Kurzweil KSP8 - REV B Manual

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Part Number: 910358 Rev. B

Table of Contents

Summary of Contents for Kurzweil KSP8 - REV B

Page 1 © Young Chang Co., Ltd. 2001. 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 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 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 4 RADIO AND TELEVISION INTERFERENCE Warning: Changes or modiﬁcations to this instrument not expressly approved by Young Chang could void your authority to operate the instrument. Important: When connecting this product to accessories and/or other equipment use only high quality shielded cables. Note: This instrument has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules.
Page 5: Table Of Contents
Kurzweil Digital Effects (KDFX) Algorithms ........
Page 6 Connecting your KSP8 ............. 2-1 Getting Started Really Quickly .
Page 7 The FXSEND Page ............. 3-16 The MIXSEND Page .
Page 8 Using and Editing Presets............6-1 Selecting Presets .
Page 9 Vibrato/Chorus ..............8-13 Tremolo and AutoPan .
Page 10 Name ............... . 10-8 Delete .
Page 11 MIDI Control Sources ............. F-1 Trying Out the Control Sources .
Page 12 Table of Contents-8...
Page 13: Getting To Know Your Ksp8
Getting to Know Your KSP8 What It Is Chapter 1 Getting to Know Your KSP8 Welcome to the world of the KSP8. This manual, along with the accompanying KSP8 Algorithm Reference Guide (provided electronically), will tell you all you need to know about this powerful piece of gear.
Page 14: Kurzweil Digital Effects (Kdfx) Algorithms
The building blocks for the KSP8’s effects are the Kurzweil Digital Effects (KDFX®) algorithms that the engineers at Kurzweil Music Systems developed for the digital effects in the K2500™ and K2600™ series synthesizers. The KSP8 gives you lots more, however, since it’s packed with more than twice the KDFX power of the K2600.
Page 15: Ksp8 Front Panel
KSP8 Front Panel KSP8 Front Panel The KSP8 offers a familiar interface for anyone who has used Kurzweil products before. If you’ve used a K2000™, K2500, or K2600, you will recognize the 240 x 64 pixel display, soft buttons, edit and exit buttons, alpha wheel and other useful features. Even if you are not familiar with other Kurzweil products, however, you will have no trouble navigating the KSP8.
Page 16: Navigation
Getting to Know Your KSP8 KSP8 Front Panel Navigation The navigation section of the front panel consists of the display and the buttons surrounding it. These navigation buttons will take you to every one of the KSP8’s pages and parameters. The Display Your primary interface with the KSP8 is its backlit graphic display.
Page 17 Getting to Know Your KSP8 KSP8 Front Panel The Conﬁg Button The conﬁg button, to the left of the display, gives you access to the pages where you select and set levels for your inputs and outputs. This is also where you group inputs and conﬁgure the effects buses as stereo, mono, or surround.
Page 18 Getting to Know Your KSP8 KSP8 Front Panel The EDIT Button The edit button is one of the two blue buttons diagonally beneath the KSP8’s display, and it takes you deeper into the inner workings of the device. Pressing the edit button tells the KSP8 that you want to change some aspect of the object marked by the cursor.
Page 19: Data Entry
Getting to Know Your KSP8 KSP8 Front Panel Data Entry The data entry section of the front panel includes the bypass, compare, store, and tempo buttons, as well as the Alpha wheel, the Plus/Minus buttons, and the 14-button alphanumeric pad. The Alpha Wheel The Alpha Wheel is especially useful because it can quickly enter large or small changes in value.
Page 20 Getting to Know Your KSP8 KSP8 Front Panel The Bypass Button The bypass button lets you bypass the entire KSP8 from your signal chain, or individually bypass selected effects, EQs, or sends (to mute audio going to a bus). It’s described on page 5-11 of this manual.
Page 21: Smartmedia Card Slot
Getting to Know Your KSP8 KSP8 Front Panel SmartMedia Card Slot You can use 3.3v SmartMedia memory cards, in a variety of size conﬁgurations, to store and transfer data to or from your KSP8. The cards are inexpensive and are available from a variety of vendors.
Page 22: Ksp8 Rear Panel
Getting to Know Your KSP8 KSP8 Rear Panel KSP8 Rear Panel From both a hardware and a software point-of-view, the KSP8 is incredibly ﬂexible. You can choose from the standard analog and digital I/O offerings or add one of the available option cards to customize the KSP8 to your liking.
Page 23: Ksp8 Option Boards
Allows the connection of products using the TDIF standard. KDS In/Out 8 channels Kurzweil Digital Stream - allows direct connection with digitally equipped Kurzweil instruments. These options are user-installable, but they are NOT hot-swappable, so it is important that you turn off the KSP8 (standby mode won’t be sufﬁcient) if you are installing an option board.
Page 24: Basic Operations
Getting to Know Your KSP8 Basic Operations Basic Operations You will undoubtedly want to spend time experimenting with your KSP8. This section gives you basic setup information. If you simply can’t wait to hear what the KSP8 can do, we’ve also included a section called “Getting Started Really Quickly”...
Page 25: Studio: Studio Page
Getting to Know Your KSP8 Basic Operations Studio: STUDIO Page The ﬁrst time you start up your KSP8 it displays the Studio:STUDIO page. In future sessions, your KSP8 will remember if you were last on the Studio:STUDIO, FXBus or Quick mode page, and will start up displaying the one of those pages that you were on most recently.
Page 26: Signal Routing
Getting to Know Your KSP8 Basic Operations Signal Routing Once you’ve made all the necessary back panel connections to the KSP8, press the conﬁg button on the front panel to access the Conﬁg pages (these are discussed in detail, starting on page 3- 11).
Page 27: Ksp8 Objects
– so much so, in fact, that the algorithms have their own book, the KSP8 Algorithm Reference Guide which you can download from the Kurzweil Music Systems web site. 1-15...
Page 28: Real-Time Control Of Your Ksp8
Getting to Know Your KSP8 Real-time Control of your KSP8 Real-time Control of your KSP8 You can control your KSP8 in real-time with the RSP8 remote option or use any MIDI controller to access Quick parameters and MODs. RSP8 The optional RSP8 remote has all the displays and controls from the front panel of the KSP8, as well as eight dedicated knobs for fast access to Quick parameters.
Page 29: Upgrading, Updating, And Maintaining Your Ksp8
Upgrading, Updating, and Maintaining your KSP8 Upgrading, Updating, and Maintaining your KSP8 Like most of the professional products from Kurzweil Music Systems, the KSP8 is designed so that it can be updated and upgraded in the future. These procedures are described in this section, as well as information about your KSP8’s battery.
Page 30: Ksp8 Specifications
Getting to Know Your KSP8 KSP8 Specifications KSP8 Speciﬁcations Dimensions Height: 3.625 inches (92 mm) Width: 17.125 inches (435 mm) Depth: 15.125 inches (384 mm) Weight: 13.25 lbs. (6 Kg) Inputs Analog Four analog inputs, balanced differential using 1/4” Tip-Ring-Sleeve jacks Input impedance: 20K ohms balanced, 10K or 20K ohms unbalanced A/D converter: 24 bit, 128x oversampling Maximum analog input level is +22 dBu;...
Page 31: Outputs
Getting to Know Your KSP8 KSP8 Specifications Outputs Analog Four analog outputs, balanced differential using 1/4” Tip-Ring-Sleeve jacks (unbalanced Tip- Sleeve plugs are also supported; for best results, set software for unbalanced connectors) D/A converter: 24 bit, 128x oversampling Output impedance: 100 ohms balanced, 50 ohms unbalanced Maximum analog output level is +22 dBu for full-scale digital;...
Page 32: Stay In Touch
We’d like you to stay in touch and stay informed. Please surf on over to: http://www.kurzweilmusicsystems.com to keep up with all the latest from Kurzweil Music Systems, including late-breaking news, new operating systems, and new soundware objects as they become available.
Page 33: Connecting Your Ksp8
Connecting your KSP8 Getting Started Really Quickly Chapter 2 Connecting your KSP8 This chapter tells you everything you need to know about connecting your KSP8 with your other equipment, including analog and digital audio gear and MIDI devices. For those of you wishing to cut to the chase, however, the ﬁrst part of this chapter, “Getting Started Really Quickly”...
Page 34 Connecting your KSP8 Getting Started Really Quickly Highlight “99 Default 4 Stereo” on the Studio:STUDIO page by using the alpha wheel or the + or - keys to scroll through the list. Press the FXBUS soft button to bring up the FXBUS page: ||||||| |||||| The value of the Type parameter (that is, the text to the right of the word Type) will either be...
Page 35: Digital Quick Start
Connecting your KSP8 Getting Started Really Quickly Digital Quick Start Make sure the volume on your sound system is turned all the way down. Connect your AES/EBU input to the Digital In connector on the back panel of the KSP8, and connect another cable for AES/EBU output to the Digital Out connector.
Page 36 Connecting your KSP8 Getting Started Really Quickly |errrrt CVVVVB |||||||||||||||||||||||||||||||||||||||| Finally, send an audio signal (such as the output of a CD player) to the KSP8’s input. Slowly turn up the volume on your sound system and listen to the sounds of the KSP8’s different pre- set effects.
