and width. A third control-input page affects the separation of the notches.
Page 520 DSP Functions The DSP Functions Twin Peaks Bandpass Filter: Separation Twin Peaks Bandpass Filter: Width 16-24 Frequency in Hertz 1000 Center frequency = C 7; width = 2 octaves; separation at -2, 0, +2 octaves Frequency in Hertz 1000 Center frequency = C 7; separation = 1 octave;...
Page 521: Equalization (Eq)
The width is the entire range of frequencies that will be affected by the amplitude setting. For the K2661, the width is deﬁned by imagining an amplitude curve with a level (in dB) of -inﬁnity (minus inﬁnity) at the center frequency, then measuring the distance (in octaves) between the points on the curve where the amplitude is attenuated by 3dB.
Page 522 DSP Functions The DSP Functions When you’re using the Parametric EQ, you might use the following sequence. Set the center frequency (press the F1 FRQ soft button to select its control-input page). The frequency is measured in terms of each note of the keyboard. The frequency in Hertz of each note appears with the note name as the value for the Adjust parameter.
Page 523 probably jump back and forth between these three pages until your ear is satisﬁed with the sound. Cutoff frequency = C 6; gain = 12 dB; width from .1 to 4 octaves Parameter Range of Values Coarse Adjust C 0 16 Hz to G 10 25088 Hz Fine Adjust ±...
Page 524 DSP Functions The DSP Functions The Fine Adjust parameter gives you one-cent precision in setting the center frequency. Parameter Adjust Key Tracking Velocity Tracking Source 1 Source 1 Depth Source 2 Source 2 Depth Control Minimum Depth, Source 2 Maximum Depth, Source 2 The control-input page for the amplitude stage (F3 AMP) is identical to the AMP page described previously, except that there’s no Pad parameter.
Page 525 Para Mid: Gain Cutoff frequency = C 6; gain from -18 to 18 dB Frequency in Hertz 1000 Frequency in Hertz 1000 DSP Functions The DSP Functions 10000 100000 Gain = 12 dB cutoff frequency from C 3 to C 9 10000 100000 16-29...
Page 526 DSP Functions The DSP Functions Bass Tone Control (PARA BASS) This is a two-stage function, with control-input pages for frequency and amplitude. These pages are the same as those for frequency and amplitude in PARA EQ. On the frequency control-input page, you’ll set the cutoff frequency.
Page 527 Treble Tone Control (PARA TREBLE) Gain = 12 dB; cutoff frequency from C 6 to C 10 PARA TREBLE is very similar to PARA BASS; the only difference is that the amplitude setting affects notes above the cutoff frequency. Cutoff frequency = C 9; gain from -18 to 18 dB Frequency in Hertz 1000...
Page 528 DSP Functions The DSP Functions Steep Bass Tone Control (STEEP RESONANT BASS) Steep Resonant Bass: Frequency Steep Resonant Bass: Gain 16-32 Frequency in Hertz 1000 Frequency in Hertz 10000 100000 Resonance = -3 dB; gain = 12 dB; cutoff frequency from C 2 to C 4 1000 10000...
Page 529 Steep Resonant Bass: Resonance This function uses a two-pole lowpass ﬁlter to give you a sharper transition in bass response than PARA BASS. Like PARA BASS, there are control-input pages for cutoff frequency and amplitude, which are identical to those for PARA BASS. There is also a control-input page for resonance (also known as “q”), which can boost or cut the amplitude of the partials near the cutoff frequency.
Page 530: Pitch / Amplitude / Panner
DSP Functions The DSP Functions Pitch / Amplitude / Panner PITCH PANNER PITCH We used the PITCH control-input page as an example to introduce the common DSP control parameters in Chapter 6 (Common DSP Control Parameters on page 6-14), so we won’t add much here.
Page 531 PANNER This single-stage function converts a single wire at its input into a double wire at its output, splitting the signal between an “upper” and “lower” wire. This creates a double-output algorithm, as discussed on page 6-31. The parameters on the PANNER page enable you to modify the signal’s routing through the upper and lower wires.
Page 532 DSP Functions The DSP Functions Upper and Lower Amp (AMP U AMP L) This two-stage function is similar to the AMP function described above, but it appears in algorithms that have split the signal to two wires and has sent them through different DSP functions in the F2 and F3 blocks.
