Kurzweil:Dead Letters 1997
From Sonikmatter
Pulled from the KurzList by Brian Cowell
Ambient Tips
- Date: Thu, 4 Sep 1997
- From: brian cowell
- Subject: Atmos Texture tips.
You want flushing and flowing pads.....
Use ALGO 2.And choose your own filter (I usually use NOTCH or 2POLE). You then go to AMPENV and set your slow and evolving Envelope. Then use this as the SRCE in the FILTER your using.Set it + cnts(amount usually around 2400 I set it out,but you choose your own to suit).
This tells the filter to use the ENVELOPE or follow the ENVELOPE I Should say to get the sound 'brighter' as it gets louder , and duller as it gets quiter. Then got to the ENVCTL page and move down to the ATT part and go Across to the DEPTH part and set the SOURCE as FOOT (or MWHEEL) and the DEPTH to say around 5.000 . This for when you dont want the AMPENV to be slow for a certain part of your master piece but slightly quicker.Use whatever you set it on the ENVCTL page.....ie FOOT,MWHEEL.
You can then add another LAYER and say use ALGO 1.And use the HIGH FRQ SIMULATOR and do what I mentioned above but set the ENVCTL to adifferent SOURCE. other tips...
- change the FRQ in the PITCH page,or use an LFO with a small amount.
- use DELAY on the layer page and set it to fire the next layer a bit latter.
- use the PANNER in ALGO 2 to move the sound around *slowly*.
- use the DATA slider on the OUTPUT page to morph between sounds.
Brian Cowell,
Analogue Patches
- Date: Mon, 13 Oct 1997
- From: brian cowell
- Subject: ANALOG Patches..
- >>some older analog gear used to. I did this in an attempt to emulate
- >> a 303. It's not perfect, but one of my patches is getting there.
- >>Anyway, I'm using Cake6 to control the different parameters (midi
- >>controllers) but I'd like to get an inexpensive "box" for
- >>controlling the k2 with real knobs and not the mouse. I need
- >>soemthing that has at least 4 (maybe 5) knobs and all the knobs
- >>must be assignable to any midi control number that I choose. I'm
- >>using control numbers 20-24 right now with Cake and I'd like to do
- >>the same with a box. I don't need anything pro, so anyone have any
- >>suggestions?
try using thing the alg. with SAW and the like in them.Not the KEYMAPS.
Kurzweil designed the K2's to emulate 99% of available synthesis of the time into there machine so you should get a very good 303 out of it.
use something like ALG#9.
SAW -> LOWPASS -> LP2RES
and after you've set your AMPENV, use it in your LOWPASS as a SOURCE and also in LP2RES also as a SOURCE.....about 2400ct .
make sure that the DEC is not 100 % or you will sustain forever.
using the onboard DSPs and not the KEYMAPS...will get you a lot better results then the KEYMAPS as the K2's generate these waves themselves not like the KEYMAPS which are digital "photos" of the sound.
This technique is a very much overlooked thing with the K2's.No one uses the K2's in this way so maybe you should all think of ANALOG in these terms rather then using the KEYMAPS. I've got a heap of this stuff like this and believe me, its better like this ......raw power...
so use SAW,SQUARE,SINE....in the DSPs....
also duplicate the layer....detune about 10cts,and set the OUTPUT slightly off to one side and set the LAYER ENABLE to FOOT.(its in the LAYER page) every time you hit the FOOT pedal its like using an ANALOG synth and pressing the "CHORUS" button on those old beasts.
you may also like to set GLOBALS to ON (in the COMMON page)...
goto SAW in the block(if thats what your using), and set the SOURCE to LFO2 and the amount to about 18 ct.......more ANALOG goodness....
Brian Cowell,
Analogue Sound
- Date: Tue, 25 Mar 1997
- From: Brian Cowell
- Subject: Analog synth sound programming
> You might want to try the same program I described before, but > > > instead of having the sawtooth keymap as your source, use the ens > > string keymap for one layer and the sawtooth for the other. For the > ens string one, use two SAW+ DSP then routed through the LPF.
- > You'll get interesting results. Have the cutoff be quite low.
duplicate the 2 layers ,then detune (PITCH page) by 8cts for 1 layer,and tune the other layer -2cts.
use the SAW+ blocks with the LOWPASS at the end of the algorthm. but for the analog touch now ,use a slow LFO set to SINE as a SRCE in one or all of the blocks (SAW+,LOWPASS) with detuning in cts set to what ever you like.
This will make the pad unstable and give the sense of "warmth" in the sound.
Brian Cowell
Apex PC Card
- Date: Fri, 4 Apr 1997
- From: John Loffink
- Subject: K2000/K2500 and Apex Card
Here is the response from AVM Technology on K2000/K2500 compatibility with their Apex card:
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
First of all, conversion software are really mean to translate basic parametes and transferable paramteres, it's not meant to be 100 percent conversion, it s a means to translate as many parameters as it can to minimize conversion process.
