Kurzweil:Dead Letters 1996c

From Sonikmatter

Pulled from the KurzList by Brian Cowell

Alt Method

Date: Thu, 21 Nov 1996

From: Frank Schweizer

Subject: QUESTION ABOUT ALT METHOD

>Is it really possible to move the alt trigger point with a >continuous controller? In real time? I have been using the mod wheel >to trigger the alt point for years but this creates an either / or >situation. You get the normal start point and then the alt point >when you apply modulation. What I'm asking is this: Is it somehow >possible to slide through different trigger points in a sample using >a controller? I don't think so, but would love to be pleasently >surprised if I am wrong.

YES!!! it is really possible. but only if you trigger always new notes.

try this..

take a sample of a vocal line..
set the start to continuous and set control to mod wheel..
then.. play little short notes (16th or so) of the sound, you should hear the beginning of the sample.. now move the mod wheel..
it'll scroll you through the sample.
Very cool trick

here I want to write you my own tips also:

1. the best is to take a sample with spoken words in it, so that you can hear the start point exactly.

2. when you record short 64th notes (always the same pitch) on a sequencer with a tempo of 20, change after recording the tempo to as fast as possible (250 ?) and play this sequence in a loop mode, you can hear best result.

3. I'm controlling the Alternate Start with the SLIDE A on the K 2500 S, where I can set any controller.

For the K 2500 it is logical to use CTL A (MIDI controller 16) (I like also the Random MIDI controlers like RANDV1, RANDV2, GRAND1, GRAND2, where you can here the effect without using a controller by hand immidiately.)

4. The ALternate point should be as far as possible at the end of the sample.

5. Change the tempo of the sequencer while playing

6. Change the Release Time of the AMPENV in the Program Editor of the K2x00 to hear also longer notes.

How to do this?

Use the ENVCTL:

Release Adjust to a low value (0,018x)
Depth to a high value (50,000)
Source to another controller (CTL B for example)

Look at the AMPENV:

the ReeaseTime1 should be high, when you want long notes and low for short notes.

With all these tips you can create really interesting effects.

But play with these posibilities some time to get the real ideas and impressions for new compositions.

But what is NOT possible:

You can't use this effect with only triggering one note one time. So you can't really scratch through a long sample. WHY NOT? Is this not a good idea for a future update?

And why can't I have an alternate Loop Point with the same Alternate possibilities??

Frank Schweizer

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Analogue Guide

Date: Fri, 8 Nov 1996

From: M 5tevens

Subject: Analog Sounds (gliding)

It's a "trick" for making sounds that appear to be eternally ascending or descending in pitch. The frequency gets modulated by an upward or downward going ramp, and the amplitude by a bell-shaped envelope in sync with the former, and you run a bunch of 'em in parallel with appropriate timing offsets. Now that I've brought it up, I should probably get off my butt and try to program one...

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Arpeggios

Date: Tue, 27 Aug 1996

From: Glenn Reither

Subject: arppegios

> Here is ONE way to set up arpeggios on a K. > If you have version 3 firmware, the sequencer contains a portion >called an arranger, which allows you to set up anything, from a single >note to a full 16 track sequence, as a "part" or step in an >arrangement.

That is one good work around. Here is another solution using FUNs. Like the sequencer solution it is not nearly as practical as a real arpeggiator.

Start a new program with a sustaining keymap (like one of the synth or organ waves).

PITCH page: Src1:LFO1 Dpth:700 Src2:LFO2 DpthCntrl:FUN2 MinD:1200 MaxD:500 (LFO 1 is giving a fifth up from the root, LFO2 gives other intervals)

FUN page: FUN1 InA:0.38 InB:MWheel Func:Quantize B to A (FUN1 makes MWheel a 4 step controller) FUN2 InA:0.84 InB:FUN1 Func:min (a,b) (corrects the tritone on the last step, without this the 4th level of FUN1 isnt very usable)

LFO page: LFO1 MnRt:1.30 MaxRt:5.00 RateCtrl:Data Shp:Square+ Phase:180 LFO2 MnRt:0.65 MaxRt:2.50 (same as LFO1......................) (because the rate of 2 is half that of 1 you get 4 even steps)

There is another cool way using LFO's and layer delay controls that I will post soon.

Glenn Reither

Date: Tue, 27 Aug 1996 From: Glenn Reither Subject: arppegios

Here is a second arpeggio cludge using layer delays, LFOs and ASRs Make a layer with the following params:

Keymap: Sawtooth Layer Page: DelayCntrl:MWheel SusPdl:OFF AMP page: Adj: -44 Src1: ASR1 Dpth: 51 ASR page: (ASR1) Trig: LFO1 Mode: Norm times 0 0 0.8 LFO page: (LFO 1) MnRt: 1.40 MxRt: 2.80 RtCtl: MWheel Shape: +Square Phase: 0 Alg: 4Pole LoPass Freq C4, Src1:Data, depth:8000 Res:10dB

AMP: 0.10 attack, all 100%, 0 Release

COMMON: Mono ON, Legato+Portamento off

Duplicate this layer 3x so you have a four layer program.