Page 533: Mixers
other. It’s also similar to the PANNER and XFADE functions. The F3 soft button selects the control-input page for the balance stage of this function. Parameter Adjust Key Tracking Velocity Tracking Source 1 Source 1 Depth Source 2 Source 2 Depth Control Minimum Depth, Source 2 Maximum Depth, Source 2 The AMP stage sets the overall amplitude applied to both wires, and is programmed exactly like...
Page 534: Waveforms
DSP Functions The DSP Functions functions, they can be used to combine two-wire signals for the F4 AMP block, or to enable you to apply another DSP function to the combined signals before the F4 AMP block. There’s a Pad parameter on the control-input pages for these functions, which attenuates the lower wire’s signal at its input to the function.
Page 535 DSP Functions The DSP Functions Since these waveform functions generate an output signal only, and don’t receive an input signal to pass along, the algorithms are arranged so you won’t inadvertently assign a series of waveforms that interfere with each other. You’ll usually ﬁnd, for example, that if you can assign a waveform in the F1 block, all subsequent blocks will allow you to assign only the added waveforms.
Page 536 DSP Functions The DSP Functions SINE, Sawtooth (SAW), SQUARE There’s only one parameter on this control-input page that may still be unfamiliar to you: Fine Hz. This is discussed on page 6-27. It can tune the pitch of the waveform in terms of its actual frequency in Hertz, as opposed to the usual method of tuning by key names.
Page 537: Added Waveforms
the other parameters to determine the effect on the pitch, as indicated by the “x” after the parameters’ values. More parameter descriptions follow below. Parameter Coarse Adjust Fine Adjust Key Tracking Velocity Tracking Source 1 Source 1 Depth Source 2 Source 2 Depth Control Minimum Depth, Source 2 Maximum Depth, Source 2...
Page 538: Nonlinear Functions
DSP Functions The DSP Functions There are three DSP functions that add waveforms to a layer’s existing sample: SINE+, SAW+, and NOISE+. The parameters on the control-input page for the SINE+ function affect the pitch of the sine waveform without affecting the pitch of the existing sample. The control-input page for the SINE+ function is similar to those for the regular waveforms above.
Page 539 There’s more to the High Frequency Stimulator than meets the eye. It works like this: the signal is run through a high-pass ﬁlter, then through a distortion function, then through a second high- pass ﬁlter. Finally, it’s mixed with the original signal after passing through the ﬁnal AMP stage of the algorithm.
Page 540 DSP Functions The DSP Functions Parameter Adjust Keytrack Start Key Tracking Velocity Tracking Source 1 Source 1 Depth Source 2 Source 2 Depth Control Minimum Depth, Source 2 Maximum Depth, Source 2 Parameter Adjust Key Tracking Velocity Tracking Source 1 Source 1 DEPTH Source 2 Source 2 Depth Control...
Page 541 Distortion (DIST) Sine followed by DIST Distorted Sine wave -0.2 -0.4 -0.6 -0.8 SAW followed by DIST Distorted Sawtooth wave -0.2 -0.4 -0.6 -0.8 Using this function is much like overdriving an ordinary keyboard or guitar ampliﬁer. The input signal is multiplied by the gain control (the combined values of the parameters on its control-input page labeled DRV, for Drive), then passes into a distortion mapper.
Page 542 DSP Functions The DSP Functions The page below shows the DIST function in the F1 block, but it can appear in other blocks as well. Parameter Adjust Keytrack Start Key Tracking Velocity Tracking Source 1 Source 1 Depth Source 2 Source 2 Depth Control Minimum Depth, Source 2 Maximum Depth, Source 2...
Page 543 waveforms cycling at frequencies of 2 Hz. Of course, these are just a few of the countless modulations you can apply to different waveforms at different frequencies. -0.2 -0.4 -0.6 -0.8 Amount = .1 -0.2 -0.4 -0.6 -0.8 Amount = .625 -0.2 -0.4 -0.6...
Page 544 DSP Functions The DSP Functions As the SHAPER receives input signals, it evaluates the signal’s level according to its own internal scale. When the SHAPER’s Adjust value is at .25, an input signal moving from negative full scale to positive full scale (a sawtooth) will map to an output curve with a single-cycle sine wave shape.
