Page 1 © Young Chang Co., Ltd. 2002. All rights reserved. Permission is granted to reprint up to two copies of this manual for personal use. Kurzweil ® is a product line of Young Chang Co., Ltd. Young Chang®, Kurzweil ® , V. A. S. T. ®, KDFX®, Pitcher®, and LaserVerb®, KSP8 ™, K2600™, K2500™, and K2000™...
Page 2: Young Chang International Contacts
Young Chang International Contacts Contact the nearest Young Chang ofﬁce listed below to locate your local Young Chang/ Kurzweil representative. Young Chang America, Inc. P.O. Box 99995 Lakewood, WA 98499-0995 Tel: 1-253-589-3200 Fax: 1-253-984-0245 Young Chang Co., Ltd. 178-55 Gajwa-Dong...
Page 3: Table Of Contents
Table of Contents Young Chang International Contacts ......ii Introducing KDFX Version 2 ........1-1 Overview .
Page 4 AuxFX Bus ..........2-8 Outputs .
Page 5: Introducing Kdfx Version 2
Chapter 1 Introducing KDFX Version 2 Overview KDFX V2 gives you more control than ever over the effects in each studio, through several enhancements: • You can assemble chains of up to four FX Presets on an FXBus. • You have access to 26 new KDFX algorithms (29 for K2500). •...
Page 6: Additions And Changes To Effects Mode Pages
Introducing KDFX Version 2 Additions and Changes to Effects Mode Pages Additions and Changes to Effects Mode Pages Prior to V2, there was a single Effects Mode page, which was responsible primarily for setting the FX Mode and FX Chan parameters. This pair of parameters affected how the K2600/K2500 selected studios when you changed programs, setups, or songs.
Page 7: Main Page
Introducing KDFX Version 2 MAIN Page MAIN Page The KDFXMode:MAIN page gives you a summary view of the current effects conﬁguration, including the current studio, the FX Presets assigned to each of the ﬁve effects buses, and the bypass status of each bus. Figure 1-1 Effects mode: the KDFXMode:MAIN page As with every other page, the top line of the KDFXMode:MAIN page identiﬁes the page you’re...
Page 8: Soft Buttons In Effects Mode
Introducing KDFX Version 2 MAIN Page Soft Buttons in Effects Mode The MAIN button takes you to the KDFXMode:MAIN page, where you can view the current studio and the FX Presets assigned to the ﬁve KDFX buses. The CTRL button takes you to the KDFXMode:CTRL page, which contains parameters that determine which studio gets selected when you select a program, setup, or song.
Page 9: Effects Bus Editor
Introducing KDFX Version 2 Effects Bus Editor Effects Bus Editor The revised FXBus Editor lets you create effects Preset chains on any of the four stereo effects buses. See page 1-11 for more information about chaining effects. qWWWWT ©!!!!!!!!!!!!!!!!!!!!!!!!!!!h CVVVVB Figure 1-2 Effects Bus Editor display -- single effect qWWWWT...
Page 10: Effects Send Page
Introducing KDFX Version 2 Effects Send Page Effects Send Page The FXSEND page lets you send the output of each stereo effects bus to the stereo mixdown and auxiliary buses. In KDFX V1, these sends were on the EditStudio:FXBUS page. |||||!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!h 0wwwwt 0wwwwt...
Page 11: The Ctrl Page
Introducing KDFX Version 2 The CTRL Page The CTRL Page The CTRL page is where you set a variety of important parameters for KDFX, including the Effects Control Mode (FXCtrl) for the current studio; this parameter was known as FX Mode in KDFX V1, and its function is the same in KDFX V2.
Page 12: Bypass And Mute Pages
Introducing KDFX Version 2 Bypass and Mute pages Bypass and Mute pages In KDFX V1, you could perform a global bypass by pressing the Effects button while inside an editor. You could not bypass effects outside of an editor. With KDFX V2, you can bypass effects buses, inside or outside of an editor, by pressing the Effects button followed by either the BypAll soft button or one of the Chan/Bank buttons.
Page 13: The Eqbyp Page
Introducing KDFX Version 2 Bypass and Mute pages The EQBYP Page Figure 1-6 EQ Bypass Page The MAIN soft button takes you to the KDFXMode:MAIN page. The soft buttons EQ A, EQ B, EQ C, and EQ D toggle the bypass/active status for the EQ on the corresponding input buses. The EQBYP page looks a little different when there are mono inputs to the studio.
Page 14: The Bus Mute Page
Introducing KDFX Version 2 Bypass and Mute pages The Bus Mute Page Figure 1-9 Bus Mute Page The MAIN soft button takes you to the KDFXMode:MAIN page. The soft buttons FXBus1–FXBus4 and AuxFX toggle the mute/active status for the corresponding input buses. 1-10...
Page 15: Chaining Effects
Introducing KDFX Version 2 Chaining Effects Chaining Effects One of the most powerful new features in KDFX V2 is effects chaining, which allows you to send a signal through four consecutive KDFX effects. The screen below shows an example of this: qWWWWT qwwwwt...
