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Kurzweil K2600 Musician's Manual

Kurzweil K2600 Musician's Manual

Kurzweil k2600: user guide

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©1999 All rights reserved. Kurzweil is a product line of Young Chang Co.; V. A. S. T. is a registered

trademark, and Kurzweil, K2600, K2500, and K2000 are trademarks of Young Chang Co. All other

products and brand names are trademarks or registered trademarks of their respective companies.

Product features and speciÞcations are subject to change without notice.

K 2600

Musician's Guide

Part Number: 910330 Rev. A

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Page 1 K 2600 Musician’s Guide ©1999 All rights reserved. Kurzweil is a product line of Young Chang Co.; V. A. S. T. is a registered trademark, and Kurzweil, K2600, K2500, and K2000 are trademarks of Young Chang Co. All other products and brand names are trademarks or registered trademarks of their respective companies.
Page 2 The lightning flash with the arrowhead symbol, within an equilateral triangle, is intended to alert CAUTION the user to the presence of uninsulated "dangerous voltage" within the product's RISK OF ELECTRIC SHOCK enclosure that may be of sufficient magnitude DO NOT OPEN to constitute a risk of electric shock to persons.
Page 3 Young Chang Distributors Contact the nearest Young Chang ofÞce listed below to locate your local Young Chang/ Kurzweil representative. Young Chang America, Inc. P.O. Box 99995 Lakewood, WA 98499-0995 Tel: (253) 589-3200 Fax: (253) 984-0245 Young Chang Co. 178-55 Gajwa-Dong...
Page 5: Table Of Contents
Contents Young Chang Distributors ............................... iii Chapter 1 Introduction Welcome! ..................................1-1 Overview of the K2600 ..............................1-2 VAST Synthesis................................1-3 KB3 Tone Wheel Emulation ............................1-3 How the K2600 Works ..............................1-4 How to Use This Manual ............................... 1-4 Do I Have Everything? ..............................
Page 6 K2600 Musician’s Guide The Cursor Buttons..............................3-4 The MIDI LED ................................3-4 The Chan/bank Buttons ............................3-4 The Edit Button ................................ 3-4 Data Entry ..................................3-5 The Alpha Wheel..............................3-5 The Plus/Minus Buttons............................3-5 The Alphanumeric Pad ............................3-5 Double Button Presses............................. 3-6 Intuitive Data Entry ................................
Page 7 K2600 Musician’s Guide Chapter 6 Program Mode and the Program Editor Background ..................................6-1 VAST Program Structure..............................6-2 KB3 Program Structure..............................6-4 KB3 Mode ..................................6-4 KB3 Channel ................................6-4 Playing KB3 Programs............................. 6-5 KB3 Mode Buttons (Mute Buttons) ........................6-6 MIDI Control of KB3 Programs ..........................
Page 8 K2600 Musician’s Guide The PITCH Page ................................6-27 Fine Hz..................................6-27 The F1ÐF3 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....................... 6-29 The OUTPUT Page................................
Page 9 K2600 Musician’s Guide The KDFX Page................................6-44 The FXMOD2ÐFXMOD4 Pages ........................... 6-46 The FXLFO, FXASR, and FXFUN Pages ........................6-46 The ImportKDFX Page ..............................6-46 Function Soft Buttons ..............................6-47 Set Range (SetRng)..............................6-47 Name..................................6-47 Save ..................................6-47 Delete ..................................6-47 Dump ..................................
Page 10 K2600 Musician’s Guide 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 ................................6-58 VolAdjust................................. 6-58 BendRange ................................6-58 Sustain..................................6-58 Sostenuto .................................
Page 11 K2600 Musician’s Guide Continuous Controller Parameters..........................7-26 Destination (Dest) ..............................7-26 Scale..................................7-26 Offset (Add) ................................7-26 Curve (Curv)................................7-27 Entry (Ent) and Exit Values ..........................7-27 The SLIDER and SLID/2 Pages ..........................7-28 The Continuous Control Pedal (CPEDAL) Page ...................... 7-29 The RIBBON Page .................................
Page 12 FX Mode ..................................9-5 Effects Channel (FX Chan)............................9-5 Studio..................................9-6 Dither ..................................9-7 Digital Word Length (DigOut) ..........................9-7 The Structure of Kurzweil Digital Effects (KDFX) ..................... 9-7 The Studio ................................. 9-7 Normal Studio Structure............................9-10 Software Organization..............................9-10 Controlling Effects................................. 9-10 Controlling Effects with a Sequencer ........................9-11...
Page 13 Output Gain (OutGain) ............................10-11 Program Lock, Pan Lock, Volume Lock......................10-11 Program Change Formats ............................10-11 Extended and Kurzweil Program Change Types .................... 10-12 0-127 Program Change Type ..........................10-13 Quick Access BanksÑExtended (QA Ext) ......................10-14 Quick Access BanksÑKurzweil (QA Kurz) ..................... 10-15 QA 0Ð127 ................................
Page 14 K2600 Musician’s Guide 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 ConÞrm..................................11-4 Intonation Key (IntonaKey)...........................11-4 The MAST2 Page ................................11-4 The Vocoder ................................11-4 Using the Vocoder ..............................11-6 The Soft Buttons in Master Mode ..........................11-10...
Page 15 K2600 Musician’s Guide Program ................................. 12-26 Channel (Chan) ..............................12-27 Setup ..................................12-27 Pan..................................12-28 Mode ..................................12-28 Location (Locat)..............................12-28 Mode Indicators (+ and x): ..........................12-28 Activity Indicators ( ) ............................12-29 Track Status Indicators ............................12-29 Track Channels ..............................12-29 Soft Buttons on the MAIN Page.........................
Page 16 Formatting a Floppy Disk............................. 13-2 Connecting a SCSI Device............................. 13-3 SCSI Termination................................13-3 Disabling the K2600Õs SCSI Termination ......................13-4 Using your K2600 in a SCSI System ........................13-4 Directories ..................................13-5 Path ..................................13-5 Startup ..................................13-5 Library ..................................13-6 Verify..................................
Page 17 K2600 Musician’s Guide Creating Directories ..............................13-12 Creating a Directory From the Disk Mode Page ..................... 13-12 Creating a Directory in the Save Dialog ......................13-13 The Directory Selection Dialog..........................13-13 Disk Mode Functions..............................13-14 Loading Files................................. 13-14 Loading Individual Objects ..........................13-15 Shortcuts when Loading Objects ........................
Page 18 From Program, Setup, Master, or Quick Access Mode..................14-2 From the Keymap Editor ............................14-2 Sampling Analog Signals ............................. 14-2 Recording Samples ..............................14-6 Sampling the K2600Õs 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..............................
Page 19 Linking to Programs and Setups ........................15-21 Setting Up FXMods.............................. 15-23 Importing Studios From Another Program or Setup..................15-27 Using KDFX Live From the K2600 Keyboard ....................15-28 Using KDFX With a Sequencer .......................... 15-29 Preventing Glitches When Changing Studios ....................15-30 Tempo-based Control of KDFX..........................
Page 20 K2600 Musician’s Guide Stereo Simulation ..............................15-48 FXMod Diagnostic ............................... 15-49 Special Topics................................15-50 Song Mode ................................15-50 KB3 Effects ................................15-51 Chapter 16 DSP Functions Introduction to Algorithm Programming........................16-1 Additional Parameters ............................16-3 The DSP Functions ................................ 16-6 Filters ..................................
Page 21 Using the Optional Digital Outputs ........................... 19-2 K2600 With Sampling Option Only........................19-3 K2600 With Digital I/O Option Only........................19-3 K2600 with Sampling Option and Digital I/O Option..................19-4 Chapter 20 Programming Examples Trumpet with Delayed Vibrato and Velocity-triggered Falls................20-1 Lowpass Filter, Envelopes ............................
Page 23: Chapter 1 Introduction
The K2600 incorporates most of the features of the award-winning K2000 and the K2500, and provides several new features as well.
Page 24: Overview Of The K2600
K2600R margin symbol like the one to the left of this paragraph. If you own a keyboard model of the K2600, you may want to read the K2600R-speciÞc information anyway, since much of it also applies when your K2600 is a MIDI slave (when using a computer-based sequencer, for example).
Page 25: Vast Synthesis
(at the analog sampling input), and route it through the K2600Õs VAST algorithmsÑso you can apply Kurzweil DSP and effects to any sound The sampling option also gives you digital audio output (stereo optical or unbalanced stereo XLR).
Page 26: How The K2600 Works
(like the Program button and the soft buttons). The best way to read this manual is with your K2600 in front of you. By trying the examples we give to illustrate various functions, you can get a quick understanding of the basics, then move on to the more advanced features.
Page 27: Do I Have Everything
There are three different GM Þles. Which Þle you use depends on which ROM blocks you have in the K2000. The disk that comes with your unit is for a K2600 without any additional ROM blocks. If you purchase the Orchestral or Contemporary ROM block, you will receive two other ÞlesÑone for a unit with just the Orchestral ROM added, and one for a unit with the Orchestral...
Page 28: K2600 Demos
Þle (and its dependent objects) from your K2600 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 29: K2500 Compatibility
Introduction The Accessory Disks K2600 Additional Programs and Factory RAM Banks This disk contains even more programs from our program farm. The MOREPRGS directory contains several Þles of extra programs. The RAMBANKS directory contains a backup Þle of the programs that were loaded into the 300s and 400s banks when your unit was shipped from the factory.
Page 31: Chapter 2 Startup
4. Make sure your sound system is at a safe volume level. 5. Plug in a pair of stereo headphones or run standard (1/4-inch) audio cables from your ampliÞer or mixer to the MIX audio outputs on the K2600. (Use the MIX L out for mono.) K2600R Owners Only Your K2600R needs to be able to receive and interpret MIDI messages from whatever MIDI controller youÕre using.
Page 32: Start Jamming
5. If you donÕt hear anything, review these steps, or check the Troubleshooting section in the MusicianÕs Reference. Startup—the Details This section walks you through the hookup of your K2600. WeÕll take a look at the rear panel, then describe the power, audio, and other cable connections. Before You Start...
Page 33: Connecting The Power Cable (Line Cord)
Connecting the Power Cable (Line Cord) The K2600 runs on AC power: 100, 120, 220, or 240 volts at 50Ð60 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 keyboard models of the K2600.
Page 34: Connecting Midi
PA system inputs, and connect the other end to the jacks marked MIX L and R on the rear panel of the K2600. If you have only one input available, use the K2600Õs MIX L output to get the full signal in mono. YouÕll Þnd more about audio conÞgurationsÑincluding digital outputÑin Chapter 19.
Page 35: Playing The Presets
Set the volume at a comfortable level. YouÕll get the best signal-to-noise ratio if you keep the K2600 at full volume, and adjust the level from your mixing board. You may also want to adjust the display contrast. On keyboard models, thereÕs a small knob labeled LCD Contrast on the rear panel, between the MIDI ports and the Control Pedal jacks.
Page 36: Programs
Programs The K2600 powers up in Program mode, where you can select and play programs stored in ROM or RAM. Programs are preset sounds composed of up to 32 layers of samples or waveforms. If youÕve left Program mode, just press the Program mode button or Exit button to return.
Page 37 %%%%%%^%%%%%%^%%%%$|756|MildGrunge|||||| Octav-|Octav+|Panic||Sample|Chan-||Chan+ Because of their architecture, KB3 programs require different processing within the K2600, and they donÕt work on ÒregularÓ channels. They require a special channel to handle the KB3 programÕs voices. You can choose any of the 16 MIDI channels to be the KB3 channel, but you can have only one KB3 channel, and KB3 programs play only on that channel (VAST programs work just Þne on the KB3 channel, by the way).
Page 38: Setups
Enter button to complete the selection. If you make a mistake, press Clear, then start over. The K2600 has various settings for responding to MIDI Program Change commands from external sources. These are explained in Chapter 10, so we wonÕt go into them here. You should be able to change programs by sending Program Change commands from your MIDI controller.
Page 39: Quick Access
While youÕre in Quick Access mode, you can select any program or setup in the bank with buttons 0 through 9. The K2600 comes with a few Quick Access banks already programmed so you can get an idea of how they work. YouÕll probably create your own Quick Access banks to help you select programs and setups with a minimum of searching.
Page 40: The Other Modes
Edit ROM samples; create and edit RAM (user-deÞned) samples. Software Upgrades Part of the beauty of the K2600 is the ease with which you can upgrade its operating system and objects (programs, setup, etc.) using the boot loader to install upgrades into ßash ROM.
Page 41: User Interface Basics
Chapter 3 User Interface Basics This chapter will show you how to get around the front panel of your K2600. Your interactions can be divided into three primary operations: mode selection, navigation, and data entry. Keyboard models also have an assignable control section.
Page 42: Mode Selection
Mode Selection Mode Selection The K2600 is always in one of eight primary operating modes. Select a mode by pressing one of the mode buttonsÑon keyboard models theyÕre to the left of the display, and on the rack-mount model theyÕre the lower row of buttons under the display. Each mode button has an LED that lights to indicate the current mode.
Page 43: Navigation
These navigation buttons will take you to every one of the K2600Õs programming parameters. The Display Your primary interface with the K2600 is its backlit graphic display. As you press various buttons, this ßuorescent display reßects the commands you enter and the editing changes you make.
Page 44: The Cursor Buttons
WeÕll let you know, when applicable, what the Chan/Bank buttons do. The Edit Button The Edit button activates each of the K2600Õs editors, and acts as a shortcut to many pages within the Program Editor. Pressing the Edit button tells the K2600 that you want to change some aspect of the object marked by the cursor.
Page 45: Data Entry
Press Exit to leave the current editor. If youÕve changed the value of any parameter while in that editor, the K2600 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 youÕre on the entry level page of one of the other modes.
Page 46: Double Button Presses
User Interface Basics Data Entry ThereÕs also a convenient feature called keyboard naming, which lets you use the keyboard to enter characters in names. See page 5-5. Double Button Presses Pressing two or more related buttons simultaneously executes a number of special functions depending on the currently selected mode.
Page 47: Intuitive Data Entry
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 K2600 will change the current layer to that keyÕs 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 48: Search
This function is not case-sensitive; it will Þnd upper and lower case characters regardless of what you type. When youÕve typed the string of characters you want to Þnd, press Enter. The K2600 searches through the current list of objects or values, Þnds all items that match the string of characters you typed, and displays the Þrst one it Þnds.
Page 49 |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| Replace|with:|||Good|||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| Delete|Insert||<<<||||>>>||||OK|||Cancel 7. Press OK. The K2600 asks you if youÕre sure (unless you have conÞrmations turned off). Press Yes. The NAME page reappears. Every RAM object whose name contained Bad now contains Good instead.
Page 50: Panel Play Feature (Rack Models)
4, and so on up to Enter, which plays C 5. Notes are sent to the K2600Õs sound engine on the current MIDI channel. Pressing the Up or Down cursor buttons while holding Cancel will transpose up or down an octave while using this feature.
Page 51: Midi Faders Pages
On the Mixdown page, pan and volume messages are sent to the internal K2600 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 52: Quick Song Recording And Playback
User Interface Basics Quick Song Recording and Playback The available values for the Channel parameter on this page are 1Ð16 (local and MIDI), 1LÐ16L (local only, no MIDI), and 1MÐ16M (MIDI only, no local). MIDI|Faders:Page1||||||||||||||||||||||| Chan|:|9|||10||11||12||13||14||15||16||| Ctl||:|6|||6|||6|||6|||6|||6|||6|||6|||| Value:|50||0|||50||0|||50||0|||50||0|||| |||||||||||||||||||||||||||||||||||||||| ||||||\]||}~||\]||}~||\]||}~||\]||}~|||| |||||||_|||_|||_|||_|||_|||_|||_|||_|||| Page1||Page2||Page3||Page4|||Send||Done| Quick Song Recording and Playback...
Page 53: Chapter 4 The Operating Modes
What the Modes Are The modes exist to make the K2600 logical to work with. With as many performance and programming features as the K2600 has, itÕs helpful to break them into groups. These groups are called modes.
Page 54 The Operating Modes Selecting Modes The following table lists the procedures for moving between modes and editors. Note that the Exit button wonÕt always take you where the table says it will; it often depends on how you got where you are. The table assumes that youÕve entered a given editor via its corresponding mode. YouÕll always return to Program mode eventually if you press Exit repeatedly.
Page 55: Nested Editors
Naming on page 5-3. Using the Modes You can play your K2600 regardless of the mode youÕre in. In fact, the only times you canÕt play it are when youÕre in the middle of a disk operation (loading, saving, formatting) or a SMDI sample transfer.
Page 56: Setup Mode
K2600 how to select preset studios (programmed effects conÞgurations) when you change programs or setups, or lets you choose a preset studio thatÕs applied to every K2600 program. The Studio Editor allows you to tweak the preset studios, and create your own. Chapters 9 and 15 show you how.
Page 57: Song Mode
Using the Modes Song Mode Song mode enables you to play sequences (songs) stored in the K2600Õs RAM, and provides a fully featured sequencer that you can use to record songs. You can also record multi-timbrally via MIDI, or load standard MIDI Þles (Type 0 or 1). The Song Editor enables you to modify existing RAM sequences, do step recording, and create arrangements (by linking two or more songs together).
Page 59: Editing Conventions
When you change a value, youÕll normally hear its effect on the object youÕre editing. The K2600 doesnÕt actually write your editing changes to memory until you save the object youÕre 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 60: 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 youÕve edited, the K2600 will ask you if you want to ÒreplaceÓ...
Page 61: Saving And Naming
If you have made changes, however, the K2600 will ask you if you want to save those changes. This is the Þrst Save dialog. A dialog is any display that asks a question that you need to answer before the K2600 can proceed.