Page 37: Cable Connections
Connecting your KSP8 Analog Connections Cable Connections All cable connections to the KSP8 and its options are made on the back panel of the box. This chapter describes the various ways that you’ll get signals and data into and out of your KSP8. One thing to keep in mind when making your audio connections from the KSP8 is that some presets and chains generate sounds all by themselves.
Page 38: Digital Connections
Connecting your KSP8 Digital Connections Digital Connections A stock KSP8 has two AES/EBU digital connectors on the back panel: a female XLR for stereo input and a male for stereo output. Important: The digital connectors on a stock KSP8 are routed by default to buses 5 and 6. Both Pro and Consumer formats (24 bit maximum) are supported, as described below.
Page 39: Midi Connections
Connecting your KSP8 KSP8 Options MIDI Connections Like most MIDI devices, the KSP8 is ﬁtted with MIDI In, MIDI Out, and MIDI Thru connectors. These are located on the back panel, and are 5-pin DIN connectors that will accept standard MIDI cables.
Page 40 Connecting your KSP8 KSP8 Options...
Page 41: Configuring Your Ksp8
Configuring Your KSP8 Signal Routing in the KSP8 Chapter 3 Conﬁguring Your KSP8 Signal Routing in the KSP8 Before we look at the different ways you can conﬁgure your unit, let’s take a look at the path a signal follows as it travels through the KSP8. Figure 3-1 provides an overview of the signal path through the KSP8, as well as the patch points within a KSP8 studio.
Page 42: Eq Section
Configuring Your KSP8 Signal Routing in the KSP8 EQ Section You can conﬁgure up to two EQ functions (different types of equalization – a notch ﬁlter and a parametric equalizer – perhaps) on each EQ bus. Notice that the output of the ﬁrst function is routed directly into the second function.
Page 43: Patch Points
Configuring Your KSP8 Patch Points Patch Points The small circles in Figure 3-1 represent patch points, the places in each signal path where you can route a signal directly to the output of the KSP8. Some patch points are also shown as little circles on the KSP8’s display.
Page 44: Configuration Basics
Configuring Your KSP8 Configuration Basics Conﬁguration Basics This section gives an overview of the three different ways you can conﬁgure the KSP8’s buses: Stereo • Mono • 5.1 Surround • Combining Different Bus Conﬁgurations The ﬂexible KSP8 architecture lets you combine differently conﬁgured buses, so that you can, for example, conﬁgure buses 1–6 for 5.1 surround sound and leave buses 7 and 8 conﬁgured as a stereo pair.
Page 45: Stereo Buses
Configuring Your KSP8 Configuration Basics Stereo Buses We’ll start with stereo bus conﬁguration, since the KSP8’s eight buses are conﬁgured by default as four adjacent stereo pairs. Stereo buses, in fact, must always be conﬁgured as adjacent pairs. So you can conﬁgure all or some of the following pairs as stereo: 1 and 2, 3 and 4, 5 and 6, 7 and 8, but not 1 and 3, 2 and 6, or any other non-adjacent permutation.
Page 46: Mono Buses
Configuring Your KSP8 Configuration Basics Mono Buses Any bus can be a mono bus, although you may be constrained by the conﬁguration of other KSP8 buses. For example, as shown in the Stereo buses example above, if you conﬁgure FXBus1 as a Stereo Left bus, the KSP8 makes darn sure that FXBus2 is a Stereo Right bus.
Page 47: Panning And Surround Sound
Configuring Your KSP8 Configuration Basics Buses 7 and 8, as you can see from the above table, are not used as 5.1 buses. They are, then, available for your use as a stereo pair or two mono buses. To conﬁgure your KSP8 for 5.1, start at the Bus Conﬁguration page, just as you did for stereo and mono above.
Page 48: Putting It All Together
Configuring Your KSP8 Putting It All Together Putting It All Together Here are two possible scenarios showing how you might use the KSP8 in your studio. The ﬁrst illustration shows two stereo pairs and three mono sources being processed on three stereo and two mono effect buses with different effects.
Page 49 Configuring Your KSP8 Putting It All Together The next example shows a 5.1 channel stem plus two mono sources (panned independently from the 5.1 stem) being processed together in a 5.1 channel surround reverb. 5.1 FX 5.1 FX Send FX Bus 1-6 5.1 EQ Send and Panner...
Page 50: Meet Sid
Configuring Your KSP8 Meet SID Meet SID The Studio Information Display (affectionately known in these parts as SID) occupies most of the left side of the Studio:STUDIO page. SID shows you the size and width of the effects buses in the current studio (that is, the studio currently highlighted in the studio list on the right side of the Studio:STUDIO page).
Page 51: Config
Configuring Your KSP8 Config Pages Conﬁg Pages You reach the KSP8’s conﬁguration (Conﬁg) pages by pressing the conﬁg button on the front panel of the unit. The ﬁrst time you press this button the INSEL page will display. Subsequently, the page you have viewed most recently will display when you press the conﬁg button.
Page 52: The Ingrp (Input Group) Page
Configuring Your KSP8 Config Pages The INGRP (Input Group) Page The INGRP page groups buses as they enter the EQ section of the KSP8. Choose from stereo, mono, or 5.1 surround options. An equals sign indicates that a bus is linked to one of the buses listed above it.
Page 53: The Outlvl (Output Level) Page
Configuring Your KSP8 Config Pages Out1–Out8 are basically “hard-wired,” although the signal at each out will depend on any options you have installed in the KSP8. Each Out on this page, in fact, may represent more than one hard out (physical connector on the back panel) of the KSP8. If you’ve got the analog I/O option installed for example, the signal represented by Outs 5 and 6 will be both the AES stereo pair of the stock KSP8 and analog outs 5 and 6 (from the option card).
Page 54: Eq/Sends Pages
Configuring Your KSP8 EQ/Sends Pages EQ/Sends Pages To display the EQ/Sends pages, press the EQ/sends button on the front panel of the KSP8. As with the conﬁg button, when you press the EQ/sends button the page that displays is the EQ or Send page that you have viewed most recently.
Page 55: Eq Functions
Configuring Your KSP8 EQ/Sends Pages EQ Functions Listed below are the KSP8’s EQ functions. Complete information on the EQ functions, including lots of pretty pictures, is in Appendix A of this manual. None • Lo Shelf • Parametric • Hi Shelf •...
Page 56: The Fxsend Page
Configuring Your KSP8 EQ/Sends Pages The FXSEND Page Press the EQ/sends button on the front panel, then the FXSEND soft button to bring up the FXSEND page. Use this page to route signals on the KSP8’s buses from the output of the EQ section to the buses within the effects section of the KSP8.
Page 57: Signal Control Through Fxsends And Mixsends
Configuring Your KSP8 Signal Control through FXSENDs and MIXSENDs Signal Control through FXSENDs and MIXSENDs You can think of FXSENDs and MIXSENDs as being mixer controls. They send signals from one bus to another with a variety of level and panner controls. You access the sends pages by pressing the EQ/sends button while at the studio editor level.
Page 58: Ingrp Send Options For Mono Configurations
Configuring Your KSP8 Signal Control through FXSENDs and MIXSENDs panner implementation sets the signal level to 0 dB when an input channel is directed directly to an output channel (there is no phantom imaging). When there is a phantom image centered between two loudspeakers, the signal level to both loudspeakers is the same and both channels are reduced by 3 dB.
Page 59: Ingrp Send Options For Stereo Configurations
Configuring Your KSP8 Signal Control through FXSENDs and MIXSENDs a circle. A circle has 360° (degrees). The center line facing forward is deﬁned as the 0° angle. Positive angles are to the right and negative angles are to the left. The right speaker is located at 30°, the left speaker is at -30°, and the right and left surround speakers are at 110°...
Page 60: Ingrp Send Options For 5.1 Configurations
Configuring Your KSP8 Master or Studio I/O INGRP Send Options for 5.1 Conﬁgurations FX1-6 Levels This 5.1-to-5.1 send has only a Gain control. The gain controls all channels including center and the low frequency effects (LFE) channel. FX1-6 R-Theta The R-Theta 5.1-to-5.1 panner uses distance from the center of the room (R or Rad for radius) and an Angle relative to the front center speaker to control the sonic image location.
Page 61: Multi-Stage Metering
Multi-stage Metering Selecting Meter Stages Chapter 4 Multi-stage Metering The KSP8’s metering section lets you visually check signal levels on each bus by viewing the eight LEDs labeled 1–8, in the top left corner of the unit. Additionally, four dedicated clip LEDs let you see in an instant if a signal is clipping anywhere on the KSP8’s buses.
Page 62: How To Read The Eight Level Leds
Multi-stage Metering Viewing Bar-graph Meters How to Read the Eight Level LEDs A level LED is green when a signal is present, will turn amber when the signal reaches its maximum usable level, and will become red if the signal clips (i.e., reaches a level where distortion occurs).
Page 63: Gain Staging
Multi-stage Metering Gain Staging Gain Staging As stated before, you probably don't want a signal to clip at any point within the KSP8. On the other hand, you probably do want to keep your signal level as hot as possible throughout the signal path, to maintain the best possible signal-to-noise ratio.