I will try to answer all your questions that are relevent to Apex engine algorithms. I have not seen the discussions on the mailing list, but do keep in mind the pricing differential between K2000 and Apex and the target market for each product, that does not mean Apex is toy.. There are functionalities not implemented for cost reasons, BUT maybe added in future date since Apex engine/ERAM (similar to PRAM in K2) is factory expandable.
In our view, Apex can suppliment K2K developer in the sense that material they created on K2K cn be properly presented on PC; K2K as the development tool, Apex as the mass market playback device.
>> 1. Which of the 31 algorithms are supported?<<
Apex has 4 link blocks, first block is Pitch, block 2 and 3 are for filter assignments, last block is Amp.
>> 2. Which of the 60 DSP functions are supported?<<
Various DSP functions are supported, we are in the process of completing an documentation on this.
>> 3. Which lower level, software driven functions are supported (FUNs, envelopes, ASRs and other modulation sources)?<<
>> 4. What level of modulation routing is possible (number of sources, depth control, keytrack, velocity track, etc)?<<
Again, this will be in the manual, one notable difference in terms of FUN - KK has 2 input FUN, Apex has 3.
Automatic Panning
- Date: Wed, 18 Jun 1997
- From: "Louis A. Dunne"
- Subject: Automatic panning
Turn on Globals on the COMMON page. Then goto the ALG page, and select an algorithm that contains a PANNER block. Then goto the PANNER page, and set the modulation source to LFO2, and a depth of 200%. Also, set the initial value (top left) to 0% for example.
This will get (the global) LFO2 to pan your sound. You can goto the LFO page and change the shape of the LFO and the rate as desired. You may also want to use a different source instead of an LFO. Look into using AClock, GPhase etc...
Louis
BreakBeats
- Date: Tue, 7 Jan 1997
- From: Sanjiv Menezes
- Subject: Breakbeats
- >Btw. what's the best trick to access several alternative points in
- >a breakbeat sample with one program?
You can map your breakbeat on one key like C3 and set the range from C3 to C3. Go into Master - Sample - Edit, and edit the breakbeat so you get the first chunk like the first bass drum and maybe the first couple of hihats.
Save it under a different number and answer no when it asks "Copy Sample Data?". This creates "virtual" sample chunks so you don't take up any more memory. Keep doing this for each "chunk" in the break and then lay them out 'yer keymap. You should be able to put a sequence back together that is identical to the original. From there, swap stuff around and enjoy. Bring it up to 160bpm and you've got drum&bass.
Sanj
Build a Leslie
- Date: Sun, 23 Feb 1997
- From: Wayne Hammerly
- Subject: How to build a Leslie?
- >A friend of mine and I myself want to build a own leslie.
- >Where can I fin infos?
- >How do they work?
The leslie is deceptively complex. The type of horn, the pre-amp, the amp, the top rotor speed, bottom rotor speed, upper and lower acceleration/deceleration times and a host of other factors must all be right or the unit will sound like crap. Personally, I would say the heck with it and buy a Motion Sound Pro-3 for less than $600 street price and not worry about it!
Here is some information you may find handy. I pulled this from one of the popular Hammond sites. I think it was www.grove.com but I'm not positive. Do a search on Hammond at Yahoo and you'll find the exact URL easily. -- wayne
The most popular Leslie Speaker is probably the model 122. The models 122, 142, 145, and 147 all share a similar configuration. A 40-Watt monophonic amplifier drives two transducers, a 15" woofer and a 3/4" throat diameter Jensen compression driver, through a 16 ohm, 800 Hz passive crossover. The stationary compression driver fires upward into a rotating horn assembly and the stationary woofer fires downward into a rotating drum-like reflector. The rotating assemblies are mechanically belt driven by AC induction motors. In general, two speeds are available, fast and slow.
The usual cabinet has three compartments. The upper compartment houses the rotating treble horn assembly. The middle compartment behaves as a vented enclosure for the woofer, contains the crossover, both drivers, and motors for both rotating assemblies. The lower compartment houses the amplifier and the rotating drum. Louvres are located on the three finished sides for upper and lower compartments.
Two basic sizes of this configuration can be found. The 122 and 147 are 41"H, 20.5"D, 29"W. The 142 and 145 are 8" shorter. The 122 and and 142 have a balanced amplifier input while the 147 and 145 have an un-balanced input. The taller cabinet is alleged to have a better bass response.
The Treble Rotor
The treble rotor is primarily responsible for the Leslie's sound characteristic. Some organists think that the slower acceleration of the lower drum detracts from the sound and disconnect power to the motors driving the drum.
The compression driver fires into a vertical tube that acts as a thrust bearing for the horn, a twin-bell, conical device molded of black Bakelite.