Page 62: Rom Objects
Object Utilities (described in Chapter 13). If you select an ID thatÕs already in use, the K2600 will tell you that youÕre going to replace the ROM object thatÕs already been assigned that ID. If you donÕt want to do that, you can select a different ID.
Page 63: Ram Objects
(there are soft buttons in each editor for deleting objects). RAM Objects If the original object was a RAM object, the K2600 will assume you want to replace it, and will suggest the same ID as the original object (if it has an asteriskÑ*Ñbetween its ID and its name, itÕs a RAM object).
Page 64: 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 K2600 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 donÕt.
Page 65: Saving And Loading Filesñdisk Mode
Þle. All objects with IDs within that range will be saved to the Þle. When you load a Þle, the K2600 asks you which bank will receive the Þle. You can load a Þle into any of the ten banks, regardless of the bank it was saved from.
Page 66 Editing Conventions Special Button Functions When youÕre in the Sample Editor, the Program, Setup, Q Access, MIDI, Master, and Song mode buttons function according to the orange labeling near each button. Table 5-1 describes all of the special button functions. Button Mode or Editor White...
Page 67: Program Mode And The Program Editor
Program mode is the heart of the K2600, where you select programs for performance and editing. The K2600 is packed with great sounds, but itÕs also a synthesizer of truly amazing depth and ßexibility. When youÕre ready to start tweaking sounds, the Program Editor is the place to start.
Page 68: Vast Program Structure
The layer is the VAST programÕs basic unit of polyphony, that is, each layer constitutes one of the 48 voice channels the K2600 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 69 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 pe program A keymap processed through an algorithm,...
Page 70: Kb3 Program Structure
KB3 program name in parentheses in every zone thatÕs not on the KB3 channel. Note: If youÕre using a Kurzweil PC88 to control your K2600, you shouldnÕt use Channel 1 as the KB3 channel. The PC88 sends MIDI Controller 90 on Channel 1 to select effects. In KB3 mode, the K2600 maps Controller 90 to internal controller 90, which controls the emulation of leakage that we mentioned earlier.
Page 71: Playing Kb3 Programs
KB3 Mode Real-time Controls in KB3 Mode Owners of keyboard models of the K2600 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 (theyÕre 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 72: Kb3 Mode Buttons (Mute Buttons)
If you donÕt 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 K2600Õs MIDI Out port. See Column 2 of Table 6-3 to check which Controller numbers the buttons send.
Page 73 K2600Õs current channel. For example, if your MIDI source transmits on Channel 1, and you set the K2600Õs current channel to 2, youÕll still play the program assigned to Channel 1. If thatÕs the way you like it, thereÕs no problem.
Page 74 MIDI source is using (so if, for example, your MIDI source transmits on Channel 1, set LocalKbdCh to 1). All MIDI information that the K2600 receives on the local keyboard channel gets remapped to the channels and control destinations used by the zones in the setup.
Page 75: The Program Mode Page
Consequently, they a special channel with enough throughput to handle those voice requirements. If you select a KB3 program without being on a KB3 channel, the K2600 cannot play the program. As shown in the following illustration, the KB3 channel is 1, while the K2600Õs current channel is 2.
Page 76: Control Setup
The Octav-/Octav+ buttons are a shortcut for quick transposition in 12-semitone increments. You can use them to transpose the entire K2600 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 77: Editing Vast Programs
Program Mode and the Program Editor Editing VAST Programs The Octave buttons transpose the K2600, as well as any MIDI devices connected to the K2600Õs MIDI Out port. Changing the transposition with the soft buttons also changes the corresponding setting on the MIDI-mode TRANSMIT page.
Page 78: Algorithm Basics
The basic deÞnition: an algorithm is the ÒwiringÓ (signal path) of a sample to the audio outputs, through a series of digital signal processing (DSP) functions that you select. The K2600Õs algorithms are the core of Variable Architecture Synthesis Technology. The DSP functions are synthesis tools (Þlters, oscillators, etc.) that you assign to the various stages of the algorithm.
Page 79 Program Mode and the Program Editor Editing VAST Programs The Þve downward-pointing arrows indicate the Þve real-time control inputs to the DSP functions. There are usually Þve 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 80: Common Dsp Control Parameters
Coarse adjust (Coarse) ¥ Fine adjust (Fine) Hard-wired Parameters These always take their input from MIDI events (either the K2600 or an external MIDI controller)ÑspeciÞcally the note number and the attack velocity values of each Note On event. ¥ Key tracking (KeyTrk) ¥...
Page 81: Coarse Adjust
Adjust parameters to reduce the initial amount of that effect. The K2600 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 Þlter cutoff frequency in Hz.
Page 82: 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 K2600) will play a normal C 4. Triggering 4 will play a note 5 cents higher than C 4.
Page 83: 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 youÕd get only two levels of depth control: the maximum (1200 cents) with your MIDI controllerÕs sustain pedal down, or the minimum (100 cents) with the sustain pedal up.
Page 84 Note: Changing a layerÕs algorithm can affect the layerÕs sound drastically. ItÕs a good idea to bring down the volume of your K2600 or your sound system before changing algorithms. The Þve downward-pointing arrows represent inputs to the DSP functions that are available for the current algorithm.
Page 85: The Layer Page
Program Mode and the Program Editor The LAYER Page The LAYER Page Press the LAYER soft button to call up the LAYER page. Here youÕll set a number of parameters that affect the current layerÕs keyboard range, attack and release characteristics, and response to various controls.
Page 86: Low Velocity (Lovel)
Program Mode and the Program Editor The LAYER Page Low Velocity (LoVel) With this parameter you deÞne 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 87: Enable Sense (S)
Program Mode and the Program Editor The LAYER Page 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.
Page 88: 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 K2600. 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 89: Hold Until Decay (Tildec)
Program Mode and the Program Editor The KEYMAP Page 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 Þnal attack segment.
Page 90: Velocity Tracking (Veltrk)
YouÕll use this parameter when youÕre working with stereo samples. When you use the stereo piano programs or load stereo samples from disk, the K2600 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), youÕll see the letter S as part of the sample name (for example,...
Page 91: Timbre Shift
Keymap2.) If you select a keymap as the value for both Keymap1 and Keymap2, the K2600 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 92: Alternative Switch (Altcontrol And Altmethod)
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 K2600Õs ROM samples have their Alt points set for purposes of legato play.
Page 93: 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 K2600 automatically limits the amount of detuning when it becomes extreme, so youÕll notice the beat frequencies moving out of sync when you play low pitches.
Page 94: The F4 Amp Page
Program Mode and the Program Editor The F4 AMP Page The F4 AMP Page Press the F4 AMP soft button to call up this page, which features Þve of the six common DSP control parameters, in this case controlling the Þnal amplitude of the current layer before it reaches the audio outputs.
Page 95: Velocity Tracking
Program Mode and the Program Editor The OUTPUT Page 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.
Page 96: Pair
KDFX (effects processor) input to which the layerÕs signal will ßow. Setting a value here is like connecting an audio output to the effects send on a mixer. The actual audio output of the K2600 is determined by the output settings for KDFX.
Page 97: Gain
Program Mode and the Program Editor The OUTPUT Page 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 layerÕs amplitude envelope, you can use it to add a constant amount of gain to a layer.
Page 98: 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 99: Monophonic
The pitch glides toward the most recently triggered note, and remains at that pitch as long as the note remains on. The K2600 gives you two ways to get portamento. See the Attack Portamento parameter below.
Page 100: Portamento Rate
When youÕre applying large amounts of portamento to multi-sampled sounds (Acoustic Guitar, for example), the K2600 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 youÕll hear by entering the Program Editor and adjusting the...
Page 101: Outpair
Program Mode and the Program Editor The Amplitude Envelope (AMPENV) Page YouÕll 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 layerÕs note independently. For example, youÕd 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 102 The small downward-pointing arrow represents the beginning of the release section. Because the K2600Õs 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 103: Attack Segment Times
Program Mode and the Program Editor The Amplitude Envelope (AMPENV) Page Attack Segment Times These indicate how long it takes for the current layerÕs amplitude to reach its Þnal level from its starting level. Attack Segment Levels These are the Þnal levels that each segment achieves at completion. The levels are expressed as percentages of the maximum possible amplitude for the current layer.
Page 104: 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 K2600 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 105: The Envelope Control (Envctl) Page
Program Mode and the Program Editor 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.
Page 106: Adjust
LFO repeats, and the waveform of the modulation signal it generates. With the K2600, you can set upper and lower limits on each LFOÕs rate, and assign a control source to change the LFOÕs rate in realtime, if you wish.
Page 107: Minimum Rate
Program Mode and the Program Editor The LFO Page LFO1 is always local, meaning that itÕs 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 108: Lfo Phase
The ASR Page ASRs are three-section unipolar envelopesÑattack, sustain, and release. The K2600Õs ASRs can be triggered by a programmable control source, and can be delayed. ASR1 is always a local control.
Page 109: 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 K2600 reads the values of the two control sources deÞned as Inputs a and b. It then processes them according to the setting for the Function parameter, and the resulting value is the FUNÕs output.
Page 110: The Velocity Trigger (Vtrig) Page
The velocity triggerÕs level is expressed in terms of the standard dynamic markings of western musicÑppp, pp, p, mp, mf, f, ff, and fff. The K2600 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 K2600 compares the velocity triggerÕs level and sense with the attack velocity values...
Page 111 Program Mode and the Program Editor The KDFX Page using the physical controller of your choice. FXMods provide a convenient way to gain serious performance ßexibility. EditProg*KDFX||||||||||||||||All|Layers| Studio:199|Default|Studio||||||||||||||| |||||||||||||||||||||||||||||||||||||||| Bus:|Param:|||||Adjust:||Source:||Depth: Mix||Mix|Lvl||||0.0dB||||OFF||||||0dB||| FX1||Aux|Lvl||||-12.5dB||MIDI22|||11dB|| FX2||Aux|Lvl||||-6.0dB|||MIDI22|||6dB||| <more||KDFX|||FXMOD2|FXMOD3|FXMOD4|more> The top line of the display indicates that youÕre on the KDFX page in the Program Editor, and that any changes you make will affect all layers of the current program.
Page 112: The Fxmod2Ðfxmod4
They contain the parameters for the two LFOs, two ASRs, and four FUNs that the K2600 provides for KDFX control. With two exceptions, these control sources operate like the ÒregularÓ 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 theyÕre available only for control of KDFX.
Page 113: Function Soft Buttons
Otherwise, trigger the desired note on the K2600 keyboard or a MIDI controller. When you trigger a note, the K2600 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 114: Duplicate Layer (Duplyr)
Delete Layer (DelLyr) Delete the current layer. When you press this button, the K2600 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 115: Upper Tone Wheels
Program Mode and the Program Editor The TONEWL Page switch the tone wheels, so that samples are used for the lower tone wheels and waveforms are used for the upper ones. EditProg:TONEWL||||||||||||||||||||||||| UpperToneWheels:163|Sine|Wave||||||||||| LowerToneWheels:SINE2||LowerXpose|:0ST|| UpperVolAdjust|:-2dB|||UpperXpose:0ST||| NumToneWheels|:79||||||LowestPitch:C|2|| Upper/LowerSwap:Off||||||||||||||||||||| WheelVolumeMap|:Bright|OrganMap||:Peck's <more||TONEWL|DRAWBR|SetDBR|PITCH||more> Parameter Range of Values Upper Tone Wheels Sample List...
Page 116: 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. HereÕs 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 117: The Drawbr Page
The DRAWBR Page The DRAWBR Page Press the Drawbr soft button to view the DRAWBR Page. This page lets you edit KB3Õs drawbars. Remember that your K2600Õs sliders function as Drawbars 1-8, while the Mod Wheel is Drawbar 9. EditProg:DRAWBR|||||||||||||||||||||||||...
Page 118: 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 119: Volume
Program Mode and the Program Editor The PERC Page 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 120: The Perc2 Page
Program Mode and the Program Editor The PERC2 Page The PERC2 Page EditProg:PERC2|||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |||||||||PercLevel:|DecayTime:|OrgLevel: Loud+Fast:7.0dB|||||0.44s||||||-2.0dB||| Loud+Slow:7.0dB|||||0.60s||||||-2.0dB||| Soft+Fast:0.0dB|||||0.24s||||||0.0dB|||| Soft+Slow:0.0dB|||||0.60s||||||0.0dB|||| <more||PERC|||PERC2||KEYCLK|AMP||||more> Parameter Group (Available for each combination of Range of Values the Volume and Decay parameters on the PERC page) Percussion Level 0 to 24.0 dB Decay Time 0.10 to 5.10 seconds, in .02-second increments...
Page 121: Keyclick
Program Mode and the Program Editor The KEYCLK Page Parameter Range of Values Key Click Off, On Volume -96.0 to 0.0 dB, in .5-dB increments Decay Time 0.005 to 1.280 seconds, in .005-second increments Pitch -129 to 127 Semitones Velocity Tracking 0–100% Random 0–100%...
Page 122: Note Release
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 speciÞed with the other parameters on this page (you might prefer not to specify any additional key click when you use this setting).
Page 123: The Misc Page
Program Mode and the Program Editor The MISC Page The MISC Page The MISC page contains an assortment of control parameters, including Leslie speed control and vibrato/chorus selection. EditProg:MISC||||||||||||||||||||||||||| PreampResp:On|||||||VolAdjust|:21dB||||| Leakage|||:-88.0dB||BendRange|:0ct|||||| LeakMode||:TypeA||||Sustain|||:On||||||| SpeedCtl||:Slow|||||Sostenuto|:On||||||| VibChorCtl:On||||||||||||||||||||||||||| VibChorSel:Chor3|||||||||||||||||||||||| <more||OUTPUT||||||||MISC|||EQ|||||more> Parameter Range of Values Preamp/Expression Response Off, On Leakage...
Page 124: Speedctl
Assignable Controller Button 1 (Mute button 1). When you select a KB3 program, the K2600 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 125: The Eq Page
Program Mode and the Program Editor The EQ Page The EQ Page When you press the EQ soft button, youÕll see a page that at Þrst 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.
Page 126: 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 K2600 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 127: Using The Vast Program Editor On A Kb3 Program
Program Mode and the Program Editor Programming Tips Using the VAST Program Editor on a KB3 Program KB3 Mode lets you use certain VAST-related parametersÑ such as the !AMP DSP function mentioned aboveÑthat are not found within the KB3 editor. ThereÕs a Òback doorÓ 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 youÕre editing a KB3 program.
Page 129: Setup Mode And The Setup Editor
Setup Mode and the Setup Editor Setup Mode In Setup mode, the K2600 can take on the identity of eight distinct instruments and eight distinct MIDI transmitters, each of which can use the setupÕs 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 130: Loading Older Setup Versions
Sample soft button provides convenient access to the K2600Õs sampler. Refer to Chapter 14 for complete information on the sampler. When you select a setup in Setup mode, the K2600 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 131: The Control Setup
For the remainder of this chapter, weÕll cover topics that apply to both the rack and keyboard versions of the K2600. However, any references to the sliders, ribbons, wheels, buttons, or other physical controllers are intended primarily for K2600 keyboard owners.
Page 132 Setup Mode and the Setup Editor Setup Mode Control Setup–Setup Parameters Affecting Parameters Not Affecting Editor Page, Zone 1 Program Mode Program Mode CH/PROG ZoneArpeg, Destination, LocalPrg, Out, Channel, MIDIBank, MIDIBankMode MIDIProg, Status, EntryProgChg KEY/VEL VelScale, VelOffset, LoKey/HiKey, Transpose, NoteMap, VelCurve LoVel/HiVel PAN/VOL...
Page 133 Setup Mode and the Setup Editor Setup Mode Zone-status LEDs in Setup Mode (Keyboard Models Only) Take a minute to scroll through some of the factory setups. As you change setups, youÕll notice that the LEDs in the eight buttons above the programmable sliders go on and off and change color.
Page 134: The Setup Editor
The parameters on the Setup-editor pages deÞne what each of a setupÕs zones sendsÑboth to internal programs and to the MIDI Out port. They also determine how the K2600 responds to MIDI signals received from a MIDI controller connected to the K2600Õs MIDI In port (when the Local Keyboard Channel matches the transmit channel of your MIDI controller).
Page 135: 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 conßicts: no MIDI device, including the K2600, 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 136: Midi Bank
MIDI SpeciÞcation says a device can have up to 16,384 banks, and the K2600 gives you access to all of them. Bank switching via MIDI makes it easy for the K2600 user to select sounds on external instruments, no matter how many banks they might have.
Page 137: Status
Setup Mode and the Setup Editor The Channel/Program (CH/PROG) Page MIDI Program (MIDIProg) MIDI Program deÞnes which program number is transmitted out the MIDI Out port on the current zoneÕs MIDI channel. When you change the value of the LocalPrg parameter, the value of MIDIProg automatically changes correspondingly.
Page 138: Output Assignment (Out)
Samp/Sec Figure 7-1 Soloing Zones With the K2600R The K2600 keyboardÕs mode-selection buttons also light as shown above. However, buttons 1Ð8 are more convenient for muting, unmuting, and soloing zones. Output Assignment (Out) This determines the signal routing for each zone in the setupÑnot the Þnal audio output, but the KDFX input to which the zoneÕs signal gets sent.
Page 139: Midi Bank Mode
Bank Select messages; instead, they use Program Changes 100Ð109 as Bank Selects. If you select Bank 5: Program 42 for a K2600 zone, for example, it will send out Program Change 105 followed by Program Change 42. K2600 program numbers over 99 are not sent.
Page 140: 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 zoneÕs Key Range.