Page 64: How To Find And Fix Clipping
Multi-stage Metering How to Find and Fix Clipping How to Find and Fix Clipping At some point, whether caused by a very hot input signal or some process inside the KSP8, you will probably run into some unwanted digital clipping. In this case, you'll need to identify which channels are overloading, and ﬁnd a good place in the signal path to reduce the gain.
Page 65: Distortion Between Meter Stages
Multi-stage Metering How to Find and Fix Clipping Distortion Between Meter Stages Sometimes you may encounter some distortion without seeing the clip LEDs light. This may simply mean that you are overdriving some stage, but have not reached full-scale clipping. Scan the four stages using the meter stage button, watching the level LEDs for predominantly amber LEDs, and you may discover the source of the distortion.
Page 66 Multi-stage Metering How to Find and Fix Clipping...
Page 67: Working With Ksp8 Objects
Working with KSP8 Objects Types of Objects Chapter 5 Working with KSP8 Objects Types of Objects The KSP8’s user interface is structured with a hierarchy of objects that (with the exception of algorithms) you can edit and arrange for your effects needs. The hierarchy of KSP8 objects looks like this: Studio originals stored in ROM,...
Page 68: Object Type And Id
Working with KSP8 Objects Object Type and ID Preset Although you can’t change the algorithms stored in ROM, you can change the values of an algorithm’s parameters and store that as a preset. The preset object is the most basic editable effect object in the KSP8.
Page 69: Shortcuts
Working with KSP8 Objects Shortcuts Shortcuts As you work with your KSP8, you will soon see how the interface is optimized for quick editing. For example, between power cycles the KSP8 will remember whether you were on a Studio, FXBus, or Quick page. When you restart the unit, it will bring up the page you displayed most recently.
Page 70: Search Feature
Working with KSP8 Objects Shortcuts Search Feature You can ﬁnd any alphabetic or numeric string of characters within a currently selected list or range of values. Hold the enter button and press any of the numeric keys on the alphanumeric keypad.
Page 71: U Allocation
Working with KSP8 Objects U Allocation U Allocation Each KSP8 algorithm uses one or more Processor Allocation Units, called “U”s. The more Us an algorithm uses, the more powerful and complex the algorithm. There are 16 Us available, and the KSP8 uses them in different quantities for different algorithms. Depending on how many algorithms you are chaining together on different channels, you may need to keep track of the number of Us you use.
Page 72: Editing Objects
Working with KSP8 Objects Editing Objects Editing Objects Working “side to side,” “up and down,” and “in and out” You may ﬁnd it useful when working with KSP8 objects to visualize a three-dimensional workspace. side to side – on any page you can choose options or bring up other pages with soft •...
Page 73: Ksp8 Studios
Working with KSP8 Objects KSP8 Studios KSP8 Studios The studio names give a clue as to what they’re about. Here’s some more detailed information: 4SterIn>4SterFX – 4 stereo pairs of inputs routed to 4 stereo FX buses, which are sent to corresponding outputs.
Page 74: Fxbus Page
Working with KSP8 Objects KSP8 Studios FXBUS Page The FXBUS page may be the most important page in the KSP8. It is the place where you specify the types of effects you want to use, and the place where you can choose to string together different effects into chains.
Page 75: Presets
Working with KSP8 Objects KSP8 Studios Use the bus select buttons (to the right of the KSP8’s display) to move between the FXBUS pages for the different buses within a studio. The above screen, for example, shows the stereo buses 7 and 8, so bus select button 7-8 would be lighted while this page is displayed. Pressing bus select buttons 1-2, 3-4, or 5-6, would display the other FXBUS pages for this studio.
Page 76: Algorithms
However, the override is stored as part of a chain or studio. There’s more information on algorithms in Chapter 8 of this manual, and complete information is provided in the KSP8 Algorithm Reference Guide, which you can download from the Kurzweil Music Systems web site.
Page 77: Studio Quicks
Working with KSP8 Objects Bypassing Effects Also, for any parameter on a MOD or QUICK page, holding the enter button links the KSP8 to your MIDI controller’s Data Slider(s), regardless of the setting of MIDI channels. If you’re lucky enough to own a K2500 or K2600 keyboard, this includes all eight of the MIDI faders, by the way.
Page 78 Working with KSP8 Objects Bypassing Effects Bypassing boxes in a chain: a quick tutorial The boxes in a chain will change appearance when bypassed. To see what happens, go ﬁrst to the FXBUS page: Press the FXBUS soft button from any Studio page. Use one of the four cursor buttons to move the cursor on the FXBUS page to the Type parame- ter.
Page 79 Working with KSP8 Objects Bypassing Effects Press the up cursor button to move the cursor to the ﬁrst box on the chain, as shown below. As before, nothing is bypassed. The only difference is that the cursor is on box 1, not the chain ﬁeld, so the effect label is highlighted, making a ﬁlled-in box.
Page 80: Dependent Objects
Working with KSP8 Objects Dependent Objects Dependent Objects Dependent objects are KSP8 objects that make up part of larger objects: in a studio, for example, the dependent objects are its presets and chains. When you save an object to an external device such as a SmartMedia card, you will be given the opportunity to save any dependent objects along with it.
Page 81: Saving, Loading, Cataloging, Dumping
Working with KSP8 Objects Saving, Loading, Cataloging, Dumping Saving, Loading, Cataloging, Dumping The Store Button The store button lights whenever you make a change to a KSP8 object. If you’re pleased with your edits and are ready to save the object, now’s the time. Press the lighted store button to bring up a Save dialog such as the one shown below.
Page 82: Naming Dialog
Working with KSP8 Objects Saving, Loading, Cataloging, Dumping Naming Dialog There’s a standard procedure for saving and naming, which applies to all objects. The best way through this process is to press the Rename soft button. This takes you immediately to the naming dialog, where you assign a name to the object you’re saving. You haven’t saved yet, but you’ll be able to after you’ve named the object.
Page 83 Working with KSP8 Objects Saving, Loading, Cataloging, Dumping If the object you started from was a ROM (factory preset) object, the KSP8 will automatically suggest the next available (unused) ID as the ID for the edited object. If that’s the ID you want, press the Save soft button, and the object will be stored in RAM with that ID.
Page 84: Deleting Objects
Working with KSP8 Objects Deleting Objects Deleting Objects When you want to delete an object, press the Delete soft button on the Object Utilities page (described in Chapter 10 of this manual), and the KSP8 will ask you if you want to delete the object.
Page 85: Using And Editing Presets
Using and Editing Presets Selecting Presets Chapter 6 Using and Editing Presets A KSP8 preset consists of an effects algorithm, plus the settings of the parameters associated with that algorithm. The complete list of presets, algorithms, and other KSP8 objects is in Appendix C of this manual.
Page 86: U Usage
Using and Editing Presets Three Ways to Use Presets U Usage When you select a preset, its name is displayed along with its the processor allocation unit (U) usage. As you can see, on the right side of the display, the algorithm used by this preset requires 3Us.
Page 87: Overriding Parameter Values With Quicks
Using and Editing Presets Overriding Parameter Values with QUICKs Overriding Parameter Values with QUICKs Quick parameters, or “QUICKs” let you conveniently change up to eight of a preset’s parameter values without actually changing the preset. You can use the parameters provided as default “quick parameters,”...
Page 88: Hierarchy Of Quick Parameters
Using and Editing Presets Overriding Parameter Values with QUICKs The MIDI controller numbers for the quick parameters are 16, 17, 18, 19, 80, 81, 82, & 83, and are based on the parameter’s position on the page, not the parameter itself. MIDI Ctrl 16 will adjust the top quick parameter in the ﬁrst column, Ctrl 17 will adjust the second in that column, and so on from there.
Page 89: Overriding Parameter Values With Mods
Using and Editing Presets Overriding Parameter Values with MODs Overriding Parameter Values with MODs The KSP8 gives you two kinds of MODs – modulators that you can use to change parameter values in real time. These two kinds of MODs affect different aspects of the KSP8, and are available at different places in the KSP8 editing environment.
Page 90: Editing Presets
Using and Editing Presets Editing Presets Editing Presets You can edit any parameter value of the algorithm on which the current preset is based, then save your change(s) as a new preset. First, highlight the preset name or preset box on the Studio:FXBUS page: |errrrt|||||||||||| CVVVVB| Press the edit button to bring up the ﬁrst page of parameters for the algorithm on which the...
Page 91 Using and Editing Presets Editing Presets When you press the PARAM3 soft button, the third set of parameters is displayed: It’s important to keep in mind that when you change a parameter on one of the PARAM pages you will have to save the result as a new preset in order to use it again. You may ﬁnd it more expedient to change individual parameter values on the Quick mode page (see page 6-3).
Page 92: Tempo-Based Effects
Using and Editing Presets Tempo-Based Effects Tempo-Based Effects Some algorithms have parameters expressed in beats, along with a Tempo parameter that you can set as a ﬁxed tempo in the preset or set to System for dynamic response to system tempo. Press the tempo button on the front panel of the KSP8 to bring up the Tempo page.