Set the layers to the following:

Delay: Mn Mx 00 00 180 90 360 180 540 270

PITCH Coarse: 0, 4, 7, 12 On the layer set to 4, Src1:Sustain Depth:-100

A simple 4 note arpeggio, sus pedal makes it minor. MWheel controls speed. Data controls cuttoff. If you had other controllers you could use them to change the pitch of the other 3 notes to give different chord shapes.

Still nuttin' like a real one tho'. Cubase Phrase Synth does good arpeggios.

Glenn Reither

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Auto Panning

Date: Sat, 9 Nov 1996

From: Glenn Reither

Subject: Sync Auto Pan Among Layers + Rhodes

> Hi there I'm trying to do a patch where I have an autopanned rhodes > and an autopanned CP 70 at the same time, but, it seems that they > are not in sync.... > > Is there anyway to sync them up or should they be in sync anyway?? > I know about GLFO2, but that goes only between sounds in the same > layer not in sounds across different layers..

Make sure globals are turned ON (COMMON page)

First get one layer set up right. Use an ALG with a PAN block, set OUTPUT to hard left and right (FIXED). In the PAN block assign LFO2 (which is global) to Src2., depth cntrl to ASR1 (this lets you set up a delay before the sound starts panning), MinDdpth to 0%, MaxDpth to 200%.

Set LFO2 to square, rate to 1.20. On ASR1 set to HOLD,with a short delay,attack and release time. This gives a sound that pans after the initial attack.

Duplicate the layer for another sound that pans exactly with LAYER1. Reverse the OUTPUT page so the sounds swap sides.

Glenn Reither

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B3 Emulation

Date: Fri, 9 Aug 1996

From: David Charlap

Subject: K2500 B3 emulation

>>BTW, the general principles of making a drawbar organ with detuned >>sine waves does work. I've got a 5-drawbar organ patch at home that >>I've been working on for the past few days. It doesn't quite sound >>like a Hammond, but it's there. The big deal now is to locate a real >>organ and figure out the detuning ratios for the different bars. >>Right now, my 5 bars are detuned as: -12, -5, 0, +7, +12. That is, >>a two-octave range, including the 5ths.

>SO would this be any different from setting the keyboard to just play >sine waves, then only playing seventh chords such as C1-G1-C2-Bflat2 >C3?

Not quite. Each of the sine waves has an individual volume setting - the settings of the five sliders. If all five bars are at the same volume, then it would be the equivalent of playing a few Sus5s. But you rarely play with all the bars in the same position - this is what gives it some of its character. The rest of it comes from getting the right ratios between the bars. I'm sure that the ones I picked are not the same ones Hammond uses on their organs. (And those are probably different from what other makers of drawbar-organs use.)

The way I have it programmed now, if you press C4, you will hear sine waves at C3,G3,C4,G4,C5. If all the drawbars are at "full", they will all play at the same (max) volume. If the second and fourth bars are at their minimum position, you will only hear the three C's, etc. The different sine waves merge together in rather interesting ways.

Of course, if you play some other note, everything else will be different, so as to keep the same ratios.

Date: Sat, 10 Aug 1996 From: Joe Albano Subject: Hammond emulation, continued..

A couple more points on this:

First, as David already pointed out, -12, -5, 0, +7, +12 would work out to be C1-G1-C2-G2(not Bb2)-C3 (+7 is equivalent to a 5th above 0 (tonic), not a 7th).

The detuning ratios of a Hammond, AFAIK, are pretty standard as for organ pipes, based on the harmonic series. I can't recall offhand if it's a straight series (first 9 harmonics) or if some are skipped (I think the latter is in fact the case), but I'm sure that information must be floating around online somewhere. BTW, there is a Hammond website/FAQ with lots of useful technical info that could come in handy for this sort of programming, at:

http://ddi.digital.net/~bbaker/faq.html

I'm sure that information (the 9 exact drawbar ratios), as well as other good stuff, could be found out easily enough thru one of these areas..

Cheers - Joe Albano

[edit]

Bipolar

Date: Fri, 2 Aug 1996

From: David Fox

Subject: Bipolar Control Sources

Antony Widoff,

>>Maybe I'm not understanding the function of the Bipolar sources, but >>it seems to me that they are not working correctly on my unit. If I >>use BMPress as a control source I should only get a change in value >>when the control sends its maximum or munimum value. Right? Anyway >>this does not seem to be working on my K2000R (v3.16J). Anyone have >>some insight for me?