Page 141: Transpose
MIDI note numbers will transmit, but notes will not. Note Map Note Map lets you change the way notes are sent from the K2600. 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 142: Velocity Offset
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 donÕt need to play as hard to get higher MIDI velocities) while lower values make it less sensitive (playing harder doesnÕt change MIDI velocity as much).
Page 143 Setup Mode and the Setup Editor The Key/Velocity (KEY/VEL) Page 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). Velocity Offset: +64 low velocity keystrikes produce medium MIDI velocity and greater...
Page 144: 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 145 Setup Mode and the Setup Editor The Key/Velocity (KEY/VEL) Page Velocity Curve: Linear as you hit the keys harder (increase the velocity) MIDI velocity increases proportionally Velocity Curve: Bump MIDI velocity is greatest at medium strike velocity Velocity Curve: Crossfade Below medium strike velocity, MIDI velocity is less than with Linear curve;...
Page 146: 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 Ñ after it has been scaled and offset Ñ is below the minimum does not generate a Note On.
Page 147: 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 K2600 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 148: The Bend Page
K1000), you must set bend ranges on the devices themselves. Changing programs sends a Bend Range message with the current programÕs values. So does pressing Panic, which is a quick way to reset your K2600 or MIDI slaves if youÕve used a controller to modulate the bend range.
Page 149: Aux Bend 2 Range
Aux Bend 2 Range The K2600 allows you to specify a third pitch bend range; this is called Aux Bend 2, and it deÞnes the range for MIDI Controller 15 messages. For AuxBend 2, you can set only one range for both upward and downward pitch bending.
Page 150: Continuous Controllers
To get an idea of the expressive capabilities of Setup mode, explore the factory setups that come with the K2600. The K2600Õs physical controllers include the following: ¥ The eight sliders (A, B, C, D, E, F, G, H) in the Assignable Controllers section ¥...
Page 151: Switch Controllers
Setup Mode and the Setup Editor Controllers Switch Controllers Setup Editor Physical Controller Parameter:Values Page Footswitches 1, 2, 3, and 4 FOOTSW SwType: Toggle, Momentary, Note Toggle, Note Momentary Destination: MIDI Control Source list On Value: None, 0 - 127 Off Value: None, 0 - 127 Entry Value: None, Off, On Exit Value: None, Off, On...
Page 152: The Midi Control Source List
MIDI 22–28, and Panel Switch 2 sends MIDI 29. Special Function Controllers When you enter numbers 32–46 on the numeric buttonpad, you select one of the K2600’s Special Functions. Entering 47–63 sets a physical controller’s Destination to Off. Note that these are not MIDI Controller numbers;...
Page 153 47–63 Reserved for future use Sustain Default destination for Footswitch 1 PortSw Monophonic K2600 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 154: Continuous Controller Parameters
Setup Mode and the Setup Editor Continuous Controller Parameters MIDI Corresponding Controller Destination Description Number Name ArpVel Arpeggiator Velocity Latch2 Arpeggiator Latch 2 ArpLatch Arpeggiator Latch Panic2 Sends All Notes Off message MIDI 121 Resets all controllers Turns physical controller off Panic Sends All Notes Off message 124, 125...
Page 155: Curve (Curv)
Exit Value tells the K2600 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 donÕt want that effect to continue after...
Page 156: The Slider And Slid/2 Pages
The SLIDER and SLID/2 Pages The SLIDER and SLID/2 Pages You can assign each of the K2600Õs eight programmable sliders to a destination on each of the eight zones. Or, you can assign any combination of sliders to the same zone, allowing you tremendous ßexibility.
Page 157: The Continuous Control Pedal (Cpedal) Page
None The RIBBON Page The RIBBON page lets you deÞne controller assignments for the K2600Õs two ribbon controllers. Each ribbon senses movement when you press on it and move your Þnger left or right; this creates numerous possibilities for controlling pitch, volume, panning, crossfades between zones, or any other uses you might imagine.
Page 158 Setup Mode and the Setup Editor The RIBBON Page The Þrst of the following diagrams shows how the RIBBON page looks when the Large Ribbon is conÞgured in one sections. The second shows the RIBBON page for a three-section Large Ribbon.
Page 159: The Wheel Page
None The Pressure (PRESS) Page The K2600 features mono pressure, commonly called aftertouch on other keyboards. A word about pressure: Key Range in a zone does not deÞne 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 160: Switch Controller Parameters
Exit Value None, 0–127 None Switch Controller Parameters Switch (physical) controllers have only two states: on and off. The K2600 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 1Ð8 above the sliders are dedicated to zone status and muting, as well as...
Page 161: On Value
Setup Mode and the Setup Editor The Footswitch (FOOTSW) Page 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 Ñ...
Page 162: The Switch Page
None The SWITCH Page The K2600 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 163: The Kdfx And Fxmod Pages
Setup Mode and the Setup Editor The KDFX and FXMOD Pages Parameter Range of Values Default PSw1: Toggle Momentary, Toggle, Note Momentary, Switch Type Note Toggle PSw2: Toggle PSw1: ArpSw Destination MIDI Control Source list or C –1 to G9 PSw2: MIDI 29 0–127 0–127...
Page 164: Sync
VAST programs and KB3 programs, and you want the buttons to control KB3 features. By default, the K2600 uses the Mute buttons (the buttons above the sliders on keyboard models) to control the muting and unmuting of zonesÑwhich means you donÕt have real-time control over any KB3 features.
Page 165: The Arpeggiator (Arpeg) Page
The Arpeggiator (ARPEG) Page The Arpeggiator (ARPEG) Page The Arpeggiator takes input from the K2600 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 ÒsequencersÓ...
Page 166: Active
MIDI Controller number 116. This can either be assigned as the destination of a K2600 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 167: 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 168: Order
This sets the tempo, in beats per minute (bpm), at which the Arpeggiator plays when activated. Tempo is tied to the K2600Õs internal MIDI clock, as is song playback. Consequently, if a song is playing when you activate the Arpeggiator, the songÕs tempo deÞnes the ArpeggiatorÕs tempo, overriding the ArpeggiatorÕs settings.
Page 169: Limit Option
Shift is 4 (a third), and Shift Limit is 7 (so notes wonÕt get shifted above G4). The Arpeggiator plays C4, then E4. The next note should be G 4, but thatÕs above the shift limitÑso the K2600 calculates the difference between that G 4 and the shift limit (G4): one semitone.
Page 170: Glissando
MIDI Controller number 117, which can be assigned as the destination of any K2600 physical controller or can come from an external MIDI source. ThereÕs another element that affects arpeggiator velocity: ArpVel, whose global control number is 45 (not MIDI 45).
Page 171: Real-Time Control Of Arpeggiator Parameters
Setup Mode and the Setup Editor The Arpeggiator (ARPEG) Page 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 172: Position Mode (Posmode)
Position Mode (PosMode) When you touch one of the ribbons, the K2600 responds in one of two ways, depending on the setting of the PosMode parameter. Relative means that wherever you touch the ribbon becomes the Òzero pointÓ for whatever the ribbon is controlling; you wonÕt notice any change in the sound until you slide your Þnger.
Page 173: Spring
This erases a setup from RAM, freeing up space to store setups in other locations. (You can check the free memory in the K2600 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 ÒAre You Sure?Ó...
Page 174: 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 K2600 will ignore the delete command, and the setup will remain in memory.
Page 175: 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 K2600 prompts you to strike the low and high keys. When youÕve done so, the Setup-editor page returns, and the notes you triggered are the new values for the LoKey and HiKey parameters.
Page 176: Do I Need All Those Pedals
Sometimes youÕll 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 K2600 has no restrictions on assigning multiple physical controllers to a particular MIDI Controller.
Page 177: Chapter 8 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 K2600 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 178 Quick Access Mode and the Quick Access Editor The Þrst 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 179: Chapter 9 Basic Effects Mode
Aux processor, where they could be given a room reverb. At the outputs of the K2600, the reverb could show up on one pair, while the other instrumentsÕ 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 180: Terminology
Studios are objects, like K2600 programs, and have a number. They can be linked to programs or setups using the FX Mode setting. The K2600 comes with a large number of factory studios. You can modify them or create new ones and store them in RAM.
Page 181: Aux Fx Bus (Aux Bus)
Any number of FX presets can use the same algorithm. The K2600 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 canÕt change them.
Page 182: Bus Overrides (Or Busmods)
K2600 also loads the studio linked with that program. This activates all the FXMods deÞned within the program. If the value of FX Mode is Setup or Auto, then as you change setups in Setup mode, the K2600 also loads the studio linked with that setup. This activates all the FXMods deÞned within the setup.
Page 183: The Effects Mode Page
16 Bit FX Mode This parameter determines which studio the K2600 selects when you select programs or setups. It also determines whether FXMods are active. ThereÕs a complete description on page 9-4. Auto is the most commonly-used value for FX Mode, since itÕs the most ßexible.
Page 184: Studio
Zone 1 of the setup respond to messages on that channel (again, ignoring FX Chan). Studio When FX Mode is Master, the Studio parameter selects the studio for the entire K2600. When FX Mode is Program or Setup, this parameter is unavailable, since setup selection and FXMods are determined by program or setup selection.
Page 185: Dither
Direct mode (as set on the SampleMode page). If you are using your K2600 with a Kurzweil DMTi, set DigOut to 16 Bit, since the DMTi currently operates only in 16-bit mode. If youÕre connecting the digital output to a 20-bit (or more) capable device, set DigOut to 20 Bit and you can take advantage of the signiÞcantly...
Page 186 Basic Effects Mode The Structure of Kurzweil Digital Effects (KDFX) K2600Õs 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 K2600Õs own sample input when the instrument is in Live mode.
Page 187 Basic Effects Mode The Structure of Kurzweil Digital Effects (KDFX) program output A output B output C output D outputs If input is mono, each channel has its own eqs and sends Level Balance/Pan/ Width All signal paths are stereo unless noted...
Page 188: Normal Studio Structure
Like K2600 programs, the software user interface of a studio is organized in a Òtop-downÓ way: A studio is an ÒobjectÓ in K2600 terms, and the FX presets within a studio are also objects, ÒdependentÓ 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 189: 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 K2600. See Appendix B in the MusicianÕs Reference for speciÞc information. 9-11...
Page 190: A Tour Of Effects Mode
10. Press Exit to get back to Program mode. A Simple Studio Call up Program #199 on your K2600. 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 youÕll see this page: EffectsMode|||Xpose:0ST|||||<>Channel:1|...
Page 191 (Beats Per Minute). Use the Alpha wheel to scroll through the many other FX presets that come with KDFX. Like all K2600 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 192 K2600 Program EditorÕs Output section. Depending on how the K2600 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 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 K2600Õs four sets of physical outputs: A, B, C, and D. These four outputs, all stereo, are both analog and digital (through the KDS bus). Output A also goes to the K2600Õs AES/EBU digital output.
Page 194: A More Complex Studio
Basic Effects Mode A Tour of Effects Mode In this studio, Output A is carrying the Mix, that is, the combination of the outputs of the four FXBuses (only one of which is in use) and the Aux bus. Output B is carrying FXBus1, which is the signal after it passes through the delay on FXBus1, but before it gets to the reverb on the Aux bus.
Page 195 Basic Effects Mode A Tour of Effects Mode static waveforms by adding and subtracting their frequencies, thereby creating interesting nonharmonic effects. Notice that this FX preset uses 1 PAU. EditStudio:FXBUS|Size:1|Free:1|<>FXBus:1 FX1||201*Tut|Ring|Mod||||||Aux||||Mix Wet/Dry|||:100%wet||Lvl:0.0dB|Lvl:0.0dB Out|Gain||:0.0dB||||Bal:0%||||Bal:0% Allocation:Auto <more||INPUT||FXBUS||AUXFX||OUTPUT|more> As you play on the lower part of the keyboard, the arrow next to FX1 ßashes, but as you play on the upper part it doesnÕt.
Page 196 Basic Effects Mode A Tour of Effects Mode On this bus is an FX preset called Ptc+Flg+Dly145BP, which uses a combination algorithm that has a pitch shifter, a ßanger, and a delay all rolled into one. The 145BP part refers to the fact that the delay times are based on a tempo of 145 BPM, As you play the guitar sound, the arrow next to FX2 ßashes, and it keeps on ßashing as long as the various feedback delays are sounding.
Page 197 Basic Effects Mode A Tour of Effects Mode gain (to compensate for the treble boost), and full width. Play on the guitar part of the keyboard, and the arrow next to B ßashes. The other two inputs, C and D, are not assigned to any FXBus. AuxFX Bus Now letÕs look at the Auxiliary FX Bus (Aux bus).
Page 198: A Complex Studio With Real-Time Control
Basic Effects Mode A Tour of Effects Mode Output D has the output of the Aux bus, which is just the reverb signal, with no dry component, since the value of Wet/Dry on the AUXFX page is 100%. Note: If youÕre using the Mix audio outputs, keep in mind they carry the summed signals of audio outputs A through D.
Page 199 A Tour of Effects Mode Setting the FX Mode To enable real-time control of the studio from the setup, we have to put the K2600 in the right Effects mode. Go to the Effects-mode page, and set FX Mode to Setup. FX Channel automatically goes to None.
Page 200 FXMod. This means that this parameter isnÕt controlled from inside the studio at allÑitÕs controlled by something outside the studio. As it happens, itÕs controlled by the soft pedal, MIDI Controller 67ÑSwitch Pedal 3 for K2600 keyboard users. WeÕll see how this is done in a moment. Pressing this pedal causes the compressor to kick in, squashing the sound.
Page 201 Þrst FXMod itÕs SoftPd (thatÕs MIDI 67, which is Soft Pedal according to the MIDI speciÞcation, and which the K2600 uses as the default destination for Switch Pedal 3). While this setup is current, any K2600 controllerÑbe it a wheel, slider, ribbon, or buttonÑthatÕs programmed to send MIDI 67 will affect the In/Out parameter on the FX1 bus of this studio.
Page 202 Basic Effects Mode A Tour of Effects Mode to go into the FX Preset Editor, then press PARAM3, youÕll see that the Left and Right LFO1 Rates are also under FXMod control. EditFXPreset:PARAM3|||||Dual|Chorus|2||| L|LFO1Rate:FXMod||||R|LFO1Rate:FXMod| L|LFO2Rate:|0.50Hz||R|LFO2Rate:|0.50Hz L|LFO3Rate:|0.50Hz||R|LFO3Rate:|0.50Hz L|LFO1Dpth:9.5ct||||R|LFO1Dpth:9.5ct L|LFO2Dpth:10.0ct|||R|LFO1Dpth:10.0ct L|LFO3Dpth:5.0ct||||R|LFO1Dpth:5.0ct <more||PARAM1|PARAM2|PARAM3|PARAM4|more> Exit out of the FX preset and the studio, to the setupÕs KDFX page (see the diagram on page 9-23).
Page 203 Also on this page, the Left and Right Delay times are controlled by the Foot Pedal, controller 4Ñ CC Pedal 1 for K2600 keyboard users. Here it varies the left decay time between 50 and 250 ms, and the right decay time between 74 and 274 ms.
Page 204: Building Your Own
This is not an issue in Program mode, or when using the K2600 with a sequencer. In those cases the LocalKbdCh should be set to None, and there is no restriction on the MIDI data passing through.
Page 205 Basic Effects Mode A Tour of Effects Mode Now set up your studio, assigning FX presets to the program outputs/KDFX inputs. Many of the ROM studios follow a common organizational plan, which might be a good starting point for your studios: ¥...
Page 207: Chapter 10 Midi Mode
MIDI messages it receivesÑas well as how each MIDI channel behaves. When you enter MIDI mode, youÕll see one of the three available MIDI-mode pages. When you exit MIDI mode, the K2600 remembers which page you were on. The next time you select MIDI mode, that page appears.
Page 208: Control Setup
Control Here you determine where the K2600 sends MIDI information. A value of MIDI sends the MIDI signal to the K2600Õs MIDI Out port, but not to the K2600 itself. This is also known as Local Control Off. If youÕre using your K2600 with a MIDI sequencer and have a MIDI loop (K2600Õs Out to sequencerÕs In, and vice versa), youÕll need to select a value of MIDI when your sequencerÕs...
Page 209: Program Change (Pchng)
MIDI channel. A value of Local disables the MIDI Out port. Use this setting when you want to play the K2600, 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 K2600 and send MIDI information from its MIDI Out port.
Page 210: Change Setups (Chgsetups)
SysEx software package. If you have the MIDI In port of another K2600 (or K2500, or K2000) connected to the Þrst oneÕs MIDI Out port, the second instrument will respond to every button press on the Þrst instrument, just as if you were pressing the buttons of the second one.
Page 211: The Receive Page
This is normally used for diagnostic purposes only. At a setting of Poly, the K2600 responds only to events that are sent on the same channel as the K2600Õs 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 212: All Notes Off
SCSI device (external SCSI disk or CD-ROM drive) to the K2600Õs SCSI port. You can use either or both SCSI ports to chain up to seven SCSI devices to the K2600 (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 213: Bend Smooth
You may Þnd 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 K2600. If this is happening, try setting the BendSmooth parameter to a value of Off.
Page 214 (MIDI 01) from the MIDI controller, youÕll affect the K2600Õs volume (unless the VolLock parameter for Channel 1 is on), and the K2600 will send a Volume message to its MIDI Out port, on Channels 1, 2, and 3.
Page 215: Bank Select
The Channels Page Bank Select BankSelect allows you to choose between having the K2600 respond to Controller 0 or Controller 32 or both. The reason for this is that various manufacturers have chosen one method or the other. The four possible values for this parameter are: 0 only Responds to controller 0 only.