Page 545 Two-parameter Shaper (2PARAM SHAPER) This function is similar to the SHAPERs described above, but it has two control-input pages instead of one. The F1 EVN control parameters enable you to add distortion to sine wave partials that are even harmonics of the input signal, and the F2 ODD control parameters let you add distortion to sine wave partials that are odd harmonics of the input signal.
Page 546 DSP Functions The DSP Functions The following three graphs show the effect of WRAP on a sawtooth wave at the same frequency. -0.2 -0.4 -0.6 -0.8 Adjust = -30 With this function you can completely mutilate a sound, and with large amounts of wrap, turn anything into white noise.
Page 547 Pulse Width Modulation (PWM) SINE followed by PWM -0.2 -0.4 -0.6 -0.8 SINE -> PWM-> DIST -0.2 -0.4 -0.6 -0.8 Pulse width modulation can produce some classic synth sounds, and can break new sonic ground as well. Its operation is very simple; it adds an oscillating DC offset to the input signal (shifts it toward positive or negative full scale).
Page 548: Waveforms Combined With Nonlinear Functions
DSP Functions The DSP Functions The parameters on the PWM control-input page affect the DC offset of the signal, in terms of the percentage of shift from no offset to maximum offset. At a value of 0%, there is an offset positive full scale.
Page 549 DSP Functions The DSP Functions The parameters on the control-input page for SW+DST control the pitch of the sawtooth wave. Added Sawtooth Wave Plus SHAPER (SW+SHP) For this function, the sample input is combined with a sawtooth wave, then passed into the SHAPER function.
Page 550: Mixers With Nonlinear Inputs
DSP Functions The DSP Functions parameters on the F2 PCH control-input page affect the pitch of the sine wave, and consequently all subsequent results. Mixers with Nonlinear Inputs x AMP x GAIN x AMP This function can be used in the ﬁnal algorithm block when it mixes two input wires into a single output.
Page 551: Hard Sync Functions
DSP Functions The DSP Functions Amplitude Modulation (AMP MOD) The AMP MOD function multiplies its two input signals, and the result is multiplied by a gain value that is determined by the parameters on the AMPMOD’s control-input page. This result determines the balance between the upper and lower wires.
Page 552 DSP Functions The DSP Functions Because the pitch of the slave waveform is forced to be nearly that of the master, you can adjust the key tracking of the slave to values less than 100 cents per key without affecting the pitch. This will help reduce some of the harshness at the high end of the keyboard.
Page 553: Chapter 17 Funs
Every control source sent from your MIDI controller to the K2661’s sound engine is translated to a value in the range from -1 to +1. This consistency enables the sound engine to process control source signals very efﬁciently.
Page 554: Programming The Funs
FUN page, and select the Input a parameter for FUN1. Assign a value of MWheel (the quickest way is to hold the K2661’s Enter button and move your MIDI controller’s Mod Wheel). Next, select the Input b parameter for FUN1, and assign a value of Data. This assumes your MIDI controller either has a data slider, or a programmable control that you set to send Data messages (MIDI 06).
Page 555: The Fun Equations
FUNS The FUN Equations need to go to the LAYER page and set the PBMode parameter to a value of Off to keep Pitch Wheel messages from interfering with the test model. Now select the Function parameter, and scroll through the list of equations. Move your MIDI controller’s Mod Wheel and Data slider as you play, and listen to their effects.
Page 556: Basic Fun Equations
FUNS The FUN Equations value of +.5. An input value of -1 gives an output value of 0, as do input values of 0 and +1. An input value of +.5 gives an output value of -.5. Basic FUN Equations The ﬁrst six equations are weighted sums and differences—that is, the signal values of Inputs a and b are added to or subtracted from each other, and are divided in turn by various amounts to alter their effects relative to each other.
Page 557 The value of Input a is multiplied by -1, then multiplied by the value of Input b. This will reverse the normal effect of the control source assigned to Input a. This equation also produces an effect like that of Src2 and DptCtl with the MinDpt parameter set to 0. a * 10^b The actual equation is: (2 x b)
Page 558 FUNS The FUN Equations | a + b | The values of Inputs a and b are added, and the absolute value of the sum is taken. If the sum is negative, it is multiplied by -1. This makes the FUN a unipolar control source. Figure 17-3 | a - b | The value of Input b is subtracted from the value of Input a, and the absolute value is taken.
