Kurzweil:Dead Letters February 1998
From Sonikmatter
51: Controlling effects level on several channels
Date: Mon, 2 Feb 1998 15:45:32 -0800 From: John Ruf <johnr@SR.HP.COM> Organization: Hewlett-Packard Subject: ########## 51: Controlling effects level on several channels
I have not yet been pushed into doing this, but I believe it is possible to control the wet/dry mix for each program individually. Here's how I would approach it:
1) Assuming that the effects mix can be set at the program level (and this is the biggest assumption), you will have to edit any program you want to respond this way.
2) Set the desired mix for the program you want. Perhaps you can even feed it a real controller input to set the level (use one of the sliders to control the mix on the current channel).
Something like this was suggested last year. No one came back and said that it did not work. But no one came back and gave the details of doing it, either. So, I'm going to give it a try. Let you know how it comes out.
-JR
71: Re: K2500 New User 2 Questions
Date: Tue, 3 Feb 1998 16:23:18 +0100 From: Daniel Rapoport <rassel@PDI-BERLIN.DE> Subject: ########## 71: Re: K2500 New User 2 Questions
>Hello, I am using a K2500 with Cubase, and Im having trouble getting the >K2500 to play the right sounds back in previously recorded Cubase songs. >I 'm now even sending them prg ch messages at the beginning of the song >and it still doesnt pull them up right, Anybody? >Also, once I get a few channels of midi playback going in Cubase using >the K2500s sounds, is there any way to scroll through or view the names >of the currently accessed sounds with the corresponding midi channel in >the K2500s diplay? I try to do this in setup mode, but it doesnt seem to >work. >Thanks in advance, Terri
Dear Terry,
Unfortunately I cannot answer your first question since I do not use Cubase - so I dont know how to adjust the PRGCH_Messages (Ctrl 32) to the Kurzweil specs (they are in the manual - very good description). To your second question: It very easy to check which MIDI channel plays which instrument by scrolling through the channels with the chan up/down buttons. If you are in program mode you will always see the currently active program of the MIDI_channel you have selected. However, there is no possibility to display ALL channels resp. their active programs at once. Though it would be a nice feature - maybe together with an MIDI_activity software-"LED" :D)
Regaeds, Dan
140: Re: Bass patches
- Date: Thu, 5 Feb 1998 12:51:15 -0500
- From: jethran@VMARK.COM
- Subject: ########## 140: Re: Bass patches
> Do any of you know of any bass programs with a nastier, scratchier sound > than those found in the K2500 factory sounds? In the alternative, any > advice for adding some scratchiness to an existing patch?
Le nastier, scratchier sound, c'est VAST: up to 300% nastier and scratchier than the leading synthesis architecture!
Here's an introduction to making Kurzweil's bass sounds nastier and scratchier.
General techniques for editing a layer:
o Either leave the algorithm alone, or change it to something similar. Similar in topology, and with filters and oscillators in roughly the same places.
o Change DSP blocks. Favor overdriving blocks (GAIN, DIST, AMP) and nonlinear ones. If a block isn't doing much, max out its control value, or assign its control value to a slider so that you can experiment easily. Replace multi-block filters with overdriving or nonlinear blocks, followed by simpler filters. Trade in panning blocks for blocks that affect timbre.
o You can get scratchiness from low-frequency clicks, which are our perception of low-frequency discontinuities in a sound's waveform. Get them from DIST, WARP, or otherwise, as in the second example below.
o Distorting sounds can make them less bassy. To keep them bassy, be sure to leave lowpass filters alone, or leave them in place and reduce their cutoff frequencies, or try using a different two-input AMP block, if you're using one.
Now a few examples. Let's change a random bass program from the K2500 program farm... how about "Pop Attack Bass." Nice sound, but not for long.
1. Change block 2 from LF SIN to DIST. Good start, especially with the slider all the way up.
2. Change block 4 to SHAPER. Even nastier. The buzzing part of the sound is what I meant by "low-frequency clicks."
3. Change block 4 back to LPCLIP, and change block 3 to WARP. Now it hardly sounds like a bass in its lower range, but the slider does something cool. Change block 3 to SQUARE. That's cool too. Change it to DIST. Cool. To SHAPER. Yup, still cool, and notice how it's both nastier *and* scratchier than the original Pop Attack Bass. This is easy!
4. Now change the algorithm from 10 to 23. Restore blocks that resemble the originals: PITCH, LF SIN, + GAIN, LPCLIP, ! AMP. Hmm, it's really quiet when the slider's all the way up. Let's increase a gain, and let's choose one that's upstream, on the grounds that it will yield a more interesting overdrive, and that we'll be able to reduce the overall volume by decreasing a gain downstream. Max out the Adjust on the + GAIN. Hey, that sounds pretty nasty already! Don't forget to try the slider.
Have fun! :-)
Jethran
276: Re: Super smooth super low Bass patches ??
Date: Mon, 9 Feb 1998 18:13:44 +1100 From: glenn@ICONSULT.COM.AU Subject: ########## 276: Re: Super smooth super low Bass patches ??
> > Does anyone know where I can find super fat super smooth super low bass > patches??? (The kind you might hear in drum 'n bass) >
You could synth one up pretty easily. Start with a sine keymap. Use a shaper or dist block under ENV control to give it a bit of a click at the start but fade to pure sine over time. Set a medium to longish release and make the program mono (legato and prta off) so notes dont overlap. You could also try using a second layer with a more complex waveform (maybe detuned) and mixed soft to give a bit of extra subtle character. Also you may find that ultra low notes lose perceived pitch definition (common problem for sub bass which works great in a club but on the home-fi disappears). You could make a layer that fades in a little of something an octave higher as you play low notes.
352: Z - Kurzweil Programming Class Feb 1998:KEYMAP
Date: Sun, 8 Feb 1998 19:22:31 -0800 From: Tony Palermo <Palermo@SPRYNET.COM> Subject: ########## 352: Z - Kurzweil Programming Class Feb 1998:
Subject: Z - Kurzweil Programming Class Feb 1998: KEYMAP
Please reply to: <K2000@AMERICAN.EDU> Visit the "Feb 1998 Kurzweil Programming Class" page at:
http://home.sprynet.com/sprynet/palermo/k_pgm98.htm
Do not quote the entire message when replying. Do not change the subject line or the archive thread will be severed. Do not post files to the mail list. See the class page for where to post files. Please post in MIME format and *NOT* HTML format or your posts will be unreadable to many list members.
Now, here's Brian Cowell....
Forward to Kurzweil Programming Class Feb. 1998:
I'll firstly state my little rule with these tutorials.
You're probably going to be looking for PROGRAMS that will be part of what we are going to talk about. Well, I've got bad news for you. I won't be putting any up as I want you to create what we are discussing here as it is *to your benefit* and not mine is the reason we are here. What I will do is provide the written instructions for you to follow so that *you* can understand and learn from what we do. I hope you understand what I'm saying here........ :)
--Brian Cowell
******************
*THE KEYMAP PAGE *
******************
by Brian Cowell. Copyright 1998 by Brian Cowell. All rights reserved.
Class ID: 01 The KEYMAP Page
NOTE: Any files of .KRZ programs regarding this topic should be
named: ku_01nn.zip or ku_01nn.krz (where nn is 01-99)
See the Class Page (mentioned above) for links to any files.
These lessons apply to all K2000 and K2500 models.
Introduction:
I know a lot of people understand what the majority of functions
do on there digital synths. But it's how these functions integrate
with each other is where problems start occuring. And its usually
the start of frustration when trying to program a 'digital' synth.
So we will start with one of the first pages you see when you
press the [EDIT] button : Its called the KEYMAP page.
Using PROGRAM 199 : Default Program (on a K2000)
Press the EDIT button.
Press the KEYMAP button.
This is what we see : KeyMap :1 Grand Piano Stereo:Off
Xpose :0ST TimbreShift :0ST
KeyTrk :100ct/key AltSwitch :OFF
VelTrk :0ct PlayBackMode:Normal
Ok ! The cursor is on KeyMap :1 Grand Piano
KEYMAP :
--------
If we press the [EDIT] button again we get to the EditKeyMap page.
At this stage I just want you to be aware of where and how to get
there at the moment as we will get to this page at a latter stage.
Alright, the "KeyMap :1 Grand Piano" is what is selected at the
moment.
If we wanted to select another sound then we would just adjust
what is displayed to another KeyMap which would display the sound
we are after.
The K2000 has 168 KeyMaps to choose from within its ROM.
The K2500 has ... KeyMaps to choose from within its ROM.
If you have the optional ROM blocks then we will have more KeyMaps. And if we have a samples loaded then we will have even more KeyMaps loaded. But what we must understand here , is that it is KeyMaps we play and not samples !
Confused ? Then lets look at what I just said.
KeyMaps are actually one or more 'samples' carefully designated to
actual keys across the keyboard.They can be anything from 'samples'
of synths to drum hits to vocals to sound fx.
The KeyMap tells the Kurzweil where and which key the sample(s)
will be on.
An example :
The Grand Piano Keymap is made up of many samples and
is said to contain "multi-samples".
It has more then one sample !
take look at it......
1. Using PROGRAM 199 : Default Program
2. Press [EDIT]
3. Press (KEYMAP)
4. With the 'GRAND PIANO' highlighted by the Kurzweil
cursor we then press [EDIT] again.
5. We are now back at the EditKeyMap page.
We know that the range of the Kurzweil keys is from C0 to G10.
But the KEY RANGE in this page says that its C0-A1 and the sample
is '1 Grand Piano-G#1'.
This one piano sample that has been 'sampled' is designated as been
sampled at G#1 from a real piano's G#1 !
And we are telling the Kurzweil that we want this 'sample' to be
between the C0 to A1 keys.This means that the notes C0,C#0,D0,D#0,E0
,F0,F#0,G0,G#0,A0,A#0,B0,C1,C#1,D1,D#1,E1,F1,F#1,G1,G#1,A1 .
This one sample covers 24 notes !
But what about the rest of the piano ?
6. Turn the dial wheel till the Key Range says
'A3 - E4'
This means that the sample '1 Grand Piano-C4' is the sample used
now covering the following keys....A3,A#3,B3,C4,C#4,D4,D#4,E4.
It only covers 8 notes now !
This where the more 'samples' used from the original source, the
more accurate the playback of the instrument.This makes it better
sounding but at the expense of more memory.
This will give you an idea of what there saying when companies
talk of '4 meg ROM piano' etc. As they've used lots of
'multi-samples' to hopefully represent the faithful playback of
the instrument they've sampled.
And now you know why CDROMs cost so much !!!! :)
And this is where a lot of people get confused, when they've
found some 'super duper' WAV or AIFF file on the net and are
looking for the KEYMAP for this sound ! There isn't one !!! (yet).
They must create one for it .
I'll move into creating a KEYMAP in another article.
lets move on ......
XPOSE :
-------
Xpose on the KEYMAP page refers to transpose.
Transpose means the shifting of the 'KEYMAP' across your
keyboard designated by the amount of 'keys' (semi-tones) you
choose.
OK . Do the following.