The horn starts vertically and flares horizontally. It is belt-driven by a two-speed, AC induction motor, (actually two motors; one for slow, one for fast). Three drive pulley diameters are provided to vary the rotational speed and an idler pulley is used to maintain belt tension. The treble horn, while appearing to be bi-conical, actually has only one operating side. The other side is plugged and exists to provide dynamic balancing to reduce bearing loads and prevent wobble during operation.
A conical diffuser is located at the mouth of the horn. The diffuser plays a large role in defining the sound of the treble horn assembly; the dispersion pattern of the horn is changed from a single, highly directive lobe, to a more omni-directional, multi-lobed pattern. This complicates the doppler pattern and with internal reflections of the cabinet considered, provides a more characteristic sound.
In addition to changing the dispersal pattern, the diffuser performs another function. With the diffuser absent, the distance of the apparent sound source from the rotation center varies inversely with frequency. That is, as the frequency goes up, the emanation point of the sound appears to travel back down the horn toward the throat. The effect of this is that the Doppler shift becomes less as the frequency rises and thus there is less FM effect. With the diffuser in, the emanation point for all frequencies is much closer to the same rotational radius. A trade-off can be made between a higher FM component with the diffuser in, and a higher AM component (especially at high frequencies due to the single-lobed beaming), with the diffuser removed. Removing the diffuser is a common modification. Replacement horns can be purchased both with and without the diffuser.
The Bass Rotor
The lower compartment contains a rotating wooden drum beneath the downward-firing woofer. The drum has an open top, straight sides, and a scoop that starts vertically at the top and rear of the drum and ends up horizontal at the bottom and front of the drum. A shaft runs vertically through the drum's rotational axis. The shaft is supported by a lower bearing beneath the drum that is mounted in the bottom of the cabinet. The upper bearing is mounted in a cross member that is held in place by the secured 15" woofer. The pulley is mounted at the upper end of the shaft between the drum and the woofer.
The primary effect of the bass rotor is to impart AM to the signal. There is very little phase shift of frequencies below 200 Hz due to their wavelength, though some phase shift may occur up around the crossover point of 800 Hz. The result is a low-frequency pulsation or throb that is very effective when used at the slow or chorale speed.
Amplification, etc.
The typical unit consists of a 40-Watt monophonic tube amplifier driving the above described components through a 12dB/octave, 800 Hz, 16 ohm crossover.
The amplifier uses a pair of 6550s as final amplifiers. The motors that drive each rotor actually consist of a pair of motors, thus four motors exist, each with a pair of wires that plug into the amplifier chassis.
When developing the PRO-3, John Fisher measured his 147. He found that the top rotor had a rotation speed of 400 RPM on Tremolo and 48 RPM on Chorale. This was with the belt in the middle pulley position and with a normal belt tension. The lower drum rotated at about 342 RPM on Tremolo and 40 RPM on Chorale.
C3 or C4
- Date: Thu, 11 Dec 1997
- From: David Fox
- Subject: K2500 and Encore
I think your problem may have to do with the old C3 vs. C4 for middle C problem.
Most companies, including us, use C4 as Middle C. This is, in fact, a standard nomenclature for middle C and has been used by piano manufactures for a couple hundred years now. For some reason known only to the engineers at Yamaha, when they created the DX7 (one of the earliest MIDI keyboards) they decided that middle C would be C3.
My guess is that your software is taking the incoming data, supposing it is in Yamaha form, and bringing it up one octave to conform to the standard nomenclature. You might want to look through your options - many software programs have a feature allowing you to turn this function on or off.
Calvin Tips
- Date: Wed, 24 Sep 1997
- From: Wiley Thrasher
- Subject: Cool tip/trick for different textures on older "Calvin" K2000 boards.
If anyone has an older K2000 that was built with the calvin board (no "J" after the version # at startup), there is an easy way to make it glitch and create some pretty weird textures. This will work with any program with the keymap set to playback in reverse. And works best on programs with evolving filters.
Edit the program, set playback mode on any layers you want effected to reverse, set the keymap to 165 or higher, trigger and hold a note, then change the keymap or transposition. The sound should seem to fall back through the keymaps without stopping at the start/endpoint (reverse) creating a percussive, waveshaping, kinda glitchy sound. Hitting the +/- or moving the data wheel, or changing the keymap should "restart" the falling texture.
It's fun to keep sustaining keys, while changing the layers, and keymaps, or even holding the +/- down effectively queing up a lot of button presses that will play back for a long time.
Sadly this only works with the older K2000 boards, and cannot be simulated on the K2500. You can get close to it by editing a keymap to cover a whole group of individual keymaps (which are all sequentially packed into the ROM in one long segment).
Wiley Thrasher
Clock Ideas
- Date: Mon, 28 Apr 1997
- From: J Pekau
- Subject: cool idea with "Clock" control sources...
Global phase, if I'm not mistaken, generates a rising sawtooth wave..
