Kurzweil K2600 - MUSICIANS GUIDE REV A PART NUMBER 910330 CHAP 15 Manual page 36

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.
In/Out enables or disables the effect. ItÕs like a Wet/Dry parameter with only two positions:
100% (In) and 0% (Out).
HF Damping is the cutoff (-3 dB) frequency of a 6dB/octave lowpass Þlter thatÕs inserted before
the processor. In the case of processors where multiple iterations of the signal are heard, such as
in a delay, each iteration of the signal will pass through the Þlter, and will therefore be duller.
XCouple (Cross Couple). In stereo effects, this controls how much of any signal that is being fed
back goes to the channel opposite to the one where it Þrst appeared. At 100%, all feedback from
signals at the left input goes to the right channel, and vice versa, causing a ÒspreadingÓ or in the
case of delay lines, a ping-pong effect. At 0%, fed-back signals stay with the channel they came
in on.
A->B cfg (conÞguration). In combination algorithms that contain two components, and whose
name uses <>, as in 713 Flange<>Shaper, the order in which the signal passes through the two
components can be changed. For example, this algorithm can be conÞgured so the signal passes
through the reverb Þrst and then the compressor, or through the compressor Þrst and then the
reverb. The A->B cfg parameter determines the conÞguration, and its value is context-
sensitiveÑin this example, the choices would be Rvb->Cmp and Cmp->Rvb.
A/Dry->B is also found in many combination algorithms, and controls the amount of signal that
will pass dry (unprocessed) through the Þrst component into the second component. Different
combination algorithms use different variations on this parameter, depending on the context.
The range is 0 to 100%.
Reverbs
Room Type changes the conÞguration of the algorithm to simulate a wide array of room types
and sizes including booths, small rooms, chambers, halls and large spaces can be selected. Use
this parameter to choose different types of reverbÑif all other parameters remain at their
nominal values, what you get when you change this parameter will always sound great.
Because this parameter changes the structure of the reverb algorithm, it cannot be assigned an
FXMod. Room types in different algorithms with similar names do not necessarily sound the
same.
Rvrb Time is the RT
in seconds. It is accurate assuming that several other parameters (HF Damping, Diff Scale, Size
Scale, and Density) are at their nominal levels. It is adjustable up to Inf, which creates an
inÞnitely-sustaining reverb.
LateRvbTim adjusts the basic decay time of the late portion of the reverb after diffusion.
L/R Pre Dly (PreDelay) is the time between the start of a sound and the output of the Þrst reverb
reßections from that sound. Longer predelays can help make larger spaces sound more realistic.
Longer times can also help improve the clarity of a mix by separating the reverb signal from the
dry signal, so the dry signal is not obscured.
EarRef Lvl adjusts the mix level of the early reßection portion of algorithms offering early
reßections.
Late Lvl adjusts the mix level of the late reverb portion of algorithms offering early reßections.
Diff Scale scales the diffusion of the early reßections, that is, how spread out they are as a group
over time. At very low settings, the early reßections start to sound quite discrete, and at higher
15-36
Ñthe time it takes for the reverb to decay to 60 dB below its initial levelÑ
60