1. Using PROGRAM 199 :Default Program
2. Press [EDIT]
3. Press (KEYMAP)
4. using the arrow keys, shift the cursor down to
Xpose:0ST
5. press the C4 key and listen to its tone.
6. press the C5 key and listen to its tone.
7. now change it to 12 ST.
8. press the C4 key.
You've shifted the keyboard 'up' exactly 1 octave (12 semitones
to an octave).
But this is not the only thing that this parameter does !
(and you thought that was it for this one......heheheheh) :)
I just want to say at this moment that you can not only shift
the tones across the keyboard (like we just did),but you can also
use this parameter to shift the 'harmonics' of the sound.
There is 2 ways of shifting the 'harmonics' of the KEYMAP and
this is part of the second way.
For the moment just realise that this parameter can do a little
more than what you'd expect and I'll build you up to how to change
the 'harmonics' of the sound very shortly.
moving along.......
KEYTRK :
--------
This is KEY TRACK.....or key tracking...
This pops up on a couple of other pages within the Kurzweil
operating system so its worth mastering.
KEYTRK refers to the amount that effects the key between each
key.
Its a bit 'jibberish' so look at it this way.
In western tuning of instruments. 100 cents = 1 semitone (ST)
So 12 semitones = 1 octave.
So of course we would want to leave our tuning 'normal' and
leave this parameter alone...........(insert screeching noise
here) :)
Brian says ..."hold the brakes here !"
It can do a lot more than this !
Lets do an example....
1. Using PROGRAM 199: Default Program
2. Press [EDIT]
3. Press (KEYMAP)
4. change the KEYMAP to '38 General MIDI kit' .
(this is on a K2000)
5. and press the C4 key and press any other
key after that just to listen to the KEYTRK
at a setting of 100ct/key.
6. Now change the KEYTRK to 0ct/key
We've told the Kurzweil to play the noise at C4 to play across
the keyboard and 'not to change'.If we wanted to change the actual
noise to something else in the 'kit' then we'd use the XPOSE to
change it.
7. Change the KEYTRK to 20ct/key.
The notes play for 5 keys before changing to the next 'tone'.
Try it with a 'Grand Piano'....it aint pretty !
Oh, using negative KEYTRK reverses the keyboard....
What would this parameter be *really* usefull for ?
Well say we had a KEYMAP that had 1 'sample' in it and we wanted
it to sound 'musical' across the keyboard. Confused ?
example time !
1. Using PROGRAM 199:Default Program
2. Press [EDIT]
3. Press (KEYMAP)
4. change the KEYMAP to '49 24in Amb Kick '
5. press some keys...especially high up on the
keyboard where the tone no longer changes and
just sounds the same.
6. This is while the KEYTRK is set to 100ct/key.
7. Now change the KEYTRK to 40ct/key.
The sound is now more 'musical' and you can see that this is
useful for those 'one shot' samples that we all tend to sample
and try to use !
VELTRK :
--------
VelTrk refers to 'velocity tracking'.
Velocity is measuring our hits on the keys.
Its not measuring how hard but how fast.
Its measured in 'ct' (cents).
Listening to what it does is better.......
1. Using PROGRAM 199: Default Program
2. Press [EDIT]
3. Press (KEYMAP)
4. change the KEYMAP to '38 General MIDI Kit'
5. change the VELTRK to 1200 ct
6. press the C4 key with varying velocity and
hear the result.
We are playing the whole octave of sounds on 1 key here.So
we've crammed a drum kit into 1 key with variable velocities.
My favourite here is the C6 key.
What would this be handy for ? Well imagine a kit of vocals
in which all the keys contained a different word or sound.
A new realm of possibilities is in this one parameter.Try
a setting of 3600 and see what you get.
STEREO :
--------
STEREO gives us a right/left sound when turned ON.
Errr......wrong !
It gives us 2 KEYMAPs to process but they are both panned
straight down the middle not left/right.
Go to the OUTPUT page and see what I mean.
What we must also realise with this parameter is that when
we turn STEREO 'ON' ,then we are using 2 voices for every
LAYER we do per key........the K2000 soon comes to its limit
of polyphony.
lets do an example.....
1. Using PROGRAM 199 :Default Program
2. Press [EDIT]
3. Press (KEYMAP)
4. go to STEREO and change it to 'ON'.
we now have 2 'Grand Piano' KEYMAPs panned down the center.
5. so we press the 'more>' button twice then
we press the OUTPUT button.
6. change PAN1 all the way to the 'R'.(Right)
7. change PAN2 all the way to the 'L'.(Left)
we now have a STEREO model of 2 'mono' samples !
Yep ! Pretty ordinary ......as the K2000 doesn't have any
STEREO samples.....but the capability is there if we need it.
Its main disadvantage is that they will both go through the
same algorithm so we can't do those little changes to each
KEYMAP we'd like to.
Thats why a lot of 3rd party developers prefer to use 2
layers rather then STEREO.
moving on......
TIMBRESHIFT :
-------------
I always pronounced this word wrongly ! (tam-ber shift)
No wood involved.....heheheheh...:)
Alright, jokes aside now.Remember I'd tell you about how to
change the 'harmonics' of a sound ?
Well TIMBRESHIFT is the first way !
What is changing the 'harmonics' ?
Its the sliding of the sample root position from one to another
but retaining the same pitch.
What the "#@a$......" was that...... :)
To simplify what I said above : All you do with this parameter
is change the way the KEYMAPS samples playback.Your changing the
samples designated zones but not the pitch of the key.
This function alone is probably (from what I've seen) been the
most *under-utilised* functions on the K2000/K2500.It can create
some of the most killer sounds when used properly.
How do you use it properly ?
Well understand this as this one of the rules when using this
parameter......"it works only on KEYMAPS that contain more then
one sample"......."multi-samples !"
(I told you that word would pop up again!) :)
And the second rule when using it is to play *all* the keys as
some keys may become duplicated.
I know some are probably confused at this stage so examples are
needed !!
example 1 : The alternative Grand Piano.
1. Using PROGRAM 199 : Default Program
2. Press [EDIT]
3. Press (KEYMAP)
4. change TIMBRESHIFT to 10ST.
but try other settings to see what you come up
with.
notice how bright the piano has become.........
we've made the original 'Grand Piano' KEYMAP slide up to
create a new sound but without sliding the pitch !
5. try TIMBRESHIFT with a negative setting..
it becomes 'darker' sounding
All your doing is manipulating the KEYMAP !
This is how some other manufacturers come up with things in
there ROMs like.......Grand Piano,Sft Grand Piano, Dark
Grand.
The same samples are used, they just 'slide' the samples
around to create what looks like new sounds !
But Kurzweil gave you the chance to do this yourself using
your own settings ....not these pre-set ones....
(can anyone say XP-50 quickly.......) :)
example 2 : The alternative Ensemble Strings
1. Using PROGRAM 199 :Default Program
2. Press [EDIT]
3. Press (KEYMAP)
4. change KEYMAP to '6 Ensemble Strings'
(on a K2000)
5. change TIMBRESHIFT to 12 ST
now walk up the keyboard with ya fingers from C4 .
You get to what I said that the second rule was to press
all the keys and now you've found out why....
You'll get to G4 & G#4 and find that there is 2 keys
playing
the same note ! As with anything , theres a 'ceiling' limit.
And in this case we've reached it.
So we decrease the TIBRESHIFT by 1 and play all the keys
again to see if this has fixed the problem. It has !
But if it didn't, we just decrease it again till it sounded
correctly.
Well, the disadvantage is that the KEYMAPs 'clean' sounding
sample points become a little more obvious. (I'm not talking
looping point here either.)
But I've found that using the Kurzweils powerful filters to
process the sound turns this disadvantage into a profitable
one. We'll get into this more at a latter stage.
And what would happen if we used a KEYMAP that didn't contain
'multi samples' ? eg. KEYMAP '42 Closed Hihat'.
Nothing would happen, as there isn't another multi-sample in
the KEYMAP to 'slide' against.
Do you understand now about changing 'harmonics' ? Its easier
to hear what it is rather then trying to verbally describe it
to you ! :)
And heres a little advanced example for you.
1.Using PROGRAM 199: Default Program
2.Press [EDIT]
3.Press (KEYMAP)
4. change the KEYMAP to '38 General MIDI kit'
(this is on a K2000)
5. change the XPOSE to -24 ST
6. change the TIBRESHIFT to -24ST
now play the drum kit !
is this interesting or what ? :) hehehehe
7. change the XPOSE to 24 ST
8. change the TIMBRESHIFT to 24ST
Some sounds wont change as they may more then
likely be at the 'ceiling' limit anyway.
(You can't push it higher if theres nothing higher
to go to.)
Now go and load all those sample libraries that
are dormant in your studio and 'mutilate' them with
TIBRESHIFT.
There is a second way to change the TIBRESHIFT ....which we
will get to later.
Small changes like when using something like TIMBRESHIFT can
create a lot of wild and new sounds.
ASTRA owners will know this from the "DEEP...." drum kits and
vocal effects that I created...
(ASTRA is at......http://www.soundengine.com/astra.html) :)
ALTSWITCH :
-----------
This is 'Alternative Switch'.
Or on some early K2000's it was called ALTATTACKCTL.
Some 'samples' when created , have programmed into there
samples an alternative 'START' point.Its usually 'in' the
sample somehere. It's usually used for making sounds more
'percussive' and dynamic sounding by cutting off the first part
of the sample.
Let's look at an example.....
1.Using PROGRAM 199 :Default Program
2.Press [EDIT]
3.Press (KEYMAP)
4.Press [EDIT] again (we are now in EDIT KEYMAP)
5. use the arrow keys and highlight the 'sample'.
6.Press [EDIT] again (we are now in EDIT ROM SAMPLE).
Look at the top line and it says " S:...... A:...... "
The 'A' is where our ALTSWITCH is.
It's in the sample !
7. Press [EXIT] twice.
8. Change KEYMAP to '7 Elec Jazz Guitar'
9. Go to ALTSWITCH and change it to MWHEEL.
Now play the keys and move the ModWheel to here the
change.
Unfortunately, this parameter is another underused tool as not
a lot PROGRAm for maximum benefit from it.
This parameter is a 'killer' when using drum loops and spoken
words as you can change the ALTSWITCH to change the sound.
moving on..........
PLAYBACKMODE :
--------------
Play back mode refers to how you want the sample to play back.
Do you want it to play NORMAL, or be REVERSEd.
Or you can have the combination of NORMAL/REVERSE called BIDIRECT.
BIDIRECT is short for BI - DIRECTional.
I'll leave this one as its fairly easy to get a grip of and
we'll probably come back to it at a latter stage.
This closes Installment 1 for Class O1: The KEYMAP Page
Direct all questions to the K2000 mail list: <K2000@AMERICAN.EDU>
--Brian Cowell,
http://www.sweetwater.com/k2000/b-cowell/ http://www.soundengine.com/astra.html
393: Pitchbend programming trick
Date: Tue, 10 Feb 1998 19:48:55 EST From: David Fox <KURZWEIL@AOL.COM> Subject: ########## 393: Pitchbend programming trick
Someone sent me the following email, and since it took me so much effort to explain this programming trick to him, I thought I would post my response to the list so that others can benefit. Once again, an example of how amazingly versatile VAST is.