Were you suggesting taking that and putting it through a FUN with SINE(a)?
If so, you can use one of the FUN WARP functions (the one that is the equivalent of the DSP function WRAP) to increase the rate of rising on the sawtooth.. Then, you can very easily map this to SINE as you said..
Clock
- Date: Tue, 22 Apr 1997
- From: J Pekau
- Subject: Undocumented Controllers
46 ChanCnt is actually documented .. It was added for v1.3 (look at the back of your K2000 guide).. From the guide: "This control source keeps track of the total number of active voice channels (how many notes are playing), and converts the number into a control signal between 0 and +1." More specifically, this source gives you the number of voices on a given channel.. not overall.. This is *very* useful and can be used as a "limiter"-like arrangement to cut the amplitude of your sound when many notes are playing so as to avoid clipping. There are of course other possibilities.. I use it a lot..
Although I don't see any text specifically about AClk2, etc.., I suspect that these are just double tempo versions of AClock and BClock,.. so if your song tempo is set to 120 bpm, your Aclock2 will be oscillating at 240 bpm and your AClock4 at 480 bpm.. this is useful if you want a faster update of the current tempo.. Actually, on the subject of using the Clock syncs to time a sound to the current tempo.. great for sequences.. what about for live work? Some of my effects gear has a tempo delay that lets you tap the beat and this sets the pace.. I wonder if such a thing would be possible with FUNs.. some kind of FUN that converts the frequency at which a controller is ON to a quantized value (mathematically speaking, this would be like taking the average value-- a very lowpass filter might work) .. then use the FUN as an input to the LFO rate. Possible..
Food for thought..
Cheers, Ian
Custom File Sets
- Date: Fri, 17 Oct 1997
- From: ken_hickey
- Subject: KB3 programs; creating custom filesets
Regarding object files,
Because the K2500's object files are user loadable into flash and because they are no different than any other object file (except that they contain ALL objects) they are user configurable. What this means is you can install a custom object file with all your favorite programs (preset or user created) to create your own completely unique ROM set. There are restrictions and requirements, You can not load samples into the flash, and you must keep the rom sample pointers, prs and velocity maps, intonation, faders, and master tables in the file otherwise the machine won't run, there is a flash memory limitation which is aprox 780k, so the file must be no larger than that, and you must have PRAM to create the object file if you wish it to be larger than 234k. The irony here is that if you have a 2500 with no options you have aprox 400k of space available in your flash for other objects without using any of your available pram but you need the PRAM option to create the file to take advantage of the unused space DOOHH!
The process is simple, start with an empty machine (hard reset), load a complete object file into ram (like the new KB3 objects file)just as you would load any other object file you created, (load it as everything/overwrite). This will take several minutes, When it is complete you will see that all ROM objects have been replaced with identicle RAM objects. Now change anything you like, you could get rid of those pesky KB3 programs; -) replace rom programs with your own tweeked versions or maybe you have a bank of custom programs you always use that you would like to put in the 600's bank, or maybe you never use the stock setups and want to replace them with your own custom setups. The K2500 is very intelegent with regard to deleting dependants of objects so don't be afraid to delete an objects dependants for fear that something you need will be gone, the K2500 checks all objects and deletes only those dependants not needed by other objects.
The other great feature here is the ability to alter Master table perameters to create a custom master table. The Master table contains all of the settings on the Master page as well as Song mode settings, Disc page settings and best of all SCSI ID and other MIDI page settings (great for multiple 2500 SCSI chains). Any of the settings altered on these pages are stored in the Master table and will be saved with the object file.
Once you have created your custom objects file you save "everything" give it a name and there you have it. You then hard reset your machine then load the new custom file through the boot loader into flash and you have a custom set of objects and settings.
Kh
Dark Jungle Bass
- Date: Tue, 25 Mar 1997
- From: Shawn Wills
- Subject: dark jungle bass
- > > Does anyone out there have or know how to get those really dark D&B
- > > basses out of the K2K like Doc Scott/Nasty Habits/Future Forces? Let
- > > me know how if you've got a clue..
this is the program I'm using in my latest track.
on a K2k 3.16J
- Keymap 172 Voices 2
- Lyr 1
- Alg 4
- Pitch Fine 1ct
- 2 Pole Low Pass - Freq
- Course A 5 880Hz
- KeyTrk 100 ct/ key
- Src2 On
- DptCtl MWheel
- MinDpt -3600ct
- MaxDpt 2400ct
- Res
- Adjust 24.0 db
- Shaper Adjust 1.050x
- Amp Adjust 0 db
- Pad 6 db
Lyr 2
everything the same as Layer 1 except the fine tune on the second layer is -1 ct...for a little flange action.
I had my first opportunity to listen to this sound at a club last weekend...and I was quite happy with the results ( pure no u-turn or dillinja or doc scott or dom & roland or peshay, et all type evil ).