Not correct at all. A bipolar control source is one that goes from -1 to 1 instead of from 0 to 1. So for a bipolar control source, its value is 0 when the control source is at its midway point. An example of a typical bipolar control source is a pitch wheel, which is centered when at rest, and can be moved up or down.

As to mono pressure, it is a CONTINUOUS control source. So with regular mono pressure, it will generate increasing values between 0 and 1 as you press down.

If you use bipolar monopressure, it will generate increasing values between -1 and 1 as you press down so you would have to press down to midway to get to 0.

So if you go to the pitch page and set Src 1 to MPress with a depth of 1200cts, then pressing down all the way will raise the pitch up 1 octave. If you use BMPress, then it will start 1 octave below normal increase to normal as you reach the midway point and continue up another octave as you press all the way down

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Boot Macros

Date: Sat, 31 Aug 1996

From: Pete Morgan

Subject: Helpful tip concerning Boot.mac

Does everybody use BOOT.MAC to reset their machine to their favorite settings on powerup? I recently acquired a Syquest EZ-135 and began structuring my activities to be more productive. One thing I discovered to be a HUGE timesaver was the creation of a BOOT.MACro file to clear ALL RAM programs, reset the master settings to my defaults, and load in my version of Program 199 Default Program.

When I first turn on the K2000, the last session full of programs is still loaded, only half do not sound since their samples were wiped-out. This means I waste time deleting and trying to reset any parameters in the Master Table that I might have tweaked.

In order to rid myself of these problems, I created a BOOT.MAC file. This is a file that the K2000 searches for upon its power-up sequence. If it locates the file, it proceeds to load files in the macro as specified.

For starters, go to the MasterMode page and set everything the way you like to see it. Take some time to play around with the VelTouch, PressTouch, and Contrast parameters. See what works for you the best. I am amazed that many users never mess around with the contrast and response curves to suit their playing. Everyone's hands and eyes are different. 'Nuff said.

Do the same thing inside the MIDI page. Be sure to visit the XMIT, RECV, and CHANLS submenus. Set everything here the way you would like it to be. (Note: Set MIDI control in the XMIT page to Local unless you fully intend to use MIDI most of the time - many computers loopback the k2000's MIDI stream and jam the processor in Sequencer mode) You may also want to set all of the channels to Program 0 None except for Channel 1 which can be Program 199 Default Program, and Channel 16 -> Program 198 Click. This is my basic setup from which I start tweaking or sampling or sequencing. By now, I'm sure everyone has their own separate setup, and that is exactly why making a BOOT.MAC file is SO useful. Enter DiskMode, hit SAVE, and scroll down to Master and hit Okay. When prompted for dependant objects, hit NO for now. Save as: MYMASTER and put it on your SCSI drive(or floppy). Let's create a new Dufalut Program 199. Select Program 199 and hit EDIT. Hit the rightmost softkey "more>" twice and select OUTPUT. I find that when I start a program often I am auditioning a sample, and the samples don't seem to line up at unity gain. To compensate and provide a clean, dry output, I set Gain to 12dB, Pair to B(DRY), and in the "F4 Amp" screen, I set Adjust to 12dB.

This provides a clean output. I tend to work with effects off set to Master, 0%. I save these settings as well in my master table. Save this in place of Program 199. In DiskMode, hit SAVE/OBJECT, select Program 199, and name it DFLTPROG.

Go into MasterMode, and hit DELETE, and scroll down to EVERYTHING. Select OK and go into DiskMode. Once again, select SAVE, and scroll down to EVERYTHING. Hit Okay and name it NULLPROG.

In the DiskMode screen, adjust the Startup: parameter to point to the SCSI drive where you would like to put your BOOT.MAC file. You MAY use a Floppy here if you have no SCSI drive, however, you may not be able to load many samples this way.

Now hit MACRO. If the macro isn't clear, reset it(save your work if you value it). Hit "ON" and then "Load." Select NULLPROG and load it into EVERYTHING back in OverFill Mode. Load MyMaster as back 200/Fill. Load DFLTPROG as bank 100...199* in Merge mode. Now hit SAVE/MACRO/ALL name it BOOT and save it in the root directory of the drive pointed to by the Startup: parameter on the DiskMode screen.

Now you have a viable BOOT.MAC file to get you started quickly and easily.

Pete

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Continuous Controller Inputs

Date: Fri, 2 Aug 1996

From: Greg Smith

Subject: Continuous Controller Inputs

!DISCLAIMER This document contains unverified and experimental results.

USE AT YOUR OWN RISK!! Damage to your equipment may result if you use this information without taking your own measurements!!!