Page 93: Chaining Effects
Chaining Effects Studio:FXBUS page Chapter 7 Chaining Effects In KSP8-speak, a chain is an object consisting of a number of presets, quick parameters, and MODs in a row. A chain can contain up to eight presets per effects bus. You may, however, create a chain with only a single preset.
Page 94: Chain Editor
Chaining Effects Chain Editor Chain Editor To enter the Chain editor, press edit while on the Studio:FXBUS page and the Type is Chain. The chain editor lets you put up to eight presets in a series, but it will only allow you to insert effects that are consistent with the “width”...
Page 95: Chain Quicks
Chaining Effects Chain MODs Chain QUICKs As you move between boxes on the Chain:QUICK page, you’ll notice that the names and values of the items on the page change with each box. These are the Chain QUICKs for each preset. Like Studio QUICKs (described on page 6-3), Chain QUICKs provide fast access to eight algorithm parameters per preset.
Page 96: Getting Inside A Chain
Chaining Effects Getting Inside a Chain Getting Inside a Chain The best way to see how all the pieces of a chain work together is to get inside one, which is what we’ll do here. Start at the Studio:FXBUS page. Make sure you’re on a stereo bus. |errrrterrrrterrrrterrrrt CVVVVBCVVVVBCVVVVBCVVVVB ||||||||||||||||||||||||||||||||||||||||...
Page 97 Chaining Effects Getting Inside a Chain Press the more> soft button to bring the C MOD soft buttons into view: |errrrterrrrterrrrterrrrt CVVVVBCVVVVBCVVVVBCVVVVB |||||||||||| ||||||||||| Press the C MOD1 soft button to display the Chain:C MOD1 page: Press edit. This takes you to the PARAM1 page of the preset in the box that is highlighted on the Chain:QUICK page, regardless of what’s highlighted on the C MOD page.
Page 98 Chaining Effects Getting Inside a Chain Press the PARAM2 soft button to see the second page of parameters for this algorithm. Notice that in addition to more parameters overridden by quick parameters there is also a parameter (Threshold) that is overridden by an FXMod, in this case a Chain MOD, as shown above. Press exit to return to the Chain:QUICK page.
Page 99: Using Algorithms
Using Algorithms General Parameters Chapter 8 Using Algorithms This Chapter describes the processing algorithms found in the KSP8: what their parameters mean, and how to use them. It is designed to be read through so that you can get a general understanding of the algorithms.
Page 100: Reverbs
Using Algorithms Reverbs Reverbs Room Type changes the conﬁguration of the algorithm to simulate a wide array of room types and sizes including booths, small rooms, chambers, halls and large spaces. Because this parameter changes the structure of the reverb algorithm, you need to be careful when assigning it a MOD—changing it in real time while signal is passing through it is likely to cause audible artifacts.
Page 101: Delays
Using Algorithms Delays Delays There are two types of taps in the Multitap delays: The “Loop“ tap, which has a feedback loop back to its input, and the numbered taps. The numbered taps can be single iterations or they can repeat as part of a loop, but they do not have individual feedback paths. Fdbk (Feedback) Level controls the repeating function of the Loop Tap.
Page 102: Equalizers (Eq)
Using Algorithms Equalizers (EQ) C Fdbk n Dly adjusts the delay length of the C channel’s nth feedback tap, fed back to the C channel’s delay input. Range is 0 to 2600 ms. Spectral Multitap Delays These 4- and 6-tap delays have their feedback and output taps modiﬁed with shapers and ﬁlters.
Page 103: Enhancers
Using Algorithms Compressors, Expanders, and Gates Enhancers Enhancers modify the spectral content of the input signal by boosting existing spectral content, or stimulating new ones. Two- and three-band versions are provided. Drive adjusts the input into each band. Increasing the drive will increase the effects. Range is -79.0 to 24.0 dB.
Page 104: Expansion
Using Algorithms Compressors, Expanders, and Gates Signal Dly (Delay) puts a small delay in the signal relative to the sidechain processing, so that the compressor (or gate) “knows” what the input signal is going to be before it has to act on it. This means the compression can kick in before an attack transient arrives.
Page 105: Chorus
Using Algorithms Chorus 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. But when this is “On”, the gate closes when the input signal rises above the threshold. Atk (Attack) Time is the time for the gate to ramp from closed to open (reverse if Ducking is on) after the signal rises above threshold, adjustable from 0.0 to 228.0 ms.
Page 106: Flanger
Using Algorithms Flanger Flanger Flanging is the process of adding or subtracting a signal with a time-displaced replica of itself, which results in a series of notches in the frequency spectrum, generally referred to as a comb ﬁlter. In KSP8, the ﬂanger is a multi-tap delay line, all (but one) of whose taps can have their lengths modulated up and down by a low frequency oscillator (LFO).
Page 107: Filters
Using Algorithms Filters Spacing determines the starting pitch of the descending buzz and how fast it descends, by setting the initial separation of impulses and the subsequent rate of increasing impulse separation. The spacing between impulses is given in samples (20.8µs). 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.
Page 108: Lfo Filter
Using Algorithms Distortion Max Freq is the resonant frequency of the ﬁlter at the peak of the internal envelope. It can be set lower than Min Freq (above), in which case the ﬁlter will sweep downwards, then back up. Range is 16 to 8372 Hz. Trigger is the input-signal threshold at which the envelope detector triggers.
Page 109: Polydistort
Using Algorithms Rotating Speakers Highpass allows you to reduce the bass content of the distortion content in the smaller distortion algorithms that don’t have true parametric EQ. Range is 16 to 25088 Hz. Cab Preset selects from eight cabinet simulations which have been created based on measurements of real guitar ampliﬁer cabinets.
Page 110 Using Algorithms Rotating Speakers Lo Gain and Hi Gain are the gains of the signal passing through the rotating woofer or tweeter, respectively. The range is Off/-79.0 to 24.0 dB. Lo Size and Hi Size are the effective sizes (radius of rotation) of the rotating speakers in millimeters.
Page 111: Vibrato/Chorus
Using Algorithms Tremolo and AutoPan LoSpinDir and HiSpinDir are the directions of rotation of the speakers. The choice is clockwise (CW) or counter-clockwise (CCW). Vibrato/Chorus The Vibrato/Chorus algorithm (and also the KB3 Effects algorithm) simulates the vibrato and chorus effects on a tone wheel 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.
Page 112: Pitcher
Using Algorithms Pitcher LFO Phase shifts the phase of the tremolo LFO relative to the beat reference. Range is 0.0 to 360.0 degrees. 50% Weight is the relative amount of attenuation added when the LFO is at the -6dB point. This causes the LFO shape to bow up (positive values) or down (negative values).
Page 113: Stereo Simulation
Using Algorithms Stereo Analyze Stereo Simulation The Mono to Stereo algorithm converts a monaural input to simulated stereo output. In Select selects the input signal to be “stereo-ized”. It can be Left, Right, or both: (L+R)/2. CenterGain is the level of the summed left and right channels. Range is Off/-79.0 to 24.0 dB. Diff Gain is the level of the difference signal produced, which is the spatial component of the stereo signal.
Page 114: Fxmod Diagnostic
Kurzweil Music Systems web site (www.kurzweilmusicsystems.com). 5.1 Surround Sound Algorithms Refer to the KSP8 Algorithm Reference Guide for complete information on surround algorithm parameters. You can download a copy of this manual at the Kurzweil Music Systems web site (www.kurzweilmusicsystems.com). 8-16...
Page 115: Controlling The Ksp8 In Real Time
You can send MIDI Program Change messages to your KSP8 to select studios, chains, or presets. The KSP8 understands Kurzweil’s Extended Program Change Type, with either Bank Select Controller 0 or Bank Select Controller 32. This is all pretty standard, by the way, so you may not need to make any special adjustments on your MIDI controller.
Page 116: Quick And Mod Reference Chart
Controlling the KSP8 in Real Time QUICK and MOD Reference Chart QUICK and MOD Reference Chart This chart illustrates the primary features of the different types of QUICKs and MODs. QUICKs MODs Studio Chain Studio Chain Control up to eight algorithm parameters per Control the value of Control the value of preset.
Page 117: Lfos
Controlling the KSP8 in Real Time LFOs LFOs The KSP8 provides you with LFOs (low frequency oscillators) to use as control sources. You program these on the LFO pages (Studio or Chain), which you can reach by pressing the S LFO soft button, or within a chain by pressing the C LFO button.
Page 118: Asrs
Controlling the KSP8 in Real Time ASRs LFO Shape The shape of the LFO waveform determines the nature of its effect on the signal its modulating. There are diagrams of each LFO shape in the appendices of this manual; these will give you an idea of how each LFO shape affects the signal.
Page 119: Funs
Controlling the KSP8 in Real Time The Mechanics of Control Sources release section. If the ASR’s trigger switches off before the attack section is complete, the ASR goes directly to its release section. Delay When the ASR’s trigger switches on, the ASR will start immediately if this parameter is set to zero.
Page 120: Programming The Funs
Controlling the KSP8 in Real Time Programming the FUNs Continuous controls can be unipolar or bipolar. Consider your MIDI controller’s Mod and Pitch Wheels as examples. Normally, the Mod Wheel affects the KSP8 as a unipolar control source; it sends a control signal value that’s interpreted as 0 when it’s fully down, and values interpreted between 0 and +1 as you push it up.