Page 559 (f = a, b) This equation might be called a lag equation. Its effect is to introduce a delay in the K2661’s response to changes in the value of Input b. It works by ﬁltering (reducing) higher values of Input b.
Page 560 FUNS The FUN Equations successive graph represents the same change in the value of Input b, at successively lower values for Input a. This equation works as intended only when the value of Input a is 0 or positive. Negative values for Input a will result in a much less predictable response than positive values.
Page 561 0. We’ll assume the value of Input a is +.5, and the value of Input b is +1. The ﬁrst time the K2661 evaluates the FUN, the result of the equation is .5 x (+1 - 0), or .5. So the FUN’s output value after the ﬁrst evaluation is .5.
Page 562 FUNS The FUN Equations output values b = 0 Figure 17-6 sin (a + b), cos (a + b), tri (a + b) These equations are intended to be used with inputs that are sawtooth waves—for example, Input a might be LFO1 with its shape set as a sawtooth. Each equation will map a sawtooth- shaped input into a sine-, cosine-, or triangle-shaped output.
Page 563: Warp Fun Equations
Figure 17-8 sin (a + b) Warp FUN Equations The next ﬁve equations all behave similarly, and are intended to be used as follows: the value of Input a is the controlling value, and normally remains constant, although it doesn’t have to. The value of Input b is expected to change over time;...
Page 564 FUNS The FUN Equations warp2(a, b) We call this equation Slant-square.™ Again, the value of Input a controls the mapping of values for Input b. If Input b is a sawtooth wave, different values for Input a will turn it into a number of variations on square waves.
Page 565 This equation, the Period Inverter,™ is based on repeated evaluations of the value of Input b. The K2661 compares each new value of Input b with the value from the previous evaluation. If the absolute value (always a positive number) of the difference between the two is greater than the value of Input a, the current value of Input b is multiplied by -1.
Page 566: Boolean Fun Equations
FUNS The FUN Equations warp8(a, b) This relatively simple equation is a x b x 8. If the result is beyond the range of -1 to +1, it wraps around from +1 to -1 (or vice versa), until it’s within the allowable range. The table below shows some examples of how this works.
Page 567: Random / Chaotic Lfo Funs
ramp(f=a + b) The values of Inputs a and b are added, then multiplied by 25. ramp(f=a - b) The value of Input b is subtracted from the value of Input a, and the difference is multiplied by ramp(f=(a + b) / 4) The values of Inputs a and b are added, and the sum is divided by 4.
Page 568: Diode Equation Funs
FUNS The FUN Equations Sample b On a This is a sample and hold function. The values of Inputs a and b are interpreted as logical quantities, as described for the equations a AND b, a OR b. When the value of Input a changes from FALSE to TRUE (goes above +.5), the value of Input b at that moment is sampled (recorded), and becomes the FUN’s output value.
Page 569 output values input values diode (a - b) b = OFF output values input values diode (a - b) b = .5 Figure 17-13 Diode Equations Diode (a - b) Subtracts the value of Input b from the value of Input a. If the difference is less than 0, the output value is 0.
Page 570: The Order Of Evaluation For Funs
FUNs as quickly as possible. If you were to assign FUN2 as an input for FUN1, then when the time came for the K2661 to evaluate FUN1, it wouldn’t know the current value for FUN2’s output, so it would evaluate FUN1 according to the previous value of FUN2.
Page 571: Chapter 18 Other Editors
Obj vn.nn. This isn’t really an intonation table; it’s simply a convenient place for the K2661 to keep a record of the current version of ROM objects. If you ever need to ﬁnd out the version of ROM objects loaded into your unit, this is the place to check. Just remember, if you’re using a nonstandard intonation table, that you’ll need to reset the Intonation parameter...
Page 572 Other Editors The Intonation Table Editor Enter the Intonation Table Editor by pressing the Edit button. The Intonation Table Editor page displays a graphic representation of a C octave, with the low C always representing the tonic. The values for these parameters indicate the amount of detuning applied to each note relative to perfectly equal intonation.