>>Dear Kurzweil
How can I program the pitchbend wheel to bend a half step up and a minor third down? Some stock guitar patches have pitchbend a whole step up and an octave down but I have not been able to adjust them to what I want to do.
Thank you<<
This is one of those fiendishly clever uses of FUNs.
For example take a look at program 89 Captain Crunch (this is on the K2500 - if you have a K2000 there will be a similar program with the same type of programming).
We will only look at layer 1 (layer 2 uses the same type of trick, and layer 3 is just used for adding a pick sound).
First of all, look on the COMMON page and notice that Pitch Bend range is set to 200 cents. This is what does the upwards pitch bend of a whole step (plus it contributes to part of the downwards pitch bend).
Next look at the Layer page. Notice that PBMode is set to Key. This means that the pitch bend wheel only functions on notes that your are holding down. This neat setting allows you to play a chord, hold it with the sustain pedal, then play individual notes and use the wheel to bend just the notes you are playing. It is important to understand that this function ONLY applies to the bend being set on the COMMON page - in this case the 200 cents. The rest is done with a function
Next look at the Keymap page. Notice that transposition is set to 14 ST. Even though this would seem to tune the guitar up by an octave and a whole step, the additional 2 semitones is going to be offset by the settings on the Pitch page.
Now go to the Pitch page. The Coarse tune is set to -24ST. The first -12 ST brings it down one octave, off setting 12 of the 14ST on the Keymap page. Then the additional -12 ST brings it down a further octave, but the sound is still pitched a 2 semitones up from normal.
Now look at Src1. It is set to FUN2 with a depth of -1000 cents. Since there are 100 cents in a semitone, this gives a depth of 10 semitones (ST).
Now go to the FUN page. FUN1 has Input A set to Key State and Input B to the Pitch Wheel with a Function of Track A While B. So the Function only tracks the pitch bend when you are holding a note. So this is the equivalent of what happens when you set the PBMode to Key, but this will apply to the extra 10 semitones.
Now here is the key to the trick: FUN2 has A set to -ON (which means a value of -1) and B is set to FUN1 with a Function of a-b. So now it becomes a basic math equation - lets look at the possibilities:
Remember that the pitch wheel is a bi-polar control source with values of 1 to -1 with 0 being the center. So...
Pitch Bend all the way down: A=-1, B=-1, therefore it is (-1)-(-1) which is -1+1=0
Pitch Bend at Center: A=-1, B=0, therefore it is (-1)-0=-1
Pitch Bend all the way up: A=-1, B=1, therefore it is (-1)-1=-2
But all control sources can only have a value between 1 and -1, therefore the value of -2 is pinned at -1. Therefore, moving the wheel up has no additional change than having the wheel at center.
So now go back to the Pitch page and see what happens with the various possible values.
With the wheel in the center, the value of FUN2 is -1. Since the depth is at -10 ST, a negative 1 actually ADDS 10ST (if it FUN2 was +1, it would subtract 10ST). So combine the 10ST with the 14 additional ST transposition from the KEYMAP Page and you have the sound transposed up two octaves. This is offset by the negative two octaves using the Coarse adjust parameter on the PITCH page, bringing you back to the original pitch.
With the wheel all the way up, the value of FUN 2 is still -1 so the FUN doesn't change the pitch any more than it is when the wheel is centered, but the Pitch Bend Range on the COMMON page does, adding 2 ST.
With the wheel all the way down, the value of FUN 2 is 0 and no pitch change is applied. Therefore, the pitch is 10ST below where it was when the wheel was centered PLUS the -2ST added by the Pitch Bend Range on the COMMON page, giving you a total of a octave bend down.
Notice that the Timbre Shift parameter on the KEYMAP Page is set to 21 ST. This helps bring the timbre back up since it is dulled by the combination of the settings of the Keymap transpose and Pitch page adjust. (For more on this read about the Timbre Shift parameter in the manual.
You could also accomplish the same type of programming by setting the Keymap Transpose to 2ST and the Pitch page Coarse adjust to -12. You would then use less timbre shifting.
So if you wanted to have an upwards pitch bend range of 1ST and a downwards range of 3ST, you would need to follow this programming outlined above, setting the Pitch Bend Range to 100 cents, the Keymap Transposition to 10ST, the Coarse Adjust on the Pitch page to -12ST, and the Depth for Src1 to -200 cents.
433: Re: t.v. sampling
Date: Wed, 11 Feb 1998 13:50:30 EST From: KeySolutns@AOL.COM Subject: ########## 433: Re: t.v. sampling
The very high noise that you hear when recording from a TV is the scanner. A notch filter right around 15K should take care of the problem.
513: Re: once again
Date: Thu, 12 Feb 1998 13:51:46 -0700 From: "C.K. Haun" <ck@RAVENWARE.COM> Subject: ########## 513: Re: once again
>Ctl 32 instead of Ctl 0 as the default bank selector? I have the power-on I know what I do on the K2500, not sure if it's the same on the K2000, but I'll pass it on anyway; The setup you're using defines this (and I appologize for not knowing which page, but I'm not at my K2500 right now and I don't have the Companion working over TCP/IP yet), I think it's on the initial page. On my K, I'll edit a setup, change the bank select number, exit and save the new setup, then go to the Master page and select that setup as the default one for your machine. Since this info is stored in P/RAM, you will always have this setup, the setup with bank change as being the one you want, when you power up the machine.
Again, I know this is how I do it on the K25K, I assume that later OS K2Ks use the same strategy.
C.K. Haun Ravenware Industries CK@Ravenware.com New Release! "Postcards from the Undermind" now available from Ravenware Records Ravenware Music HTTP://www.ravenware.com/music Ravenware Software HTTP://www.ravenware.com/sware
516: t.v. sampling
Date: Thu, 12 Feb 1998 16:58:04 -0500 From: Wolfegang Bonham <wolfegang.grimm@SYMPATICO.CA> Subject: ########## 516: t.v. sampling
There's another really simple way to elimate the high frequency whine from a T.V.
Lower your sampling rate to 29.4KHz. This way the highest frequency you will be able to sample successfully, due to the Nyquist Formula, is about 15KHz.
If your sampling material from old movies, and documentary-type shows, I don't think you have to worry any of the critical audio existing above 15KHz (other than static and other audio-noise). Also, most older shows are not broadcast in stereo, so only sample in mono. Using these ideas you also almost quadruple your sample time. (In fact, I usually RESAMPLE my files down to 20KHz.
Wolfegang Bonham Percussion Programming, The Harris Institute for the Arts Toronto, Canada
542: Sampling history
Date: Thu, 12 Feb 1998 00:50:10 EST From: "(Scott Baldwin)" <ScottBaldw@AOL.COM> Subject: ########## 542: Sampling history
The Fairlight CMI was the first keyboard based digital sampler, with software sequencing and additive synthesis capabilities, designed and built in Australia. They first appeared in 1979, and sold for $25,000-$36,000 US. Kim Ryrie and Peter Vogel (the founders of Fairlight) started working on it in 1975, as a digitally controlled analog synth. Sampling was not even initially considered. The ram memory was initially conceived for storing waveforms drawn on the computer screen with a light pen. Only later did they realize that the had enough memory to store a natural waveform. (16K!) So they added an 8 bit AD converter of their own design. The first sampled sound (in 1977) was that of a dog barking.
It was an 8 voice machine, and to get all 8 voices you had to load the sound into each of the eight boards separately. The term sampling was not coined by Fairlight.
Dave Rossum and Scott Wedge of E-mu saw the fairlight at the 1980 AES show and decided to develop a digital sampler. E-mu's "Emulator" was first shown at the 1981 NAMM in Anaheim. E-mu was the first to use the term "sampling". The first Emulator was an 8 bit machine with 128K of RAM. .An enormous amount at the time. Sounds were stored on 5 1/2 inch floppy disks. This machine had the first looping capability. To test this they sampled the sound of someone peeing in the toilet, then looped it. Stevie Wonder tried the Emulator at that '81 NAMM show and received the first production model, serial number 001. They initially retailed at $9,995.00, US
Hope this makes you appreciate your K a little better!
Scott Baldwin ErAsh Studio San Diego CA
560: Re: Z - Programming Classes 1998 :KEYMAP
Date: Fri, 13 Feb 1998 19:08:53 +1100 From: cowzar <cowzar@ASCCOMP.NET> Subject: ########## 560: Re: Z - Programming Classes 1998 :KEYMAP
Pedro Ivo M Echeverria wrote: > > I was studing my lesson and then cames to me a question: > Can I assign the timbre shift option to any controler? I would like to make > a bright piano sounds darker when I press the foot-switch. I know how to do > it by switching layers, but if the timbre shift could be assigned to a > controler that would be quicker, thought. > > Pedro Echeverria
Pedro,
the answer to your question is *no*.
TIMBRESHIFT actually effects the way the *samples* sit within
the KEYMAP.
There is no may of 'modulating' the way TIMBRESHIFT as this would
require 'shifting' the samples in the KEYMAP.
The Kurzweil (K2000) doesn't have the power really to do this.
And anyway, just turning it with the 'alpha' wheel (the big knob on the front of your Kurzweil), you will see it introduces nasty clicks when its 'manually' shifting ! :)
The Kurzweil requires it to be preset with this parameter.
This is talking of a K2000 though...(K2500?)
Brian,
564: Re: 61 Sample Root Limit
Date: Fri, 13 Feb 1998 17:01:30 EST From: David Fox <KURZWEIL@AOL.COM> Subject: ########## 564: Re: 61 Sample Root Limit
Randall,
>>Page 6-1 of my K2500RS "Performance Guide" defines a keymap quite clearly as:
"Up to 61 sample roots, assigned to play at programmable key and velocity ranges"<<
That is just a typo. In fact, as you discovered, you can assign samples across the entire keyboard.
644: Re: Floppy drive question
Date: Mon, 16 Feb 1998 16:54:16 +0000 From: Jouni Alkio <alkio@HKKK.FI> Subject: ########## 644: Re: Floppy drive question
> It seems as the floppy drive in my k2000 is broken. It can either read d= isks > or format new ones. Is it possible to use a standard PC floppy drive in = my > k2000 ?
Yes it is. I have replaced mine with a standard PC drive. Just make sure that it is a HD drive.