Page 121: The Fun Equations
Controlling the KSP8 in Real Time The FUN Equations The FUN Equations In this section we’ll describe how each of the FUN equations works. In some cases, a small graph will accompany the explanation. Here’s how to interpret the graphs. Each graph shows a curve illustrating the effect of the equations on the input signals.
Page 122 Controlling the KSP8 in Real Time The FUN Equations a - b This operates similarly to the previous equation, but the value of input b is subtracted from the value of input a. This equation will reverse the normal effect of the control source assigned to input b.
Page 123 Controlling the KSP8 in Real Time The FUN Equations output output values values input input values values a = 1 a = -1 | 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.
Page 124 Controlling the KSP8 in Real Time The FUN Equations max (a, b) This is the opposite of the previous equation. The values of inputs a and b are compared, and the larger value becomes the output value. Quantize b to a This turns the control source assigned to input b into a stepped control source.
Page 125 Controlling the KSP8 in Real Time The FUN Equations input b input b value value time time input b input b value value time time hipass (f = a, b) With this equation the low values of input b are ﬁltered according to the value of input a. This causes somewhat different results compared with the lowpass equation above.
Page 126 Controlling the KSP8 in Real Time The FUN Equations a(b-y) Think of this equation as reading “y is replaced by the result of the function a(b-y).” The value of y indicates the value of the FUN’s output signal. Every 20 milliseconds, the KSP8 takes the current value of y, runs the equation, calculates a new value of y, and inserts the new value into the equation.
Page 127: Warp Equations
Controlling the KSP8 in Real Time The FUN Equations output output output values values values input input input values values values sin (a + b) cos (a + b) tri (a + b) a = saw a = saw a = saw b = 0 b = 0 b = 0...
Page 128 Controlling the KSP8 in Real Time The FUN Equations output output output values values values input input input values values values a = 0, b rising a = .5, b rising a = 1, b rising from -1 to 1 from -1 to 1 from -1 to 1 warp2(a, b)
Page 129 Controlling the KSP8 in Real Time The FUN Equations both 1s, the result is 0. This process is repeated for the remaining 15 bits of each number, and a new 16-bit number is generated. This number represents the output value of the FUN. output output output...
Page 130 Controlling the KSP8 in Real Time The FUN Equations warp8(a, b) This relatively simple equation is a x b x 8. If the result is beyond the range of -1 to +1, it wraps around from +1 to -1 (or vice versa), until it’s within the allowable range. The table below shows some examples of how this works.
Page 131: Sawtooth Lfos
Controlling the KSP8 in Real Time The FUN Equations Sawtooth LFOs The next six equations case the FUN to generate a sawtooth LFO as its output signal. Each performs a different operation on the values of inputs a and b, and the resulting value is multiplied by 25.
Page 132: Chaotic Lfos
Controlling the KSP8 in Real Time The FUN Equations Chaotic LFOs The next ﬁve equations function somewhat like the equation a(b-y) described earlier, in that they start with a value of 0 for y, evaluate the equation, and use the result as the new value of y for the next evaluation.
Page 133: Diode Equations
Controlling the KSP8 in Real Time The FUN Equations Diode Equations The remaining equations perform a diode-like function; only positive input values are signiﬁcant. If the result of the equation is negative, the FUN’s output value is 0. You can use these equations to limit bipolar control signals to unipolar values.
Page 134: The Order Of Evaluation For Funs
Controlling the KSP8 in Real Time The Order of Evaluation for FUNs The Order of Evaluation for FUNs The KSP8 is a computer, and processes information at very high speeds. Every 20 milliseconds it checks the condition of all active parameters, evaluates any changes, and processes the new information.
Page 135: Master Mode
Master Mode The Master Page Chapter 10 Master Mode The Master Page You reach the Master page by pressing the MASTER soft button, available from any of the KSP8’s top level screens. This is where you set parameters that affect operation of the KSP8 at every level, including clock source and digital word length.
Page 136: Clocksource
Master Mode The Master Page ClockSource This is where you set the digital clock source for the KSP8. Select an internal or external clock source at the appropriate rate: 44.1 KHz Internal • 48 KHz Internal – this is the default setting •...
Page 137: Dithertype
You won’t need to change the default setting of 0 unless you have multiple KSP8s receiving SysEx messages from a single source, such as a Kurzweil RSP8 remote control. In that case, make sure each KSP8 has a different SysEx ID. Then you can direct SysEx messages to the appropriate KSP8 with the SysEx ID byte that’s included with every SysEx message.
Page 138: Smartmedia Card Functions
Master Mode SmartMedia Card Functions SmartMedia Card Functions You’ll want to back up your work frequently, especially if you are creating custom presets, chains, and studios that will be difﬁcult to reproduce. SmartMedia cards are the most convenient way to backup your work, although you may also back up your work with a SysEx dump.
Page 139: Object Functions
Master Mode Object Functions Object Functions Object Utility functions are useful for moving or copying objects into various banks, naming or renaming objects, deleting objects, and dumping objects over MIDI. To access these functions, press the OBJECT soft button while in Master mode. You will see the following screen: Use the soft buttons to choose from these functions.
Page 140: Move
Master Mode Object Functions You can use the Multiple Object Selector (described below) to select ranges of objects according to object types, IDs, strings in the object names, or dependent relationships. You can quickly select or deselect all objects using the Left/Right cursor and Up/Down cursor double-presses.
Page 141: Copy
Master Mode Object Functions Use consecutive numbering for each object that is moved, skipping over IDs that are in use (like Fill mode), starting from the ID that you specify. You will see the following dialog when you press the ID soft button: Append Try to use each object's ID offset within its current bank as the ID offset within the speciﬁed destination bank.
Page 142: Name
Master Mode Object Functions Name The Name utility allows you to rename an object without entering an editor. You can also use this utility to rename one or more objects with the same name. This is much faster than renaming each object individually. A lot of times you might want several objects to have the same name except for a unique identiﬁer at the end of the name.
Page 143: Dump
Master Mode Multiple Object Selector Page Dump This utility is for dumping selected objects over MIDI. If any of the selected objects have dependents that were not selected, you will be asked the question “Dump dependent objects?”. Press OK to initiate a MIDI System Exclusive dump of the selected set of objects, one by one out the MIDI Out port of the KSP8.
Page 144: Multiple Object Selector Soft Buttons
Master Mode Multiple Object Selector Page The “Current =” parameter is for information only and represents the currently highlighted item in the object list that you are working with. Two other selection modes do not have any additional parameter associated with them. These are Everything and Search String.
Page 145 Master Mode Multiple Object Selector Page The following three soft buttons will trigger the selection and deselection of items from the current object listing, according to the function of the particular button. Only objects that are included in the speciﬁed range will be selected or deselected. When this process is completed, the display returns to the object function dialog.
Page 146: Entering Selection Criteria In The Multiple Object Selector
Master Mode 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 147 Master Mode Multiple Object Selector Page Selection by Dependents This mode is used to select a group of objects that are dependents of other objects. This is not available in Load Object. Parameters Possible Values Function Current Item, If set to Current Item, selection range is confined to Selected Items those objects in the object list that are dependents of the currently indexed item (Current =), including the...
Page 148: Utilities
Master Mode Utilities Utilities You can reach the Utilities page from the Master page by pressing the Util soft button. There’s also a shortcut, however, that lets you reach this page from any place within the KSP8’s editing environment: simply double-press the middle two soft buttons and the Utilities page will display.
Page 149: Reset
Master Mode Reset Reset Press the Reset soft button to perform a hard or soft reset of your KSP8. You can also access the KSP8 Boot Block from this page (see Appendix E). Loader Press the Loader soft button to reach the KSP8 Boot Block. See Appendix E for complete information on the KSP8 Boot Block.
Page 150 Master Mode Reset 10-16...
Page 151: Eq Reference
EQ Reference EQ Functions Appendix A EQ Reference EQ Types Here’s a quick summary of the primary equalization types available with the KSP8: Lowpass ﬁlters cut the levels of all partials above the cutoff frequency without affecting the partials at or below the cutoff frequency (the low frequencies pass through). Highpass ﬁlters do the opposite;...
Page 152 EQ Reference EQ Functions Lo Shelf This is a bass tone control, with adjustable parameters for frequency (freq) and amplitude (gain). Frequency sets the cutoff frequency. For notes above this frequency, the amplitude setting has a diminished effect. You can set the amount of cut or boost that’s applied to notes below the cutoff frequency.
Page 153 EQ Reference EQ Functions Hi Shelf This is a treble tone control, with adjustable parameters for frequency and amplitude. Frequency sets the cutoff frequency. For notes below this frequency, the amplitude setting has a diminished effect. You can set the amount of cut or boost that’s applied to notes above the cutoff frequency.
Page 154 EQ Reference EQ Functions HiPass 3P This is three one-pole high pass ﬁlters cascaded. It has quite a long shoulder of gain slowly rising to 0 dB from the attenuation at low frequencies. It has an 18 dB/octave slope away from the shoulder area.