I AM NOT RESPONSIBLE FOR ANY DAMAGE AS A RESULT OF YOUR USE OR MISUSE OF THIS INFORMATION!!!

END OF DISCLAIMER

I spent some time this evening experimenting with the CV/CC pedal inputs on some of my synths.

Here is what I found.

[edit]

Abbreviations:

Synths:

MK80 => Rhodes MK-80 (made by Roland)

DX7 => Yamaha DX-7

C8 => Peavey C8

K25 => Kurzweil K2500 (76-key)

For those who don't know, here's the 1/4 inch plug:

sleeve   ring tip
________ ____ _
        |    | \/\
________|____|_/\/

Measurements:

Vts = Voltage at Tip Minus Voltage at Sleeve

Vst = Voltage at Sleeve Minus Voltage at Tip

Vsr = Voltage at Sleeve Minus Voltage at Ring etc.

It = Current into Tip

Ir = Current into Ring etc.

[edit]

Parts: (from Radio Shack)

42-2442 - 20foot Stereo Headphone Cable

271-1715 - Linear Taper Potentiometer 10Kohms

271-092 - Linear Taper Potentiometer 100Kohms

When I clipped off the jack end of the Headphone Cable, I got the following colors:

Tip = Yellow

Ring = Red

Sleeve = Black

[edit]

Results

Unloaded (no-connect) voltage measurements:

MK80 ("Control" Jack) Vts = 5V ; Vsr = 0v

DX7 ("Modulation" Jack) Vts = 16V; Vtr = 16v; Vsr = 0v

C8 ("CV2" Jack) Vts = 0v ; Vrt = 12v; Vsr=13.5v

K25 ("CC Pedal 1") Vrs = 5v ; Vts = 0v ;

Note the DX7 appears to short Ring and Sleeve. Someone mentioned that their Yamaha pedal did strange things to their K2500. My DX7 measurement appears to confirm that BAD result (it would short the K25's 5v CCpedal supply).

The rest of this document details more measurements on the Kurzweil K2500.

I enabled the "Cped1" transmit (PitchBend) on the "Cpedal" page under Setup and turned on "MIDI View Mode" under the Master Page to view the MIDI values sent out during testing.

We've seen on this list that the connections for the pot are:

Ring = One end of pot

Sleeve = other end of pot

Tip = Wiper

I've been told by kurzweil@aol.com (I think that's David Fox), that a "standard" (is there one? :-)) 10K CV pedal will work on the K2500.

I used the previously-mentioned part from Radio Shack.

With 10K linear pot:

Vts @ MIDI value 127 = 5V; It = 5uA

Vts @ MIDI value 0 = 0V; It = 0uA

Ir was constant at about .6mA (as expected)

For grins, I tried a 100K linear pot. The results were the same as for the 10K pot.

Vts @ MIDI value 127 = 5V; It = 5uA

Vts @ MIDI value 0 = 0V; It = 0uA

Ir was as expected (I didn't get an accurate reading, but it was just over 50uA).

Additionally, varying the load on Ring to Sleeve from 10K to 100K does not change Vrs.

Note the K2500 appears to prefer a full voltage swing on the Tip. That is, for full MIDI value swing from 0-127, the Tip should go all the way from the Sleeve voltage to the Ring voltage. Scaling using the K2500 firmware (Setup:Cped1:Scale/Add values) seems possible if the voltage on the Tip is not full scale.

[edit]

Goal?

My goal is to hook up my PC joystick to the CV/CC (CV = Continuous Voltage; CC = Continuous Controller) input on my K2500.

After taking some measurements on my joystick:

Looking into my joystick plug ( o = pin ; . = blank space ):

  1 2 3 4 5 6 7 8
-----------------------------------
( o o o o . o o . )
 \ . . . o o . . /
--------------------------------
9 10 11 12 13 14 15

1 XY pot common (GND?)
2 Switch 1
3 X
4 Switch common (GND?)
6 Y
7 Switch 2
12 Switch common (GND?)
13 Unknown

My joystick pot values are approximately 0-100K trimmable to maybe 20K-120Kohm.

The joystick pot values appear compatible (experimentally) with the K2500. The only problem is that the joystick only has one end of the pot and the wiper available, not both ends of the pot.

It appears that all I need is a current regulator in series with each pot on the joystick, and the K2500 will have a joystick input!

A few questions remain:

Can I connect the Sleeves of both CCpedal inputs together? Presumably they are connected to ground (or at a minimum, shorted together) internally on the K2500.

Do I need to limit the current on the switch inputs if I want to connect the Joystick buttons to the "Switch Pedals" inputs on the K2500? Do all these Switch and CCpedal inputs share a common "ground" point internally on the K2500?