Greetings, Jouni
681: Disk Mode tricks
From: Dr. John W. Baird [SMTP:adio@ILAP.COM] Sent: Tuesday, February 17, 1998 9:11 AM To: K2000@AMERICAN.EDU Subject: ########## 681: Disk Mode tricks
I discovered a little trick that makes working on my K2500X much slicker that I would like to share with the list. I have an internal hard drive, the sample option loaded with RAM (128Mb) and work with the internal sequencer. It doesn't matter so much about that, but here's the trick. I have a subdirectory where I keep the songs for the album I'm working on. It is named AALBUM so it shows up at the top of the directory. In that folder I have two subdirectories: AAMASTER and AAREMIX (so they are the top two in the AALBUM directory list). I keep all my "final mixes" in the AALBUM directory. If I get any ideas which warrant further consideration (ie a remix) I save it in AAREMIX with a number on the last digit of the name. That way I may have three versions of a song. The current "final mix" might be ...\AALBUM\SONGA.K25, while the variations would be ...\AALBUM\AAREMIX\SONGA1.K25, SONGA2.K25, etc. That way I can get to my stuff with the fewest number of keystrokes and reduce the chances of accidentally overwriting a "final mix" with a variation (am I the only one who has ever overwritten a file with another version?) The other cool feature is to save the MASTER table( DISK SAVE - OBJECT - MASTER) for the various ways I set up the K2500 ie: Internal stereo sampling (ie Mixdown), mono external sampling, stereo external sampling, Song Mode setup, Programming setup, etc. I save these files in \AALBUM\AAMASTER. That way, I load the file and get right to work. The Master table contains the settings for all parameters on the Master, Sample, Effects, Song MISC, and all 3 MIDI pages, so you can simply save and load the Master table to do this. Anyone with any other ideas or better which make it easier to concentrate on making music please let me know. Thanks, Doc
687: Sweetwater Piano Tweaking
Date: Tue, 17 Feb 1998 14:23:58 -0500 From: Daniel Fisher <Daniel_Fisher@SWEETWATER.COM> Subject: ########## 687: Sweetwater Piano Tweaking
Hi Mark,
Thank you for your comments on the Young Chang Stereo Piano. As you are
well aware, pianos are a very subjective issue and everyone has their own idea of what the definitive sampled grand should sound like for each project. It's one of the reasons that we have many different pianos on our CD-ROM.
Our Virtual Grand samples were created in our own studio on a *nine-foot*
Young Chang piano (not "smallish" as someone had suggested) that had been extensively modified to the point to where it was the "preferred" recording piano of all the area studios.
The Stereo Virtual Grand has received many positive reviews and is the
performing piano of choice for quite a few professional musicians, including the group Pink Floyd who used the YC Grand exclusively on their Division Bell Tour and Pulse double CD.
But none of the above helps with your specific needs for a brighter YC Piano
with a longer decay. Fortunately, being the incredibly powerful synthesizer that it is, the Kurzweil has quite a bit of control over sonic components like brilliance and decay-time.
For example, if you'd like your Young Chang Piano sound to be brighter at all
velocities, go to the F3 LOPASS and gently raise the Coarse Frequency until you're satisfied.
If you want to increase the brightness of the softer key-strikes only, gently
raise the value of the LOPASS Src2's MinDpt while playing softly.
If you want to increase the brightness of the harder key-strikes only, gently raise the value of LOPASS Src2's MaxDpt while playing forcefully.
The Decay Time of the Young Chang Grand can be modified all the way to an
infinite decay, which means that somewhere in the middle is the Decay Time that's right for you.
Here's a good Starting point:
In the AMPENV Page, set the following Times (top row) to:
0s, 1.00s, 0s, 50.0s, 0.26s, 1.74s, 0s, Off
Now set the following Level values (bottom row) to:
100%, 95%, 0%, 0%, 40%, 0%, User, Inf
The Att2 Time will determine how long the piano energy remains fully solid
before decaying. Dec1 will determine the rate of energy loss to silence.
If you increase these a lot you're going to need to go to the ENVCTL Page and
increase the Dec KeyTrk from 3.000x to something larger or your high notes may ring far too long.
Hope this helps,
Daniel Fisher Director of Soundware Engineering daniel_fisher@sweetwater.com
700: Re: Is someone more VAST than I ???
Date: Tue, 17 Feb 1998 21:42:02 -0500 From: Vaster <vaster@POP.IQUEST.NET> Subject: ########## 700: Re: Is someone more VAST than I ???
>Is someone more VAST than I ???
Yes, I'm Vaster! ;-)
>I need to be able hold a chord with my left hand while I repeatedly strike >the >top key on my K2k (the top key will be the key assigned to mute the >output). >The effect I'm looking for is to stutter the output of the >sound in the >rhythmic pattern that I play with my right hand. >Please help.
>Wolfegang Bonham
What an excellent challenge! I couldn't wait to get home and try out some ideas. As you already have discovered, at first glance it's very difficult to make VAST Globally respond to a specific note while ignoring others. But it can be done. (And with only one Layer and only one FUN!)
Since Globals <must> be involved, you'll have to go to the COMMON Page and turn Globals ON.
In order to have key C7 Mute your chords you should to put FUN2 (now a Global FUN) in SRC1 of the AMP Page. Make the Depth -96dB. Now go to FUN2. Use Function "b > a".
Make Input b be GHiKey (Global Hi Key) and Input a be 0.74. Et Voila !!!
Here's why it works: You were on the right track with Globals and Hi Key, but you needed a way to make only the C7 and above be listened to. With the "b > a" FUN in place you will only get an ON when the Key Number is greater than 0.74. (Actually B6 works too as there is no value of 0.75.)
((Feature request!! Odd and Even FUN Values please!))
Why use "GHiKey" and not just "KeyNum" as the Input b? Because FUN2 is Global and KeyNum is not a Global thang.
{Bonus Program}
By making the AMP Page Adjust be -90dB and the SRC1 Depth be +96 you now
have a Program where pressing C7 makes your chords speak instead of muting
them.
Thanks for the really fresh idea Wolfgang. It actually made it worth trudging through all the "Whining On" e-mails!
Vaster
718: Z - Programming Classes 1998 :KEYMAP
Date: Wed, 18 Feb 1998 12:30:07 +1100 From: cowzar <cowzar@ASCCOMP.NET> Subject: ########## 718: Z - Programming Classes 1998 :KEYMAP
Hi Ed,
> In the timbershift section, example two, I found that with a timbershift of > 12st, G4 & G#4 were not the same note as the notes say they should be. I > then experimented with a timbershift of 13st and found G#4 and A4 to be the > same.
You are correct here.
The notes G4 & G#4 *are not* 100 ct apart. The intonation is not
correct when the TIMBRESHIFT is 12 ST.Its some odd setting with
these two notes.
And at a setting of 13 ST , you are correct. The upper limit has
been reached.(sample transposition).And the two notes are the
same.
"Bring your chair to front of the classroom !"...... :)
> In the altswitch section, the second part of the example, I found no change > in the attack or sound of the notes when I moved the modwheel.
If you play the C5 note , you'll notice the difference.
You will notice it more if you change the KEYMAP to 'Grand
Piano'.
"Thats two slaps to the teacher.......ouch! ".....:)
Good to see that your on the 'ball' Ed.
And that you 'experimented' until you got the results.
coming soon........ PITCH.
Brian Cowell,
743: Re: Is someone more VAST than I ???
Date: Wed, 18 Feb 1998 14:01:24 -0500 From: Wolfegang Bonham <wolfegang.grimm@SYMPATICO.CA> Organization: Grimm Studios & Victorian Charm Subject: ########## 743: Re: Is someone more VAST than I ???
Vaster wrote: > > Thanks for the really fresh idea Wolfgang. It actually made it worth > trudging through all the "Whining On" e-mails! > > Vaster
I tried your suggestion. Thanks! Works like a charm!! However, their is an annoying audible click when it 'mutes' the sound. I ended up using FUN2 to trigger a Global ASR2, with Delay 0, Atk .20, Rel. 0, and Hold set. This virtually elimates the click, but doesn't clamp down on the sound fast enough. I'm going use 2 patches, identical, except for their Atk. time (.20 vs 0.0). One for really fast mutes, the other for slower, tremelo type effects.
BTW, for anyone else out there trying this, make sure you have this applied to a patch with a really slow LFO modulating a Filter Cut-Off with some Resonance. Instant Dance Pads with Live Rhythmic Staccato Stabs!
766: Re: Riff Master?
Date: Thu, 19 Feb 1998 03:27:21 -0400 From: Rudy <redleg@IDT.NET> Subject: ########## 766: Re: Riff Master?
>> >> What I'm trying to do is slow a sample down while keeping the original pitch >> in the original octave, like one of those "Lick Master" things that are >> advertised in the back of guitar magazines. Could someone tell me if this >> possible on a K2000? And if so how to do it? >
YES! You can. Ahh, that amazing K2000! Page 2-24 of the manual (suppl) In the SAMPLE page, choose your sample. EDIT then go to DSP. Cycle through list to TIME WARP. This function can change the length of your sample (shorten or lengthen) without changing pitch. This may only apply to version 3 software though.
Best regards,
805: Z - PITCH Class
Date: Fri, 20 Feb 1998 03:48:18 +1100 From: cowzar <cowzar@ASCCOMP.NET> Subject: ########## 805: Z - PITCH Class
Hello class,
firstly, I apologise for the way that KEYMAP may have
printed out in an 'un-friendly' manner.
PITCH will do the same.
I'm currently working on a more 'friendlier' format
of print-outs for these articles.
Yep ! My computer keyboard skills are shocking ! :)
I'll have a 'revised' KEYMAP & PITCH articles posted
up on the Sweetwater site when they are completed.
Sorry about this.
But its not all doom and gloom ! :)
Here is PITCH attached to this email.
And I'll also be posting *some* of my personal library
of sounds out to the this class !
More on this at a latter date.
Enjoy !
Brian Cowell
******************
* THE PITCH PAGE *
******************
by Brian Cowell. Copyright 1998 by Brian Cowell. All rights reserved
Class ID: 02 The PITCH Page
OK! This topic is the PITCH page. We are going to find out how this page actually integrates and is in some ways dependent on the KEYMAP page.
In the KEYMAP page we spoke of how the KEYMAPs are constructed and how 'samples' interact with each other when spread across the keys. This is important to understand as it serves as the basis in which we may need to 'bend' or 'transpose' the 'pitch' of a key over a given range.
In simpler terms, there is *always* a limit to how much 'bending' we can do to a 'sample'. We can't just always assume that every KEYMAP we choose is going to let us use the PITCH bend wheel to 'transpose' the sample into infinity! So we must remember that this technology (not the keyboard) has its own limitations. (And PITCH is the limitation!)
Lets look at the PITCH page (on a K2000)...
Coarse: 0ST Src1 : OFF
Fine : 0ct Depth : 0ct
FineHz: 0.00Hz Src2 : OFF
KeyTrk: 0ct/key DptCtl: 0ct
VelTrk: 0ct MinDpt: 0ct
MaxDpt: 0ct
Well, we know what the PITCH page looks like, but what does it do in reference to the Kurzweil K2?
We all know and understand what *sound* we get when we 'bend' or mess around with the actual PITCH of the instrument. (If you don't, then play a key and use the PITCH bend wheel.)
But what the Kurzweil is actually doing is "changing the *play back rate*" of the sample. We are changing the way the sample in the KEYMAP plays back a change in PITCH.
Let's break it down so it's easier to understand! :)
We know that the 'Grand Piano' KEYMAP is made up of lots of 'samples' (multi-samples) neatly arranged to form the correct sound of a piano. It's a collection of lots of little 'recordings' of a real piano spread across the keyboard.