Page 16: Gain Staging In Effects Chains
Introducing KDFX Version 2 Chaining Effects Use the left and right cursor buttons to select each block. When a block is selected, move the alpha wheel or press the + or - buttons to select a different FX Preset (you can also change the Preset by cursoring to the full name of the Preset after the FX: label).
Page 17: Kdfx V2 Objects
Introducing KDFX Version 2 KDFX V2 Objects KDFX V2 Objects Listed below are the new KDFX Objects added with version 5.xx (K2500) or 3.xx (K2600) of the Base Objects ﬁle. These include new FX Algorithms, Presets, and Studios added to the K2500/K2600 with the new object ﬁles.
Page 18: Additional Fx Studios New To K2500
Introducing KDFX Version 2 KDFX V2 Objects Additional FX Studios new to K2500 167 auxChorEnvF Hall 182 auxFlgChDl Hall 168 auxChRvEncr Chor 183 auxDstLsr CDR 169 auxChrDstEQ Room 184 CPDlEnFltCmpGtRv 170 aux ChDlSRS Hall 185 RotoOrgFX2 Hall 171 aux EQFlng DstEQ 186 ChDlFlPtLzVb Plt 172 auxFlngPhsr Lasr 188 CDR FlgRvb Hall...
Page 19: New Fx Presets
Introducing KDFX Version 2 KDFX V2 Objects New FX Presets 104 Cool Dark Place 793 Very Nazty Rotor 105 Gunshot Verb 794 80's Funk Guitar 106 Rvrb Compression 795 Mean 70'sFunkGtr 107 Snappy Drum Room 796 Crunch Guitar 108 Roomitizer 797 Classic Gtr Dist 109 Live To Tape 798 SaturatedGtrDist...
Page 20: Additional Fx Presets New To K2500
Introducing KDFX Version 2 KDFX V2 Objects Additional FX Presets new to K2500 11 Viewing Booth 817 Non-Linear 846 Flange Echo 122 Reverse Reverb 2 818 Slapverb 847 Rotary Club 196 Static Phaser 819 Full Bass 848 Rotary Hall 782 VibrChrDstRotor1 820 Room + Delay 849 Chorus 783 VibrChrDstRotor2...
Page 21: A Tour Of Kdfx V2
Chapter 2 A Tour of KDFX V2 Let’s take a tour through several KDFX V2 studios. After you do this, you should have a pretty good idea of what it’s like to work with Effects mode. Note: If you have a K2600, the information in this chapter replaces the information on 9-12 through 9-26 in the Rev.
Page 22: A Simple Studio
A Tour of KDFX V2 A Simple Studio A Simple Studio Call up Program #199 on your K2600/K2500. In Program mode, either scroll the Alpha wheel to Program 199 Default Program, or press 1-9-9-Enter on the Alphanumeric pad. Now go into Effects mode by pressing the Effects button, and you’ll see this page: Aux|| 199|No Effect |||||| ||||-| Size:0 Now press the CTRL soft button.
Page 23: The Input Page
A Tour of KDFX V2 A Simple Studio delays. These parameters are called “bus overrides,” because they override parameters which are actually inside the FX preset itself—these parameters can be adjusted from inside the FX preset, or they can be set from out here, where they are much more convenient. If you change FX presets, these values change, because their values inside the various FX presets are all different.
Page 24: The Fxsend Page
A Tour of KDFX V2 A Simple Studio The S at the upper left says that the Input A is being handled as a stereo feed; this can be changed to two mono feeds. The P means that the stereo feed has a Pan control; you can choose to make this a Balance control instead, by setting this parameter to SB.
Page 25: The Auxfx Page
A Tour of KDFX V2 A Simple Studio The AUXFX Page Press the AUXFX soft button. This page appears: ||||qWWWWWWWWWWWWWWWWWWWWWW||||qwwwwt|!h !!!!k g!|| |||||||||||||||||||||||||||||||CVVVVB||| This is the Global AUXFX page, and shows us what is happening on the Auxiliary effects bus. The Aux bus is a second processor, which follows the four insert FXBuses.
Page 26: A More Complex Studio
A Tour of KDFX V2 A More Complex Studio Here’s a diagram of what this studio looks like: Big Chamber 4 Tap BPM Physical +3.5dB Program output A output A -6dB -4.5dB Output B Figure 2-1 Structure of Studio 200* A More Complex Studio Press Exit as many times as necessary to get to Program mode.
Page 27: Fxbus2
A Tour of KDFX V2 A More Complex Studio These overrides (that is, which parameters are available, and their values) are stored as part of the studio, not as part of the FX preset, and therefore you don’t have to create new FX presets just because you want to change a couple of parameters.
Page 28: Auxfx Bus
A Tour of KDFX V2 A More Complex Studio This input is conﬁgured to be stereo. It has a large bass boost: 12.0 dB of everything at 370 Hz and below, which adds a strong low-frequency emphasis to the signal being ring-modulated. Its signal is being sent only to the ﬁrst FXBus.
Page 29: Outputs
A Tour of KDFX V2 A More Complex Studio Outputs Finally, press the OUTPUT soft button to get to the OUTPUT page. Here we see that the four physical output pairs are each passing different parts of the studio. If the outputs are connected to an external mixer, you can treat each of them separately: recording them on different tracks of a tape deck, sending them to different outboard processors, or mixing them differently in a monitor mix.