Basically, what I've found is that if you want your bass to spew fire and brimstone, take a fairly complex waveform ( like a string or a voice ) and filter it heavily, jack up the resonance, and add some sort of distortion ( I prefer shapers to plain overdrive ( but most jungle producers seem to like normal distortion )). It doesn't hurt to then process the sound with an atmosperic effect of some sort.
If you're interested in a classic dread sort of bass, take a sine wave, apply distortion, and have its pitch track to either a falling ASR, ENV, or LFO.
shawn
Deleting Layers and Samples
- Date: Mon, 15 Sep 1997
- From: Jeff Barnes
- Subject: Deleting Layers was deleting parts of samples
- > Let's say I've loaded a sample from disk that has maybe 10
- > different samples mapped onto the keyoboard (like STOOGES.KRZ, for
- > example) but all I want is 1 or 2 of those samples taking up my
- > memory. How do I get rid of all the other ones to free up that RAM?
When you have the program loaded onto your k2x00, go to that program.
Press the edit. Press the <more soft button. Press the DelLyr soft button that corresponds to the samples you don't want. You can find them by going back to the KEYMAP soft button. Scroll through the layers by using the Layer/Zone button left of the display. When you identify the layers you don't need you can delete them by immediately going back to the DelLyr soft button. When you have what you want, press the exit button. You will be prompted to save. Do so.
Then press the disk button. Select the SAVE soft button. Then press the Object soft button. Scroll to the program you just saved, then press the OK button. When it prompts you to save dependent objects, do so.
You may have to edit the layer before you save your edit session. If you delete layers, you may not have sounds covering the range of the keyboard.
If so, go back to the program, press the edit button, press the more> button twice, then press the SetRng and hit the low and high notes for each layer still in the program. Remember to save to disk after you exit.
Jeff Barnes
Deleting Via Macro
- Date: Mon, 29 Sep 1997
- From: Daniel Fisher
- Subject: Deleting Via Macros
- > Is there any way to Boot Load the GM file without spending forever
- >writing into the 300's Bank?
- >Since the GM Set (GMSETF1.KRZ) spans the 200's and 300's, FILL mode
- >won't help when it gets to the 300's and Macros don't record delete
- >operations. I tried just merging in the samples, but it takes longer
- >because loading the sample headers are slow.
As in all things VAST, there are several ways to accomplish this. The easiest way is to design your Boot Macro such that the GM file is loaded as "Everything" "Overwrite". This will first delete everything and then load using Overwrite which is the correct way to ensure GM compatibility.
Another method that's useful when you're trying to Delete several Banks (but not all Banks) via a Macro is to load "Blank" files into each Bank you want to Delete. You can create a BLANK.KRZ by saving an empty bank to your hard drive and naming it BLANK.KRZ.
Now create a Macro that first loads this BLANK file (using Overwrite) into a Bank you want erased. You can then load BLANK into another Bank (and so on) until you've cleaned out the desired Banks. Finally the Macro should load whatever files you want.
Daniel Fisher
Double Buttons
- Date: Wed, 29 Jan 1997 17:59:57 GMT
- Sender: K2000 user's group <K2000@AMERICAN.EDU>
- From: ken_hickey@YCRDI.COM
- Organization: Young Chang R & D Institute
- Subject: ########## 795: Re: anyone notice this: INFO
The following is a list of double button presses for the K2000 and K2500 which perform usefull functions and programing short cuts. Press both buttons simultaneously to achive results. All of these work in Ver.3xx, most in Ver.2xx, some in Ver.1xx Most everything on this list is provided in the K2500 manual and also in the K2000 Ver.3 manual however for the benefit of those not having access to either and for the funtions that weren't previously documented, here you go.
Program mode:
Octave-, Octave+ Resets MIDI transposition to 0 semitones. Double press again goes to previous transposition.
Channel-, Channel+ Sets current MIDI channel to 1
Plus/Minus Jumps to begining of each populated program bank
Master Mode:
Chan/Bank Enables Guitar/Wind Controller Mode
Song Mode:
Left/Right cursor buttons Toggles between Play and Stop
Up/Down cursor buttons Toggles between Play and Pause
Plus/Minus Selects quantize grid values on MISC page and Track Edit: quantize page. Selects step duration and increments gate time by 20% on Step Edit page.
CHAN/BANK Selects all tracks on any Track Edit function
Disk Mode:
2 leftmost soft buttons Issues SCSI eject command for selected device
CHAN/BANK Hard format SCSI device. List selected objects when saving objects.
Left/Right cursor buttons Selects all items in a list. Moves cursor to end of name when naming an object.
Up/Down cursor buttons Clear all selections in a list. Move cursor to beginning of name when naming an object.
Program Editor:
CHAN/BANK Select layer 1
Plus/Minus when on output page with cursor on PAN: toggles between hard left, hard right and center.