Does anyone know of a 50uA, low-voltage drop (<100mV) current regulator or other component that would work in this situation? (I would prefer to minimize the amount of tweaking done with the Scale/Add parameters of the Cped.)

If you find any more information on this subject, or if you find any of my observations to be wrong, feel free to mail me!

Greg Smith

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DJ Techniques (Transforming)

Date: Mon, 11 Nov 1996

From: Glenn Reither

Subject: transforming

>> you know how in dance music sometimes you hear some sample and it >>has rhythmatic mutes in it? transforming is what my DJ friend calls >>it and he does it with records and a mixer by flipping a switch on >>the mixer on and off. >> >> like an "ahhhhhhhhhhhhhhhh" sample going >> "ah hhh h hhh hhh" >> >> what could you assign to a controller so you could make these >> rhythmatic mutes in real time or sequence them?

> This is from an ex-dj: When you transform, you make the sound by >using a crossfader (can be done with a regular fader though) on the >mixer. You can set up a min/max volume fade to work with a >controller (try the k2's "data" controller) in real time. Set one >end of the switch for max volume and the other for minimum. While >playing back the programmed sound simply switch from min to max >rapidly.

It is often worthwhile to reduce the amount of movement required by using a FUN. This means you can use just the middle part of a slider or modwheel's range and reduce the amount of controller data that ends up in your sequence. Always a good idea to not clog up those midi lines :)

On the FUN page, select a FUN and set up as follows. InputA: .100 InputB: ModWheel Func: Quantize BtoA

Now you can assign the FUN to volume on the amp page. Turn AMP way down and use the FUN to bring it back to normal level.

For MW values below halfway, the FUN returns 0. Above halfway, the FUN returns 127 (full on).

Another solution is to turn sustain off on the LAYER page and assign sustain pedal instead of FUN to AMP control. The sound plays only while sus pedal is depressed.

Glenn Reither

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Drum Rolls

Date: Fri, 2 Aug 1996

From: Joe Albano

Subject: ?'s from a newbie/K2 drum roll

>> Also regarding sampling, how realistic can sampled drums sound? >> I imagine that basic beats would be fairly transparent, but how >> about when you try and do a roll? Is it convincing?

> The roll that comes with the K2500 isn't that great. I don't know > what the unit is capable of, but I suspect that getting a convincing > roll will be difficult unless you sample the entire thing and just > use the keyboard to trigger it.

>>Hmmm, this concerns me, as one of the main functions I need out of the >> synth is using it for drum tracks. So if the roll sounds bad, I >>assume that trying to create a roll out of single sticked samples >>sound worse? >> I would have liked to try that, but the keyboard "tech" at the semi- >>local Kurzweil dealer didn't know enough about the sequencer to try >>and write any kind of drum track for me to evaluate. I *have* heard >>commercial recordings of eletronic drums that I have found to my >>liking - are there better units out there, or what's the secret to get >>decent drum sounds?

Have no fear, the K2x00 can do drums! :-)

Here's a method that works well for creating a very convincing *playable* roll from almost any good (natural) snare sample:

First, get a good sample of a hard (ff) snare hit. This should be a hit in the center of the snare with NO rim - for the rimshot you can use different samples of the same drum *with* rim and map them onto different keys (a lot of the better drum CD's have various snare-only and rimshot samples from the same drum, so this shouldn't be too hard to find). Trying to play a roll with a rimshot sound won't be at all convincing, so map the snare-only sample to 3 or 4 adjacent (white) keys (if you're triggering from a MIDI drumset, a dual-trigger pad with a separate rim trigger is best - snare sample from the pad, rim sample(s) from the rim, obviously).

Try these settings:

F4 AMP page:

 Src2 : ENV2
DptCtl: AttVel
MinDpt: 24dB (as required for the particular sample used)
MaxDpt: 0 dB

VelTrk: 18dB (or greater, to taste)

ENV 2 page:

Att1: Att2: Att3: Dec1: Rel1: Rel2: Rel3: Loop:
0sec  0.02  0sec  0sec  0sec  0sec  0sec  Off
-100  0 %*  0 %  0 %   0 %   0 %   0 %   Inf

PS - * in case that character is not coming out right (%) (after the 0's on the bottom line), it's a percent sign

What this setup does is soften the attack of the sample at low velocities to make it sound like a soft hit, or a stick bouncing lightly on the head, as in a roll. Similar results are often acheived by mapping a *continuously* variable sample start point to velocity, but this option is only just recently available on the K2500, and is not (yet?) possible with the K2000 - the above trick will work on either.