Page 216: Enable
MIDI Mode The Channels Page VolLock parameter to On, to ignore any MIDI volume messages the K2600 receives on a given MIDI channel. MIDIMode:CHANNELS||||||||||<>Channel:2|| Enable|:On|||||||||||||||||||||||||||||| Program:1|Concert|Piano|1||||PrgLock:Off Pan||||:64|||||||||||||||||||PanLock:Off Volume|:127||||||||||||||||||VolLock:Off OutPair:Prog|||||||||||||||||||||||||||| OutGain:Prog|||||||||||||||||||||||||||| XMIT|||RECV|||CHANLS|PrgChg|RsetCh|Panic Parameter Range of Values Default Enable Off, On Program...
Page 217: Volume
With the K2600 in Quick Access mode, when using it with older MIDI devices First of all, the K2600Õs programs (and all of its objects) are numbered and grouped according to a decimal system, that is, in multiples of ten. This is much easier to keep track of than the binary- oriented groupings of many synths, which feature banks of 8, 16, or 64 programs.
Page 218: Extended And Kurzweil Program Change Types
Selects correspondingly numbered program in next- highest bank If your K2600 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 K2600Õs response depends on the setting for the MIDIBankMode parameter on the CH/PRG page in the Setup Editor.
Page 219: 0-127 Program Change Type
PCH 0-127 Program Change Type You may be controlling your K2600 from an ÒoldÓ MIDI deviceÑone that was built before the MIDI Controller 0 program change format was developed. If your MIDI controller is one of these (if its manual doesnÕt mention MIDI Controller 0 program changes, itÕs an Òold styleÓ...
Page 220 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 K2600Õs 10 memory banks can store 20 Quick Access banks (except the Zeros bank, which can store 75). Therefore when youÕre 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 221 This works almost exactly like the QA Ext format. The only exception is that within the QA Kurz format, the K2600 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 K2600 expects to receive PCHs of value 0Ð99 to select a bank and entry, or a pair of PCHs, the Þrst having a value of 100Ð107 to...
Page 222: Qa Formats And Midi Transmission
MIDI Mode Program Change Formats GM programs. When you load the Þles (actually one Þle split over two ßoppies), the K2600 loads the programs into the memory bank you select, and also loads them into Quick-Access banks, with the programs ordered so that they respond correctly to Program Change commands.
Page 223: 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 K2600 and on all 16 MIDI channels. Program Change (PrgChg)
Page 224: Reset Channels (Rsetch)
Reset Channels (RsetCh) When you press this soft button, the K2600 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 225: The Master Mode Page
On the Master-mode page youÕll Þnd parameters for setting the overall tuning and transposition of the K2600, 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 226: Transpose
Many different intonation intervals have evolved over the centuries, however, and the K2600 supplies you with 17 different intonation ÒtablesÓ to choose from. (There are also a few extra ÒtablesÓ listed, which weÕll describe in a moment.) By changing the value for this parameter, you select from among the intonation tables stored in the K2600Õs memory.
Page 227 18 Obj vn.nn. This isnÕt really another intonation table. Rather, this is where the K2600 stores the version number of some of your ROM objects. If you ever need to Þnd out what version of ROM objects youÕve got loaded, this is where you look.
Page 228: Conþrm
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 K2600 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 229 2. Connect your external sound source to the right low impedance input (XLR) of the sampler. Final Audio Output You must have audio cables connected from the A outputs on the K2600 to your mixer or amp. DonÕt use the Mix outputs. MIDI If you have a keyboard model, and your external slave is a rack (or it is a keyboard but you want to use the K2600Õs keyboard to control the slave), connect a MIDI cable from the MIDI Out port...
Page 230: Using The Vocoder
Þle. If you are using an external sound source for your slave, choose the setup Vocoder- ExtSlave. If you are using the K2600 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 231 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 K2600 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 232 Master Mode The MAST2 Page SLAVE. These stages are then followed by an AMP stage. These DSP blocks perform the function of an envelope follower and gain multiplication. The signal ßows from the odd numbered (master) layer to its associated even numbered (Slave) layer (for example, from layer 1 to 2), which is something that does not happen in other algorithms.
Page 233 If you are using the K2600 for the slave signal, try editing the slave vocoder program. A simple thing to try is to choose a different keymap. The AMPENV in this program has been set to User, with a lengthy decay, so you can even choose decaying sounds such as guitar, and get interesting results.
Page 234: The Soft Buttons In Master Mode
The Soft Buttons in Master Mode More applications Instead of using a microphone or other external source for your master, you could use the K2600 to generate both the master and slave signals. There are two ways you could set this up. You can either edit the setup to add another program on a 4th zone, or you could edit the slave source program to add more layers.
Page 235: Util
When you press the Voices soft button, the display shows the K2600Õs active voice channels as you play. Blocks of capital Xs in six columns of eight represent the 48 notes that the K2600 can play simultaneously. The Xs change to lower case xs, then to commas and periods, then Þnally drop out as each voice releases or decays to silence.
Page 236: View
K2600Õs memory to the state it was in when you bought it. Caution! The K2600 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 237: Object Utilities
Master Mode Object Utilities the order in which MIDI commands are sent, it may affect the performance of the K2600 under some circumstances. Restarting the K2600 or performing a soft reset disables Guitar/Wind Controller mode. 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.
Page 238: Move
Master Mode Object Utilities If you press Cancel while in one of the object utilities, you return to the Object Utilities page (the ÒSelect database function:Ó dialog pictured above). Any objects that were selected when you pressed Cancel will still be selected if you subsequently enter a different object utility (by pressing a different soft button such as Name, for example).
Page 239 Master Mode Object Utilities Moving Multiple Objects Select the objects that you want to move, then press OK. You will see the following dialog: |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |||||||Move|to|bank:200...299||||||||||| ||||||||||||||||||||300...399||||||||||| ||||||||||||||||||||400...499||||||||||| ||||||||||||||||||||500...599||||||||||| |||||||||||||||||||||Append|Fill||Cancel This is similar to the Load function, where you are asked to choose a bank and mode for loading.
Page 240: Copy
This makes it easy to copy the name of one object on to another. As in all naming dialogs on the K2600, 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 241: Delete
Þxed in the object. This means that if you load the sample object back into the K2600 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 242: 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 243: 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 K2600. Read through this section, however, to learn about the features that make the K2600Õs sequencer unique.
Page 244: Tutorial: Recording A Song
¥ 79 Modulead Set up your K2600 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), youÕll then be all set when you start laying down tracks, and wonÕt have to go scrolling through the program list.
Page 245 Song Mode and the Song Editor Getting Started with the Sequencer 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 SongMode:MAIN||Events:186K|||STOPPED|||| CurSong:1|NewSong||||||||||||Tempo:120|| RecTrk|:1||||Vol:127|Pan:64||Mode|:Erase...
Page 246 Notice the Locat parameter on the right side of the display, which shows the current Bar and Beat number. When you begin recording, the K2600 provides you with a four-beat countoff, during which time LocatÕs Bar and Beat number are preceded by a minus sign.
Page 247 Song Mode and the Song Editor Getting Started with the Sequencer 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.
Page 248 Song Mode and the Song Editor Getting Started with the Sequencer The last event listed is the endpoint, which should correspond to the Þrst 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 249 Exit or the MAIN soft button to return to the MAIN page in Song mode. NOTE: The K2600’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 12-47.
Page 250 Song Mode and the Song Editor Getting Started with the Sequencer Record a Bass Line When you are satisÞed with your drum loop, you can begin using it as the foundation for a song. What weÕll 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 251 Song Mode and the Song Editor Getting Started with the Sequencer 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 Þrst Beat of the song.
Page 252 MAIN page. Using the Mode Buttons to Mute a Track Finally, weÕll take a quick look at the track mute feature, which lets you use the K2600Õs mode buttons to mute individual tracks. This can be invaluable during mixdown.
Page 253 Track 1 (the drum track) is muted. 3. Press the Program mode button again to unmute the drum track. Using your K2600Õs front panel buttons, you can mute one or more tracks at once, or even mute eight tracks at a time.
Page 254: Tutorial: Arrangements
That way, you can create a Þle containing the arrangement song and its constituent songs, and when you load it into the K2600, the arrangement (the one youÕre likely to want to play) will be the Þrst song in the bank.
Page 255 If you press the Play soft button while on this page, youÕll hear the currently selected step. (If the stepÕs Mode parameter is set to Next, the K2600 will play the next step when the current step Þnishes.) Once you have more than one step in an arrangement, you can use the Chan/Bank buttons to scroll through the steps.
Page 256 HereÕs how to avoid the problem. Each time you record a track for the Þrst time, the K2600 places four events right at the beginning of the track: Bank Change, Program Change, Volume, and Pan. If you go into the Event Editor, youÕll see these four messages appearing at 1:1:000.
Page 257: Recording Additional Tracks
Therefore there is no way to have more than 16 different programs playing at the same time on the K2600. But there are two reasons why you would want to use more than 16 tracks.
Page 258: Triggering Arrangement Steps From The Keyboard
MIDI playback, go into the Song Editor and on the COMMON page youÕll see 16 Track Destination parameters. If the value is a dash, the track is going to both the K2600 and its MIDI Out port. L means local, and plays the K2600 only. M means that the track goes only to the K2600Õs MIDI Out port.
Page 259: Ram Tracks
The RAM Tracks feature enables you to create a sample during song playback, then have the K2600 do the work of building a program out of the sample. The K2600 also inserts the sample into the song so that it plays back in sync with the song.
Page 260: Creating Ram Tracks
6. The K2600 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 K2600 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 261: Using Song Mode
(the program you created when you pressed OK in Step 8. Press Yes. The K2600 prompts you to strike a key, as in Step 9. If you strike a key thatÕs already being used by one of the samples in the program, the K2600 alerts you, and lets you to assign a different key (press No) or the same key (press YesÑ...
Page 262: Effect Selection During Recording And Playback
16 MIDI channels. When a channelÕs ProgLock parameter is set to a value of On, the K2600Õs sound engine will ignore all program changes it receives on that channel, whether itÕs via MIDI or from the K2600Õs front panel, or from within the song.
Page 263 Both, to enable the K2600 to receive sync messages as well as MIDI clock. To play back a song, press Play, and the K2600 starts as soon as it receives both MIDI clock and a Song Start message. Or if you want to record, press Record, and the K2600 starts recording as soon as it receives both MIDI clock and a Song Start message.
Page 264 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 K2600 selects that programÑand consequently the studio and FXMods associated with that program.
Page 265: Memory Limits
If you have a Type 0 or Type 1 MIDI sequence Þle stored on an MS-DOS disk (720K or 1.4 M) or a SCSI device, you can load it into one of the RAM banks, and the K2600 will be able to play it from Song mode.
Page 266: 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 tracksÕ channel, program, volume and pan settings, as well as other useful items.
Page 267: 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 ßashes to show that the K2600 is waiting for an external MIDI clock message to start recording or playing.
Page 268: 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 269: Channel (Chan)
Song Mode and the Song Editor Song Mode: The MAIN Page To change a trackÕs 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.
Page 270: Pan
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 reßected as the Vol parameterÕs value in real time.
Page 271: 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 K2600Õs transport buttons arenÕt like that, however. ItÕs 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 272 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 273: Save This Song? Dialog
Song Mode and the Song Editor Song Mode: The MAIN Page 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.
Page 274: Erase Track Dialog
This page contains parameters that determine how the sequencer behaves during playback and recording, and when the K2600 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 275: Recmode
Song Mode and the Song Editor Song Mode: The MISC Page Parameter Range of Values Default Record Mode Linear, Fixlen, Loop, Unloop, Auto Linear Play Mode Linear, Loop, List, Chain Loop Key Wait On, Off Locate -25:2 – 999:4 Auto In 1:1 –...
Page 276: 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 songÕs length. The End point of a song is used as a loop point in Loop and UnLoop modes, and it deÞnes the Fixed Length of a song when you record in FixLen mode.
Page 277: Keywait
Song Mode and the Song Editor Song Mode: The MISC Page 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 songÕs playback when PlayMode is set to Chain.
Page 278: Grid
MIDI. Like other MIDI messages, Song Select has 128 values. ThatÕs about half the number of songs you can store in the K2600, so if you have a lot of songs, you canÕt use Song Select to select all of them.
Page 279: Clock
The K2600 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 donÕt repeat the countoff).
Page 280: Clickvel
More speciÞcally, the Þrst time you press In/Out, the K2600 sets AutoOut to match the current value of Locate. Press In/Out again, and the K2600 shifts the current value of Auto Out to the value of Auto In, and updates AutoOut to match the current value of Locate.
Page 281: Song Mode: The Mix Page
Song Mode and the Song Editor 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 tracksÕ 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.
Page 282: 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 283: The Song Editor
Song Editor: The COMMON Page Press the Edit button on the front panel of the K2600 to display the COMMON page and begin editing a song. This is where you will Þnd 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 284: 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 285 Ð: 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 K2600, and out the MIDI Out Port on the trackÕs channel to any external devices.
Page 286: 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 287: 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 288: Soft Buttons On The Event Page
Song Mode and the Song Editor Song Editor: The EVENT Page Table 12-2 lists the ranges of the editable event values. The PCHG, BEND, MPRS, SYSX, TMPO, and END events will show their values in the display region directly to the right of the Event Type region. All of their values can be edited.
Page 289: 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 youÕre on the EVENT page. If you set a parameter on the View page to Off, you wonÕt see any of the corresponding events on the EVENT page, and the events wonÕt be executed as they normally are when you scroll through the Event list.
Page 290: 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 EditSong:TRACK|||||||||||||||<>Track:1|| Function:Bounce||d|From||:||1:1|To:||2:1 DstTrack:1|||||||d|Events:Notes||||||||| Mode||||:Erase|||d|LoKey|:C|-1||Hi:G|9|| |||||||||||||||||d|LoVel|:1|||||Hi:127|| |||||||||||||||||d|||||||||||||||||||||| Locate||:||1:1|||'%%^^^^^^^^%%%%%%^%%%%% FromTo||Play|||Stop||||||||||Go||||Done| 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 291: 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 deÞne a range of time on the selected track(s). The From value deÞnes the Þrst 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 Þner resolution when a range of time is deÞned in real time using the FromTo soft button.
Page 292: 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 K2600 updates the From value. If you press FromTo again (without stopping playback) while the Locate value is later than the current From value, the K2600 updates the To value.
Page 293: Song Editor: Track Functions
Song Mode and the Song Editor Song Editor: Track Functions Song Editor: Track Functions Erase This function erases speciÞed events from a region of time, but it doesnÕt 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 294: 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 Ð...
Page 295: 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 songÕs 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 296: 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. EditSong:TRACK|||||||||||||||<>Track:1|| Function:Quantized|From||:||1:1|To:||2:1 Quant|||:100%||||d||||||||||||||||||||||...
Page 297: 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 298: Shift
Song Mode and the Song Editor Song Editor: Track Functions 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.
Page 299 Song Mode and the Song Editor Song Editor: Track Functions are sometimes more difÞcult to change since there can be inconsistent gaps of time between each controller event. EditSong:TRACK|||||||||||||||<>Track:1|| Function:Change||d|From||:||1:1|To:||2:1 Scale|||:100%||||d|Events:Velocity|||||| Offset||:0|||||||d|LoKey|:C|-1||Hi:G|9|| Mode||||:Constantd|LoVel|:1|||||Hi:127|| |||||||||||||||||d|||||||||||||||||||||| Locate||:||1:1|||'%%^^^^^^^^%%%%%%^%%%%% FromTo||Play|||Stop||||||||||Go||||Done| Scale: 0% Ð 20000% The selected velocity or controller eventsÕ...
Page 300: Remap
Song Mode and the Song Editor Song Editor: Track Functions 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 301: 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. EditSong:TRACK|||||||||||||||<>Track:1|| Function:Grab||||d|From||:||1:1|To:||2:1 SrcSong|:1|NewSond|Events:Controllers||| DstTrack:1|||||||d|Ctl|||:MWheel|||||||| Location:||1:1|||d|LoVal|:0|||||Hi:127||...
Page 302: Song Editor: The Step Page
Song Mode and the Song Editor Song Editor: The STEP Page Song Editor: The STEP Page EditSong:STEP||||||||||||||||<>Track:1|| DubMode|:Erase|||d|||||||||||||||||||||| Duration:1/16||||d|||||||||||||||||||||| Modifier:None||||d|||||||||||||||||||||| GateTime:75%|||||d|||||||||||||||||||||| Velocity:Played||d|||||||||||||||||||||| Locate||:||1:1000'%%^%%%%%%^%%%%%%^%%%%% ||||||||Play|||Stop||<Back||Step>||Done| Parameter Range of Values Default Dubmode Merge, Erase Merge Duration 1/1 – 1/64 Modiﬁer None, Triplet, Dotted, DotDot None Gatetime 0 –...
Page 303 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 304: Soft Buttons On The Step Page
Song Mode and the Song Editor Song Editor: The STEP Page Modiﬁer The ModiÞer parameter allows you to change the Duration value with three standard modiÞers. Set to None if you do not chose to use a modiÞer. Use the triplet modiÞer 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 modiÞer adds half of the current Duration value to that duration, and a DotDot modiÞer will add 3/4 of the current Duration value to itself.
Page 305: 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 306 Song Mode and the Song Editor Song Editor: The ARRANGE Page 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.
Page 307: Step
Song Mode and the Song Editor Song Editor: The ARRANGE Page Parameter Range of Values Default Step 1 – 99 Song Any song In Memory 0 None Mutes – , M – (Not Muted) Xpose -128ST – 127ST Times 1x – 120x, Inﬁnite Mode Next, Stop Next...
Page 308: Mode
Song Mode and the Song Editor Song Editor: The ARRANGE Page played, or you can specify an inÞnite 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.