Page 573: The Velocity Map Editor
The VelocMap parameter on the TRANSMIT page in MIDI mode affects only the velocity values the K2661 sends to its MIDI Out port. Normally you’ll leave its value set to 1 Linear, especially when you’re recording sequences with a personal computer or hardware sequencer. You might want to adjust this parameter, however, when you need to change the response of MIDI slaves that you’re driving from the K2661.
Page 574 For example, if you’re using the map 1 Linear as the value for the VelocityMap parameter, then the K2661 will play notes at full volume only when the attack velocity values for those notes are 127. Notes with attack velocities from 1 to 15 will be played at the lowest volumes.
Page 575 As an example, let’s assume that you’re driving a MIDI slave synth from the K2661’s MIDI Out port, and you get full-amplitude sounds from the slave, even when you play softly on your MIDI controller. To ﬁx this, you’d edit the map to give it a harder bias (or use one of the preset MIDI maps with a hard bias).
Page 576: The Pressure Map Editor
The Pressure Map Editor The Pressure Map Editor Pressure maps function in much the same way as velocity maps, but they affect the K2661’s response to mono pressure messages received from your MIDI controller. Like the velocity maps, pressure maps convert pressure values of 0–127 to new values that are sent to the sound engine.
Page 577: Chapter 19 Audio Outputs
There are several ways to get audio output from the K2661. The most common conﬁguration is a pair of mono or stereo 1/4-inch cables connecting the Mix outputs of the K2661 to inputs on a mixer or keyboard amp. The Mix outputs carry the sum of all the signals routed to the separate analog outputs (A and B), including effects.
Page 578: Audio Routing: Programs To Kdfx
Audio Outputs Audio Routing: Programs to KDFX Audio Routing: Programs to KDFX 1. In any mode (typically Program mode), highlight a program name with the cursor, then press Edit to enter the Program Editor. Note how many layers there are in the program. 2.
Page 579: Using The Digital Outputs
• Make the K2661 the master; it can’t be slaved to an external clock signal. Use a sample rate converter, if necessary, to match the sample rates of your other instruments.
Page 580 Audio Outputs Using the Digital Outputs 19-4...
Page 581: Chapter 20 Programming Examples
Chapter 20 Programming Examples The other chapters in this manual have described the K2661’s features in detail. This tutorial chapter will take you step-by step through several programming operations. Each of the following examples will begin from the same starting point: the default program with ID 199.
Page 582 Grand Piano keymap. Use any data entry method to change the keymap to Trumpet, which has ID 17. The KEYMAP page should look like the diagram above when you’re done. Remember that you can play your K2661’s keyboard at any time while editing, so you can listen to each change as you make it.
Page 583 Programming Examples To program a realistic delayed vibrato, you need to adjust the Mode, Delay, and Attack parameters. Select the Mode parameter and change its value to Hold (use the Alpha Wheel or Plus/Minus buttons). This will prevent the vibrato from fading as it did. (This fading was caused by the ASR repeating, which was the default setting.) Now select the Delay parameter and set its value to .4 seconds (4, 0, Enter).
Page 584: Lowpass Filter, Envelopes
That’s it for Example 1. If you want to save your work, the easiest way is to press Exit. The K2661 will ask you if you want to save. You should probably press the Rename soft button, give your program a new name, then save it with a new ID. See page 5-3 if you need help with the Save dialog.
Page 585 (Obviously, this will have no effect if your MIDI controller doesn’t send mono pressure.) Now we’re going to use an envelope to control the sweep of the ﬁlter. The K2661 has one envelope dedicated to shaping the output of the sound; this is called AMPENV. However, two other envelopes (ENV 2 and ENV3) can be assigned to control other parameters.
Page 586: Sample And Hold Using A Fun
Programming Examples The Att1 time parameter will already be selected; set its value to 0.50 seconds. Press the right cursor button once to select the Att2 time parameter and set its value to 1.06 seconds. Cursor down once to select the Att2 level parameter and set its value to -1%. Cursor right once, then up once, selecting the Att3 time parameter.
Page 587: Shaper And Panner
Programming Examples frequency of the parametric EQ. There are lots of ways to set up sample and hold effects, but the FUN is the basic element. In this case, every time the value of the FUN’s Input a (LFO1) becomes greater than +.5, the value of Input b (RandV1) is sampled.