And on the KEYMAP page we tell the Kurzweil that we want these samples to play at a normal (western) intonation of 100 ct/key.
Here's an example:
*** Example 2-1 ***
1. Using PROGRAM 199 'Default Program'
2. press [EDIT]
3. press the "more>" button twice
4. press COMMON
5. change the 'Pitch Bend Range' to 0ct
(We will go into this page at a later date.)
(It's a master setting for the Pitch bend wheel)
6. press the "<more" button twice
7. press the PITCH button
Ok! Now play the keyboard and use the Pitch bend wheel.
There is no bending of the notes!
(I want you to actually play the C4 & the C5 notes to get
an idea of the tones.)
8. move the cursor over to "Src1 :OFF".
Then hold the [ENTER] button down and move the Pitch bend
wheel. (The Kurzweil then changes it from 'OFF'to'PWHEEL')
9. Now move the cursor down to the "Depth :0ct" and change
it to 1200ct. (1200ct is 1 octave = 12 keys)
So when we bend the PWHEEL up, we will transpose the keys
up exactly 1 octave.
10. Now play the C4 key and listen.
11. Now play the C5 key and listen.
12. Now play the C4 key and use the Pitch bend wheel to
'bend' the note up all the way.
You've bent the note from C4 to C5 (1200ct = 1 octave).
Listen to the note when it's bent all the way up.
13. Now that you've let go of the Pitch wheel, play the C5
key.
They're different! But the PITCH is that of a C5 key.
The PITCH of C4, when we 'bent' the note up an octave, is
'clean' sounding and 'brighter' in character than the C5
note.
If you play a C5 note and 'bend' the note "down", you will
find it gets "darker".
"What's going on here Brian?"
Well, when you 'bend' the PITCH, you're 'bending' the sample
from that KEYMAP (remember that the 'Grand Piano' has
multi-samples).
Actually, you are only bending that sample and not 'sliding'
the PITCH up/down the keyboard.
Why not 'slide' the PITCH across the KEYMAP and use the other
multi-samples? *Limitations* of technology!
Digital technology is limited, and this is its boundary...
The portamento/mono function uses this 'sliding' and it does
reveal the limitations in the form of "nasty" clicks when
pressing the keys! The K2000 manual talks about this
'clicking' and suggests ways which can help alleviate some
(not all) of these clicks.
(We will talk about this later...)
14. Go back to your K2 and change the "Depth :1200ct"
to 3600ct.
15. Now I want you to hold the Pitch wheel fully up and play
*all* the keys on the keyboard!
Notice that the keys play the same note for a couple of keys
then
move up in "PITCH" to play more notes of that same PITCH as
you
make your way up/down the keyboard.
What is happening here is that the 'Grand Piano' KEYMAP is
showing
you how many 'multi-samples' are in the KEYMAP and the Pitch
wheel
is actually pushing the PITCH all the way to its limit till
it can't
play correctly!
I keep telling you that 'samples' have limitations in
pushing the
PITCH *up*, but not *down*! So...
16. Now bend the Pitch wheel down fully and play *all* the
notes.
Not the best sounding Piano, but it's PITCH is reasonably
intact.
*****************
Now let's talk about the PITCH page itself!
COARSE :
Remember in the 'KEYMAP' article I told you that there were two
ways of
changing the 'harmonics' of a sound?
COARSE is part of the second way! But first I want to get people
to understand the difference between COARSE on the PITCH page,and
XPOSE on the KEYMAP page.
There are 2 rules for COARSE on the PITCH page!
RULE 1 : for multi-sample KEYMAPs
RULE 2 : for single-sample KEYMAPs
RULE 1 : for multi-sampled KEYMAPs
When we use XPOSE (transpose) on the KEYMAP page, we 'shift' the
position of the keys so they play correctly on a different part of
the keyboard. The 'PITCH' doesn't change. We just are able to move
the
keys so we can utilise the 88 notes (on a piano) for instance, on a
61-note keyboard.
But the COARSE parameter on the PITCH page actually changes the
'harmonic tuning' of the KEYMAP (exactly like TIMBRESHIFT), and it
changes the transposition of the keyboard (the position of the keys
on the keyboard).
It changes the 'samples' within the KEYMAP by playing the samples
back at a 'higher' or 'lower' PITCH.
Let's do an example...
*** Example 2-2 ***
1. Using PROGRAM 199 'Default Program'
2. press [EDIT]
3. press KEYMAP
4. change TIMBRESHIFT to 12ST
Now play the C4 key only and listen to its PITCH.
5. change TIMBRESHIFT to 0ST
6. press PITCH
7. change COARSE to 12ST
Now play the C3 key this time! That's right, the C3 key.
The COARSE parameter of 12ST (1 octave) not only moved the
keys
'up' 12ST (1 octave) but also changed the PITCH (as on
TIMBRESHIFT).
Two things happened from changing 1 parameter.
8. now press KEYMAP
9. change XPOSE to -12ST
The keyboard has come back in line and the PITCH is still
shifted.
*****************
Now you know the second way of changing the 'harmonics' of the
sound...
And this will answer a lot of questions I receive from people when
they say to me "Brian, you XPOSEd the keys down -12 semitones, then
raised it again by 12 semitones on the PITCH page. -12+12 = 0, so no
change occurred in anything!
Now you know why. Moving on....
RULE 2: for single-sample KEYMAPs
(for KEYMAPs that contain one sample, like "41 Crash Cymbal")
The COARSE parameter will act *exactly* like the XPOSE function on
the KEYMAP page. It will change *only* the transposition (where the
keys
actually are.)
FINE :
Ok! The FINE parameter will sharpen or flatten a note for us
(musically speaking of course). :)
I find it's best used when you don't use the COARSE parameter.
?? But it can also create a "side-effect" if we are used to hearing ?? "common" sounding LAYERS (more on this in the next example).
This "side-effect" is called 'chorusing'.
We will incorporate an example in our next topic.
FINEHz :
This parameter is another "fine-tuning" parameter that affects the
?? way the 'frequencies' sit on top of each other. It's really of any ?? use when using more than one LAYER of the same KEYMAP.
It will actually adjust how the 'beating' frequencies align with
each other when LAYERed together.
Confused?
Listening to an example is always best, so let's do one! :)
*** Example 2-3 ***
1. Using PROGRAM 199 'Default Program'
2. press [EDIT]
3. press KEYMAP
4. change the KEYMAP to '151 Sawtooth'
Now play a few keys and listen to the sound, even though we
haven't
done anything yet! :)
5. press the "<more" button once.
6. press DUPLYR (Duplicate Layer)
7. press the "more>" button once.
Play some keys again! And take note of the very top
righthand corner
of the display where it says "<> Layer:2/2". This means that
you are in
the 2nd LAYER of 2 LAYERs. So, we've created two LAYERs of
the SAWTOOTH KEYMAP.
And when we play keys, the effect is that of a 'thicker' pad
that has a
touch of a 'chorusing' effect in it.
Now, while holding down a key...
8. change the "Fine :" to 10ct
The sound is thicker, and it has that "unstable" analog
movement that
we've become accustomed to from the beasts of yesteryear!
What happened when we changed FINE to 10ct?
Well, for starters, we had two KEYMAPS that had the same
tuning. When we
made the 2nd KEYMAP 10ct 'sharper', the two sounds went out
of tune with
each other. The 1st sound started 'chasing' the 2nd sound,
and the result
you hear is the 'chorusing' effect.
9. using the arrow keys, move to "Src1 :".
Hold down the [ENTER] button and move the ModWheel.
The "Src1 :" changes from "OFF" to "MWheel".
10. now move down to "Depth :" and change it to -10 ct.
Now play the keys and move the ModWheel.
What we've done is allow it to 'chorus' normally, and we
tell the
Kurzweil that we want to turn this effect off when using the
ModWheel.
The math of this is 10 + (-10) = 0, so the ModWheel will
have no effect.
11. now set the ModWheel in its normal position (all the way
down)
12. move the cursor over to "FineHz: 0.00Hz".
?? 13. hold down any note (the C4 key, for example)
14 Now with your other hand, turn the Alpha dial wheel (the
big knob
on the front) so the screen reads "6.00Hz". But turn it
slowly
to hear the effect.
More detuning. This time, we are 'regulating' the
frequencies of the
sound.
It's easier to 'hear' the result than to describe it to you.
As an experiment:
Change the 2 KEYMAPS to '1 Grand Piano'
Change TIMBRESHIFT to 6ST on both KEYMAP pages
Make the "FINE :10ct" & "FineHz:4.60Hz" on only *one* of the
PITCH pages.
Welcome to "House Piano" land! :)
*****************
Moving on...
KEYTRK :
I told you that Key Tracking would pop up again on another page.
Well, here it is!
But it works slightly different on this page. Remember that I
said slightly here.
KEYTRK on the KEYMAP page tells the Kurzweil what the 'intervals'
between notes will be. In other words, we tell the K2s that we
want one semitone to a key when we set it at 100 ct/key.
If we want to have 12 keys for 2 octaves, we would set it at
200 ct/key (we've 'compressed' two octaves into one octave).
If we want to have 24 keys spread out over two octaves, we would
set it at 50 ct/key (we've 'spread' one octave out over two
octaves).
It works as an 'intonation' setting for us.
KEYTRK on the PITCH page affects the 'sample' note that will
be played. It will tell the KEYMAP how much that PITCH will vary
from its initial setting at the C4 key.
"@#43ed%^, Brian. What was that you just said?"
Alright! In simpler terms now.
The PITCH page itself relates to the 'harmonics' of a sound.
It has still got to keep the intervals correct, but it will also
change the KEYMAP by 'squashing' the KEYMAP, by the KEYTRK on
the PITCH page.
We are 'squashing' the amount of multi-samples in the KEYMAP
so there are fewer of them. However, the smaller the number of
multi-samples, the less accurate the reproduced KEYMAP will be.
If we 'squash' the KEYMAP KEYTRK to 100 ct/key, we've 'squashed'
the whole KEYMAP down to contain one sample.
That's right! It now contains only one sample and not multi-
samples.
What benefit would we get from this? Sounds like a disadvantage
doesn't it? It actually fixes a problem which 'plagues'
digital machines.
Remember when I said that if we could 'slide' between the multi-
samples when using PITCH we would get a nasty 'click' noise?
Well, that nasty 'click' is the result of digital machines
changing from one sample to another. And the more multi-samples you
have, the nastier the 'clicks' become!
This is basically used for the PORTAMENTO and MONOPHONIC features
of the K2s (this is on the COMMON page).
Rather than have other KEYMAPs made for MONOPHONIC use
(which would double everything and waste valuable space), we can
just use KEYTRK to 'squash' it down to fewer 'multi-samples' in
the KEYMAP (Kurzweil thought of everything!). :)
"Too much talk Brian, not enough examples!"
OK! Example time:
*** Example 2-4 ***
1. Using PROGRAM 199 'Default Program'
2. press [EDIT]
3. press KEYMAP
4. change the KEYMAP to "153 Very Dull Saw"
5. press the "more>" key twice
6. press COMMON
7. turn MONOPHONIC to "ON"
8. then move down and turn PORTAMENTO to "ON"
Now play some notes all over the keyboard.