Now, if the sample is fairly natural and not too compressed or too short, rolling your fingers over the 4 snare-only keys (or playing a roll normally on the snare pad) should produce a pretty authentic sounding roll that is fully playable with (adjustable) dynamic response. The VelTrk setting of course simply affects the velocity>amplitude range of the sample, the MinDpt setting controls the degree to which the attack is softened at low velocities (this will probably have to be "tuned" to the particular sample used).

For keyboard playing, I sometimes find it difficult to control dynamics accurately enough while playing a manual roll, so I've set the (unused) pitchbend wheel to this:

F4 AMP page:

 Src1 : PWheel
Depth : 18dB (to taste)

At center level amplitude is simply based on velocity; above/below center, amplitude can be increased/decreased smoothly with the left hand as I perform a roll with the right (OK so it's a cheat..) ;-).

For a little extra naturalness, a bit of random pitch variation can also be added:

PITCH page:

 Src1 : FUN 1 (or *any* available FUN)
Depth : 32ct (adjust to taste)

FUN page:

          Input a:  Input b:  Function:
 FUN 1 :  Atk Stat  RandV1    Track B while A

This last setting creates a slightly differnt tuning for each new note-on of the snare (and rim) sample(s) - adjust to taste.

With a natural sample, this can sound very convincing, and it's nicely expressive to be able to play a roll dynamically by hand so it really fits in musically with the track! There are a lot of other such tweaks that the VAST system allows that can make good drum (and cymbal) samples sound and *play* naturally - we get excellent K2500 drumtracks from either keyboard or full MIDI drumkit with custom programs using a large variety of similar tweaks, though the best results have come from either doing our own samples or using high-quality drum samples from the better CD's such as the Clearmountain, Erskine, and Gadd (and others, I'm sure). With just a little work, VAST makes the K2x00 a killer for live-sounding drums!

Hope this is useful..

Cheers - Joe Albano

TK> Well I was planning on doing all of my sequencing with TK> Emagic Logic Audio..

Excellent choice! IMHO, Logic Audio is to sequencers what the K2x00 and VAST system are to synths/samplers..

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Emulating Old Synth

Date: Mon, 25 Nov 1996

From: M 5tevens

Subject: Emulating old synths

>What algorithms and samples in the K2k could be used to emulate >older equipment (like the classic TB303, MOOG, etc.).

Basically, algorithm 1 using the "lowpass with separation" option, using either a sawtooth or square wave. Unfortuanately, the sync and PWM options can't be used concurrently with the resonant lowpass filter (or the DSP oscillators, for that matter).

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FUNS

Date: Sat, 24 Aug 1996

From: Glenn Reither

Subject: Making Controllers respond exponentially?

> can i do this with a FUN or are their physical pedals that are more >exponential?? Any help GREATLY appreciated...

Try a FUN with the controller as both input A and B and select a+b The controller will then have a much greater effect at higher levels. You could then use another FUN to modify the effect of this by using the first FUN as input A, a value greater than .5 for input B, and select a*b.

Another solution using a single FUN is a*10^b which gives an exponential curve. Set a to a high value and b to the controller.

Glenn Reither

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FX Processing

Date: Thu, 8 Aug 1996

From: "Smithers, Michael MJ"

Subject: USING FX PROC. WITH MIXER

Out B Out A Mix Outputs
/\ /\ /\ /\ /\ /\ Tip
|| || || || || || Ring
|| || || || || || Sleeve

The outputs of the K2000 are set up as per the above diagram. Notice the MIX outputs do not have a ring connection.

Output B When nothing is plugged into the B outputs, the B output signals are switched (internally) from the tip to the ring contact inside the sockets. From here the ring is routed to the mix outputs. When normal leads (without a ring) are plugged into the sockets, the output signals travel through the tips and out.

This means that the B outputs are disconnected from routing to the MIX outputs. (Note: the sleeve of the jacks that are plugged in, ground the ring contact.)

Output A When nothing is plugged into the A outputs, the A output signals are switched (internally) from the tip to the ring contact inside the sockets. From here the ring is routed through the effects processor which then outputs to the MIX outs. When normal leads (without a ring) are plugged into the sockets, the output signals travel through the tips and out. Again this means that the A outputs are disconnected from routing to the effects processor.

TO WIRE UP THE K2000 and EFFECTS PROC. SEPARATELY TO A MIXER - USE TIP/RING/SLEEVE leads as follows:

/\ Tip (1)
|| Ring (2)
|| Sleeve
Other end of lead
|| || Sleeves
\/ \/ Tips
(1) (2)

A OUTPUTS - need two of the above cables Plug TIP/RING/SLEEVE of cables into K2000 outputs Plug A ends into mixer channels 1 & 2 plug B end into mixer effects send L & R

B OUTPUTS - need two normal cables Plug leads into B outputs of the K2000 and the other ends into channels 3 & 4 of the mixer.