Page 309: 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 deÞne another keyboard range for triggering.
Page 311: Chapter 13 Disk Mode
CDs (CD-Rs), although it canÕt write to them. The K2600 can address up to 2 gigabytes of Þle space on any one hard disk, so you can connect a maximum of 14 G of storageÑup to seven hard disks. The K2600 can use all of the space on disks of 2 G and smaller.
Page 312: Disk Mode Page
(or any computer that can format disks in DOS format) should work with the K2600. To format a disk on the K2600, insert a ßoppy disk in the K2600Õs ßoppy drive, or in the ßoppy drive of any computer with MS-DOS formatting capability. Make sure the disk is unlocked (the sliding switch on the back of the disk is set so you canÕt see through the hole on that side of the disk).
Page 313: Connecting A Scsi Device
YouÕll need a SCSI cable with a 25-pin SCSI connector on the end to be connected to the K2600. If your SCSI device does not have a 25-pin connector at one end, you can Þnd SCSI cables like these at any personal computer store.
Page 314: Using Your K2600 In A Scsi System
SCSI Termination switch to Disable (which means that termination is always off), or you can leave it set to Auto, which means that if you put the K2600 in a conÞguration that requires it to be terminated, it will enable its internal termination automatically (and disable it when appropriate, as well).
Page 315: Directories
BOOT.MAC (see Creating a Startup File on page 13-69). If this is set to None, then the K2600 will power-up in a normal fashion. If this is set to a SCSI device or Floppy, when the K2600 is next powered on it will look for the BOOT.MAC Þle in the root directory of the speciÞed disk, and load each of the entries in the macro speciÞed within.
Page 316: Library
CD-ROM Þles containing samples or keymaps. Verify Set Verify to On when you want the K2600 to verify saves, copies, and backups (the K2600 canÕt verify loads). The operations take longer, but it provides insurance against corrupted Þles. Disk Drive Information Below the device type and disk capacity youÕll see speciÞc information about the current diskÕs...
Page 317: File List Dialog
Many SCSI devices will ÒsleepÓ when theyÕve been idle for a few minutes. In other words, the disk will stop spinning, in order to save power and reduce wear. The K2600 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 318 K2600 can read these Þle formats. When loading Þles, the K2600 will try to Þnd out the type of Þle if the extension is not the same as is suggested above (with one exception: .MAC Þles). The K2600 can create Þles with almost all of the above extensions;...
Page 319: The File Index
Þle list. In addition to remembering the current directory on the most recently used disk, the K2600 also remembers the index within the Þle 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 Þle, the Þle index would still show 3 DOORS.K26 after you pressed Load.
Page 320: Soft Buttons In The File List Dialog
Þle list. When you Þrst open a directory for viewing, the index is 1 (the Þrst Þle in the list). The K2600 remembers the index of the previous directory you were in before you pressed Open, so if you...
Page 321: Total
In the Load function, pressing Open for a standard .K26 Þle will start the Load Object feature. This allows selected individual objects from the Þle to be loaded into the K2600. If Open is pressed on a macro Þle (.MAC extension), then individual Þle entries within a macro Þle can be selected for loading.
Page 322: Creating Directories
Creating Directories As stated above, you can create directories for organizing your K2600 Þles, whether you are using SCSI or ßoppy disks. You can create directories on any disk formatted by a K2600, K2500, or K2000. Directories appear in the normal Þle list with the indicator (dir) to the right of the directory name.
Page 323: Creating A Directory In The Save Dialog
NewDir in the Save dialog. YouÕll get the same prompts as when you create a directory from the Disk-mode page. When you press OK, the display shows that the K2600 has created the directory, then the Save dialog reappears.
Page 324: Disk Mode Functions
Loading Files The Load button instructs the K2600 to copy a Þle from the current disk to the K2600Õs RAM. Press the Load button, and a list of Þles stored in the currently selected device will appear. Scroll through the list of Þles with the Alpha Wheel or Plus/Minus buttons, then press OKÑor press Cancel to return to the Disk-mode page.
Page 325: Loading Individual Objects
K2600 Þle. Sometimes, this capability is necessary even to be able to load certain Þles, if the size of the ÞleÕs samples or data is greater than the K2600Õs internal RAM size. You can select individual objects or groups of objects (samples, programs, keymaps, effects, songs) for loading from within a single K2600 Þle.
Page 326 Þle, and hence the amount of program memory that the object will occupy in the K2600. For samples, the size Þeld shows the size of the all sample data associated with the object, and is displayed in kilobytes (K).
Page 327 Jump to the next object of a different type. Multi Go to the Multiple Object Selector page. Tell K2600 to proceed to load the selected objects. Cancel Exit back to the File List Dialog. Press the Select button to choose the highlighted object for loading. An asterisk (*) is placed in between the object name and the object ID for any items that are selected.
Page 328: Shortcuts When Loading Objects
Þle until it begins to read in the selected objects, and determines what their dependents are. Answering Yes to the question tells the K2600 to also load the dependents. You may wish to answer No if, for example, you are simply loading a program or a keymap as a template for use with other objects.
Page 329: Auditioning Samples From A Disk File
To audition a sample, Þrst scroll to the sample that you wish to hear. Then, press either the Left or Right cursor. The K2600 will load the sample (or 1 second of it if itÕs longer than a second). The audition starts from the very beginning of the sample data (note that if the Þrst second of data is silence then you wonÕt hear very much when the sample is auditioned).
Page 330: Loading Methods
Disk Mode Load Function Dialog In the following dialog, there are user objects in the 200s and 400s bank, and possibly also in other banks that become visible when the selection is scrolled. |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| ||Load|this|file|as:200...299*|||||||||| ||||||||||||||||||||300...399||||||||||| ||||||||||||||||||||400...499*|||||||||| ||||||||||||||||||||500...599||||||||||| |||||||||||||||||||||||||||||OK|||Cancel This indicator makes it easier to Þnd an empty bank to use for loading, if needed.
Page 331 K2600 rebanks the object ID into the bank that you specify. For example, if you save Program 453 into a Þle, and load it back into the 300s bank, the K2600 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 332: Selecting Multiple Files To Load
Internal Organ Selecting Multiple Files to Load As stated previously, you can select multiple Þles for loading into the K2600 from within a single directory, in one operation. This is done from the Þle list dialog with the Select button.
Page 333: Aborting A Multiple File Load
|||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||Yes||||No|| The answer to this question instructs the K2600 that any macro Þles will have their macro entries loaded according to the bank and mode: speciÞed in the macro entry. currently speciÞed for this multiple Þle load. In other words, whatever you select for Bank and Mode will override the instructions for each entry in the macro.
Page 334: More Load Function Enhancements
Þles and loading AIFF Þles. Saving Files The Save button starts the process of saving from the K2600 to the currently selected device. When you press the Save soft button on the Disk-mode page you will see the bank dialog:...
Page 335 When youÕve entered a name, press OK to save the Þle as shown in the display, or press Cancel to return to the Þle dialog. When the Þle is saved, the K2600 adds an extension (.K26) to the Þlename. This enables the K2600 to recognize it as a Kurzweil Þle when it examines the diskÕs directory.
Page 336: Soft Buttons In The Save Selection Dialog
When youÕre loading these split Þles, they must be inserted in the same sequence as they were saved. When the K2600 has loaded the contents of the Þrst disk, it will prompt you to insert the second disk, and so on. Make sure to label your disks as soon as you save to them, so youÕll keep them in the correct order.
Page 337: Shortcuts When Saving Objects
Do this by double-pressing the Chan/Bank buttons. ¥ Double-press of Chan/Bank buttons: View Selected Objects For example, if there were 10 objects selected, and you pressed both Chan/Bank buttons simultaneously, the K2600 would show a list similar to this: View|Selected|Objects||10/134||||||||||| Program|300|Biggest|Kit||||||||||||7124| Program|301|Repercussions||||||||||7124| Song||||300|Drum|Groove|7|||||||||12092|...
Page 338: More Features Of The Save Dialog
The Choose File Name Function When entering in a Þlename for saving, there is a Choose soft button. When Choose is pressed from the Þle naming dialog, the K2600 will access the current disk directory and display the following: Dir:\||||||||||||Sel:0/10||||Index:|||1|...
Page 339: 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 K2600 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 340 Disk Mode Saving Files Þles that wonÕt Þt onto a 720K or 1.4M ßoppy disk. Since the K2600 canÕt format ßoppy disks in the middle of a save operation, you should have spare formatted disks ready to go before you start saving.
Page 341: The Name Table
A ÞleÕs name table is used by the K2600 at only one time: when the Þle is loaded. At that time, the K2600 will search for dependent objects that were not saved in the Þle originally. The search matches dependent objects by name with objects that are already in RAM, and links them to the ÒparentÓ...
Page 342: Working With Relink-By-Name
ÒbeforeÓ 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 K2600 to differentiate between objects with the same name within the same bank.
Page 343 Yes to ÒSave dependent objects?Ó instead of answering by pressing Names. More importantly, it allows you to see what objects need to be in the K2600Õs RAM before loading this Þle. The object IDs shown in the table are the same numbers that those dependent objects used at the time this Þle was saved.
Page 344 Here is another practical example using songs (sequences). Suppose you have loaded several Þles into your K2600, 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 345: Not Loading The Name Table
There may be a time that you wish to load objects from a Þle containing a name table, but you donÕt want the K2600 to relink any dependent objects according to the name table. This can be accomplished by ÒOpeningÓ the Þle from the Load function, and selecting any desired objects from within the Þle, except the name table.
Page 346: Storing Objects In The Memory Banks
Disk Mode Storing Objects in the Memory Banks Storing Objects in the Memory Banks There is a separate bank of Object IDs for each object type. That is, you can store 999 programs, 999 samples, 255 songs, and so on. There are two groups of object types, based upon the number of available Object IDs.
Page 347: Operating Modes: The Select Parameter
Disk Mode The Multiple Object Selector Page 2. Instead of scrolling through the object list manually and pressing Select for each object you want to select, simply press Multi. The Multiple Object Selector appears. 3. Set the value of the Select parameter, which determines the operating mode for the Multiple Object Selector.
Page 348: Multiple Object Selector Soft Buttons
In SearchStrg mode, the K2600 selects every object whose name contains a user-deÞned string of characters. In this case, when you press Set, the K2600 prompts you to enter a string of characters using the alphanumeric buttonpad. Enter the characters, and press OK. The K2600 returns you to the page you were on before you pressed Multi, selecting the objects whose names contain your string.
Page 349 5. Press Multi again, and set the value of Select to Everything (or press All). 6. Press Toggle. This selects everything that wasnÕt selected, and deselects everything that was. The result is that everything not used by your song is selected. 7. Press OK. If the K2600 asks whether youÕre sure, press Yes. 13-39...
Page 350 4. Set the value of Type to Program, and the value of Bank to All Banks. 5. Press Clear. The K2600 returns to the Save dialog. As you scroll through the object list, youÕll notice that no programs are selected, and all objects that arenÕt programs are selected.
Page 351: Entering Selection Criteria In The Multiple Object Selector
Disk Mode The Multiple Object Selector Page 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.
Page 352 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 K2600Õs RAM. ItÕs 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 353: Macros
Select all of the keymaps and samples that are dependents of songs 400-410. Macros The K2600 lets you create lists of disk Þles called macros. The Þles can be located on any disk, whether SCSI-based or in the internal Floppy drive. Files from SCSI disks in Roland and Akai format can also appear in macros.
Page 354: Macro Modes
The K2600 has three macro modes: Record, Pause, and Off. There is no Macro table in the K2600. Record A Macro table exists, and the K2600 adds all Þle-loading operations to the Macro table. Pause A Macro table exists, but the K2600 does not add Þle-loading operations to it.
Page 355: The Macro Table
Macro table remains in memory but does not change size since Þle operations are not recorded. This is useful if you need to load Þles into the K2600 but you donÕt want them to be entered into the Macro table.
Page 356: 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 Þles into the K2600, and add all of the Þles to the Macro table. If youÕre just creating a macro Þle, and donÕt need to load any Þles at the moment, press Macro, which adds the Þles to the Macro table, but doesnÕt load them into the...
Page 357 K2600 executes the OK or Macro command you entered earlier. If you had pressed Macro, the K2600 would add the selected objects to the Macro table. If you had pressed OK, the K2600 would add the selected objects to the Macro table, and load them into the selected bank as well.
Page 358 If you know that you want to save all of the entries into the macro Þle (as we do for this example,) just press All. The K2600 will go through the standard Þle saving dialog in which you choose a Þlename and select a directory to save the Þle in.
Page 359 Whatever method of loading you choose (that is, speciÞed in the macro or overriding the macro), the K2600 locates each Þle in the macro in the exact order in which the entries are listed. If the Þles are on different disks in your disk system, you can observe your various disks as theyÕre selected in turn and Þles are loaded from them.
Page 360: Macro Entries
Þle on a disk with a SCSI ID of 3. This Þle is stored in a directory called DRUMS. The Þlename is REALKITS.K26. The K2600 will load it into the 200s bank, using Fill mode. ÒObjÓ means that individual objects within the Þle are selected for loading, and only those objects will be loaded from this Þle.
Page 361: Using The Bank And Mode Fields
RAM Macro table to a macro Þle. The next time you load that macro Þle, the K2600 looks for a disk with SCSI ID 5 and expects to load Þles from that disk.
Page 362: Unspeciþed Disk Id
Þles in its Macro table on a Zip disk, and hand the disk to a friend. Your friend can then load the macro into her K2600, and it will load the Þles no matter where she has her Zip driveÕs SCSI ID set.
Page 363: Loading Selected Entries From A Macro File
CD-ROM drive, because your CD-ROMÕs SCSI ID is 3 and youÕve set the Library parameter on the Disk-mode page to 3. As long as you have the right disk in the CD-ROM drive, the K2600 loads the Þle, and then loads \PNOPROGS.K26 from the ßoppy disk.
Page 364: Editing Macros
1. Use Macro Record to keep a running history of Þles that you have already loaded into the K2600. 2. Have a lot of macro Þles that load similar lists of Þles. If the Open button is pressed from a disk function other than Load, you will see the VIEW...
Page 365 Disk Mode Macros the following display, press the Macro soft button, so that the K2600 will not load the Þles listed in the macro. |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |Load|this|macro|as:specified||||||||||| ||||||||||||||||||||200...299||||||||||| ||||||||||||||||||||300...399||||||||||| ||||||||||||||||||||400...499||||||||||| Insert||||||||||||||||Macro|||OK||Cancel If you want, you can rebank the macro by scrolling the bank list to something other than speciÞed.
Page 366 Disk Mode Macros Use the Drive parameter to change the Disk ID for the selected macro entries. This is where you would set the entriesÕ Disk IDs to be UnspeciÞed or Library. If you increment the Modify parameter, the display switches to let you modify bank and mode information: Modify|Macro|Entries|||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| Modify:Bank/Mode||||||||||||||||||||||||...
Page 367: Macro Insert
Disk Mode Macros Once you have made the necessary changes to the RAM Macro table, you can go to the Save Macro page to write selected (or all) entries to a new disk Þle (or replace an original macro Þle that you loaded from a disk).
Page 368: Executing The Ram Macro Table
Disk Mode Macros The insert point can be disabled before loading, by pressing Insert again and pressing Cancel from within the Set Macro Insert Point dialog. The (Macro insert) indicator will disappear. Similarly, the insert point can be changed before loading by pressing Insert again (the display will highlight the current insert point,) scrolling to a different insert point, and pressing OK.
Page 369: Aborting A Macro Load
This should be done at least one-half second before you anticipate the current Þle to Þnish loading, or else the K2600 will not sense that you wish to abort the load. You will see the following question after the current Þle Þnishes loading:...
Page 370: Remote Macro Load
Left or Right cursor button. The K2600 will display: ÒSend SysEx Load Macro command?Ó Press the Yes soft button and the K2600 will add the LOADMACRO SysEx command to the sequence. Note: You cannot remotely load a macro to the K2600 while the K2600 is on the Disk-mode page or in an edit mode.
Page 371: Find Files
You can use the Choose button to grab the text of a Þlename from the current disk, as described previously. If you press OK, the K2600 will begin to search the disk for any Þles or directories that contain the search string in their names. The search starts in the root directory and searches the entire disk.
Page 372: List
If no matching Þles were found, you will also see (No|files|found)|||||||||||||||||||||||| The K2600 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 ÒSearch string:Ó dialog will contain the previously used string.
Page 373: Free
Disk Mode Disk Utilities The Dir Þeld shows the directory that is being listed. The size value displayed on the top line of the display represents the total size of the directory subtree that is currently being viewed. The Root, Up, and Down soft buttons navigate through the directory hierarchy: Root Display the disk from the top level, meaning that all of the Þles on the disk will appear in the scrollable list.
Page 374: Moving Files Between Directories
(DOS) indicator on the top line. Using this format is described in MS-DOS File System Compatibility on page 13-71. For ßoppy disks, the density (HD or DD) will be displayed. All K2600 ßoppy disks are MS-DOS format compatible.
Page 375: Renaming Files
Þles found on the current disk. When youÕve selected the Þle to be renamed, press OK, and the K2600 will ask you to enter the new Þlename. When youÕve done this, press OK, and the Þlename will be changed.
Page 376: Deleting Files And Directories
Disk Mode Disk Utilities at a time. Therefore you simply choose the Þle you want and press OK. The K2600 will then ask you to enter a new name, which you can do a number of ways: Alpha Wheel, Up/Down cursor buttons, alphanumeric buttonpad, or keyboard naming (see page 5-5 for a description of keyboard naming).