Page 588 Programming Examples the value for the KeyTrk parameter to -0.018x per key. Since we’re using a negative value, the amount of shaping will decrease with higher notes. Next we’ll program an envelope to change the SHAPER in real time. While still on the F1 AMT page, select the Src2 parameter, and set it to a value of ENV2 (1, 2, 1, Enter).
Page 589: Building A Drum Program; Using The Keymap Editor
Edit to enter the Keymap Editor. Select the Sample parameter, and select a value of 64 15in Dry Tom-C 4. Press the Save soft button, and the K2661 will prompt you to save the keymap. Rename it as Tom, and save it to an unused ID (don’t replace 168 Silence). Press Exit to return to the Program Editor, and select Layer 2 with the Chan/Bank buttons.
Page 590 Editor (by pressing Edit while the Keymap parameter is highlighted on the EditProg KEYMAP page), then press the NewRng soft button. The K2661 will prompt you to strike a low and high key on your MIDI controller. Strike C 4 and C parameter changes to reﬂect the new range assignment.
Page 591: Editing A Setup For Kb3 Control
Mod Wheel). 17. On the alphanumeric button pad, press 7 0 Enter. This changes the value to MIDI70. 18. Press Exit. The K2661 will ask you if you want to save the setup. Press the Rename soft button. 19. Press either Chan/Bank buttons until the KbdNaming parameter in the top line of the display shows a value of Adv.
Page 592: Using The Kb3 Setup From The Smartmedia Card
5. Select a different bank if you wish, then press OK. 6. Press Fill, which determines how the K2661 assigns an ID to the ﬁle you’re loading. This loads the ﬁle into the ﬁrst available ID in the bank you selected—without affecting any objects already stored in the bank.
Page 593: Appendix A K2661 Boot Block
Press and release the Exit button while the “Please wait...” message is displayed to start the Boot Block. Otherwise, the K2661 will start up normally. When the Boot Block starts, it will test the K2661's ﬁles to make sure they are valid. Press the OK soft button to invoke the highlighted menu option.
Page 594: Updating K2661 Software
SmartMedia, or a SCSI ID if you are installing from a SCSI device). If you are installing from a SCSI device, you may also need to set the SCSI ID of the K2661 on this page (SCSI ID 6 will be selected by default; if you’ve never changed the SCSI ID of your K2661, this should be alright).
Page 595: Running Diagnostic Tests
Since these tests are intended for service personnel, they are not described in this manual. Resetting the K2661 Press the Reset soft button to perform a hard reset. This will restart your K2661, reset everything, and empty the unit’s memory of any objects (program, setups, songs, etc.) you may have created.
Page 596 K2661 Boot Block Resetting the K2661...
Page 597: Index
Alpha Wheel 2-6, 3-4 Alphabetic entry 3-5, 5-4 Alphanumeric pad 3-5 Alternative Attack parameter (Keymap) 6-26 Amp control 16-34 K2661 Musician’s Guide AMP MOD 16-55 AMP MOD OSC 16-53 AMP U AMP L 16-36 AMPENV page (Program Editor) 6-35 Amplitude envelope...
Page 598 K2661 Musician’s Guide Index backing up ﬁles 13-84 Backup 13-66 Balance and Amp (BAL AMP) 16-36 BAND2 16-22 BANDPASS FILTER 16-21 Bandpass ﬁlters 16-21 Bank Select MIDI Receive page 10-8 Bank Status Indicator 13-19 Basic editing 5-1 Basic FUN Equations 17-4...
Page 599 Directory Selection Dialog 13-13 directory structure 13-60 Disk button 5-8 Disk Drive Information 13-5 Disk format requirements 13-1 K2661 Musician’s Guide Disk Function soft buttons 13-6 Disk Functions 15-20 disk information 13-59 Disk Mode 5-7, 13-2 Disk mode 4-4, 13-83...
Page 600 K2661 Musician’s Guide Index Edit Song ARRANGE Page 12-64 COMMON Page 12-41 EVENT Page 12-45 STEP Page 12-61 EditFXPreset Parameter pages 15-3 Editing 5-1 editing conventions 5-1 Editing KB3 programs 6-48 Editing Macros 13-53 Editing Samples 14-10 Editing VAST programs 6-11...