Page 155 EQ Reference EQ Functions LoPass 3P This is a one-pole low pass plus a two-pole resonant low pass ﬁlter. Frequency in Hertz 100K -100 -120 -140 Cutoff frequency from C5 to C10 -160 -180 Figure A-7. LoPass 3P frequency example Reson Bass This is a low pass ﬁlter with a resonance control that allows you to boost or cut the amplitude of the partials near the cutoff frequency.
Page 156 EQ Reference EQ Functions Wide Mid This is a midrange control that can be quite broad. The upper and lower frequencies are independently controllable. Don't cross the frequencies, or the ﬁlter will cease to have much effect. In fact, the two frequencies should be more than two octaves apart. The actual amount of maximum cut/boost will vary some depending on the frequency spacing.
Page 157 EQ Reference EQ Functions Notch This ﬁlter lets you specify center frequency and width to be “notched.” Partials with frequencies above or below the notch will be unaffected. Within the notch, partials will be attenuated according to the width of the notch. The width is deﬁned in terms of the number of octaves between the points on the signal’s attenuation curve where the attenuation is 3 dB.
Page 158 EQ Reference EQ Functions Notch/HP This a notch ﬁlter, followed by a one-pole high pass ﬁlter. LoShelf/LP This is a bass tone control, followed by a one-pole low pass ﬁlter. Frequency in Hertz 100K Cutoff frequency from C5 to C10 Figure A-13.
Page 159 EQ Reference EQ Functions Notch/LP This is a notch ﬁlter, followed by a one-pole low pass ﬁlter HP 1/LP 2 This is a two-pole low pass resonant ﬁlter, coupled with a one-pole high pass ﬁlter. HP 2/LP 1 This is a two-pole high pass ﬁlter, coupled with a one-pole low pass ﬁlter. Frequency in Hertz 100K Cutoff frequency from C2 to C7...
Page 160 EQ Reference EQ Functions Distulator This stimulator offers a one-pole low pass ﬁlter, followed by a distortion generator. The distortion function is even, so it will generate considerable amounts of second harmonic distortion from an input sine wave. The distortion has a drive control, which will control how high the order of distortion is (how many wiggles are in the distortion mapping curve.) A full scale input signal can have a drive of 0 dB to get a distortion curve that maps the input signal into four complete sine periods.
Page 161 EQ Reference EQ Functions Shaper Functions The shaper adds additional high frequency partials to a waveform in unpredictable ways, resulting in large changes in timbre. In other words, it can really mess things up. The two series of graphs that follow show the effect of SHAPER on two typical single-cycle waveforms.
Page 162 EQ Reference EQ Functions 5 0 0 5 0 0 Amount = .1 Amount = .2 5 0 0 5 0 0 Amount = .375 Amount = .625 5 0 0 5 0 0 Amount = 1 Amount = 4 Figure A-18.
Page 163 EQ Reference EQ Functions Sine This is a sine wave, for calibration and test purposes, followed by gain. Sawtooth A sawtooth wave, followed by gain. Sine+Shape A sine wave followed by the shaper function. Noise A white noise generator. There is a gain control, so that you won’t be surprised by sudden full scale noise when scrolling to this function.
Page 164 EQ Reference EQ Functions Appendix A-14...
Page 165: Lfo Reference
LFO Reference LFO Shapes Appendix B LFO Reference LFO Shapes LFO Shape Displayed: Sine Sine Positive Sine +Sine Square Square Positive Square +Squar Triangle Triang Positive Triangle +Trian Rising Sawtooth Rise S Positive Rising Sawtooth +Rise Falling Sawtooth Fall S Positive Falling Sawtooth +Fall 3 Step...
Page 166 LFO Reference LFO Shapes Sine Positive Sine Sq uare Positive Sq uare 90° 270° 90° 270° 90° 270° 90° 270° 0° 180° 360° / 0° 0° 180° 360° / 0° 0° 180° 360° / 0° 0° 180° 360° / 0° Triangle Positive Triangle Rising Sawtooth...
Page 167 LFO Reference LFO Shapes 6 Step 7 Step Positive 7 Step Positive Sine 6 Step 90° 270° 90° 270° 90° 270° 90° 270° 0° 180° 360° / 0° 0° 180° 360° / 0° 0° 180° 360° / 0° 0° 180° 360°...
Page 168 LFO Reference LFO Shapes Appendix B-4...
Page 169: Object Reference
Object Reference Studios Appendix C Object Reference Studios For more information on these studios, see page 5-7. Number Name 4SterIn>4SterFX 4MonoIn>4SterFX 8MonoIn>8MonoFX 4StIn>4StFX->Mix 4MnIn>4StFX->Mix 8MnIn>8MnFX->Mix Morph This AES> FX1-2 >AES 6 MonoIn>5.1 FX+ 8 MonoIn>5.1 FX MnIn>5.1 AutoPan 3 SterIn>5.1 FX+ 4 SterIn>5.1 FX 5.1 In>5.1 FX + Default 5.1+Ster...
Page 170: Presets
Object Reference Presets Presets Type Number Name Algorithm Size STEREO REVERB PRESETS Booth/Ambience 1 Small Wood Booth alg 4 Natural Room alg 5 PrettySmallPlace alg 4 NiceLittleBooth alg 1 Sun Room alg 5 Soundboard alg 7 Add More Air alg 10 Standard Booth alg 8 A Distance Away...
Page 171 Object Reference Presets Type Number Name Algorithm Size Med Large Room alg 12 Bigger Perc Room alg 7 Sizzly Drum Room alg 5 Chamber Live Chamber alg 11 Brass Chamber alg 1 Sax Chamber alg 1 Plebe Chamber alg 1 JudgeJudyChamber alg 7 Bloom Chamber...
Page 172 Object Reference Presets Type Number Name Algorithm Size Generic Hall alg 12 Burst Space alg 9 Real Dense Hall alg 7 Concert Hall alg 9 Standing Ovation alg 11 Flinty Hall alg 7 HighSchool Gym alg 7 My Dreamy 481!! alg 9 Deep Hall alg 9...
Page 173 Object Reference Presets Type Number Name Algorithm Size Rvrb Compression alg 50 Snappy Drum Room alg 50 Roomitizer alg 50 Live To Tape alg 50 L:SmlRm R:Hall alg 2 Unusual Non-Linear 1 alg 10 Non-Linear 2 alg 15 Non-Linear 3 alg 6 Exponent Booth alg 10...
Page 174 Object Reference Presets Type Number Name Algorithm Size TightSlapbk 30ms alg 190 MedSlapback 76ms alg 190 LongishSlap 95ms alg 151 Wide Slapbk 76ms alg 191 TiteSlapAmb 50ms alg 191 33ms Ambience alg 191 17ms Ambience alg 191 Stereo Delay ms alg 151 StereoFlamDelay alg 191...
Page 175 Object Reference Presets Type Number Name Algorithm Size Furbelows alg 9 Festoons alg 9 Ducked Delay alg 174 Drum+Bass Zapper alg 174 3BandDly Drums=! alg 173 Warped Echoes alg 191 Ween-vox alg 190 L:Flange R:Delay alg 191 2Dlys 1Chr 1Flng alg 192 STEREO CHORUS PRESETS Basic Chorus...
Page 176 Object Reference Presets Type Number Name Algorithm Size Throaty Flange alg 225 PseudoAnaGtrFlng alg 225 Flanger Double alg 225 Wetlip Flange alg 225 Simply Flange alg 226 Analog Flanger alg 226 Soft Edge Flange alg 226 Ned Flangers alg 225 Wispy Flange alg 225 Crystal Flange...
Page 177 Object Reference Presets Type Number Name Algorithm Size BarberPole Notch alg 258 BarberPole Peak alg 258 All The Way Down alg 258 Westward Waves alg 385 STEREO TREM / PANNER / SPATIAL PRESETS Tremolo BPM alg 270 Fast Tremolo BPM alg 270 Tremolo in Hz alg 271...
Page 178 Object Reference Presets Type Number Name Algorithm Size Mean 70'sFunkGtr alg 310 Blown Speaker alg 390 Synth Distortion alg 303 Superphasulate alg 170 Dist Cab EPiano alg 301 Distortion+EQ alg 302 Burnt Transistor alg 304 SubtleDistortion alg 300 A little dirty alg 305 Slight Overload alg 305...
Page 179 Object Reference Presets Type Number Name Algorithm Size Gate w/ SC EQ alg 344 3Band Compressor alg 336 3Band Compress2 alg 336 Mid Compressor alg 335 OddHarmSuppress alg 374 60Hz Buzz Kill alg 374 Dual SK Compress alg 347 Dual Comprs SCEQ alg 348 Dual 3BandComprs alg 349...
Page 180 Object Reference Presets Type Number Name Algorithm Size Pitcher+Chor+Dly alg 409 Pitcher+Flng+Dly alg 459 Ring Linger alg 390 Waterford alg 103 Hip Hop Aura alg 256 Woodenize alg 256 Marimbaﬁcation alg 256 Frequency Offset alg 385 Drum Loosener alg 385 Drum Tightener alg 385 Vox Honker...
Page 181 Object Reference Presets Type Number Name Algorithm Size Rich Delay alg 403 FastChorusDouble alg 400 MultiTap Chorus alg 401 Chorused Taps alg 402 MultiEchoChorus alg 405 DeepChorDlyHall alg 403 ClassicEP ChorRm alg 403 Chorus Slow Hall alg 404 SoftChorus Hall alg 404 Chorus Air alg 404...