Page 30: Chaining Effects
A Tour of KDFX V2 Chaining Effects Chaining Effects Now we’ll see how you can employ multiple effects on a single bus using the new chaining feature in KDFX V2. Start in Program Mode by highlighting Program 199 Default Program, then pressing the Effects button.
Page 31 A Tour of KDFX V2 Chaining Effects We’ll now add phaser and reverb effects to the chain: Use the cursor keys to highlight the second effects block, then select Preset 191 Slow Deep Phaser: qwwwwt qWWWWT g!!!k ©!!!!!!!!!!!!!!!!!!!h CVVVVB CVVVVB Press Add again to add another effects block.
Page 32 A Tour of KDFX V2 Chaining Effects chain, since you have now maximized your PAU usage. If you’d like to have four effects on the chain, you’ll have to select only effects that use a single PAU. (You’ll also have to remove the empty effects block from FXBus 3 so that it will be available for FXBus 1.) Keep in mind, however, that you can still send the output of this chain to an effect on the Aux bus, which allows effects using up to 3 PAUs.
Page 33: A Complex Studio With Real-Time Control
A Tour of KDFX V2 A Complex Studio with Real-Time Control A Complex Studio with Real-Time Control The ﬁnal studio we’ll look at is a bit more complex, not least because it’s under real-time control. Getting real-time control of a studio requires doing some advance work. Most noticeably, you have to create a program or setup that uses a particular studio, then deﬁne a set of FXMods in that program or setup.
Page 34: Looking At The Studio
A Tour of KDFX V2 A Complex Studio with Real-Time Control Looking at the Studio Starting from SetupMode, press Edit, then more> three times. Now press the KDFX soft button to view the studio. The name of the studio associated with this setup, 202*Complex, appears. Highlight the studio’s name and press Edit, and let’s dig into this studio.
Page 35: Setting Up Fxmods
A Tour of KDFX V2 A Complex Studio with Real-Time Control Setting Up FXMods How do you set up FXMods? That’s back on the KDFX page in the Setup Editor. Exit the Studio Editor (if you have made any changes, don’t save them—that will only confuse things!), then press the KDFX soft button.
Page 36 A Tour of KDFX V2 A Complex Studio with Real-Time Control If you now go inside the FX Preset (by pressing Edit), you’ll see that the left and right feedback levels (“Fdbk Lvl”) are under FXMod control: Press PARAM2, you’ll see that the Left and Right LFO Rates are also under FXMod control. Go back out of the FXPreset and the Studio, to the Setup’s KDFX page, by pressing Exit twice.
Page 37 A Tour of KDFX V2 A Complex Studio with Real-Time Control FXBus 3 Press Edit, then use the Chan/Bank buttons to select FXBus 3. Here’s where our breathy ﬂute sound is, and it’s going through a delay FXPreset called 207*Adj Delay. qWWWWT ©!!!!!!!!!!!!!!!!!!!!!!!!!!!h CVVVVB...
Page 38 A Tour of KDFX V2 A Complex Studio with Real-Time Control And in Conclusion... Here’s a summary of the FXMods in our complex studio with real-time control: • Soft pedal puts compression on the bass and drums. • Slider F controls the feedback on the chorus on the piano/string pad. Slider E controls the LFO speed on that chorus.
Page 39: A Note About Effects In Setups
A Tour of KDFX V2 A Note About Effects in Setups A Note About Effects in Setups This applies primarily to K2600R/K2500R users who are playing their units with a conventional MIDI keyboard. In order to play setups, which normally require a multi-zoned/multichannel keyboard like the K2600 or PC2, the K2600R/K2500R includes a parameter called Local Keyboard Channel (LocalKbdCh), found on the MIDI Mode RECEIVE page.
Page 40: Building Your Own
A Tour of KDFX V2 Building Your Own Building Your Own Now that we’ve walked you through a complex studio, here are some hints on how to go about building your own. First, you want to decide whether you want the studio to be static, or to be dynamic under FXMod control from the K2600/K2500 keyboard and/or an external MIDI source.
Page 41: Algorithm Reference
Algorithm Reference Chapter 3 Algorithm Reference This chapter provides complete reference information for the new algorithms included in KDFX V2. This information is in addition to the algorithm information provided in Chapter 10 of your K2600 Musician’s Reference or your K2500 KDFX Algorithm Reference.
Page 42: Degen Regen Bpm
Algorithm Reference Degen Regen BPM 138 Degen Regen BPM Long delay allowing loop instability PAUs: 4 each Degen Regen BPM starts as a simple mono delay line with feedback. However with the Fdbk Gain and Dist Drive parameters, the algorithm can be pushed hard into instability. When Degen Regen BPM is unstable, your sound gets a little louder on each pass through the delay line.
Page 43 Algorithm Reference Degen Regen BPM L Output Level L Input Level R Output Delay Compressor Distortion Filters R Input Feedback Figure 1 Degen Regen BPM Parameters: Page 1 Wet/Dry -100 to 100%wet Out Gain Off, -79.0 to 24.0 dB Loop Gain Off, -79.0 to 24.0 dB Tempo System, 1 to 255 BPM...