Sample editor:
2 leftmost soft buttons Toggles between default zoom and current zoom settings
Plus/Minus Sets the value of the currently selected parameter at the next zero crossing.
Keymap Editor:
Plus/Minus With cursor on the Course Tune parameter it toggles between default Course Tune sample root of and transposed Course Tune of sample root. (actually calculates the correct transposition for you!)
Any Editor:
Plus/Minus Scrolls through the currently selected parameter's list of values in regular or logical increments (this varies with each parameter)
2 leftmost soft buttons Resets MIDI transposition to 0 semitones. Double press again goes to previous transposition.
center 2 soft buttons Selects Utilities menu (MIDI Scope, Stealer,etc.)
2 rightmost soft buttons Sends all notes/controllers off on all 16 MIDI channels (Same as Panic soft button)
Left/Right cursor buttons Toggles between Play and Stop
Up/Down cursor buttons Toggles between Play and Pause
Save Dialog:
Plus/Minus Toggles between next free ID and original ID
Some other "key" things to know: Pressing the +/- 0 clear buttons (on the keypad) simultaneously initiates a soft reset which will not erase sample ram and most often frees up the K2K if it's somehow frozen.
RACK ONLY :Pressing and holding cancel while at the same time pressing other numerical buttons on the keypad will play notes on the current program(great for finding out "is this thing working or what?!?")
Pressing and holding enter while at the same time pressing another numerical button on the keypad brings you into search string mode where you can type in a few letters, press enter and it will find all programs with that string of letters. To get to the next program in the list, press and hold enter, then press the "+" button
Pressing and holding Enter while you move any controller (data slider, mod wheel, cntrl. pedal etc...) causes the currently cursored parameter to scroll through all available values for that parameter.
Enjoy...........kh
ps there are probably some I've missed
Drum Loop Sequencer
- Date: Mon, 8 Dec 1997
- From: "C. (\\/). Johnson"
- Subject: Drum loops in K2-sequencer
Here's some help: Goto the event editor for song 1 and set the end of the song for whatever measure you need. I set mine at 9:1 so that I can record an 8-bar loop. make sure you save the song as song 1 so that your default song will always record an 8 bar track (as long as you have play AND record set to loop on MISC page in song mode). Now set your quantize to 75% and your grid to 1/16. Leave your swing set to 0%. Now when you record a basic loop it will automatically save to the next song position with the correct loop point. The quantize is set high/low enough for those not accustomed to recording drums via keyboard. If you decide you want the loop to be shorter, simply go back into the editor and set the end point to a lower measure. If you want the loop longer, you can either paste the measure you need or you can use the unloop feature for record on the MISC page. Unloop will come in very handy for basic recording. You can use it to either have the same drumloop going all the way through the track, or you can use unloop for as long as you need (I unloop up to 16 measures) then change record mode back to loop so that your new song data will be looped instead. This may sound crazy to some, but it works for me. Also, if you set your drumkits up as gen midi (or at least follow the same keymapping on all kits) you'll be able to change kits and have the loops sound similar no matter what kit you select.
Ciloc
Drum Sampling
- Date: Wed, 8 Jan 1997
- From: Steve Roitstein
- Subject: "FAKE" Drum Sampling
- >I picked upthe mic and started tapping on it in time with the
- >music. I did this for about 10 mins and at some other point I picked
- >up a pencil and kinda' used it as my drum-sticks. (It's a cheap mic,
- >so I didn't care about damaging it.)
- > Sounded a bit like snares and depending on where I hit it, I got
- >different sounds. Worked a bit like electronic drums for me. Anyway,
- >if any of you have a cheap mic laying around, try this. Or have you
- >already?
I've done some really close miking and sampling of the following:
1. tapping a piece of paper laying on a padded stool 2. a cardboard box 3. a tin can
but really the point is that if you close mic these soft sounds, and add some eq, you can turn these tiny sounds into bigger sounds. The bigness is a question of your taste, needs, the eq you use, etc.
Adding the paper to the items you are tapping adds a snare like buzz to the sound.
You can get kick (bass) drum sounds the same way by hitting with more of a "thud" type of sound (with your fist?) and adding appropriate eq.
Steve Roitstein
- Date: Wed, 8 Jan 1997
- From: M 5tevens
- Subject: "FAKE" Drum Sampling
- >I've done some really close miking and sampling of the following:
- >
- >1. tapping a piece of paper laying on a padded stool
- >2. a cardboard box
- >3. a tin can
Another option is to use a piezoelectric element rubber cemented or otherwise attached to the object you're banging on. This eliminates room noise and provides a sort of "abstract" quality by way of its dryness. I've gotten some killer sounds using this technique with, among other things, one of those metal cigarette promotional standups seen outside mini-marts.
Depending upon what you're recording, you might need to use a bit of modelling clay or something of the like to dampen the signal reaching the piezo if you're going to be banging very hard.