Can you hear all those nasty clicks?
That's the K2 'sliding' between multi-samples.
But before we 'fix' this problem, I'll loudly announce a rule
you should know! That's right! There's a rule with using this
parameter
if you would like to keep normal 'western' settings and the normal
intonation
we are used to. The rule is:
KEYTRK (KEYMAP) + KEYTRK (PITCH) must equal 100 ct/key
Look at this carefully! The total of the two pages must equal 100
ct/key.
You could have, for example..............
KEYTRK (KEYMAP) + KEYTRK (PITCH) = must equal 100 ct/key
50 ct/key + 50 ct/key = 100 ct/key
20 ct/key + 80 ct/key = 100 ct/key
100 ct/key + 0 ct/key = 100 ct/key (Normally)
0 ct/key + 100 ct/key = 100 ct/key
So continuing on with our example...
9. press KEYMAP and change the "KeyTrk:" to 50 ct/key
10. press PITCH and change the "KeyTrk:" to 50 ct/key
Play the keys again.
It's still got nasty 'clicks', but a lot fewer of them.
Play notes around A#6 to C7 and see what is happening.
Because we've 'squashed' the KEYMAP, we are running into the
upper transposition problem (the notes sounding the same).
11. press KEYMAP and change the "KeyTrk:" to 20 ct/key
12. press PITCH and change the "KeyTrk:" to 80 ct/key
It's still clicking, but a lot less. However, the
transposition
problem has become worse.
13. press KEYMAP and change the "KeyTrk:" to 0 ct/key
14. press PITCH and change the "KeyTrk:" to 100 ct/key
No clicks! But we have a transposition problem because we've
'squashed' the KEYMAP down to only one sample (at C4), and
spread
it across the keyboard. This was the penalty we paid for
this feature
on the K2s and on all digital synths.
*****************
But there is another way around the PORTAMENTO problem if you're
interested in using stuff like SINE, SAW, or SQUARE as a MONOPHONIC
sound.
It requires selecting an algorithm with one of these waves as a DSP.
This is more advanced and will be discussed later.
But if you'd like, try a drum kit as the KEYMAP and play with
the KEYTRK of both pages (don't use MONOPHONIC though).
In PROGRAMs, I created a program called "Horror Piano" &
"Chandaleer"
by doing the following:
*** Example 2-5 ***
1. Using PROGRAM 199 'Default Program'
2. press [EDIT]
3. press KEYMAP
(the KEYMAP is 'Grand Piano' and the KEYTRK is 100 ct/key)
4. press PITCH
5. change KEYTRK on PITCH page to 100 ct/key
(so the total is 100 + 100 = 200 ct/key)
6. press "more>" twice
7. press EFFECT
8. change "EffectPreset" to '13 Crispy Lead' (on a K2000).
(or use any EFFECT that uses a delay line)
9. change "Wet/Dry Mix :" to 45%
Now run your fingers down the black keys--Instant "horror"
film!
*****************
Moving on......
VELTRK :
Velocity Track is another parameter that pops up now and again.
VELTRK on the PITCH page relates to the actual PITCH of
the note being played. And it is a very useful feature for
those 'percussive' sounds or KEYMAPs. However, it is different than
KEYTRK on the KEYMAP page.
VELTRK on the KEYMAP page will play (at the right setting)
the next note on the keyboard or the next sample.
VELTRK on the PITCH page will play the upper or lower
transposed PITCH of the sample.
Example time!
*** Example 2-6 ***
1. Using PROGRAM 199 'Default Program'
2. press KEYMAP
3. change the KEYMAP to '38 General MIDI Kit'
4. change the VELTRK to 1200 ct/key
Now play at various velocities!
5. change the VELTRK back to 0 ct/key
6. press PITCH
7. change the VELTRK to 1200 ct/key
Now play again at various velocities!
Two different functions altogether, aren't they?
*****************
Oh, if you don't know the difference, you didn't do the example,
did you? :)
These functions are fantastic for 'percussion' kits. And I think
you can all see the potential in these functions.
SRC1: & DEPTH:
This where we can modulate the PITCH from and to what depth we'd
like to do the modulation.
It's called Source1 and Depth.
And it appears on many pages on the K2s.
It's called Source1 (SRC1) as we have the ability to use more than
one modulation source.
And the list of modulation sources is very extensive!
Check the manual on this.
Basically, we can use something like the ModWheel to 'bend' the
PITCH the amount we want.
And the DEPTH is the 'total' amount (or limit) we will be applying
the modulation.
So if we've set the SRC1 as the MWheel and the depth at 1200ct,
then having the MWheel half way up will set the PITCH at 600 ct;
when pushed all the way up, it will be at 1200ct.
But we will do something different.
*** Example 2-7 ***
1. Using PROGRAM 199 'Default Program'
2. press [EDIT]
3. press KEYMAP
4. change the KEYMAP to '8 Acoustic Guitar'
5. press PITCH
6. change "Src1" to ATK STATE (or type in 125)
7. set "Depth" at 1200ct
Now play your 'southern' sounding American guitar!
*****************
ATK STATE is one of those Kurzweil specific modulation routines
where it looks at the "AMPENV" (which is covered later), and
then goes 'high' for that split second sending the PITCH to 1200ct
(1 octave) for a millisecond. It gives that 'pulling string' sound.
Moving on...
SRC2 , DPTCTL , MIN , MAX
This is Source2, Depth control, Minimum, Maximum.
Source2 is slightly different from our Source 1 in that is offers
a lot more control over what we're doing to the sound.
Source2 is usually used by a modulator 'fluctuating' off/on all
the time. But this isn't a rule. It can be anything.
The DPTCTL is like a 'volume' control in which the modulator
will determine the 'Depth' at which you will notice Source2.
Minimum & maximum are the depths to which the DPTCTL and SRC2
parameters will modulate the PITCH.
This is where you would apply techniques such as 'tremelo' &
'vibrato' to sounds. These are more advanced programming techniques.
We will be coming back and utilising these parameters at a
later stage.
This closes Installment 2 for Class O2: The PITCH Page
Direct all questions to the K2000 mail list: <K2000@AMERICAN.EDU>
--Brian Cowell,
http://www.sweetwater.com/k2000/b-cowell/ http://www.soundengine.com/astra.html
812: Re: Filter Self Oscillation
Date: Fri, 20 Feb 1998 10:48:03 -0800 From: Alistair Macdonald <amacdonald@RCM.AC.UK> Subject: ########## 812: Re: Filter Self Oscillation
Erm, nearly but not quite...... A resonant filter is one where there is a "peak" around the cutoff frequency. On the K2k the amount of resonance (expressed in dB) controls how big this peak is and hence how much the narrow band around the cutoff frequency is amplified. The cutoff can be swept across the frequency spectrum and lo! Acid music is born.
Resonance is achieved by a badly damped filter (and here my physics goes all dodgy- sorry!) and can be likened to a negative feedback loop such as is used with op-amps or a delay unit. If the amount fed back goes over a critical value then different things happen....
With a delay unit, the sampled chunk of sound will repeat ad infinitum and with a filter, the frequency at cutoff is fed back so much that it behaves like a signal generator (hence self-oscillation: it makes itself oscillate). This sounds like a pure sine wave although I'm sure someone can tell me that it is something else :)
This whole effect is much easier to appreciate when you are sitting in front of a nice old analogue synth like an SH101. Also, I've never come across a digital synth that can truly achieve/emulate self-oscillation so if Omar Torres has managed it, hats off to him *and* to Kurzweil!
As for all this 12dB & 24dB stuff, this refers to how steep the cutoff slope is on the filter ie. a 12dB low pass filter will reduce the amplitude of frequencies above the cutoff point at a rate of 12dB per octave. 24dB is obvioulsly steeper and reduces the frequencies getting through at a quicker rate as you go up the audio spectrum. The "pole" bit is some hang over from the (analogue) electronic design of filters whereby different (identical?) circuits were chained together to produce steeper cutoff slopes ie 4pole is four circuits achieving a 24dB per octave cutoff slope.
Phew!
Apologies for my very shaky physics/electronics knowledge (I only drive the car, I don't fix the engine 8)) I hope this helps.
Al Macdonald
814: Re: Filter Self Oscillation
Date: Fri, 20 Feb 1998 12:02:05 +0100 From: Daniel Rapoport <rassel@PDI-BERLIN.DE> Subject: ########## 814: Re: Filter Self Oscillation
Dear K-ers,
just a short explanation of filter terms (one of my favorites:):
First of all think in the frequency domain, not in the time domain, since most terms refer to frequencies. Take a look at a low pass (does what it says: passes the lower frequencies and cuts frequencys higher than the
- cutoff*):
- Resonance*: emphasis (amplification) of a narrow band right at the cutoff
frequency. It evolved from early filter designs and is a rather unwanted thing in HIFI (there are several workarounds to avoid resonance of filters) but very useful when forming sounds.
- Self_oscilation*: Actually, the resonance arises for several reasons, one
of which being some signal feedback - if the feedback raises (lowering of the feedback resistance) the amplification of the OPA, through which the signal is fed, becomes 1 -- in other words: it acts as an oscillator (it
- IS* an osc.). The waveform of this oszillator is quite unpredictable and
depends on the excitation "noise" and feedback gain. However, the frequency is that of the the cutoff frequency. The oscillator is often mixed with the fed in sound as if it where a ring modulator - U get the sum and difference frequencies but not the original ones. Therefore a filter *just at* the point where the fedback turns it into self oscillation sounds quite weird (from a musical point of view :) but we have acustomized to this sound... :)
- Slope*: How the attenuation evolves with the frequency. For passive
filters there is an theoretical limit of 6dB/Octave*filter (RC-filter) = 1 pole. Therefore, a 4 pole has an attenuation of 24db (actually somewhat lower) per octave. Since 6dB that the volume is cut by the half a 24dB/octave slope means: a note that has the double frequency of the cutoff frequency (one octave higher) is cut down to 1/16th of its natural volume (next octave cut to 1/256th and so on). A steeper slope gives an even stronger accent to the cutoff (resonance) frequency and sounds a bit harsher than a 12db/Oct (in contrast to the below statement). 12db/oct is great for real *filtering*, while 24db/oct is more for creation of new sounds (especially with strong emphasis).
897: Z - Programming Classes 1998 :KEYMAP
Date: Tue, 24 Feb 1998 11:53:16 +0800 From: Jason <jfewings@CENTRAL.MURDOCH.EDU.AU> Subject: ########## 897: Z - Programming Classes 1998 :KEYMAP
Sorry for the slow post on this programming class, but I've only just had time to read this.
And might I say, splendid job Brian.
Anyway, my comments
- Stereo parameter*
You should remember that it is not manditory to to set the two keymaps to a L-R pair of samples to produce a stereo sample. There is no reason that these cannot be set to different keymaps.
Now why would you do this and not use two different layers?
Well firstly it can simplify programming for detuned filtered analog sounds (which is only a minor point) but more interestingly if you use the DSP blocks such as XAmpMod and the such then some really weird things start to happen.