Page 44 Algorithm Reference Degen Regen BPM Page 3 LpLFODepth 0.0 to 230.0 ct Tap1 Delay 0 to 32 bts LpLFOPhase 0.0 to 360.0 deg Tap1 Level 0 to 100 % T1LFODepth 0.0 to 230.0 ct Tap1 Pan -100 to 100% T1LFOPhase 0.0 to 360.0 deg Tap2 Delay 0 to 32 bts...
Page 45 Algorithm Reference Degen Regen BPM LoopLength The delay length of the feedback tap. If feedback is turned up from 0%, this parameter sets the repeating delay loop length. In Degen Regen BPM, the loop length is speciﬁed as a fraction or multiple of the tempo, in “beats.” The length of a delay loop in seconds can be calculated from beats as T = (beats/tempo) 60.
Page 46 Algorithm Reference Degen Regen BPM TnLFODepth The output delay taps (1 and 2) will have their positions modulated by an LFO (internal to the FX processor) if the TnLFODepth parameter is non-zero. A moving tap on a delay line will result in a pitch shift, and TnLFODepth sets the maximum pitch shift (up and down) in cents.
Page 47: Switch Loops
Algorithm Reference Switch Loops 139 Switch Loops Looped delay lines with input switching PAUs: Switch Loops allows you to run up to four parallel recirculating delay lines of different lengths, switching which delay line(s) are receiving the input signal at a given moment. The stereo input is summed to mono and sent to any of the four delay lines.
Page 48 Algorithm Reference Switch Loops Parameters: Page 1 Dry In/Out In or Out Out Gain Off, -79.0 to 24.0 dB Dry Gain Off, -79.0 to 24.0 dB Tempo System, 1 to 255 BPM Fdbk Kill On or Off -100 to 100 % Max Fdbk On or Off HF Damping...
Page 49 Algorithm Reference Switch Loops DlySelectn You select which delay lines (A, B, C, or D) receive the mono input signal with the DlySelect (1, 2, 3, or 4) parameters. Since there are four delay lines, you can turn on none, 1, 2, 3, or 4 of the delay lines.
Page 50: Moving Delay
Algorithm Reference Moving Delay 140 Moving Delay Generic stereo moving delay lines PAUs: Moving Delay is identical to Dual MovDelay except that the algorithm now has stereo controls rather than dual mono. This means all the controls except L Pan and R Pan are no longer dual left and right but are ganged into single controls controlling both left and right channels.
Page 51: Allpass Phaser 3
Algorithm Reference Allpass Phaser 3 161 Allpass Phaser 3 Allpass ﬁlter phasers PAUs: The allpass phasers are algorithms that use allpass ﬁlters to achieve a phaser effect. These algorithms do not have built in LFOs, so like Manual Phaser, any motion must be supplied with an FXMod. Unlike the other phasers, the allpass phasers use high order allpass ﬁlters.
Page 52 Algorithm Reference Allpass Phaser 3 By adding the phaser output to the dry input using, for example, a Wet/Dry parameter, you can produced peaks and notches in the frequency response. At frequencies where the phaser is “in phase” with the dry signal, the signal level doubles (or there is a 6 dB level increase approximately).
Page 53: Vc+Dist+1Rotor 2
Algorithm Reference VC+Dist+1Rotor 2 Rotary Effects 738 VC+Dist+1Rotor 2 739 VC+Dist+HiLoRotr 740 VC+Tube+Rotor 4 741 Rotor 1 742 VC+Dist+HiLoRot2 Rotating speaker algorithms PAUs: 1 for Rotor 1 2 each for VC+Dist+1Rotor 2, VC+Dist+HiLoRotr, and VC+Dist+HiLoRot2 4 for VC+Tube+Rotor 4 ® The rotary algorithms contain multiple effects designed for the Hammond B3 emulation (KB3 mode).
Page 54 Algorithm Reference VC+Dist+HiLoRot2 For the rotating speakers, you can control the crossover frequency of the high and low frequency bands (the frequency where the high and low frequencies get separated). The rotating speakers for the high and low frequencies have their own controls. For both, the rotation speed, the effective driver size, and tremolo can be set.
Page 55 Algorithm Reference VC+Dist+HiLoRot2 Parameters (VC+Dist+1Rotor 2): Page 1 In Gain Off, -79.0 to 24.0 dB In/Out In or Out Out Gain Off, -79.0 to 24.0 dB VibChInOut In or Out Dist Drive 0.0 to 96.0 dB Vib/Chor DistWarmth 8 to 25088 Hz Roto InOut In or Out Cabinet LP...
Page 56 Algorithm Reference VC+Dist+HiLoRot2 L Output L Input Rotator Out Gain Vibrato/ Distortion Mic Levels Chorus Out Gain Rotator R Input R Output L Output L Input Rotator Out Gain Vibrato/ Distortion Mic Levels Chorus Out Gain Rotator R Input R Output Figure 7 VC+Dist+HiLoRotr and VC+Dist+HiLoRot2 Parameters (VC+Dist+HiLoRotr and VC+Dist+HiLoRot2):...