Page 182 Object Reference Presets Type Number Name Algorithm Size Flange Amb Smack alg 454 Flange Dly 3-D alg 453 Fl Dl Large Hall alg 453 Flanged Edge alg 321 Flange + 4Tap alg 451 FlangeDelayHall alg 453 SloFlangeDlyRoom alg 453 Flange Hall alg 454 FlangeDlyBigHall alg 453...
Page 183 Object Reference Presets Type Number Name Algorithm Size Spring Thing alg 456 Ultima Thule Pad alg 403 Dr. Who alg 225 FX Mod Diag alg 498 Stereo Analyze alg 499 MONO PRESETS Reverb NiceLittleBooth alg 600 Viewing Booth alg 600 Add Ambience alg 600 BrightSmallRoom...
Page 184 Object Reference Presets Type Number Name Algorithm Size Soft Chorus alg 620 Ordinary Chorus alg 620 Chorusier alg 620 Thick Chorus alg 620 Small Chorus alg 620 Dense Gtr Chorus alg 620 Boris Chorus alg 620 Flange Big Slow Flange alg 625 Classic Flange alg 625...
Page 185 Object Reference Presets Type Number Name Algorithm Size Torn alg 651 3 Band Shaper alg 654 Quantizer alg 655 Dynamics HKCompressor 3:1 alg 660 SK FB Comprs 6:1 alg 661 SKCompressr 12:1 alg 661 Compress/Expand alg 664 3Band Compressor alg 665 HiBand Compressr alg 665 Hard Limiter...
Page 186 Object Reference Presets Type Number Name Algorithm Size Brighter Room alg 703 Metric Room alg 703 Lively Room alg 703 Brilliant Room alg 703 Chamber Wide Loft alg 703 Tonal Chamber alg 701 Bare Studio alg 701 Outdoor Market alg 704 Damp Chamber alg 703 Back Wall...
Page 187: Chains
Object Reference Chains Chains Number Name Number Name Number Name STEREO CHAINS Phaser Cubed Multiphaser Squishy Delay Synth Pulsar Super Moving Phz Ultra Big Place Fat Boy Stutter Phasy Compressxn Band Compres Rvb SpaciousGtrChor Chorus All Ovus Dirty Compressxn Out of the Room Flanging Verb Pad Enhancer Super Soloizer...
Page 188 Object Reference Chains Number Name Number Name Number Name MONO CHAINS Chorus Flange LeadGtr Cln/Dist PhaseeDistortion MultiPhaser Screaminautowah! Quantiﬁer Subway Delay Rezzo Drum Loop LaserVerb 747 Guitar Rage BasicChorusDelay ReﬂectiveChorus Bootsy's Muetron Swizzle Stim CDR Roosevelt 3BandComp+Reverb Icarus' Phaser Magical Relish Super Phaser Phase Dist Delay CPR Delay...
Page 189: Algorithms
Object Reference Algorithms Algorithms Number Name Size Number Name Size STEREO ALGORITHMS MiniVerb PolyAmp<>MD>Flan Dual MiniVerb Flange<>Shaper Gated MiniVerb Shaper<>Reverb Classic Place HardKneeCompress Classic Verb SoftKneeCompress TQ Place Compress w/SC EQ TQ Verb Opto Compress Diffuse Place Opto Comprs SCEQ Diffuse Verb Band Compress OmniPlace...
Page 190 Object Reference Algorithms Number Name Size Number Name Size Dual MovDelay Flange<>Pitcher Dual MvDly+MvDly Frequency Offset Chorus 1 MutualFreqOffset Chorus 2 WackedPitchLFO Dual Chorus 1 Chaos! Dual Chorus 2 ADSR Synth Flanger 1 Env Synth Flanger 2 Chorus+Delay LFO Phaser Chorus+4Tap LFO Phaser Twin Chorus<>4Tap...
Page 191 Object Reference Algorithms Number Name Size Number Name Size Quantize+Flange Flange+Delay ms Gate+TubeAmp Flange+4Tap ms Gate+Tube+Reverb Flange<>4Tap ms Gt+Tube<>MD+Chor Flan+Dly+Rvrb ms Gt+Tube<>MD+Flan Flan<>LasrDly ms Gt+Tube<>2MD St Flan+Delay ms Gt+Cmp+Dst+EQ+Ch St Flan+4Tap ms Gt+Cmp+Dst+EQ+Fl StFl+Dly+Rvrb ms TubeAmp<>MD>Chor Ptch+Flan+Dly ms TubeAmp<>MD>Flan Ptch+StFl+Dly ms PolyAmp<>MD>Chor FXMod Diagnostic Stereo Analyze...
Page 192 Object Reference Algorithms Number Name Size Number Name Size Mn Env Synth Mn Analyze Number Name Size 5.1 SURROUND ALGORITHMS OmniPlace 5.1 OmniVerb 5.1 TQ Place 5.1 TQ Verb 5.1 Surround Compress 5.1 Appendix C-24...
Page 193: Ksp8 Sysex
F0h, and represents start of System Exclusive. kid must be 07h, and is the Kurzweil Manufacturer ID. dev-id is Device ID. The KSP8 will recognize a SysEx message if dev-id is the same is the SysEx ID parameter from the MIDI-mode RECEIVE page.
Page 194: Data Formats
KSP8 SysEx Data Formats Data Formats KSP8 SysEx messages are subdivided into ﬁelds that contain data in different formats. The various ﬁelds are shown in the Messages section below. Within a message, any ﬁelds for values that can be bigger than 7 bits are broken into 7 bit chunks. Thus two MIDI bytes gives 14 bits, three bytes gives 21 bits.
Page 195: Messages
KSP8 SysEx Messages The bit-stream format can be thought of as taking the binary bits of the KSP8 data and, starting from the left, slicing off groups of 7 bits. Note that the trailing bits are set to zero. After the data ﬁeld, there is another ﬁeld, xsum. This is a checksum ﬁeld that is calculated as the least signiﬁcant 7-bits of the sum of all of the MIDI bytes that make up the data ﬁeld.
Page 196 KSP8 SysEx Messages NEW = 06h type(2) idno(2) size(3) mode(1) name(n) Creates a new object and responds with an INFO message of the created object. The object’s data will not be initialized to any default values. If idno is zero, the ﬁrst available object ID number will be assigned.
Page 197 KSP8 SysEx Messages returned (see object type table below). The bank ﬁeld speciﬁes a single bank, 0–9, unless it is set to 127, in which case objects from all banks will be returned. form requests the format of the binary data in the WRITE messages. If ramonly is one, only objects in RAM will be returned.
Page 198: Object Types
KSP8 SysEx Object Types number. If the operation can’t be completed because of a bad type or bank number, the ENDOFBANK message will specify the old bank number. PANEL = 14h buttons(3n) Sends a sequence of front-panel button presses that are interpreted by the KSP8 as if the buttons were pressed at its front panel.
Page 199: Button Press Equivalence Tables
KSP8 SysEx Button Press Equivalence Tables Button Press Equivalence Tables Alphanumeric pad Soft-Buttons A-F Button Code (dec) Code (hex) Button Code (dec) Code(hex) Zero A (leftmost) Three Four Five F (rightmost) Seven CD (2 center) Eight Nine Cancel Clear Enter Edit / Exit Button Code (dec)
Page 200: Screen Display Commands
KSP8 SysEx Screen Display Commands Screen Display Commands These commands allow you to read the screen display, both text and graphics layers. ALLTEXT = 15h …requests all text in the KSP8’s display. PARAMVALUE = 16h …requests the current parameter value. PARAMNAME = 17h …requests the current parameter name.
Page 201: Boot Block
Boot Block Boot Block Main Menu Appendix E Boot Block The Boot Block is KSP8 system code containing specialized tools that let you: view the version numbers of your KSP8 objects • update the KSP8’s operating system, Boot Block, and/or objects •...
Page 202: Updating Ksp8 Software
If you’re in a hurry, it’s much faster to load from a SmartMedia card than it is to load from MIDI. Of course you’ll need a way to copy ﬁles (e.g., updates that you’ve downloaded from the Kurzweil web site) to a SmartMedia card ﬁrst. Fortunately, SmartMedia drives are readily and inexpensively available from a variety of sources.
Page 203: Loading Via Midi
Boot Block Updating KSP8 Software Highlight a ﬁlename, then press the Select button. Press Select a second time to deselect an item. You can select multiple .KOS and/or .KSP ﬁles from the selection list. The status line at the top of the screen will show the current directory, how many ﬁles are in this directory, and how many ﬁles you have currently selected.
Page 204: Running Diagnostic Tests
Boot Block Running Diagnostic Tests Running Diagnostic Tests The DIAGS soft button from the Boot Block Main Menu provides a list of available diagnostic tests. Since these tests are intended for service personnel, they are not described in this manual. Resetting the KSP8 Press the Reset soft button to perform a hard reset.