Now I can see some people trying this and those into more classical forms of music will probably catalog this as a "don't do it again" setting, however for those composing industrial or experimental music you may find some really useful sound textures here.
For an example of a sound created using this technique, have a look at my entry to VPC4. It used this technique. There will be somemore released soon in my coming sound collections.
- Alt Switch*
Just a note on this not specifically directed to the keymap page.
I beleive that if you use K2k rom samples then you can actually set the alt point before the start point and you can certainly set both of these to minus values as the roms are a contiguous sample block. This creates interesting sounds as you can get the end of another sound prior to your attack transient for the current sample. Putting this through some heavy DSP can give interesting results.
I will comment more on this when Brian gets to the sample editing pages.
Jason Fewings
898: Z - Pitch Class
Date: Tue, 24 Feb 1998 12:02:09 +0800 From: Jason <jfewings@CENTRAL.MURDOCH.EDU.AU> Subject: ########## 898: Z - Pitch Class
Just a comment on the use of pitch slides, which may help people overcome some problems when working monophonically or using other techniques as described by Brian in this lesson.
If you choose a keymap high up on your keyboard range (C8) for example and if you set this as the keymap for the entire keyboard with a keytracking of 100cts (or what ever you desire) then you will find that you get a much better range of pitch bend.
You will need to make sure that the C8 keymap is assigned to C8 on the keyboard.
The reason that this works is that the kurzweil can play back up to 96kHz which is one octave higher than what it is sampled at for a sample at 48kHz.
You can then bend all the way down.
Now sometimes the samples get grainy played back that slow, but if you are doing lots of portamento then you probably will not notice the graininess and it may even add something to the sound. You will however notice the clicks that Brian spoke of.
This is really only of consequence if you want to use the high end of the keyboard for doing this pitch sliding and for Bass lines or the such you may find that a sample of C4 may give better results.
The other way to increase upward bending range is by decreasing your sampling rate. You will get 1 octave upward bending at 48kHz, about 1 1/2 at 44.1 khZ and more than 2 octaves at 22kHz. Also you will save on sample memory.
Jason Fewings
899: Re: Gated effect
Date: Tue, 24 Feb 1998 12:54:02 +0800 From: Jason <jfewings@CENTRAL.MURDOCH.EDU.AU> Subject: ########## 899: Re: Gated effect
Nicholas Robalik wrote: > > Have any of you on this list been able to get a gated effect on the > K2000? Meaning something that will completely cut off the sample from > playing.. > > Nick
Goto your ampenv section and change the mode to user.
Set Att1 to 100% 0 sec Set Att2 to 100% x secs (as long as you want the sound) Set Att3 to 0% 0 secs ( or longer if you want a slight decay) Set Release to 0%
Now if you want to control the gating in real time go to the env control page and assign controllers to the various settings.
You may be better off changing the ampenv settings so that att2 and 3 are set to 100% and 0 secs and set your decay to 0% with a time.
This way you can use the decay and attack settings within the envctrl page to control both your attack time and decay time.
This will not stop the sample playing but will silence it. Let the dynamic voice allocation take care of this. It will work fine.
The other thing that you can do is to use a sequencer to send notes of your desired length to the k2k. You will have to ensure that your release time is short (or zero).
Hope that this helps
Jason Fewings
905: Z - PITCH Class
Date: Tue, 24 Feb 1998 11:53:25 +1100 From: cowzar <cowzar@ASCCOMP.NET> Subject: ########## 905: Z - PITCH Class
David wrote.....
>Brian Cowell, >I just finished your PITCH tutorial. Great job; it's inspired me for a >few songs. If the affect of using TIMBRESHIFT under KEYMAP is the same >as upping the COARSE parameter on the PITCH page and lowering the XPOSE >on KEYMAP a cooresponding amount, is it ever necessary to do the second >senario in a practical sense? Anotherwords, do you ever "have" to do >this while sound designing? Moving TIMRESHIFT seems so much more >intuitive, as shown in your KEYMAP tutorial.
>Dave
Hi David(& the rest of the class)
This is a very good question !
Firstly , it demonstrates the flexibility of the K2s.
It all comes down to how you approach programming. I've changed the PITCH to 12ST on many occasions to find that the sound was to 'high' ,so I've lowered the transposition down. So I've done a complete circle. When if I'd *thought* about what I was doing I could have just used TIMBRESHIFT ! :)
Having 2 ways to do something is not a disadvantage.But having 2 ways of doing something will *confuse* somebody who is trying to work out (reverse engineer) how a particular sound was created.
But to answer your question David , the answer is 'no' !
I would recomend that you use TIMBRESHIFT. But be aware of the second way...........
hope this helps out, :)
Brian Cowell
913: Instructions on Filter Self Oscillation
Date: Tue, 24 Feb 1998 15:14:14 -0500 From: Omar Torres <vex@GTE.NET> Subject: ########## 913: Instructions on Filter Self Oscillation
Ok everyone. Here is the information I promised on Filter Self = Oscillation on a K2000 / K2500 filter. Below you will find simple instructions on how to do it. =20 The only filter that I know of that can achieve this is the TWIN PEAKS = BANDPASS filter found on Algorithm #1 This technique will work with any sound or any program or layer, however = IM keeping it simple for example purposes. here are the steps.....
1> create a new program with one layer.=20
2> choose a sample or waveform on the keymap page. the regular sawtooth = keymap works well for this example.
3> choose algorithm # 1 and then choose the TWIN PEAKS BANDPASS filter.
4> edit the 3 DSP blocks for the TWIN PEAKS BANDPASS filter with the = following values....
F2 (width) =3D 0.010oct / lowest possible setting
F3 (separation) =3D 10800oct / highest possible setting
5> now edit the F1 (frequency) to sweep through a self-resonating = filter.
-note- the block that actually acts as the resonance amount is the =
F2 block (width)
-note- since this is a BANDPASS filter, it is going to sound more =
like a highpass filter with self-oscillation.=20
And there you have it boys and girls!!:)
enjoy acid heaven all you techno-heads
peace <vex>
918: Re: Instructions on Filter Self Oscillation
Date: Tue, 24 Feb 1998 19:56:36 -0600 From: jloffink <jloffink@PDQ.NET> Subject: ########## 918: Re: Instructions on Filter Self Oscillation
Sorry, but this does not make a self oscillating filter program or even sound like one. It's just a very high Q filter that emphasizes a narrow band of frequencies. A true self oscillating filter does not pass through any of its input signal, but generates its own sine wave. Set your Keymap to 199 Silence and see if you get any output. Nope.
The best way to mimic self oscillating filters is to mix a sine wave layer with a resonant filtered layer. The sine wave layer frequency should track the filtered layer's filter frequency, and as resonance is increased the filtered layer should be faded out and the sine wave layer faded in, until eventually only the sine wave remains.
John Loffink
972: Z - OUTPUT class
Date: Fri, 27 Feb 1998 18:55:35 +1100 From: cowzar <cowzar@ASCCOMP.NET> Subject: ########## 972: Z - OUTPUT class
Hi Class,
I've skipped a bit to get you to the OUTPUT page.
I'm building you up to bigger and better things.
And I apologise to K2500 users ,as I understand there is a little more to the OUTPUT page on there machines. (I use a K2000.)
But here is OUTPUT attached to this email.
enjoy,
Brian Cowell,
*******************
* THE OUTPUT PAGE *
*******************
by Brian Cowell. Copyright 1998 by Brian Cowell. All rights
reserved.
Class ID: 03 The OUTPUT Page
OK! We are now up to the OUTPUT page.
This part of the K2 tells your instrument how and from what point the sound will leave the K2's 'OUTPUT' jacks.
We need to understand this, as we need to know where and how to adjust these parameters when we need to further process the sound. If we want to send the sound out without the Kurzweil's EFFECTs on the sound, then we need to know how to send the signal out as an unprocessed signal. And we also want to know how to send it out *with* the Kurzweil EFFECT applied to it.
Kurzweil dedicated a whole chapter in their manual for the way the OUTPUTS work.
But we first need to understand something with this page, which I know does confuse a lot of people.
Here it is...
The OUTPUT page settings affect *only* the LAYER of sound that
you are working on. So if you have many LAYERs within the
PROGRAM
that is being edited, you have many settings for the OUTPUT
page which you *may* consider.
But before I lose you with technical detail...
There are several types of OUTPUT pages, depending on whether you are using a STEREO KEYMAP or on what LGORITHM you have selected at the
time.
We will look at these later.
Let's look at the OUTPUT page (on a K2000):
Pair: A(FX)
Pan : L * R
Mode: +MIDI
Gain: 6dB
CrossFade :OFF XFadeSense:Norm
This is the page you will see if you look in PROGRAM 199 'Default
Program'.
Let's look at it in more detail.
PAIR ----
We've got 2 choices when we are here.
A(FX) & B(DRY)
Look at the back of your keyboard to see these actual 'physical'
OUTPUTS.
There are 3 sets of L&R OUTPUTS: "MIX", "A", "B".
So when you choose A(FX), you're telling the K2 to send the sound out
the
L&R OUTPUTs at the "A" terminal jacks. And the sound will be processed by the K2s EFFECTs processor. Simple, eh? :)
And when B(DRY) is chosen, the sound appears at the "B" terminal jacks totally unprocessed and completely DRY. (So far, so good.)
But this is where everything becomes a little 'cryptic' to many users; as you start plugging chords into any of the OUTPUTs on the back of the K2, 'strange' things start to happen.
For instance, you've got a PROGRAM made up of a LAYER 1, which is set to A(FX), and another LAYER (LAYER 2), set to B(DRY).
When you listen on your headphones, it sounds correct. When you plug your mixing desk into "MIX L&R", it sounds correct. When you plug 'additional' plugs into either the "A" or "B" OUTPUT jacks, the sound at the "MIX" OUTPUTs will disappear. And only a portion of it will appear where you plugged it into.
"G%67*k89.....was that you said, Brian?"
This can seem very cryptic to many.
Ok! This is what's happening! So watch carefully! :) Ahhh, what the heck. Let's do an example and make it easier. Ummmm. Use headphones for the start of this. I'll tell you when to remove them.
Example ** 3-1 **
1. Using PROGRAM 199 'Default Program"
2. press [EDIT]
3. press KEYMAP (it's 'Grand Piano').
4. press OUTPUT (it's set at 'Pair: A(FX)' )
5. press EFFECT (and change it to '13 Crispy Lead')
6. set the 'wet/dry mix' on the EFFECT page to 45%
Now play some keys. The piano bounces around.
7. now press the "<more" button 3 times
8. now press 'Newlyr' (new layer)
You've created a second LAYER now .
9. now press KEYMAP (remember that this is LAYER 2)
10. change the KEYMAP to '6 Ensemble Strings'
Now play some keys. The piano and the strings bounce around.
11. press "more>" twice and then press OUTPUT
12. change "Pair :A(FX)" to "Pair :B(DRY)"
Now play some keys!
The piano is bouncing around and the strings are dry.
Now you can plug your mixing desk into the "MIX" OUTPUTS on
the back of your machine. Take off the headphones now.