Page 57 Algorithm Reference VC+Dist+HiLoRot2 Page 2 Xover 8 to 25088 Hz Lo Rate -10 to 10 Hz Hi Rate -10 to 10 Hz Lo Size 0 to 250 mm Hi Size 0 to 250 mm Lo Trem 0 to 100% Hi Trem 0 to 100% Hi Beam W 45.0 to 360.0 deg...
Page 58 Algorithm Reference VC+Dist+HiLoRot2 L Input L Output Out Gain Rotator Cabinet Levels Out Gain R Output R Input Figure 8 Rotor 1 Parameters (Rotor 1): Page 1 In/Out In or Out In Gain Off, -79.0 to 24.0 dB Out Gain Off, -79.0 to 24.0 dB Cabinet LP 8 to 25088 Hz...
Page 59: Vc+Tube+Rotor 4
Algorithm Reference VC+Dist+HiLoRot2 VC+Tube+Rotor 4 faithfully models the response and smooth distortion caused by overloading a vacuum tube circuit. Parameters (VC+Tube+Rotor 4): Page 1 (VC+Tube+Rotor 4) In/Out In or Out In Gain Off, -79.0 to 24.0 dB VibChInOut In or Out Out Gain Off, -79.0 to 24.0 dB Vib/Chor...
Page 60 Algorithm Reference VC+Dist+HiLoRot2 Roto InOut When set to In the rotary speaker is active; when set to Out the rotary speaker is bypassed. Dist Drive or Applies a boost to the input signal to overdrive the distortion algorithm. When Tube Drive overdriven, the distortion algorithm will soft-clip the signal.
Page 61 Algorithm Reference VC+Dist+HiLoRot2 Lo Size The effective size (radius of rotation) of the rotating woofer in millimeters. Affects the amount of Doppler shift or vibrato of the low frequency signal. Lo Trem Controls the depth of tremolo of the low frequency signal. Expressed as a percentage of full scale tremolo.
Page 62: Subtle Distort
Algorithm Reference Subtle Distort 743 Subtle Distort Adds small amount of distortion to signal. PAUs: Use Subtle Distort to apply small amounts of distortion to a signal. The distortion characteristic is set with the Curvature and EvenOrders parameters. Increasing Curvature increases the distortion amount while EvenOrders increases the asymmetry of the distortion, adding even distortion harmonics.
Page 63: Quantize+Alias
Algorithm Reference Quantize+Alias 744 Quantize+Alias Digital quantization followed by simulated aliasing. PAUs: The Quantize+Alias algorithm offers some of the worst artifacts that digital has to offer! Digital audio engineers will go to great lengths to remove, or at least hide the effects of digital quantization distortion and sampling aliasing.
Page 64 Algorithm Reference Quantize+Alias Clearly a one-bit word gives a very crude approximation to the original signal while four bits is beginning to do a good job of reproducing the original decaying sine wave. When a good strong signal is being quantized (its word length is being shortened), quantization usually sounds like additive noise.
Page 65 Algorithm Reference Quantize+Alias In the Quantize+Alias algorithms, we do not actually sample the incoming signal at a lower rate. Instead we use a special modulation algorithm to simulate the effect of pitches falling when they should be rising. The Pitch (coarse and ﬁne) parameters roughly correspond to setting the Nyquist frequency. Higher pitches result in modulating your input signal with higher frequencies.
Page 66: Pitcher+Miniverb
Algorithm Reference Pitcher+MiniVerb 745 Pitcher+MiniVerb Combination algorithm of Pitcher followed by MiniVerb PAUs: Pitcher+MiniVerbis Pitcher followed by MiniVerb. Pitcher applies a ﬁlter to the signal, the ﬁlter having a regular series of peaks in its frequency response which generally imposes a pitch on the input signal. The MiniVerb reverb is then applied to the “pitched”...
Page 67 Algorithm Reference Pitcher+MiniVerb Page 3 Pch/Dry>Rv 0 to 100 % Rv Type Hall1, ... Rv Time 0.5 to 30.0 s, Inf Rv DiffScl 0.00 to 2.00x Rv Density 0.00 to 4.00x Rv SizeScl 0.00 to 4.00x Rv HFDamp 8 to 25088 Hz Rv PreDlyL 0 to 620 ms Rv PreDlyR...
Page 68 Algorithm Reference Pitcher+MiniVerb Rv HFDamp Reduces high frequency components of the reverb above the displayed cutoff frequency. Removing higher reverb frequencies can often make rooms sound more natural. Rv PreDlyL/R The delay between the start of a sound and the output of the ﬁrst reverb reﬂections from that sound.
Page 69: Reverb+Compress
Algorithm Reference Reverb+Compress 746 Reverb+Compress A reverb and compressor in series. PAUs: Reverb+Compress is conﬁgured as a reverb followed by a compressor. The reverbs used are the same as MiniVerb. The compressor is a soft-knee compressor and can be conﬁgured as a feed-forward or feedback compressor.
Page 70 Algorithm Reference Reverb+Compress time controls how long it takes the compressor to respond to a reduction in signal levels. At long release times, the signal may stay compressed well after the signal falls below threshold. At short release times, the compressor will open up almost as soon as the signal drops. For typical compressor behavior, the attack time is considerably shorter than the release time.