Page 377: Backup And Copy Functions
Disk Mode Backup and Copy Functions Backup and Copy Functions File Backup To access the Backup function from the Disk-mode page, Þrst make sure that the current disk is set to be the disk that you want to back up. Next, press the Backup soft button: Dir:\||||||||||||Sel:0/15||||Index:|||1| |||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||...
Page 378 Disk Mode Backup and Copy Functions Next, select the Backup mode when you see the following question: |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| Replace|or|increment|mode?|||||||||||||| |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |Help||||||||||||||Replace|Increm|Cancel Replace Any Þles to be transferred that already exist in the destination directory will be replaced (overwritten). Increm Any Þles to be transferred that already exist in the destination directory will be skipped (not transferred).
Page 379: File Copy
Creating a Startup File You can create a macro Þle that will be automatically loaded when you power up your K2600. This Þle, called the startup Þle, or boot macro, can be on a ßoppy disk or on a disk at any SCSI ID.
Page 380: Deleting Banks In A Startup File
Cancel button. If BOOT.MAC is found by the K2600, it will begin to load the macro Þle as if you had loaded it explicitly from the Load function in Disk mode. When the macro has completed, you will see the...
Page 381: Ms-Dos File System Compatibility
The MS-DOS hard disk format is structured so that the disk can be split up into multiple partitions. The K2600 uses only the Þrst partition that it Þnds on the disk. Therefore, it is usually best to format the media with only one partition taking up all usable space on the disk. Working from the K2600 front panel with an MS-DOS formatted disk will appear the same as working with a disk that has been formatted with the K2600Õs own Format function (on the Disk-mode...
Page 382: Aiff And Aiff-C Files
K2600. The K2600 will save 16-bit AIFF Þles, either mono or stereo. WAVE Files The K2600 can read 8 or 16 bit WAVE Þles, mono or stereo. It can also save 16-bit WAVE Þles, either mono or stereo. 13-72...
Page 383: Standard Midi Files (Midi Type 0 And Type 1 Files)
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 K2600 will remember the Þle that you selected most recently. When you return to Disk mode, this Þle will be highlighted.
Page 384 If you load sample objects, youÕll see the following prompt: Create preview program/keymap? If you answer Yes, the K2600 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 385: Eps
Disk Mode Importing Samples from Other Manufacturers Roland For Roland disks, the hierarchy is a bit different; the objects that can be loaded are called volumes, performances, patches, and samples. The page that was selected last time a SCSI load was executed will appear when you initiate the load operation.
Page 387: Chapter 14 Sampling And Sample Editing
1/4-inch jack when youÕre making stereo samples, since doing so can cause phase cancellation in your signals. Using a mono cable sends the signal to the K2600Õs 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 388: Entering The Sampler
This will increase the noise level as well, however. Running your sample signal through a mixer before sending it to the K2600 will give you the most ßexibility in controlling your signal level, since you can use its gain or pad if needed. This may add noise to the signal, however.
Page 389 Therefore, you wonÕt 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 K2600 will display the word ÒCLIPÓ above the meters, and will ßash the Master-mode LED. It will also give you the number of clips in each sample before you save it.
Page 390 The K2600 transposes samples by changing the sample playback rate; the higher the playback rate, the higher the pitch of the sample. The K2600 can achieve a maximum sample playback rate of 96 KHz. Normally, a sample made at 48 KHz can be transposed up a maximum of one octave, since the playback rate doubles for every octave of upward transposition.
Page 391 Time parameter accordingly. At a value of 0 for this parameter, the K2600 will not record. (Of course, you can always stop sampling before the speciÞed time by pressing the Stop soft button.) Sample The Sample parameter lets you select any sample in memory for auditioning.
Page 392: Recording Samples
If you press the Default soft button, the K2600 uses C 4. You can change the root key at any time on the MISC page in the Sample Editor.
Page 393 K2600 assumes you want to preview them all. 3. Press OK. If youÕve selected more than one sample, the K2600 asks you if you want to combine the sample objects into a single keymap and program. (If youÕve selected only one sample Ñone that doesnÕt consist of multiple sample rootsÑthe K2600 returns to the...
Page 394: Sampling Digital Signals
When you press No, youÕll see the Bank dialog. Press OK, and the K2600 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 395 I/O option. ItÕs the same parameter that appears when Input is Analog. Use a value of Int for Src when you want to sample the K2600Õs Mix output. Use Ext when you want to sample an external source via the coaxial or optical stereo digital input jacks.
Page 396: 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 K2600 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 397 Þrst sample. Select an ID with the Alpha Wheel or Plus/Minus buttons, then press the OK soft button. If youÕve selected a stereo sample, the K2600 splits it into left and right sides. If itÕs a block of samples, the K2600 splits it into individual sample roots. In either case, the split samples will automatically be assigned IDs, starting with the ID you select.
Page 398 ID. The names and note numbers are different. When you save the sample, the K2600 will ask you if you want to copy the sample data. ThereÕs no need to do this; it will only take up additional memory. Everything works properly if you donÕt copy the data, and when you save your new sample to disk, everything gets saved accordingly.
Page 399: The Page Buttons
When you press the Save soft button, and choose to save the sample to a new ID, the K2600 will ask you if you want to copy the sample data. If you answer Yes, the K2600 will make a separate copy of the sample.
Page 400 Sampling and Sample Editing Editing Samples The default values shown in this diagram reßect the settings for the Default program 199. EditRomSample:MISC|||||||||||||||||||||| RootKeyNum||:C|4||||LoopSwitch:On||||||| PitchAdjust|:1ct||||Playback||:Normal||| VolumeAdjust:0.0dB||AltSense||:Norm||||| AltVolAdjust:0.0dB||IgnRelease:Off|||||| DecayRate|||:950dB/|SampleSize=0Kb|||||| ReleaseRate|:950dB/|SampleRate=1000Hz||| <more|||MISC|||TRIM|||LOOP|||Link||more> Parameter Range of Values Root Key Number C -1 to G 9 Pitch Adjust Variable (depends on sample rate) Volume Adjust...
Page 401 DecayRate operates in two different ways, depending on the nature of the sample. If itÕs 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 402: The Trim Page
Sampling and Sample Editing Editing Samples Sample Size and Sample Rate These are not editing parameters. TheyÕre 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 403: 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 404 Minus button, youÕll reverse the direction of the search, and the next time you press the Plus/Minus buttons together, the K2600 will search for the next zero-crossing to the left. Press the Plus button again to search toward the right.
Page 405 The actual processing of the sample begins when you press the Go button. The K2600 will display a row of scrolling dots while itÕs processing. When itÕs Þnished, it will prompt you: Keep these changes? Trigger a note to hear the result.
Page 406: The Soft Buttons On The Dsp Page
K2600 is shut off or reset (soft or hard). The buffer is also cleared if you execute a master delete, and select ÒDelete everything.Ó...
Page 407: 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 youÕre Þnished with the DSP functions. DSP Functions Once youÕve entered the Sample Editor, press the DSP soft button to gain access to the DSP functions.
Page 408 Use the Start and End parameters to select a speciÞc sample range. Set the Thresh parameter from -96 to 0dB to set the noise ßoor. When you press the Go soft button, the K2600 will search inward from the start and end points you set, until it Þnds the Þrst sample that exceeds the noise ßoor.
Page 409 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 410 Sampling and Sample Editing Editing Samples 6 Reverse F:Reverse||||Start:0.000||||End:6.000||| Xfade:0.000|||||Curve:LIN||||||||||||||| VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV -6dB>||||||||||||||||||||||||||||||||||| **************************************** |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |Cut||||Copy||Paste||Samp2|||Go||||Done| 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 411 If the sample rate of Sample 2 is different from that of Sample 1, the K2600 will alert you that the sample rates differ. If you mix samples with different rates, youÕll hear a pitch shift in the mixed sample.
Page 412 If the sample rate of Sample 2 is different from that of Sample 1, the K2600 will alert you that the sample rates differ. If you insert a sample with a different rate, youÕll hear a pitch shift in the inserted sample.
Page 413 Sampling and Sample Editing Editing Samples 11 Volume Ramp F:VolRamp||||Start:0.000||||End:6.000||| Curve:LIN|||StartLvl:0dB|||||EndLvl:0dB| VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV -6dB>||||||||||||||||||||||||||||||||||| **************************************** |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |Cut||||Copy||Paste||Samp2|||Go||||Done| 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 414 If the loop points of a looped sample are included in the segment to be converted, the K2600 will ask you if you want to adjust the rate slightly to optimize the loop. Press the No soft button if you donÕt want the rate adjusted.
Page 415 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 Þnal take.
Page 416 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 417 Sampling and Sample Editing Editing Samples parameter to 4, then Sample 2 will play on the Þrst, Þfth, and ninth beat of your six-second Sample 1 segment. The result will look something like the diagram below. F:MixBeat||||Start:0.000||||End:6.000||| Tempo:120|Beat:1||Of:4||VolAdj:0dB|||||| VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV -6dB>||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||...
Page 418 Sampling and Sample Editing Editing Samples 18 Mix Echo F:MixEcho||||Start:0.000||||End:2.048||| Tempo:120|Start:0||#:4||VolAdj:0dB|||||| VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV -6dB>||||||||||||||||||||||||||||||||||| **************************************** |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |Cut||||Copy||Paste||Samp2|||Go||||Done| 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 419 Sampling and Sample Editing Editing Samples 20 Crossfade Loop (XfadeLoop) F:XfadeLoop||L:0.000||||||||E:2.048||||| Xfade:0.000|||||Curve:EQL||||||||||||||| VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV -6dB>||||||||||||||||||||||||||||||||||| **************************************** |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||Go||||Done| 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 deÞned 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 420: 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 K2600Õs factory preset keymaps and save them to RAM. You can also build your own keymaps from scratch.
Page 421 Sampling and Sample Editing The Keymap Editor When you trigger a note, the K2600 identiÞes 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 thatÕs assigned to that key range and attack velocity value.
Page 422: 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 K2600 will prompt you for each note. When you trigger the high note, youÕll return to the Keymap-editor page, and the edit range you deÞned will be selected.
Page 423: Special Double Button Presses In The Keymap Editor
3. Press the Plus/Minus buttons at the same time. The value of Coarse Tune changes automatically. If the sample is assigned to one note, the K2600 sets Coarse Tune so that the note plays the sample without transposition. If the sample is assigned to a range of notes, the K2600 sets Coarse Tune so that the middle note of the range plays the sample without transposition.
Page 424 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 K2600 (C 0 to G 10). 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.
Page 425: Building A Keymap
The K2600 supports keymaps with up to eight velocity levels. You canÕt 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.
Page 426: 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 K2600. For details on which cables to use with the analog sampling inputs, read Setting Up For Sampling on page 14-1.
Page 427: Live Mode
Song-mode MISC page. Live Mode If you have the sampling option, you can use what we call Live mode. In Live mode, the K2600 takes any input signal and routes it through the VAST DSP algorithms and KDFX. You can connect any audio sourceÑsynths, mics, CD players, anythingÑto any of the K2600Õs sampling...
Page 428: Live Mode Programs
C 4 will affect your output. For alternative ways of triggering the sound (for example, with assignable controller buttons or pedals), edit the control setup. You should now hear your VASTed audio source through the K2600Õs Mix outputs. Live Mode Programs...
Page 429 Sampling and Sample Editing Live Mode For starters, you can simply hook up a CD player to one of the K2600Õs sampling inputs, get a bunch of your favorite CDs, and start fooling around. (A turntable works well too.) Here are...
Page 430 With this technique, melodies or chords can be played based on a segment of a live performance. Keep in mind that, unless your incoming signal is a C, notes and chords played on the K2600 keyboard will be transposed relative to the incoming pitch. Also remember that a rhythm pitched an octave down will play at half the speed, while one pitched an octave up will play twice as fast.
Page 431 If the passage you want to play is long, and the input signal isnÕt so longÑsay, the sax player needs to take a breathÑyou may run into a problem as the K2600 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 ÒholdÓ...
Page 433: Chapter 15 Advanced Kdfx
If FX Mode is set to anything else ÑProgram, Setup, or AutoÑthen one or more parameters within the studio may be under the control of an outside source, such as MIDI or one of the K2600Õs control sources, and can be continuously changed in real time without editing the studio or any FX presets.
Page 434: 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 K2600Õs sound engine, as deÞned on the OUTPUT page in the Program Editor.
Page 435: Parameters
FX preset. Algorithms are in the KDFX ROM, and are not normally changeable, deletable, or saveable by the user. Like ROM samples, they are simply always there. (You can load additional algorithms from disk, however, as they become available from Kurzweil.) EditFXPreset:PARAM1||||||||EffectSize:3/3 FXAlgorithm:5|MiniVerb||||||||||||| ||||||||||||||||||||In|Gain|||:0.0dB...
Page 436 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. EditStudio:INPUT||||||||||||<>Input:||A| ||A||LoShelf||HiShelf||FXBus1||FXBus2 |||G:0.0dB||G:0.0dB||Lvl:0.0dB|Lvl:Off |||F:123Hz||F:9956Hz|Pan:0%||||Pan:0% |||||||||||||||||||||Wid:100%||Wid:100% <more||INPUT||FXBUS||AUXFX||OUTPUT|more> The other Input pagesÑB, C, and DÑare selected by using the Chan/Bank Up and Down buttons.
Page 437: 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 K2600 programs, and when a studio is recalled, all of its associated FX presets and parameters are recalled with it.
Page 438: 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 K2600Õs Program Editor. These signals can be treated as stereo pairs or as individual mono signals. This is determined by the Þrst parameter on an Input page, the Mono/Stereo switch.
Page 439: The Arrow Meter
Advanced KDFX Exploring the Studio Parameters The Arrow Meter On an Input page, whenever there is signal present on its bus, the arrow next to the letter of the bus ßashes. This is a good way to check that you have set up your program output routings correctly.
Page 440 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 Òdual mono.Ó...
Page 441: Fx Preset
Advanced KDFX 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 pagesÑthe Þrst 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 442: The Aux Bus
Advanced KDFX Effects Buses There is no external level control over the output of the FXBus itselfÑit just shows up, in pre- effect and post-effect versions, on the OUTPUT page. From Input editor to Aux FX bus to Mix To Output editor Figure 15-4 FXBus Signal Routing The Aux Bus...
Page 443: 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 K2600 program, then an FX preset is the equivalent of a layer or keymap.
Page 444: 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 K2600 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 445 Advanced KDFX Effects Buses pressing Edit, and Þnd those two parameters on the Þrst parameter page (PARAM1). YouÕll see their values are the same as on the FXBUS page. EditStudio:FXBUS|PAU:3|Free:1||<>FXBus:1| FX1||2||Big|Room|||||||||||Aux ||Mix Wet/Dry :35%|||||Lvl:0ff |Lvl:0.0dB Out Gain :0.0dB|||Bal:0%||||Bal:0% Allocation:Auto <more||INPUT||FXBUS||AUXFX3|OUTPUT||more> Exit Edit EditMultiFX:PARAM1|||||||||EffectSize:3/3...
Page 446 Advanced KDFX Effects Buses EditStudio:FXBUS|PAU:3|Free:1||<>FXBus:1| FX1||2||Big|Room|||||||||||Aux ||Mix Wet/Dry :45%|||||Lvl:0ff |Lvl:0.0dB Out Gain :1.0dB|||Bal:0%||||Bal:0% Allocation:Auto <more||INPUT||FXBUS||AUXFX||OUTPUT||more> Exit Edit EditMultiFX:PARAM1|||||||||EffectSize:3/3 Algorithm:1|Panaural|Room ||||||||||||||||||||In|Gain|||:0.0dB Wet/Dry|||:BusMod|||Out|Gain||:BusMod Room|Size|:16.0m Pre|Dly|||:4ms||| Decay|Time:2.9s HF|Damping:15804Hz <more||PARAM1|PARAM2||||||||||||||||more> Figure 15-7 Bus Overrides Engaged 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 447 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 448 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 wonÕt work and the FX presetÕs name will show up in parentheses.
Page 449 14 bits below full scale, which is -84 dB relative to the maximum level the KDFX can handle. Since typically the K2600 operates with about 20 dB of headroom, this translates to about -64 dB relative to normal operating level...
Page 450: Output Section
FXBuses and Physical Outputs In the Output section, the various signal paths are routed to the K2600Õs physical outputs. Each of the four output pairs, A, B, C, and D, has a selector switch to determine which signal it will carry.
Page 451: Separate Analog And Kds Outputs
For digital output, youÕll need either the sampling option or the digital I/O (KDS) option. In either case, the digital output of the K2600 (a single stereo pair) is wired in parallel with output pair A. It gets whatever signal is routed to Output A on the OUTPUT page of the Studio Editor.
Page 452: 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 K2600 objectÑsee 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 Þle-management pages:...
Page 453: Disk Functions
See Real-time Control of KDFX below for more information. Disk Functions Studios and FX presets are loaded from and saved to disk exactly the same as other K2600 objects. FX presets are dependent objects within studios, so when you save a studio, you are given the opportunity to save the dependent FX presets as well.
Page 454 KDFX page. Note: When FX Mode is set to Auto, then FX Mode follows the K2600Õs operating modeÑitÕs either Program or Setup. When you are on this page, however, FX Mode is actually Master. But donÕt screw up your brain thinking about thisÑweÕll get back to it later in this chapter (KDFX in...
Page 455: Setting Up Fxmods
Advanced KDFX Real-time Control of KDFX The top line tells us weÕre in the KDFX section of the Program Editor. The second line shows the studio that is linked to this program. Any changes made on this page do not directly affect the studio, they affect only this programÕs control over the studio.