M 5tevens
Drumkat K2000 and Cakewalk
- Date: Sat, 18 Oct
- From: Tony Palermo
- Subject: Help needed w/ DrumKat, K2000, Cakewalk
I have a drumKAT 4.0 (a recently "turboed" 3.5), Cakewalk Pro 3, and a K2000RS and I have no problem with sequencing drum tracks on top of drum tracks. It's not because I have a deluxe version, though.
My MIDI rig can be diagrammed as:
[drumKAT] ---->[MPU 401 MIDI interface]--->[Master keyboard]-->[K2000R]
The drumKAT is set up generically (no MIDI merge) and goes to the MIDI IN of my MPU 401 MIDI interface. The MIDI OUT of which goes to my master keyboard IN and then OUT to several modules, one being my K2000RS. (Again no MIDI merge going on anywhere.)
The drumKAT via Cakewalk has a unique ability to allow multi-tracking, like Milton wants--plus it keeps the tracks seperated. I set it up as follows:
1) On the Cakewalk SETTINGS drop down menu's MIDI IN box, set to channel 10 (the channel my drumKAT is transmitting on).
2) On Cakewalk SETTINGS menu's MIDI THRU set to AUTO. (Just in case, while still in MANUAL mode, I set the PORT=1, CHANNEL=10 *then* go to AUTO.)
[For master keyboard playing, I set it to NONE and plug the keyboard's MIDI OUT into the MPU's MIDI IN--to avoid MIDI-echo feedback. I admit I have an oddball MIDI wiring scheme--but it works. I don't use MIDI Thru out of my master keyboard, but that's irrelevant to Milton's question.]
3) The Cakewalk drum tracks are set to force transmission of older drum tracks to Channel 10--again, just in case.
4) My K2000RS is set up with the "drum channel" to be 10 and that channel is ON. (I'm using OS v3.18 on my K2000RS--no multi-drum channels)
5) I now go to an unused Cakewalk track, force its channel to 10 and I now can hear and record while hearing my previously recorded drum tracks, which won't be merged into my new track. Cakewalk's MIDI THRU "Auto" setting keeps the tracks from being merged. In the NONE setting, I think it does merge the old channel 10 tracks to my new track for a sort of "sound on sound" style recording.
Now I can play the drumKAT and record, say just the hi-hat on one pass and the snare and kick on another etc. etc. (Actually I play everything at once, but may "overdub" congas on top of sequenced trap drum tracks.)
MORE drumKAT PLUS KURZWEIL INFO
The problem with the Kurzweil being triggered from a drumKAT (or anything) is the inability to have one note cut off another as in the famous "shooping" of hi-hats. I generally use a Roland R-8 and E-MU Procussion to handle this instead of my Kurzweil, but there are two possible solutions to this problem.
The other solution uses the drumKAT's "gate" parameter for a pad to let a long sound (like an open hi-hat) play completely--although it doesn't cut off when the pedal hat is closed.
Other drumKAT owners may want to see the September 1997, EQ magazine (with the Butch Vig cover) for Tim Tully's article on getting the most out of your drumKAT. It covers gate settings, 8 samples per pad setup and a little more.
BTW: I recently got a hold of some E-MU Procussion/drumKAT info to allow triggering up to 8 samples on a single pad based upon where an expression pedal (the hatKAT pedal) is set at the time the pad is triggered. This would allow you to use, say, 8 samples of a hi-hat at various open/semi-open/closed positions and get a very realistic hi-hat sound. I will attempt to decipher the pages (and pages!) of drumKAT and Procussion parameters and release what I find on my "Kurzweil Drummer's Kit" page. If I can get it to work with the Procussion, a subset of that method will work with the Kurzweil--except for the hi-hat cut-off bit, of course.
I sure wish there were a Kurzweil hi-hat mode to allow cutoffs like Roland's "exclusive". I know a mono-phonic program of hi-hats will do the job-sort of, but I like the ease of the Roland/E-MU approach.
Tony Palermo
- Date: Mon, 20 Oct 1997
- From: Joe Albano
- Subject: Help needed w/ DrumKat, K2000, (long)
If you are fortunate to have a HATKAT pedal (or the equivalent from another manufacturer), here is another way of setting up the hihats to open and close by using the HATKAT pedal to continuously crossfade betwwen three hihat samples on the same note, and it's fairly simple to set up. BUT NOTE:
you need to operate the pedal to open and close the hat, and it's not really compatible with sequences that use one note to cut off the other - see below. (I think I posted a longer description of this a year or so ago, I believe it's floating around in the K2000 list archive).. Since there always seem to be periodic spurts of interest in this issue from new listmembers, here's a short version:
Set up separate layers for closed, slosh (half-open), and open hihat samples on the same note (and a 4th layer on a different note for the foot sound) - these should all be from the same hihat..