Page 71 Algorithm Reference Reverb+Compress In/Out When set to In the overall algorithm is active; when set to Out the algorithm is bypassed. ReverbW/D This is a simple mix of the reverb input (dry) with the reverb output (wet) to produce the ﬁnal reverb output.
Page 72: St Chorus+Delay
Algorithm Reference St Chorus+Delay 781 St Chorus+Delay 784 St Flange+Delay Combination effect algorithms using time/frequency units instead of tempo PAUs: 1 or 2 The algorithms listed here are identical in most respects to combination effects elsewhere documented. For example, St Chorus+Delay is closely based on Chorus+Delay. The difference for algorithms with “St” in the name is that they use stereo controls (ganged controls) rather than dual mono controls for the chorus and ﬂange components of the algorithms.
Page 73: Gate+Cmp[Eq]+Vrb
Algorithm Reference Gate+Cmp[EQ]+Vrb 790 Gate+Cmp[EQ]+Vrb Combination algorithm designed for vocal processing. PAUs: 4 each This algorithm is provided with vocal processing in mind. It includes a gate followed by a compressor and a reverb. Equalization is included as part of the compressor’s side-chain processing. Side-chain equalization allows some interesting processing possibilities including “de-essing”...
Page 74 Algorithm Reference Gate+Cmp[EQ]+Vrb Page 3 Comp Atk 0.0 to 228.0 ms Comp Ratio 1.0:1 to 100:1, Inf:1 Comp Rel 0 to 3000 ms Comp Thres -79.0 to 0.0dB CompSmooth 0.0 to 228.0 ms CompMakeUp Off, -79.0 to 24.0 dB CompSigDly 0.0 to 25.0ms Page 4 CmpSCBassG...
Page 75 Algorithm Reference Gate+Cmp[EQ]+Vrb Gate Atk The time for the gate to ramp from closed to open (reverse if Gate Duck is on) after the signal rises above threshold. Gate Rel The time for the gate to ramp from open to closed (reverse if Gate Duck is On) after the gate timer has elapsed.
Page 76 Algorithm Reference Gate+Cmp[EQ]+Vrb speciﬁed frequency. Negative values cut the signal at the speciﬁed frequency. CmpSCMidF, Mid Freq The center frequency of the parametric mid ﬁlter in intervals of one semitone. The boost or cut will be at a maximum at this frequency. CmpSCMidW, Mid Width The bandwidth of the side chain parametric mid ﬁlter may be adjusted.
Page 77: Gate+Tubeamp
Kurzweil engineers. It is adjusted with the Bass Tone, Mid Tone, and Treb Tone controls with values ranging from 0 to 10 commonly found on many guitar amps. The ﬂattest frequency response is obtained by setting Mid Tone to 10, and both Bass and Treb Tone controls to 0.
Page 78 Algorithm Reference Gate+TubeAmp Basic Flat response from 100 Hz to 4 khz with 24dB/oct rolloffs on each end Lead 12 Open back hard American type with one 12” driver 2x12 Closed back classic American type with two 12” drivers Open 12 Open back classic American type with one 12”...
Page 79 Algorithm Reference Gate+TubeAmp Gate Duck When set to Off, the gate opens when the signal rises above threshold and closes when the gate time expires. When set to On, the gate closes when the signal rises above threshold and opens when the gate time expires. Gate Time The time in seconds that the gate will stay fully on after the signal envelope rises above threshold.
Page 80: Revrse Laserverb
Algorithm Reference Revrse LaserVerb 914 Revrse LaserVerb A bizarre reverb which runs backwards in time. PAUs: Revrse LaserVerb is a mono effect that simulates the effect of running the LaserVerb in reverse. When you play a sound through the algorithm, it starts out relatively diffuse then builds to the ﬁnal “hit.” Since KDFX cannot break the universal rules of causality (sorry, KDFX doesn’t know what you are about to play!), there can be a signiﬁcant delay between what you play and when you hear it.
Page 81 Algorithm Reference Revrse LaserVerb L Input Contour L Output Delay R Output "Dry" Out Gain R Input Figure 18 Revrse LaserVerb Parameters: Page 1 Wet/Dry 0 to 100 %wet Out Gain Off, -79.0 to 24.0 dB Rvrs W/D 0 to 100 %wet -100 to 100 % Page 2 Dly Coarse...
Page 82 Algorithm Reference Revrse LaserVerb Contour Controls the overall envelope shape of the reverb. When set to a high value, sounds start at a high level and build slowly to the ﬁnal “hit.” As the control value is reduced, sounds start lower and build rapidly to the ﬁnal “hit.” 3-42...
Page 83: Gated Laserverb
Algorithm Reference Gated LaserVerb 915 Gated LaserVerb The LaserVerb algorithm with a gate on the output. PAUs: Gated LaserVerb is LaserVerb Lite with a gate on the output. For a detailed explanation of LaserVerb see the section for LaserVerb Lite. The gate controls are covered under Gate. Signal routings between the inputs, the LaserVerb, the gate, and the outputs are described here.