Page 456 Source The Source parameter determines which real-time controlÑinternal, MIDI, etc.Ñis going to affect the selected studio parameter. As with all K2600 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 457 Advanced KDFX Real-time Control of KDFX Dedicated FXMod Control Sources There are a few control sources that apply exclusively to FXMods: ¥ FXLFO1, FXLFO1ph, FXLFO2, and FXLFO2phÑtwo LFOs and their phases. ¥ FXASR1 and FXASR2Ñ two three-stage (Attack/Sustain/Release) envelopes with selectable triggers and Normal, Hold, and Repeat modes.
Page 458 Advanced KDFX Real-time Control of KDFX instead will say FXMod. DonÕt touch any of those parameters for nowÑweÕll explain why in a moment. EditFXPreset:PARAM1|||||EffectSize:3/3 Algorithm:1|Panaural|Room||||||||||| ||||||||||||||||||||In|Gain|||:0.0dB Wet/Dry|||:FXMod||||Out|Gain||:2.0dB Room|Size|:FXMod Pre|Dly|||:4ms||||||Decay|Time:1.7s HF|Damping:14080Hz <more||PARAM1|PARAM2|||||||||||||more> Note that if you look at the studio when FX Mode is in Master, the FXMods will not be displayed, because the FXMods are not in effect! So donÕt get confused.
Page 459: Importing Studios From Another Program Or Setup
Advanced KDFX Real-time Control of KDFX used for many different purposes if you use FXMods to control it. FXMods can set the gain of the signals going to the various FXBuses, set panning and output levels of the signals from the buses, conÞgure the mix going to the Aux bus, and even turn FXBuses on or off, as well as set processing parameters.
Page 460: Using Kdfx Live From The K2600 Keyboard
K2600 keyboard in Setup mode. KDFX in Program Mode If you are playing the K2600 in Program mode, then you must make sure that the current channel of the K2600 (at the upper right of the Program-mode page) agrees with the FX Channel (on the Effects-mode page).
Page 461: Using Kdfx With A Sequencer
HereÕs how to tell whatÕs controlling what, depending on the various modes. See FX Channel below for information about the MIDI channel for external control of KDFX. Note that you can use SysEx commands to control KDFX regardless of the setting for FX Mode. What Sets Physical K2600 What Controls MIDI Channel for Mode...
Page 462: Preventing Glitches When Changing Studios
Advanced KDFX Real-time Control of KDFX notes, and use up none of the K2600Õs 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 463 Advanced KDFX Real-time Control of KDFX cases, instead of a hole, you will hear a momentary pitch shift as the studio changes. A bit of experimentation will help you determine how to achieve acceptable transitions between studios. Program 1 Program 2 Studio: Test X Studio: Test Y FX1 10 Slo String Hall...
Page 464: 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 K2600 in general) responds to MIDI Sync, but not to MIDI Time Code.
Page 465 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 K2600, the tempo will not go to 0; instead, it will retain the last valid value it sawÑeither 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 466: Kdfx In Master Mode
When the FX Mode is set to Auto, then control of KDFX changes according to where you take the K2600: 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 wonÕt be any FXMods.
Page 467: Using The Algorithms
KurzweilÕs 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 468: 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 469: Delays
Advanced KDFX Using the Algorithms settings the early reßections 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 reßections are packed in time. Low Density settings group the early reßections close together, while higher values spread the reßections for a smoother reverb.
Page 470: 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 471: Compressors, Expanders, And Gates
Advanced KDFX Using the Algorithms 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 472 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 expanderÕs envelope detector by putting a lowpass Þlter in the control signal path.
Page 473: 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 474: Laserverb
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 Þlter. In KDFX, the ßanger 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 475: 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 476: 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 477: Rotating Speakers
Advanced KDFX Using the Algorithms Cabinet HP and Cabinet LP are highpass and lowpass Þlters to set the frequency response limits of the cabinets. Range of both Þlters 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 478: 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 479: Pitch Shifter (Pitcher)
Advanced KDFX Using the Algorithms 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 480: 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 sourceÑmono, stereo, surround sound or encoded with any other audio enhancement technologyÑwith two or more standard speakers.
Page 481: Fxmod Diagnostic
Advanced KDFX Using the Algorithms 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.
Page 482: Special Topics
FX Mode in Song Mode If FX Mode on the Effects-mode page is set to Program, and you put the K2600 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 483: Kb3 Effects
Master mode. KB3 Effects In the K2600Õs 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 ÒvirtualÓ...
Page 485: 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 K2600Õs various DSP functions give you a variety of methods for manipulating those partials. WeÕve grouped our explanations of the DSP functions according to the types of specialized manipulation they enable you to perform on a given sound.
Page 486 DSP Functions Introduction to Algorithm Programming functions you insert into the algorithm. The algorithm simply lays a framework that determines how the DSP functions interact. Once you know which algorithm youÕre going to work with, youÕll assign various DSP functions to each of the stages of the algorithm. These stages, as you recall, are represented by the rectangular blocks you see on the ALG page.
Page 487: Additional Parameters
DSP Functions Introduction to Algorithm Programming parameters, itÕs 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. This will help you understand exactly what effect each parameter has, and will give you an idea of the variety of effects each parameter can produce.
Page 488 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 noteÕs MIDI key number.
Page 489 DSP Functions Introduction to Algorithm Programming Positive KeyTrk value with KStart value at C4 Unipolar Positive KeyTrk value with KStart value at C 5 Unipolar Positive KeyTrk value with KStart value at C 3 Unipolar Negative KeyTrk value with KStart value at C4 Unipolar Figure 16-2 Unipolar Keystart Bipolar Keystart...
Page 490: 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 491: 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 K2600 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 K2600.
Page 492 DSP Functions The DSP Functions One-pole Lowpass Filter (LOPASS) Frequency in Hertz 1000 10000 100000 Cutoff Frequency from C5 to C10 Frequencies below the cutoff frequency are unaffected by this Þlter. At the cutoff frequency, the signal is attenuated 3 dB. ThereÕs a rolloff of 6 dB per octave above the cutoff frequencyÑthat is, the signal is attenuated 6 dB with each octave above the cutoff.
Page 493 DSP Functions The DSP Functions 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. YouÕll notice that positive values for key tracking have an interesting effect on the function of lowpass Þlters; positive key tracking values raise the cutoff frequency for high notes and lower it for low notes.
Page 494 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 thereÕs no harm in keeping it if you like the sound. EditProg:F2|RES(2P|LOPASS)|<>Layer:1/1|| Adjust:0.0dB||||||| |Src1||:OFF|||||||||| ||||||||||||||||||||Depth|:|0.0dB||||||| ||||||||||||||||||||Src2||:OFF|||||||||| KeyTrk:|0.00dB/key||DptCtl:OFF|||||||||| VelTrk:|0.0dB|||||||MinDpt:|0.0dB|||||||...
Page 495 DSP Functions The DSP Functions Two-pole Lowpass Filter, +12 dB Resonance (LP2RES) Frequency in Hertz 1000 10000 100000 Resonance = 12 dB cutoff frequency from C 4 to C 10 This is similar to LOPAS2; the only difference is that its resonance is Þxed at +12 dB. Four-pole Lowpass Filter with Separation (4POLE LOPASS W/ SEP) Frequency in Hertz 1000...
Page 496 DSP Functions The DSP Functions Frequency in Hertz 1000 10000 100000 4-Pole Lowpass Filter: Resonance Cutoff frequency = C 5; separation = 0; resonance from -12 to 24 dB Frequency in Hertz 1000 10000 100000 4-Pole Lowpass Filter: Separation in Octaves Cutoff frequency = C 7;...
Page 497 DSP Functions The DSP Functions Þlters. Positive values raise the cutoff frequency of LOPAS2, while negative values lower it. If no separation is applied, thereÕs a 24 dB per octave rolloff above the cutoff frequency. EditProg:F3|SEP(4P|LOPASS)|<>Layer:1/1|| Adjust: 0ct||||||||| |Src1||:OFF|||||||||| Fine||:0ct||||||||||Depth|:0ct|||||||||| ||||||||||||||||||||Src2||:OFF|||||||||| KeyTrk:0ct/key||||||DptCtl:OFF|||||||||| VelTrk:0ct||||||||||MinDpt:0ct||||||||||...
Page 498 DSP Functions The DSP Functions One-pole Highpass Filter (HIPASS) Frequency in Hertz 1000 10000 100000 Cutoff frequency from C 2 to C 7 High-frequency partials pass through this Þlter unaffected. At the cutoff frequency, the signal is attenuated 3 dB. ThereÕs a roll-off of 6 dB per octave below the cutoff frequency. The resonance is Þxed at -3dB.
Page 499 DSP Functions The DSP Functions Two-pole Highpass Filter (HIPAS2) Frequency in Hertz 1000 10000 100000 Resonance = 0 dB; cutoff frequency from C 2 to C 7 This is very similar to HIPASS. The primary difference is in the steepness of the rolloff at the cutoff frequency.
Page 500 DSP Functions The DSP Functions Frequency in Hertz 1000 10000 100000 4-Pole Highpass Filter: Resonance Cutoff frequency = C 5; separation = 0; resonance from -12 to 24 dB Frequency in Hertz 1000 10000 100000 4-Pole Highpass Filter: Resonance Cutoff frequency = C 5; resonance = 6 dB;...
Page 501 DSP Functions The DSP Functions One-pole Allpass Filter (ALPASS) Frequency in Hertz 1000 10000 100000 C 10 -100 -120 -140 -160 Cutoff frequency from C 4 to C 10 -180 Allpass Þlters do not affect a soundÕs 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 502 DSP Functions The DSP Functions Two-pole Allpass Filter (2POLE ALLPASS) Frequency in Hertz 1000 10000 100000 -100 C 10 -120 -140 -160 -180 -200 -220 -240 -260 -280 -300 Width = 2 octaves; -320 Cutoff frequency -340 from C 4 to C 10 -360 Frequency in Hertz 1000...
Page 503 DSP Functions The DSP Functions 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. EditProg:F2|WID(2P|ALPASS)|<>Layer:1/1|| Adjust: 0.010oct|||| |Src1||:OFF|||||||||| ||||||||||||||||||||Depth|:0.00oct||||||...
Page 504 DSP Functions The DSP Functions Frequency in Hertz 1000 10000 100000 2-Pole Notch Filter: Width in octaves = C 6; Center frequency width from .1 to 4 octaves The two-pole notch Þlter has two control-input pages, one for center frequency, one for width. Partials with frequencies above or below the notch will be unaffected.
Page 505 DSP Functions The DSP Functions Two-pole Bandpass Filter (BANDPASS FILTER) This is essentially the opposite of a notch Þlter; it passes all partials at the center frequency, and cut the levels of partials above or below the center frequency. The width is deÞned the same as for the double notch Þlter.
Page 506 DSP Functions The DSP Functions Two-pole Bandpass Filter, Fixed Width (BAND2) Frequency in Hertz 1000 10000 100000 C 10 Center frequency from C 4 to C 10 The only functional difference between BAND2 and BANDPASS FILTER is that the width of BAND2 is Þxed at 2.2 octaves.
Page 507 DSP Functions The DSP Functions Frequency in Hertz 1000 10000 100000 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.
Page 508 DSP Functions The DSP Functions Frequency in Hertz 1000 10000 100000 Twin Peaks Bandpass Filter: Separation Center frequency = C 7; width = 2 octaves; separation at -2, 0, +2 octaves Frequency in Hertz 1000 10000 100000 Twin Peaks Bandpass Filter: Width Center frequency = C 7;...
Page 509 The width is the entire range of frequencies that will be affected by the amplitude setting. For the K2600, the width is deÞned by imagining an amplitude curve with a level (in dB) of -inÞnity (minus inÞnity) at the center frequency, then measuring the distance (in octaves) between the points on the curve where the amplitude is attenuated by 3dB.
Page 510 DSP Functions The DSP Functions Frequency in Hertz 3 dB attenuation Width Frequency in Hertz 1000 10000 100000 Cutoff frequency = C 6; width = 2 octaves; gain at -96, -18, -12, -6, 0, 6, 12, 18 dB When youÕre 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).
Page 511 DSP Functions The DSP Functions probably jump back and forth between these three pages until your ear is satisÞed with the sound. Frequency in Hertz 1000 10000 100000 Cutoff frequency = C 6; gain = 12 dB; width from .1 to 4 octaves EditProg:F1|FRQ(PARA|EQ)|||<>Layer:1/1|| Adjust:C|4|262Hz||||Src1||:OFF|||||||||| Fine||:0ct||||||||||Depth|:0ct||||||||||...
Page 512 DSP Functions The DSP Functions The Fine Adjust parameter gives you one-cent precision in setting the center frequency. EditProg:F2|WID(PARA|EQ)|||<>Layer:1/1|| Adjust:0.010oct|||||Src1||:OFF|||||||||| ||||||||||||||||||||Depth|:0.00oct|||||| ||||||||||||||||||||Src2||:OFF|||||||||| KeyTrk:0.000oct/key|DptCtl:OFF|||||||||| VelTrk:0.00oct||||||MinDpt:0.00oct|||||| ||||||||||||||||||||MaxDpt:0.00oct|||||| <more||F1|FRQ|F2|WID|F3|AMP|F4|AMP|more> Parameter Range of Values Adjust 0.010 to 5.000 octaves Key Tracking ± .200 octaves per key Velocity Tracking ±...
Page 513 DSP Functions The DSP Functions Frequency in Hertz 1000 10000 100000 Gain = 12 dB cutoff frequency from C 3 to C 9 Frequency in Hertz 1000 10000 100000 Para Mid: Gain Cutoff frequency = C 6; gain from -18 to 18 dB 16-29...
Page 514 DSP Functions The DSP Functions Bass Tone Control (PARA BASS) Frequency in Hertz 1000 10000 100000 Gain = 12 dB; cutoff frequency from C 2 to C 4 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.
Page 515 DSP Functions The DSP Functions Treble Tone Control (PARA TREBLE) Frequency in Hertz 1000 10000 100000 Gain = 12 dB; cutoff frequency from C 6 to C 10 C 10 PARA TREBLE is very similar to PARA BASS; the only difference is that the amplitude setting affects notes above the cutoff frequency.
Page 516 DSP Functions The DSP Functions Steep Bass Tone Control (STEEP RESONANT BASS) Frequency in Hertz 1000 10000 100000 Resonance = -3 dB; gain = 12 dB; cutoff frequency Steep Resonant Bass: from C 2 to C 4 Frequency Frequency in Hertz 1000 10000 100000...
Page 517 DSP Functions The DSP Functions Frequency in Hertz 1000 10000 Cutoff frequency = C 3; gain = 12 dB; resonance from -12 to 18 dB Steep Resonant Bass: Resonance This function uses a two-pole lowpass Þlter to give you a sharper transition in bass response than PARA BASS.
Page 518: Pitch / Amplitude / Panner
DSP Functions The DSP Functions Pitch / Amplitude / Panner PITCH UPPER AND LOWER AMP BALANCE AND AMP PANNER GAIN 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 wonÕt add much here.
Page 519 DSP Functions The DSP Functions PANNER This single-stage function converts a single wire at its input into a double wire at its output, splitting the signal between an ÒupperÓ and ÒlowerÓ wire. This creates a double-output algorithm, as discussed on page 6-31. The parameters on the PANNER page enable you to modify the signalÕs routing through the upper and lower wires.
Page 520 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 521: Mixers
DSP Functions The DSP Functions other. ItÕs also similar to the PANNER and XFADE functions. The F3 soft button selects the control-input page for the balance stage of this function. EditProg:F3|POS(BAL/AMP)|||<>Layer:1/1|| Adjust:0dB||||||||||Src1||:OFF|||||||||| ||||||||||||||||||||Depth|:0%||||||||||| ||||||||||||||||||||Src2||:OFF|||||||||| KeyTrk:|0.0%/key||||DptCtl:OFF|||||||||| VelTrk:0%|||||||||||MinDpt:0%||||||||||| Pad|||:0%|||||||||||MaxDpt:0%||||||||||| <more||F1|||||F2|||||F3|POS|F4|AMP|more> Parameter Range of Values Adjust ±...
Page 522: 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. ThereÕs a Pad parameter on the control-input pages for these functions, which attenuates the lower wireÕs signal at its input to the function.
Page 523 DSP Functions The DSP Functions Since these waveform functions generate an output signal only, and donÕt receive an input signal to pass along, the algorithms are arranged so you wonÕt inadvertently assign a series of waveforms that interfere with each other. YouÕll usually Þnd, 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 524 DSP Functions The DSP Functions SINE, Sawtooth (SAW), SQUARE ThereÕs 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 525: Added Waveforms
DSP Functions The DSP Functions the other parameters to determine the effect on the pitch, as indicated by the ÒxÓ after the parametersÕ values. More parameter descriptions follow below. EditProg:F1|PCH(LF|SIN)||||<>Layer:1/1|| Coarse:100.0Hz||||||Src1||:OFF|||||||||| Fine||:4.00x||||||||Depth|:1.000x||||||| ||||||||||||||||||||Src2||:OFF|||||||||| KeyTrk:|2.00x/oct|||DptCtl:OFF|||||||||| VelTrk:|1.000x||||||MinDpt:1.000x||||||| Pad|||:0dB||||||||||MaxDpt:1.000x||||||| <more||F1|PCH|F2|||||F3|||||F4|AMP|more> Parameter Range of Values Coarse Adjust 0.1, 1.0, 10.0, 100.0, 1000.0 Hertz Fine Adjust...
Page 526: Nonlinear Functions
DSP Functions The DSP Functions There are three DSP functions that add waveforms to a layerÕs 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 527 DSP Functions The DSP Functions ThereÕs more to the High Frequency Stimulator than meets the eye. It works like this: the signal is run through a high-pass Þlter, then through a distortion function, then through a second high- pass Þlter. Finally, itÕs mixed with the original signal after passing through the Þnal AMP stage of the algorithm.