MIX OUTPUTS - need two normal cables Plug leads into MIX outputs of the K2000 and the other ends into the mixer effects return sockets.

The individual channel effects gains on the mixer can now be used to alter the effects level for each of the individual K2000 outputs.

The L/R outputs of the mixer are now the outputs of the system.

IF THIS HAS BEEN TO CONFUSING THEN PRAY FOR GRAPHICS IN EMAIL - .

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FX And Outputs

Date: Thu, 8 Aug 1996

From: David Charlap

Subject: Using outputs as simple mixer

I looked this up in the manual last night. After reading it 4 times, I think I understand it.

On a "typical" synth, audio outs use a two-wire plug:

 _ ____________
/ \/           I
\_/\___________I
| |
| +----------- sleeve
+---------------- tip

The signal is broadcast on the tip and the sleeve is grounded to prevent hum. I think the Kurzweil's "mix outs" are wired this way.

The separate outs are different, though. They use a three-wire plug:

 _ _________________
/ \/    |           I
\_/\____|___________I
| | |
| | +------ sleeve
| +------------- ring
+----------------- tip

The signal is broadcast on the tip and the sleeve is grounded, just like on a standard plug. But there is a third section, the ring. The ring is a return.

So, if you plug a normal cable into there, you get the signal output, just like from a two-wire plug.

But if you plug a stereo (three-wire) cable into there, you can send a signal into the ring, which will get fed into the effects unit (if it's the "A" channel) or directly into the "mix out" if it's on one of the other three channels.

This is how Kurzweil tells you you can mix in your own effects. You have the signal (from the tip) go to the input of your outboard effects box. And the output of the effects box goes to the return (the ring) of the K2000's plug, completing the loop. According to the manual, you can get special adapter plugs/cables that let you do just this.

The reason lines disappear from the mix if you just send the outs to a mixer/amplifier is that there is no return on the ring. With a two-wire plug, the ring will short to the sleeve - grounding it - so there is no return signal, and nothing goes into the mix.

At least this is what I got from the manual. I wouldn't try it myself without verifying this information against someone who's actually done it successfully.

David

[edit]

FX and Outputs

Date: Sun, 11 Aug 1996

From: David Charlap

Subject: Help!!!!!

>So does this mean that you could hook up a microphone to either the A >or B outputs, with a tip-ring-sleeve jack, and then use the k2000's >effects on your voice? >Or am I completely confused? Thanks.

You are correct. But effects only are applied to the "A" channel. If you insert your voice to the "B" channel, it will just get routed to the mix outs with no effects.

To get around this, you can hook your microphone to the left side of the "A" channel and throw your synth patches to the right channel.

Another way is to use both sides of the insert cable. Run the outputs from the "A" channel to a mixer board. Mix your microphones with it, then run the output from the mixer to the return side of the "A" channel to use the effects processor.

With a bit more playing around, you can completely separate the K2000 effects unit from the synth.

You can run the separate "A" and "B" outs to a mixer board. Then use the board's "effects out" to the returns on the "A" channel. Then run the K2000's "mix outs" to the board's "effects return". Then run the board's output to the amplifier.

In this way, the K2000's effects processor will effect everything the mixer sends it, with the K2000 programming serving only to set its parameters. Much like an external MIDI effects processor.

[edit]

Global Resets

Date: Tue, 10 Dec 1996

From: Peter Hoelsken

Subject: Global filter settings?

>> Do you really need to control the filter with ENV2? >> If not, you could use LFO2 to control the filter, go to the COMMON >>page and switch GLOBALS to ON. Now LFO2 plays all the way through and >>will ignore all NoteONs.

>Great :) and how can i reset the LFO's - when i want to restart the >filters?

There are several soultion, but I think this one is the best:

Switch GLOBALS to ON and use ASR2 (GASR2) to control your filter.

Example:

      TRIG MODE DELAY ATTACK RELEASE
ASR1   x    x     x     x      x
GASR2 DATA REPT   0s  2.00s  2.00s

Now you can use the DATA-Slider to restart/trigger the ASR!

This would give a triangle-waveform to control your filters. If you want it to restart from the beginning, you have to move the DATA-Slider down and up again SHORTLY before playing the first note you want to play with restarted filter.

If you struggle with the ASRs limited waveforms, think of the FUNs! With the ASRs and FUNs together you can for example produce a SINE wave!

Example Sine-Wave:

Switch your filter control source to GFUN2

     TRIG MODE DELAY ATTACK RELEASE
ASR1  x      x   x    x
GASR2 DATA REPT 0s    4.00    0s

      Input a: Input b: Function:
FUN1   x          x        x
GFUN2 GASR2     OFF      sin(a+b)

If you tell me the waveform I could provide you with the correct FUN settings.