Page 84 Algorithm Reference Gated LaserVerb Page 3 Gate Thres -79.0 to 0.0 dB Gate Time 25 to 3000 ms Gate Duck On or Off Gate Atk 0.0 to 228.0 ms Gate Rel 0 to 3000 ms GateSigDly 0.0 to 25.0 ms |||||||||||||||||||||||||||||| Reduction Wet/Dry...
Page 85 Algorithm Reference Gated LaserVerb Gate Thresh The signal level in dB required to open the gate (or close the gate if Ducking is on). Gate Duck When set to Off, the gate opens when the signal rises above threshold and closes when the gate time expires.
Page 86: Poly Pitcher
Algorithm Reference Poly Pitcher 916 Poly Pitcher Creates pitch from pitched or non-pitched signal—twice. PAUs: Poly Pitcher is closely based on Pitcher, and most of the features of Poly Pitcher are covered in the section on Pitcher. Poly Pitcher is really just a pair of Pitcher algorithms (A and B) using the same inputs and summing to the same outputs.
Page 87 Algorithm Reference Poly Pitcher Pitch A, B The fundamental pitch imposed upon the input expressed in semitone scale intervals. Pitcher A and pitcher B may be set independently. PchOff AL An offset from the pitch frequency in semitones. Not only are the A and B pitchers PchOff AR treated separately, the left and right channels have their own controls for increased PchOff BL...
Page 88: Frequency Offset
Algorithm Reference Frequency Offset 917 Frequency Offset 918 MutualFreqOffset Single Side Band Modulation PAUs: Frequency Offset and MutualFreqOffset perform single side band (SSB) modulation. Essentially what this means is that every frequency component of your input sound will be offset (in frequency) or modulated by the same amount.
Page 89 Algorithm Reference MutualFreqOffset MutualFreqOffset modulates the two input signals (left and right) with each other. If one of the signals is a sine wave, the algorithm behaves like Frequency Offset. Now imagine that one of the input signals is the sum of two sine waves.
Page 90 Algorithm Reference MutualFreqOffset Page 2 OffsetFreq 0.00 to 10.00 Hz Offs Scale 1 too25088x DwnOffsLvl 0 to 100 % UpOffsLvl 0 to 100 % DwnOffsPan -100 to 100 % UpOffsPan -100 to 100 % Parameters (MutualFreqOffset): Page 1 Wet/Dry 0 to 100 %wet Out Gain Off, -79.0 to 24.0 dB In Gain L...
Page 91 Algorithm Reference MutualFreqOffset DwnOffsPan The down modulated signal may be panned to the left or right algorithm outputs. -100% sends the signal to the left output and 100% sends the signal to the right output. UpOffsPan The up modulated signal may be panned to the left or right algorithm outputs. -100% sends the signal to the left output and 100% sends the signal to the right output.
Page 92: Wackedpitchlfo
Algorithm Reference WackedPitchLFO 919 WackedPitchLFO An LFO based pitch shifter. PAUs: Okay, it ain’t pretty, but WackedPitchLFO uses LFO modulated delay lines with cross fades to produce a shift of signal pitch. You can set the amount of shift in coarse steps of semitones or ﬁne steps of cents (hundredths of a semitone).
Page 93 Algorithm Reference WackedPitchLFO LFO Rate The frequency of the LFOs that drive the pitch shifter. The pitch shifter produces a certain amount of tremolo that will oscillate based on this rate. However reducing the rate will increase the delay lengths needed by the pitch shifter. Shift Crs A coarse adjust to the pitch shift amount from -24 to +24 semitones.
Page 94: Chaos
Algorithm Reference Chaos! 920 Chaos! Fun with chaos and instability PAUs: The moment you scroll to the Chaos! algorithm, you will discover it is wildly unstable. Chaos! is a delay feedback algorithm which includes lots of gain with distortion plus plenty of ﬁlters tweaking the sound. Modifying the parameters will often cause the algorithm to jump from one chaotic instability state to another, often unpredictably.
Page 95 Algorithm Reference Chaos! ( i ) ( i i ) Figure 24 Resonating frequencies with FB Invert set to (i) Out and set to (ii) In. In addition to the distortion warmth ﬁlter, there are six ﬁlters built into the delay line loop: a highpass, a lowpass, a treble and a bass shelf, and two parametric midrange ﬁlters.
Page 96 Algorithm Reference Chaos! Drive Cut Reduces the signal level after the distortion. By reducing the signal level after the distortion, Chaos! can be returned to stability while still producing a lot of distortion. Drive Cut is also inside the feedback loop. Warmth Warmth affects the character of the distortion.
Page 97: Band Compress
Algorithm Reference Band Compress 948 Band Compress Stereo algorithm to compress a single frequency band PAUs: Band Compress is in most respects identical to SoftKneeCompress. However, Band Compress compresses only on a single band of frequencies. Frequency band selection is based on a parametric ﬁlter. You control the ﬁlter center frequency and bandwidth.
Page 98 Algorithm Reference Band Compress Filter Gain Select Select Compressor L, R or L, R or Computation Max L, R Max L, R L, R, Bandpass Bandpass or L&R Compress Filters Filters Channel L Input L Output Delay Notch Gain Filters Delay R Input R Output...