Page 205: Midi Control Sources
MIDI Control Sources Appendix F MIDI Control Sources Control sources are assigned as values for control source parameters, like Source on the S MOD and C MOD pages, ASR Trig, and LFO Rate Control. Assigning a control source to one of these parameters is like connecting control source outputs to various inputs on early modular synthesizers.
Page 206: Trying Out The Control Sources
Here is a quick way to conﬁgure your KSP8 to hear the effect of the control sources: Set up your KSP8 so that it has a MIDI controller (a Kurzweil K2600, for example) connected to its MIDI In port, and audio from the KSP8 going to some sort of sound system.
Page 207: Control Source Lists
MIDI Control Sources MIDI Control Source List Control Source Lists There’s one long list of control sources stored in the KSP8’s memory, although not all control sources are available for all control source parameters. With time you’ll become familiar with the types of control sources available for various control source parameters.
Page 208 MIDI Control Sources MIDI Control Source List MIDI 01 (MWheel) MIDI 02 (Breath) MIDI 03 MIDI 04 (Foot) MIDI 05 (PortTim) MIDI 06 (Data) MIDI 07 (Volume) MIDI 08 (Balance) MIDI 09 MIDI 10 (Pan) MIDI 11 (Express) 12—15 MIDI 12—15 16—19 MIDI 16—19 (Ctl A—D) These MIDI controllers are used for MIDI control of the four quick parameters in the...
Page 209: Ksp8 Specific Control Source List
MIDI Control Sources KSP8 Specific Control Source List KSP8 Speciﬁc Control Source List This list contains all but the last three control sources in the MIDI Control Source list. It also contains the following control sources. All are local unless speciﬁed as global. Channel State (Chan St) Chan St refers to whether any notes are currently active on a given MIDI channel.
Page 210 MIDI Control Sources KSP8 Specific Control Source List 47, 48 A Clk4, ~A Clk4 49, 50 B Clk4, ~B Clk4 51, 52 A Clk2, ~A Clk2 53, 54 B Clk2, ~B Clk2 These control sources function like sources 56 – 59, except that the sources appended with “2”...
Page 211 MIDI Control Sources KSP8 Specific Control Source List 101, 103, LFO1 Phase (LFO1ph), LFO2 Phase (LFO2ph), 105, 107 LFO3 Phase (LFO3ph), LFO4 Phase (LFO4ph) This bipolar control source generates it signal based on the cycle of the associated LFO. For example, when the phase of LFO1 is 0 degrees, the signal value of LFO1ph is 0.
Page 212: Constant Control Sources
MIDI Control Sources Constant Control Sources Constant Control Sources The remaining control sources are constants, which appear only when you’re assigning control sources as inputs for the FUNs. Assigning one of these values ﬁxes the input’s control signal value at a steady level. Assigned Assigned Corresponding Constant...
Page 213: Numeric Entry Shortcuts
Numeric Entry Shortcuts LFO Shapes Appendix G Numeric Entry Shortcuts This appendix details some of the numeric values (in addition to the KSP8 object numbers provided in Appendix C) used throughout the KSP8. You can enter the number for an item or object, then press the enter button as a quick way to select a parameter value.
Page 214: Fun Functions
Numeric Entry Shortcuts FUN Functions FUN Functions Keypad Function Keypad Function NONE Warp4(a,b) Warp8(a,b) a AND b (a+b)/2 a OR b a/2+b b > a a/4+b/2 ramp(f=a+b) (a+2b)/3 ramp(f=a-b) ramp(f=(a+b)/2) -a*b ramp(f=a*b) a*10^b ramp(f=-a*b) :a+b: ramp(f=a*10^b) :a-b: ramp(f=(a+b)/4) min(a,b) a(y=b) max(a,b) ay+b Quantize b to a...
Page 215: Eqs
Numeric Entry Shortcuts Keypad Keypad NONE LoShelf/LP Lo Shelf HiShelf/LP Parametric Mid/LP Hi Shelf Notch/LP Hi Pass 2P HP 1/LP 2 Hi Pass 3P HP 2/ LP 1 Lo Pass 2P Distulator Lo Pass 3P Shaper/LP Reson Bass Shaper2LP Wide Mid Sine BandPass SawTooth...
Page 216 Numeric Entry Shortcuts Appendix G-4...
Page 217 MIDI Implementation Chart Appendix H MIDI Implementation Chart Model: KSP8 Manufacturer: Date: 9/12/01 Young Chang Version 1.0 Effects Processor Function Transmitted Recognized Remarks Default 1(-16) Basic Channel Changed 1 - 16 Default Mode Messages Altered 0 - 127 Note Number True Voice 0 - 127 Note ON...
Page 218: Midi Implementation Chart
MIDI Implementation Chart Appendix H-2...
Page 219 Index ASRs 9-4 Attack 9-5 Delay 9-5 Numerics Mode 9-4 Release 9-5 16, 20, or 24-bit digital audio 10-2 Trigger 9-4 3 SterIn>5.1 FX+ 5-7 Atk Rate 8-9 3-Way panner 3-18 Atk Time 8-5 4 SterIn>5.1 FX 5-7 Attack 8-6 4MnIn>4StFX->Mix 5-7 Attack time for ASRs 9-5 4MonoIn>4SterFX 5-7...
Page 220 Cabinet LP 8-11 Control messages Cabinet simulations 8-11 Balance (MIDI 08) F-4 Carrier Breath F-4 ring modulation 8-14 Data (MIDI 06) F-4 cataloging objects 5-15 Effects depth (MIDI 91) F-4 CenterGain 8-15 Expression (MIDI 11) F-4 CentrAtten 8-13 Foot (MIDI 04) F-4 Chain editor 7-2 Freeze pedal (MIDI 69) F-4 Chain mode 7-1...
Page 221 Controlling LFO rate 9-3 DitherType 10-3 Copy Dly Coarse 8-8 on Object Utilities page 10-7 Dly Fine 8-8 Cross Couple parameter 8-1 DlyCrs 8-8 Crossover 8-11 DlyFi 8-8 Crossover1 8-6, 8-15 Double button presses 5-3 Crossover2 8-6 Drive 8-5 Cursor buttons 1-6 Dry Bal 8-3 Curve 8-11 Ducking 8-7...
Page 222 Expander 8-5 Graphic equalizer 8-4 Expanse 8-2 Expansion 8-6 Expression (MIDI 11) F-4 Half Wts 8-14 hard inputs and outputs 1-10 Hard Reset 10-15 FB2/FB1>FB 8-3 Hard reset Fdbk Dly 8-4 from boot loader E-4 Fdbk Image 8-4 Headroom 8-8 Fdbk Level 8-3, 8-7 HF Damping parameter 8-1 FdbkComprs 8-5...
Page 223 Lo Size 8-12 presets 6-1 Lo Slow 8-12 real time control 9-1 Lo Trem 8-12 SysEx D-1 LoAccelCrv 8-12 Kurzweil website iii Load soft button 10-4 Loader soft button on Reset page 10-15 loading objects 5-15 L Diff Dly 8-3 Lock...
Page 224 LoPass 3P MIDI faders EQ function A-5 on K2500 and K2600 keyboards 5-11 LoResonate 8-12 MIDI Implementation Chart H-1 LoResXcurs 8-12 MIDI Program Change Messages 9-1 LoShelf/HP MIDIScope 10-14 EQ function A-7 milliseconds 6-8 LoShelf/LP Min Freq 8-9, 8-10 EQ function A-8 Minimum LFO rate 9-3 LoSlow>Fst 8-12 MixMode 5-8...
Page 225 None Overriding parameters with Mods 6-5 EQ function A-1 Overriding parameters with Quick mode 6-3 Non-harmonic overtones creating with ring modulator 8-14 Notch Pages 1-4 EQ function A-7 Pair Wts 8-14 Notch/HP Pan 8-11, 8-15 EQ function A-8 Pan (MIDI 10) F-4 Notch/LP Pan control F-5 EQ function A-9...
Page 226 Program Change Resetting the KSP8 E-4 MIDI 9-1 ResH/LPhs 8-12 Programming FUNs 9-6 Reson Bass Ptch Offst 8-14 EQ function A-5 Pulse Width 8-10, 8-13 Resonance 8-9, A-1 Punctuation 5-16 Resonant Filter 8-9 Retrigger 8-7, 8-10 Reverb types 8-2 Ring Modulation 8-14 Quantize + Flange 8-8 RMS Settle 8-15 Quartr Wts 8-14...
Page 227 Shortcuts 5-3 Studio mods SID 3-10 setting MIDI channel for 10-1 Signal Delay 8-6 StudioChanl 10-1 Signal Dly 8-6 Studios 5-6, C-1 Signal flow chart 1-1, 3-1 types of 5-7 Sine Sustain (MIDI 64) F-4 EQ function A-13 Sustaining ASRs 9-4 Sine+Shape Sweep 8-9 EQ function A-13...
Page 228 Triggering ASRs 9-4 Triple button press 5-3 Troubleshooting noise in bidirectional digital configuration 10-2 U allocation 5-5 Unipolar control sources 9-5 Util soft button 10-4 Utilities 10-14 Utilities page 5-3 version numbers of objects viewing with Boot Block E-1 Vib/Chor 8-13 VibChInOut 8-13 Vibrato/Chorus 8-13 Volume (MIDI 07) F-4...

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