Set up the HATKAT to send a continuous controller of your choice (I use cc1, modwheel) from the appropriate output jack to the K2, and a note-on trigger from the other output jack to the KAT (and on to the K) for the foot sound.
In the closed and slosh layers, set CrossFade (OUTPUT page) to MWheel, with XFadeSense to Norm in the closed layer and Rvrs in the slosh layer (Depending on the samples, if the transition is not to your liking, you can scale it with a FUN, or possibly via the KAT(?) - I scale it in my sequencer (Logic)'s Environment).
For the transition between the slosh and fully-open layers, set Src1 on the AMP4 page to a FUN in both the slosh and open-hh layers, with Depth set to about 6dB in the slosh layer and to about 60dB in the open-hh layer.
The FUN for slosh is set:
Input a: Input b: Function: -ON MWheel warp1(a,b)
The FUN for open-hh is set:
Input a: Input b: Function: ON MWheel a*10^b
These adjust the gradual transition and slope between slosh and fully-open samples - experiment for the best transition.
It works well, and sounds pretty realistic if the samples are well-matched.
ADVANTAGES:
- No special MIDI channel or layer requirements..
- The sounds are polyphonic, so riding on the slosh or open hat sounds provides a nice wash, and yet all open hat sounds are cut off when the pedal comes down.
- You can also set it up to do heel-splashes, with the addition of another layer on the foot note (though I've been too lazy ..er, busy.. to finish setting this up completely)..
- Also, if you're a little late coming off the pedal, the hat still opens up (since it's really just a crossfade), unlike setups where a differnt note would have to be triggered, so your note/pedal coordination doesn't have to be as precise or finicky, and it still works..
DISADVANTAGES:
- As I said above, since the hat samples are all on the same note,
this approach is not really compatible with parts that use one HH note to cut off the other (ie GM), at least not the way I have it set up.. I did have a patch in Logic's Environment that allowed for this, which provided full compatibilty and real-time one-note-cuts-off-the-other action, but you'd need Logic to do it..(of course, even though the open and closed hats share the same note, you can still set several adjacent notes to hihat for easy 2-hand or 2-finger hh keybord playing, as I do).
- Another caveat, since you're crossfading 3 layers, each hihat note
eats up 3 voices of poyphony, plus another voice for the foot sound whenever the pedal comes down (2 if it's set up to do heel-splashes); with a lot of other long overlapping cymbal samples I sometimes heard note-stealing on my old K2000, however it's no problem for the K2500.
I also use a kind of variation of the "gate parameter" method that Tony mentioned above to get one note to cut off another (though I use it mostly for crash cynmbal chokes), BUT I needed Logic's Environment to do it, so, for Logic users only:
Logic transforms the choke (or closed hh) note into a cc message which cuts off the other (cymbal or open hihat) note:
- The cymbal/openhh note must have SusPed or SosPed ON (LAYER page)
and IgnRel, ThrAtt, and TilDec OFF..
- In order to allow a single keyboard or drumpad tap-and-off on the cymbal or open-hh note, and still have the note ring until the choke (or cl-hh) note is struck, Logic generates a sustain or sostenuto cc = 127 message for each hit of the cymbal/op-hh note to hold it open..
- Playing the choke/cl-hh note generates a sus or sos cc value of 0,
which shuts off the corresponding open note(s)..(the hh-foot note can also be set to generate this cc message to cut off any open notes)..
- When the cym/op-hh note is next struck, Logic again generates
a new cc message of 127 to hold it open, etc..
I do use this to play sequences on my one-note-hihat setup when somebody brings in a MIDI sequence with standard 2-note-hihat mapping (giving up one of the cymbal chokes), and it works well..
Hm.. as I'm reading back over this I guess it doesn't sound that simple, but once it's figured out it's easy to setup, though obviously these methods won't do the job for all applications. Anyway, this post is already too long, so..
Joe Albano
Dub Reggae Piano
- Date: Tue, 19 Aug 1997
- From: Aidan Dysart
- Subject: dub/reggae piano stabs
- > Thats what I need RIGHT NOW! :) In reggae you often here those
- > delayed piano or guitar type stabs.. the one i'm looking for is the
- > piano.. its a trademark of reggae yet i feel like no one may have
- > any idea what i'm talking about. If you can help with samples, ALG
- > advice or otherwise, please get back to me.
I made a program the other day that sounded like something you might be interested in. It's only one layer which uses the built-in Clav Wave keymap. Then I route it through a low pass filter where the cutoff freq is controlled by the mod wheel, and the resonance is about +6.0 dB. Then I use a nice delay effect. You could do this internally, but I was using a Lexicon LXP 1. Also, the AMPENV was set so the first decay was after only a about half a second and it went down to 0%. That way the sound cut off totally after just a short stab. Sounded great with minor chords.
Aidan Dysart
Back to the Dead Letters Office
| Main Page : | Documentation : | FAQ : | DSP Blocks : | KDFX : | Algorithms |