Page 99 Algorithm Reference Band Compress the attack and release times, although the effect is signiﬁcant only when its time is longer than the attack or release time. Generally the smoothing time should be kept at or shorter than the attack time. You have the choice of using the compressors conﬁgured as feed-forward or feedback compressors.
Page 100 Algorithm Reference Band Compress ComprsChan Select which input channel will receive compression processing—left, right or both. If you select left or right, the opposite channel will pass through unaffected. FdbkComprs A switch to set whether the compressor side chain is conﬁgured for feed-forward (Out) or feedback (In).
Page 101: Compressdualtime
Algorithm Reference CompressDualTime 949 CompressDualTime Compression with 2 release time constants PAUs: CompressDualTime is a basic compressor with two different release rates, which change from one rate to another as the compression gain reduction crosses a threshold set by the Rel Thres (release threshold) parameter.
Page 102 Algorithm Reference CompressDualTime Maximum Magnitude Maximum Compressor Magnitude Computations L Input L Output Delay Compressor Out Gain Delay Compressor R Input R Output Figure 28 Opto Compress The soft-knee compressor is used which has a more gradual transition from compressed to unity gain. Threshold In Amp Figure 29...
Page 103 Algorithm Reference CompressDualTime Parameters: Page 1 In/Out In or Out Out Gain Off, -79.0 to 24.0 dB FdbkComprs In or Out SC Input L, R, L & R Signal Dly 0.0 to 25.0 ms ComprsChan L, R, L & R Page 2 Atk Time 0.0 to 228.0 ms...
Page 104 Algorithm Reference CompressDualTime Ratio The compression ratio in effect above the compression threshold. High ratios are highly compressed; low ratios are moderately compressed. Comp Thres The compression threshold level in dBFS (decibels relative to full scale) above which the signal begins to be compressed. MakeUpGain Provides an additional control of the output gain.
Page 105: Band Eq
Algorithm Reference 3 Band EQ 971 3 Band EQ Bass and treble shelving ﬁlter and parametric EQs PAUs: This algorithm is a multi-band equalizers with parametric EQ and bass and treble tone controls. You can control the gain, frequency and bandwidth of each band of parametric EQ and control of the gain and frequencies of the bass and treble tone controls.
Page 106: Hf Stimulate 1
Algorithm Reference HF Stimulate 1 972 HF Stimulate 1 High-frequency stimulator PAUs: The high-frequency stimulator algorithm is closely based on the V.A.S.T. High Frequency Stimulator DSP function, and the manual description is repeated here (edited for KDFX speciﬁcs). The overall effect of a high-frequency stimulator is to boost the high frequency partials of the signal, and depending on the settings of the parameters, it can add high-frequency partials to the signal as well.
Page 107: Harmonicsuppress
Algorithm Reference HarmonicSuppress 975 HarmonicSuppress Stereo algorithm to expand a single frequency band or harmonic bands. PAUs: HarmonicSuppress is a special expander algorithm. In most respects it is identical to Expander. However, HarmonicSuppress expands on only harmonically related bands of frequencies. Why would we do this? Imagine you are working with a sampled recording which contains an obnoxious 60 Hz hum.
Page 108 Algorithm Reference HarmonicSuppress Filter Gain Select L, Expander R, or Computation Max L, R L, R, 0 dB 0 dB Or L & R Exp Channel Analysis Filters (Single or Multi Band) L Input L Output Delay Notch Filters Out Gain (Single or Multi Band) Delay R Output...
Page 109 Algorithm Reference HarmonicSuppress A meter is provided to display the amount of gain reduction that is applied to the signal as a result of expansion. Parameters: Page 1 (HarmonicSuppress) In/Out In or Out Out Gain Off, -79.0 to 24.0 dB Harmonics Even, Odd, All Fund FreqC...
Page 110 Algorithm Reference HarmonicSuppress SmoothTime A lowpass ﬁlter in the control signal path. It is intended to smooth the output of the expander’s envelope detector. Smoothing will affect the attack or release times when the smoothing time is longer than one of the other times. Signal Dly The time in ms by which the input signal should be delayed with respect to expander side chain processing (i.e.
Page 111 AuxFX Bus, 2-8 AUXFX page (Studio Editor), 2-5 KDFX, 2-4 AUXFXpage, 2-5 Band Compress, 3-57 INPUT page, 2-3 Bypass, 1-8 KDFX tutorial, 2-1 Kurzweil website, ii Chan/Bank button for bypassing, 1-4 Moving Delay, 3-10 Chaos!, 3-54 Mute, 1-8 CompressDualTime, 3-61 MutualFreqOffset, 3-48...
Page 112 St Flange+Delay, 3-32 Studio tutorial example, 2-2 Studio Editor AUXFX page, 2-5 INPUT page, 2-3 Subtle Distort, 3-22 Switch Loops, 3-7 Tempo control, 2-2 Tutorial, 2-1 VC+Dist+1Rotor 2, 3-13 VC+Dist+HiLoRot2, 3-13 VC+Dist+HiLoRotr, 3-13 VC+Tube+Rotor 4, 3-13 WackedPitchLFO, 3-52 website, ii Wet/Dry control, 2-2 Young Chang contact information, ii...

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