Page 528 DSP Functions The DSP Functions EditProg:F2|DRV(HIFRQ|STIM)<>LAYER:1/1|| Adjust:0dB||||||||||Src1||:OFF|||||||||| ||||||||||||||||||||Depth|:0dB|||||||||| KStart:C|-1|unipola|Src2||:OFF|||||||||| KeyTrk:|0.00dB/key||DptCtl:OFF|||||||||| VelTrk:0dB||||||||||MinDpt:0dB|||||||||| ||||||||||||||||||||MaxDpt:0dB|||||||||| <more||F1|FRQ|F2|DRV|F3|AMP|F4|AMP|more> Parameter Range of Values Adjust –96 to 48 dB Keytrack Start C -1 to C 9 unipolar, C -1 to C 9 bipolar Key Tracking ± 2.00 dB per key Velocity Tracking ±...
Page 529 DSP Functions The DSP Functions Distortion (DIST) Time in milliseconds Sine followed by DIST Distorted Sine wave DIST adjust from -0.2 -30 TO 0 -0.4 -0.6 -0.8 Time in milliseconds SAW followed by DIST Distorted Sawtooth wave DIST adjust from -0.2 -30 to 0 -0.4...
Page 530 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. EditProg:F1|DRV(DIST)||||||<>Layer:1/1|| Adjust:0dB||||||||||Src1||:OFF|||||||||| ||||||||||||||||||||Depth|:0dB|||||||||| KStart:C|-1|unipola|Src2||:OFF|||||||||| KeyTrk:|0.00dB/key||DptCtl:OFF|||||||||| VelTrk:0dB||||||||||MinDpt:0dB|||||||||| Pad|||:0dB||||||||||MaxDpt:0dB|||||||||| <more||F1|DRV|F2|||||F3|||||F4|AMP|more> Parameter Range of Values Adjust –96 to 48 dB Keytrack Start C -1 to C 9 unipolar, C -1 to C 9 bipolar Key Tracking...
Page 531 DSP Functions The DSP Functions 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 -0.2 -0.2 -0.4 -0.4 -0.4 -0.6 -0.6 -0.6 -0.8 -0.8...
Page 532 DSP Functions The DSP Functions As the SHAPER receives input signals, it evaluates the signalÕs level according to its own internal scale. When the SHAPERÕs 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 533 DSP Functions The DSP Functions 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 534 DSP Functions The DSP Functions The following three graphs show the effect of WRAP on a sawtooth wave at the same frequency. -0.2 -0.2 -0.2 -0.4 -0.4 -0.4 -0.6 -0.6 -0.6 -0.8 -0.8 -0.8 Adjust = -30 Adjust = -20 Adjust = 0 With this function you can completely mutilate a sound, and with large amounts of wrap, turn anything into white noise.
Page 535 DSP Functions The DSP Functions Pulse Width Modulation (PWM) Time in milliseconds SINE followed by PWM -0.2 -0.4 PWM Adjust -0.6 from 30 to 70 -0.8 Time in milliseconds SINE -> PWM-> DIST -0.2 -0.4 -0.6 -0.8 DIST gain = 0; PWM Adjust from 30 to 70 Pulse width modulation can produce some classic synth sounds, and can break new sonic...
Page 536: 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 537 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 538: 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 ! AMP x GAIN Amplitude Modulation x AMP This function can be used in the Þnal algorithm block when it mixes two input wires into a single output.
Page 539: 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 AMPMODÕs control-input page. This result determines the balance between the upper and lower wires.
Page 540 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 541: Chapter 17 Funs
Every control source sent from your MIDI controller to the K2600Õs 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 efÞciently.
Page 542: 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 K2600Õs Enter button and move your MIDI controllerÕs 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 543: 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 controllerÕs Mod Wheel and Data slider as you play, and listen to their effects.
Page 544: 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 Þrst six equations are weighted sums and differencesÑthat 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 545 FUNS The FUN Equations 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.
Page 546 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. output output values...
Page 547 (f = a, b) This equation might be called a lag equation. Its effect is to introduce a delay in the K2600Õs response to changes in the value of Input b. It works by Þltering (reducing) higher values of Input b.
Page 548 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 549 0. WeÕll assume the value of Input a is +.5, and the value of Input b is +1. The Þrst time the K2600 evaluates the FUN, the result of the equation is .5 x (+1 - 0), or .5. So the FUNÕs output value after the Þrst evaluation is .5.
Page 550 FUNS The FUN Equations output output output values values values input input input values values values b = 0 a = b a is unipolar b = .5 Figure 17-6 (a + b)^2 sin (a + b), cos (a + b), tri (a + b) These equations are intended to be used with inputs that are sawtooth wavesÑfor example, Input a might be LFO1 with its shape set as a sawtooth.
Page 551: Warp Fun Equations
FUNS The FUN Equations output values input values sin (a + b) a = sine b = 0 Figure 17-8 sin (a + b) Warp FUN Equations The next Þve 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 doesnÕt have to.
Page 552 FUNS The FUN Equations warp2(a, b) We call this equation Slant-square.ª 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 553 This equation, the Period Inverter,ª is based on repeated evaluations of the value of Input b. The K2600 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 554: 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 itÕs within the allowable range. The table below shows some examples of how this works.
Page 555: Random / Chaotic Lfo Funs
FUNS The FUN Equations 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 556: 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 FUNÕs output value.
Page 557 FUNS The FUN Equations output output output values values values input input input values values values diode (a - b) diode (a - b) diode (a - b) b = OFF a = ON a = .5 output output output values values values...
Page 558: 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 K2600 to evaluate FUN1, it wouldnÕt know the current value for FUN2Õs output, so it would evaluate FUN1 according to the previous value of FUN2.
Page 559: Chapter 18 Other Editors
Obj vn.nn. This isnÕt really an intonation table; itÕs simply a convenient place for the K2600 to keep a record of the current version of ROM objects. If you ever need to Þnd out the version of ROM objects loaded into your unit, this is the place to check. Just remember, if youÕre using a nonstandard intonation table, that youÕll need to reset the Intonation parameter...
Page 560 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 561: The Velocity Map Editor
The VelocMap parameter on the TRANSMIT page in MIDI mode affects only the velocity values the K2600 sends to its MIDI Out port. Normally youÕll leave its value set to 1 Linear, especially when youÕre 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 youÕre driving from the K2600.
Page 562: Using The Velocity Map Editor
For example, if youÕre using the map 1 Linear as the value for the VelocityMap parameter, then the K2600 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 563 As an example, letÕs assume that youÕre driving a MIDI slave synth from the K2600Õs MIDI Out port, and you get full-amplitude sounds from the slave, even when you play softly on your MIDI controller. To Þx this, youÕd edit the map to give it a harder bias (or use one of the preset MIDI maps with a hard bias).
Page 564: 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 K2600Õs response to mono pressure messages received from your MIDI controller. Like the velocity maps, pressure maps convert pressure values of 0Ð127 to new values that are sent to the sound engine.
Page 565: Chapter 19 Audio Outputs
There are several ways to get audio output from the K2600. The most common conÞguration is a pair of mono or stereo 1/4-inch cables connecting the Mix outputs of the K2600 to inputs on a mixer or keyboard amp. The Mix outputs carry the sum of all the signals routed to the separate analog outputs (AÐD), including effects.
Page 566: Audio Routing: Programs To Kdfx
EBU format for the output. You can set the output sample rate at 48, 44.1, 32, or 29.6 KHz, or you can slave the K2600 to an external clock via one of the stereo digital inputs. These inputs also enable you to sample digital signals, as described on page 14-8.
Page 567: K2600 With Sampling Option Only
4. Set Input to Analog to enable the Src and Rate parameters. 5. Set Src as needed. Use Int to send the K2600Õs analog Mix output to the digital outs (via the sampler), or use Ext to convert an external analog signalÑreceived at either of the Analog inputsÑto digital before sending it to the digital outs.
Page 568: K2600 With Sampling Option And Digital I/O Option
SampleMode page when Input is set to Digital. Set the Out parameter to A/D, and the K2600 routes its analog Mix output through the sampler before sending it to the stereo digital outs. This converts the signal to analog and back to digital before it reaches the stereo outs.
Page 569: Chapter 20 Programming Examples
Chapter 20 Programming Examples The other chapters in this manual have described the K2600Õs 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 570 Programming Examples Start by selecting Program 199 and pressing Edit. The ALG page will appear. The Þrst task is to change the keymap. Press the KEYMAP soft button to select the KEYMAP page. EditProg:KEYMAP||||||||||||<>Layer:1/1|| |||||||||||||||||||||||||||||||||||||||| KeyMap:17|Trumpet||||||||||||Stereo:Off| Xpose|:0ST||||||||TimbreShift|:0ST|||||| KeyTrk:100ct/key||AltSwitch|||:OFF|||||| VelTrk:0ct||||||||PlayBackMode:Normal||| |||||||||||||||||||||||||||||||||||||||| <more||ALG||||LAYER||KEYMAP|PITCH||more>...
Page 571 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 572: Lowpass Filter, Envelopes
ThatÕs it for Example 1. If you want to save your work, the easiest way is to press Exit. The K2600 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 573 (Obviously, this will have no effect if your MIDI controller doesnÕt send mono pressure.) Now weÕre going to use an envelope to control the sweep of the Þlter. The K2600 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 574: 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 575: Shaper And Panner
Programming Examples HereÕs whatÕs happening. The square wave of the LFO cycles from +1 to -1. Every time this occurs, the random signal generator (RandV1) randomly picks a value which changes the frequency of the parametric EQ. There are lots of ways to set up sample and hold effects, but the FUN is the basic element.
Page 576 Programming Examples Select the KStart parameter and set a value of C 2 Unipolar. This limits the amount of shaping applied to notes above or below C 2, depending on the value of the KeyTrk parameter. Next set the value for the KeyTrk parameter to -0.018x per key. Since weÕre using a negative value, the amount of shaping will decrease with higher notes.
Page 577: 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 K2600 will prompt you to save the keymap. Rename it as Tom, and save it to an unused ID (donÕt replace 168 Silence). Press Exit to return to the Program Editor, and select Layer 2 with the Chan/Bank buttons.
Page 578 Editor (by pressing Edit while the Keymap parameter is highlighted on the EditProg*KEYMAP page), then press the NewRng soft button. The K2600 will prompt you to strike a low and high key on your MIDI controller. Strike C 4 and C 4.
Page 579: 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 K2600 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 580: Using The Kb3 Setup From The Accessory Disk
5. Select a different bank if you wish, then press OK. 6. Press Fill, which determines how the K2600 assigns an ID to the Þle youÕre loading. This loads the Þle into the Þrst available ID in the bank you selectedÑwithout affecting any objects already stored in the bank.
Page 581: Appendix A K2600 Boot Loader
Otherwise, the K2600 will start up normally. The boot loaderÕs menus resemble K2600 dialog boxes. That is, they consist of a series of options and a cursor that is used to select one of the options. You can use the cursor buttons to move the cursor up, down, right, and left.
Page 582 Run System option selected. Use this option to return to normal operation. When you select an option and press OK, the K2600 tries to access the speciÞed drive and scan it for Þles. If it is successful, the following display appears: |||||||||||||||||||||||FILE1.KOS|||||||...
Page 583: Run System
Þll to indicate the progress of the operation. Note that operating system Þles and ROM object Þles are of different formats. If you try to install a Þle using the incorrect menu option, the K2600 will think the Þle is corrupt and will refuse to install it into Flash ROM. If this happens, simply choose the correct menu option from the boot loaderÕs main menu, and repeat the installation.
Page 584 1. Turn down your sound system before beginning diagnostics! 2. Before executing the MIDI UART diagnostic, connect a MIDI cable from the K2600Õs MIDI Out port to its MIDI In port. If you do not do this, the MIDI UART test will fail.
Page 585: Index
K26000 Musician’s Guide Index Index AMP MOD OSC 16-53 AMP U AMP L 16-36 AMPENV page (Program Editor) 6-35 Amplitude envelope Decay segment 6-37 Symbols Natural 6-35 ! AMP 16-54 User 6-35 + SHAPE MOD OSC 16-53 Amplitude envelope parameters 6-37Ð6-38 Amplitude envelopes 6-35 Analog Mix Output 15-19 Numerics...
Page 586 K26000 Musician’s Guide Index Character substitution 3-8 Characters 5-4 Backup 13-67 Choose File Name Function 13-28 Balance and Amp (BAL AMP) 16-36 Chorus 15-41 BAND2 16-22 Clear 14-22 BANDPASS FILTER 16-21 Clicking during portamento 6-34 Bandpass Þlters 16-21 CLIP indicator Bank Select Sampling page 14-3 MIDI Receive page 10-9...
Page 587 K26000 Musician’s Guide Index Crossover1 15-40, 15-48 Dly Coarse 15-42 Crossover2 15-40 Dly Fine 15-42 Cursor buttons 3-4 DlyCrs 15-42 Curve n 15-45 DlyFi 15-42 Double button presses 3-6 Double notch Þlter 16-22 DOUBLE NOTCH W/SEP 16-22 Double shaper 16-48 Data entry 3-5 Double-output algorithm 6-12 DC Offset 15-42...
Page 588 Front panel navigation 3-3 Extended sample loop 14-15 FUN diagram 17-3 Extensions FUN equations 17-3 used by or accepted by the K2600 13-8 FUN page (Program Editor) 6-43 Function soft buttons 6-47 Function Soft Buttons in the Sample Editor 14-10 FUNS...
Page 589 FX Channel 15-29 Hold Through Attack parameter (Layer) 6-22 FX Mode 9-21 Hold Until Decay parameter (Layer) 6-23 FX Mode in Song Mode 15-50 How the K2600 works 1-4 FX Preset 9-3 FX Presets 15-11 FXBus Editor 9-13 FXBus sends 15-7...
Page 590 7-11 L Invert 15-49 K2000 L Out Mode 15-49 bank mode 7-11 L/R Delay 15-49 K2600 Features 1-2 L/R Phase 15-41, 15-47 K2600 Overview 1-2 L/R Pre Dly 15-36 K2600R Only 7-3 Large disk Þles 13-25 KB3 Effects 15-51...
Page 591 K26000 Musician’s Guide Index LoMic A 15-46 Program change formats 10-11 LoMic B 15-46 Program changes 10-14 LOOP 14-17 Receive mode 10-5 Loop Type parameter (AmpEnv) 6-37 Reset channels 10-18 Looping samples 6-26 Sending from front panel 3-10 LOPAS2 16-10 Song recording 12-23 LOPASS 16-8 Transmit parameters 10-1...
Page 592 K26000 Musician’s Guide Index Mono inputs 15-7 loading individually 13-15 Mono sound systems 2-4 Naming 5-3 Monophonic parameter (Common) 6-33 Numbering in memory banks 13-36 Monophonic programs 6-33 RAM 5-2, 5-5 Monopole 15-49 Renaming 5-3 Morph A>B 15-39 ROM 5-2, 5-4 Move saving individually 13-26 on Object Utilities page 11-14...
Page 593 EQ 15-7 Program change type 10-6 Keymap 6-23Ð?? Program changes Layer 6-19Ð6-23 Extended 10-12 LFO 6-41Ð6-42 Kurzweil 10-13 Source 15-24 MIDI 10-3, 10-14, 10-15 Velocity triggers 6-44 Quick Access banks 10-14, 10-15 Parametric EQ 16-25 Quick Access mode 8-1 Parametric equalizer 15-38...
Page 594 K26000 Musician’s Guide Index FXMOD2Ð4 pages 6-46 ImportKDFX page 6-46 R Diff Dl 15-38 KDFX page 6-44 R Invert 15-49 KEYCLK page 6-54 R Out Mode 15-49 KEYMAP page 6-23 RAM objects 5-2, 5-5 LAYER page 6-19 Random/Chaotic LFO FUN equations 17-15 LFO page 6-40 Rate 14-3 MISC page 6-57...
Page 595 K26000 Musician’s Guide Index Roto InOut 15-46 tutorial 12-1 Rvrb Time 15-36 using KDFX with 15-29, 15-32 Set drawbars 6-51 Set Range (SetRng) soft button 6-47 Setting FXBus levels 9-13 Setting layer range 6-47 Safety precautions 2-3 Setting Up For Sampling 14-1 Sample 14-5 Setup button 5-8 Sample and Hold (FUNs) 20-6...
Page 596 K26000 Musician’s Guide Index physical controllers 7-22 Songs RIBBON Page 7-29 Memory limits 12-23 Save Soft Button 7-45 Recording 3-12 Scale 7-26 Recording via MIDI 12-23 Selecting via MIDI 10-14, 10-15 Synchronizing 12-20 SLIDER and SLID/2 Pages 7-28 Sostenuto Pedal parameter (Layer) 6-22 SONG 7-35 Sound Retrieval System 15-48 Status 7-9...
Page 597 Using the modes 4-3 Tempo within an FX Preset 15-32 Using the Velocity Map Editor 18-4 Tempo-based control of KDFX 15-32 Using your K2600 in a SCSI System 13-4 Terminating SCSI devices 13-3 Utilities 11-11 Thin Song Mode TRACK Page 12-58...
Page 598 Wet Bal 15-37 Wet/Dry 15-47 Wet/Dry control 9-13 Wet/Dry parameter 15-35 WHEEL Page Setup Mode 7-31 Wind controller controlling K2600 with 11-12 ÒwiresÓ 6-12 World-Wide Web 2-10 WRAP 16-49 x AMP 16-54 x GAIN 16-54 x SHAPE MOD OSC 16-53...

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