Page 601 GM 11-13 Grab Song Mode TRACK Page 12-60 Graphic equalizer 15-38 Grounding 2-2 Guitar/Wind Controller Mode 11-14 K2661 Musician’s Guide Half Wts 15-47 hard format 13-77 Hard reset 11-14, A-3 from boot loader A-3 Hard sync functions 16-55 SYNC M and SYNC S 16-55...
Page 602 K2661 Musician’s Guide Index Insert FX Bus 9-3 Insert Zero 14-25 Intonation key 11-4 Intonation Table Editor 18-1 Intonation tables 11-2, 11-3 Introduction to editing 5-1 Intuitive data entry 3-6 Invert 14-24 Joining samples 14-12 Jump to page 5-8 K1000...
Page 603 Memory bank ID allottments 13-34 Memory banks 5-7 Memory display 11-12 Memory Limits 12-23 Merge soft button 13-20 Metering 15-17 K2661 Musician’s Guide Mic Angle 15-45 Microtonal tunings 11-2 MID ﬁle type A-2 MIDI All Notes Off 10-6 Audio output gain 10-10...
Page 604 K2661 Musician’s Guide Index Mode selection 4-1 Modes 4-1 Program 6-1 Modes, using 4-3 Modulator ring modulation 15-47 Momentary switch type 7-30 mon 6-17 Monitor (Mon) 14-5 Mono inputs 15-7 Mono sound systems 2-2 Monophonic parameter (Common) 6-33 Monophonic programs 6-33 Monopole 15-49 Morph A>B 15-39...
Page 605 F4 Amp 6-28, 6-29 Keymap 6-23, 6-26 Layer 6-19, 6-23 LFO 6-41, 6-42 Source 15-24 Velocity triggers 6-44 Parametric EQ 16-25 K2661 Musician’s Guide Parametric equalizer 15-38 ParaMid EQ 15-7 Parent soft button 13-10 parent directory 13-83 Parentheses, enclosing program name 6-9...
Page 606 Renaming multiple objects 3-7 Renaming objects 5-3 with Name utility 11-18 Renaming programs 6-47 Repeating ASRs 6-43 Resample 14-28 resampling K2661 internal audio data 14-9 Reset hard 11-14, A-3 soft A-3 Reset MIDI channels 10-18 Resetting the KSP8 A-3 ResH/LPhs 15-45...
Page 607 Saving Master and Everything Files 13-24 Saving objects RAM 5-4 ROM 5-4 Saving programs 6-47 Saving RAM objects 5-2 K2661 Musician’s Guide Saving ROM objects 5-2 Saving Studios 15-20 SAW 16-40 Sawtooth LFO FUN equations 17-14 SC Input 15-40 SCSI 13-80...
Page 608 K2661 Musician’s Guide Index Continuous Control Pedal (CPEDAL) Page 7-27 Continuous Controller Parameters 7-23 Controllers 7-19 Controlling KB3 features 20-11 Curve (Curv) 7-24 Destination 7-9, 7-30 Destination (Dest) 7-24 Editing Hints and Suggestions 7-45 Entry (Ent) and Exit States 7-31...
Page 609 Threshold 15-40 Threshold (Thresh) 14-5 Timbre Shift parameter (Keymap) 6-25 Time 14-5 Time Warp 14-28 Toggle K2661 Musician’s Guide switch type 7-30 TONEWL page (Program Editor) 6-48 Top line of display 3-3 Total size of all ﬁles 13-10 Track mute 12-40...
Page 610 K2661 Musician’s Guide Index Velocity crossover 14-38 Velocity Map Editor 18-3 Velocity maps 10-3, 10-6 Velocity sensitivity 11-2 Velocity stabs 20-1 Velocity tracking 6-16 Velocity tracking parameter (EnvCtl) 6-40 Velocity tracking parameter (F4 Amp) 6-29 Velocity tracking parameter (Keymap) 6-24...

Kurzweil K2661 Musician's Manual

Chapter 1 Introduction

Chapter 2 Startup

Chapter 3 User Interface Basics

Chapter 4 The Operating Modes

Chapter 5 Editing Conventions

Chapter 6 Program Mode and the Program Editor

Chapter 7 Setup Mode and the Setup Editor

Quick Links

Related Manuals for Kurzweil K2661

Summary of Contents for Kurzweil K2661