Hard Drive Mounting

Date: Mon, 19 Aug 1996

From: "Louis A. Dunne"

Subject: HD mounting in K2kR...

Okay, this is my understanding of how to install the hard disk without the HD kit. In fact I've never even seen the HD kit. Let me know if this is not clear. It's quite easy to do, but hard to describe.

1. Take the back off:

First lay your keyboard upside down. You can put it on blocks to protect your keys, or just put it on a bed, which is what I do. Remove the screws on the back of the unit. There are about 6 of them.

It's pretty easy to see which ones you need to remove. Then take of the back off.

2. The power cable

If you look at the back of the unit, you will see the plugs for "FootSwitch 1 & 2", and next to that is plug for the "Foot Controler".

Follow these inside the unit, and you will see three black "blocks" inside the unit, connected to the circuit board. Between the block for "FootSwitch 2" and "Foot Controler" there is a small white "male" connector. This is where one end of the power cable goes in. The other end of the power cable should go to the fan. There should also be a power connector half way down the cable where you can connect your hard drive.

3. Internal SCSI cable

There is a white SCSI cablce connector on the circuit board. It's marked "SCSI Connector" or something similar. You can't miss it. Connect up your hard drive, with an internal SCSI cable.

4. Mounting the hard drive.

I haven't actually mounted mine yet, but here's how I'm going to do it. I think this should work...

If you look at the back of the keyboard (the detachable part), you will notice a few holes. This seems the easiest place to mount it. Most hard drives have somewhere on each side where you can screw them into place. Get some screws from your local hardware store. Hopefully you can get some that fit into the hard drive, and through the holes in the case. You may need some small nuts on the other side of the case to keep the hard drive in place.

Louis Dunne

[edit]

Hard Drive Termination

Date: Sun, 18 Aug 1996

From: Greg Smith

Subject: hard drive termination

> > If you install an internal hard disk in your K2500, the technician > > who does the installation should remove the K2500's termination as > > part of the installation. This will not necessarily enable you to > > connect your K2500 in the middle of a SCSI chain, however, since the > > internal hard disk has its own termination. With an internal hard > > disk, the K2500 should be installed at the end of a SCSI chain. The > > internal hard disk's terminator will provide the termination for > > itself and the K2500. You can remove the termination from the > > internal hard disk as well, if you want to connect your K2500 in the > > middle of a SCSI chain. In this case, you must either connect it in > > the middle of a chain, or install an external terminator on the > > unused SCSI port if you connect it at the end of a chain.

> Reading between the lines a bit, I suspect that your system works > because you left the K2500's termination in place but didn't install > the drive's. > > I would rather do things the way the manual says, but if everything > works OK for you, just leave things alone. (I would change it to > match the manual if you attach any external SCSI devices, though.) >

This paragraph, taken out of the context of page 13-3, is slightly misleading.

I hate to rehash this on the k2000 list, but I don't think this post should be the "last statement" on the K2K and SCSI termination.

Any and all rebuttals or testimonials to the contrary should be made directly to me, and I will summarize for the list, hopefully collecting individual comments into one cohesive post.

The first paragraph of page 13-3 states "The rule for SCSI termination is that the two SCSI devices on the ends of a chain of SCSI devices must be terminated, and all devices in between, however many, must be unterminated."

While many people report success when following the "rules" and others report failure when following the "rules," a clear explanation of the the rules is in order.

The reason that the K2500 without an internal drive is terminated internally, is that it is presumably the last in a SCSI chain. When connecting an internal drive, it is suggested to only terminate the drive, and remove the termination from the K2K controller board.

This is in anticipation of connecting more external SCSI peripherals (including, possibly, another "master controller", i.e. a computer). This configuration makes it possible to add additional external peripherals without opening the keyboard and removing the termination at the controller board, as would be necessary if you left the termination on both the board and the internal hard drive.

When an external peripheral is connected to the K2K, that peripheral (or computer) should provide termination. In the case of multiple peripherals being connected externally, only the last (furthest away from the K2K) peripheral should provide termination.

If no external peripheral is connected, termination should still be applied at both ends of the SCSI chain. In this case, on the internal drive, and the controller board inside the K2K. If the K2K termination is removed when installing the internal drive, termination should be supplied by an external terminator (available at many computer stores). Again, this "external terminator" configuration makes it easier to connect external SCSI devices in the future, since otherwise, you would have to open your keyboard and remove the termination at the controller board, but not on the internal drive, when connecting external devices.

The SCSI bus should be viewed as a continuous wire with termination only at the ends of that wire.

Greg Smith

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Kurzweil:Dead Letters 1996c

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FX and Outputs

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