You will find that the MIX OUTPUTs have the same sound as the
headphones did. This is because 'MIX' is actually a combination
of processed and unprocessed sound.(just like the headphones).
Now this is the part to grasp...hands out. :)
When we choose 'A(FX)', we are actually telling the the K2s 2
things to do. We are telling it to send a "dry" sound to the
"A" OUTPUT jacks, and the same sound processed and sent to the
"MIX" OUPUTs.
So understand that the 'MIX' OUPUT has the processed sound,
and the "A" OUTPUTs have the unprocessed sounds.
The word "processed" in this context refers to the sound after
its been through the K2s EFFECT processor.
Now while your still grasping...... :)
So our "A(FX)" sound is the bouncing piano.
At the "MIX" OUTPUTs its still bouncing around.
But if you try and plug something into the "A" OUTPUTS, then
the 'bouncing piano' sound will disappear from the "MIX"
OUTPUTS and appear 'unprocessed' at the "A" OUTPUTs.
Thats right! The sound has gone from processed at one OUTPUT to
being 'unprocessed' at the other OUTPUT.
You cant have both!
So a rule : "ITS EITHER PROCESSED OR UNPROCESSED. NOT BOTH"
If we plugged into the "B" OUTPUTs, the "dry" string sound would
disappear from the "MIX" OUTPUTs and appear at the "B" OUTPUTS.
So in actual fact, we can separate a sound and have it split on
the
"A" & "B" OUTPUTS, or we can use just the K2's internal processor,
or a combination of the K2's processor and the "B" OUTPUTs.
I hope I've cleared this problem a little.
But I know there's somebody at the back of the class saying "I've
got to mess around with all these LAYERs to change there OUTPUTs
for a single PROGRAM...and I'm trying to use my sequencer...isn't
there an override for these parameters?"
You're in luck! You can! :)
It's located by pressing [MIDI] on the front of the K2.
Have a look...
1. Press [MIDI]
2. press CHANLS
Look at the part where it says "OUTPAIR:"
You can override it from here!
So, for a certain project you're doing, you can change the
PROGRAM's settings for the OUTPUT jacks. Just remember to set it
back again!
This is something that people must understand about the OUTPUT
page.
There are other pages which will affect the OUTPUT page (override
it).
This was one of them.
As a review: we can have a processed sound or unprocessed sound.
PAN: L * R ------------------------
This is where you adjust the PAN position, the position in the stereo field. The Kurzweil represents it graphically.
Play with it and listen to the results. This one is fairly self-explanatory.
MODE ----
"MODE" is a parameter which will affect how the PAN fuction will
respond.
"PAN" is flexible. You can set its initial position and then manipulate it with MIDI (MIDI 10 is a pan message).
There are 4 modes of operation for this function: FIXED, +MIDI, AUTO, REVERSE.
a) FIXED : This tells the Kurzweil that nothing is to affect
it.
In other words, it's firmly set and that's it!
MIDI control messages won't affect it.
b) +MIDI : This will tell the K2 to move the PAN position
when
it receives a MIDI 10 control message.
c) AUTO : This one is really useful! It responds to MIDI 60
controller messages.
In plain English, it will PAN notes depending on
what note you press. High notes PAN right;
low notes PAN left.
d)REVERSE: This will do the opposite to AUTO.
High notes PAN left; low notes PAN right.
It's example time again! :)
Example ** 3-2 **
1. Using PROGRAM 199 'Default Program'
2. press [EDIT]
3. press KEYMAP. It's set at 'Grand Piano'. Leave it here.
4. press "more>" twice, then press OUTPUT
5. change "Mode :+MIDI" to "Mode :Auto"
Now play the keyboard...like I said, really useful!
6. move "Pan :L * R" to look like this....
"Pan :L * R".
Now play some keys. It's not as useful as when it was in the
centre
position, but you may find it handy in those crafty PROGRAMs
you'll
come up with after these programming lessons. :)
I'm working our way up to something a little bit more advanced, so
hang tight.
Let's move on...
GAIN ----
This will cut or add to the volume of the layer. It's a bit of a 'booster' or a 'slasher' when it comes to volume. Use it when you're trying to match levels fairly quickly.
This is pretty self-explanatory. Check the manual if you're not sure.
CROSSFADE & XFADESENSE ----------------------
This is "CrossFade" & "CrossFadeSense".
These 2 parameters combined allow you to "cross" between 2 LAYERS where you could create those "morphing" type effects.
CROSSFADE allows you to choose from a selection of modulation sources
in
which we can control the actual "cross-fade". We can, for instance, use things like the modwheel, foot pedal, LFO, etc. Or we can leave it in the "OFF" position, in which case nothing will happen.
This is important to remember (which you'll find out later).
After you've set up what is going to modulate the CROSSFADE, you can worry about what position you want the XFADESENSE in.
These parameters work like this: Say we had the MWHEEL (ModWheel) as the CROSSFADE source. When we moved the MWHEEL slowly up, the sound at the MWHEEL's halfway position would show signs of 'fading'. This is when we have the XFADESENSE as 'NORM'(Normal). If it were set to 'RVRS' (Reverse), the opposite effect would happen.
Let's do an example as its easier to explain.
Example ** 3-3 **
1. Using PROGRAM 199 'Default Program'
2. press [EDIT]
3. press KEYMAP and change it to '5 Voices'
4. press OUTPUT
5. change 'Mode' to 'Auto'
6. change 'CrossFade' to MWHEEL (ModWheel)
7. leave 'XFadeSense' as 'Norm'
Now play some keys and use the ModWheel.
8. now press the "<more" button 3 times.
9. press DUPLYR (Duplicate Layer)
We've created two identical LAYERs!
10. press the "more>" button 3 times
Remember that we are on LAYER 2 now.
Check the righthand top of the screen..."<>Layer:2/2"
11. change the 'XFadeSense' to 'RVRS' (Reverse)
This LAYER will come in when we've moved the MWHEEL near the
middle
of the MWHEEL's central position. You can hear a 'chorusing'
effect
at the MWHEEL's central position. This isn't real flash at the
moment,
so lets move on....
12. press EFFECT and change it to '1 Sweet Hall' if it's not there
already.
13. set the "wet/dry mix" at 45%
Alright! Eat me! I added an effect. Let's make it useful at least.
- )
14. press KEYMAP and change it to '6 Ensemble Strings'
Now play and move the MWHEEL. It's a bit more useful now.
Now look at the left hand side of the K2s LCD screen, and you'll
see
two arrow keys. One points up, one points down. These are the
LAYER/ZONE buttons. The writing is in 'green' as is the writing on
the
[EDIT] button. These buttons are 'multi-purpose'.
Anyway, press the 'arrow pointing up' and watch the righthand side
of the display. It changes from "<>Layer:2/2" to "<>Layer1/2".
We are now back in LAYER 1!
15. press PITCH
16. change "Src1 :OFF" to read "Src1 :MWheel"
17. change the 'Depth' to 1200ct(1 Octave)
Now play and move the MWHEEL.
Now for something a little different.
(remember we are in LAYER 1)
18. press KEYMAP and change it to '1 Grand Piano'
19. press PITCH and change "Src1" to OFF and the "depth" to 0ct.
20. press OUTPUT
21. change 'CrossFade' to 'OFF'
Now press the 'down arrow' to take us to LAYER 2.
22. change the 'Gain' to 0dB (I don't want it to drown out the
piano)
23. press KEYMAP and change it to '5 Voices'
Now play and move the MWHEEL.
Only one LAYER is 'cross fading' because we turned the 'CrossFade'
in
LAYER 1 'OFF'.
Try some drum kits as KEYMAPs. Use techniques from previous
lessons.
Experiment with the parameters. You're on your way to
programming!
- )
Oh, does anybody know the disadvantage of 'cross-fading'?
Well, it's like this. Even though you *can't* hear the other LAYER doesn't mean it's not using an additional voice (polphony).So get this under your belt..."ITS USING THE VOICE YOU CAN'T HEAR ALSO".
So, for the example we just did here, every key that was pressed used
two
voices of the Kurzweil's total polphony. So, K2000 users beware!
I use this when we want to 'crossfade' *slowly* between LAYERS. I want
the
sound to nearly 'morph' with the other sound.
The other technique some users do is called 'cross-switching', which is basically the rapid change of a LAYER with a controller. I recommend that you don't 'cross-switch' here because it uses additional polphony anyway. The LAYER page is the place to 'cross-switch' using the
'ENABLE'
parameter, which we will cover when we get to it.
That's it for installment no.3! :)
I'll go and catch my breath now...
This closes Installment 3 for Class O3: The OUTPUT Page
Direct all questions to the K2000 mail list: <K2000@AMERICAN.EDU>
Brian Cowell,
990: Deep resonant phasing/Wurlitzer sound!!!
Date: Fri, 27 Feb 1998 22:54:06 -0800 From: Harvey Devoe Thornburg <harv23@LELAND.STANFORD.EDU> Subject: ########## 990: Deep resonant phasing/Wurlitzer sound!!!
> > BTW these songs use a Fender Rhodes, w/phaser. You can get a rather mild > phasing effect by using an allpass filter modulated w/an LFO. My > experience is it is not intense enough to really simulate an old MXR > phase 90. Maybe someone can come up with a better idea than this.
I know I have posted about this before, but it's worth repeating. I have a method where you can get very deep, resonant phasing simulations. The only catch is because VAST does not allow two filters in parallel you must use two layers. The key is to use the exact same keymap for each layer. For the first layer use a resonant lowpass, for the second use a resonant highpass. Make sure the lowpass cutoff is *below* the highpass cutoff, and the cutoffs track in parallel, and the resonance values are the same. I find best results when the lowpass cutoff is 19 semitones below the highpass cutoff. With this configuration you'll have a big notch in the middle of the spectrum, and by adjusting the filter resonances you'll have peaking on the sides of the notch which emulates what happens when you put a phaser in feedback with itself in analog circuitry.
Here's what the spectrum looks like. Deep enough for you? Now imagine MIDI control of the peaking and separation distance.
/| |\
/ | | \
_________/ | | \________________________________________
| |
| <-> |
LOPASS HIPASS
programiing tip: create the first layer with the lowpass, set frequency and resonance controls (map to your favorite MIDI controller) now duplicate the layer and change the lowpass to highpass, bump up the cutoff freq and there you go! important thing is that *all* other features of the layer must be *exactly* the same.
This gives great, ethereal phasing effects on organs and guitars, as well as being great for drum loops (for the latter case, it gives a distinctive "slurpy" sound. A much better alternative to merely low-pass filtering a drum loop like everyone does on a MPC3000).
Of course why stop with two layers? (Polyphony, I know). But using four layers, with the cutoffs of the top layers mutually offset from the cutoffs of the bottom layers, you can get even more radical sounds, not achievable with vintage equipment. This is one situation where the loss of polyphony is well worth it, and you won't even think of using the K's preset notch/allpass filters except for stereo/location effects (more on this later). I only wish I had enough control over the K's envelopes to do a "barberpole" phasing simulation. With some effort I have replicated this setup on Csound.
Enjoy,
--Harvey