Kurzweil:Dead Letters January 1998
From Sonikmatter
26: Re: K2500
- Date: Fri, 2 Jan 1998 22:54:24 -0000
- From: Antonio Gambale <tonemeister@EFFECT.NET.AU>
- Subject: ########## 26: Re: K2500
you asked how to assign the eight controllers and the ribbons when not in setup mode:
I assume you mean within a program, so this is an easy way to do it.
when in program mode just highlight the source input field for wherever you want to assign the controller. then hold down the enter button and move the controller or touch the ribbon that you want to assign. it will be instantly selected.
re: recording the data to cubase for editing - not sure; it should just automatically be recorded. I use logic audio and it just seems to happen by itself.
hope this helps.
tones from oz.
67: Re: Zip Plus??
- Date: Sat, 3 Jan 1998 10:21:18 -0700
- From: Toto <toto@CHEETAH.SPOTS.AB.CA>
- Subject: ########## 67: Re: Zip Plus??
Get this! After properly hooking my Zip Plus to my K2500X, the drive could not be read until I connected my CD-ROM drive after it and set the CD's termination to On! My deduction: despite the claims in the Zip Plus manual, auto termination is NOT really automatic on this case. I eventually got a passive SCSI terminator plug and put it on the Zip, as I didn't want to have to lug two drives around unnecessarily.
128: Re: K2000R Effects Dead?
- Date: Mon, 5 Jan 1998 09:30:24 -0500
- From: "marsiglio.clif.c." <ccmarsig@IUPUI.EDU>
- Subject: ########## 128: Re: K2000R Effects Dead?
You may also want to completely zap your whole system (for lack of a better word this hungover monday). I had this problem a few weeks ago, and it was probably due to a corrupted file or some other bs like that.
What you need to do is to unplug everything, and remove your batteries for bout a half hour. This should make sure nothing is left within the system memories. Plug everthing back in and see iff they have returned. This fixed effects and even what I thought was a bad scsi drive.
clify t
cognitive dissidents wrote:
> I can't seem to get anything out of my K2's effects section. Just the dry > signal passes through, regardless of the FX settings. > > I have a K2000R w/ the Calvin chipset and v3.01 OS. > > This problem does NOT coincide with the SCSI drive problems I'm having. > > I think I may have heard of this mentioned earlier on the list; can anyone > sympathize? > > Thanks again...matt
131: SW_KB3_Progs
- Date: Mon, 5 Jan 1998 11:32:00 -0500
- From: Daniel Fisher <Daniel_Fisher@SWEETWATER.COM>
- Subject: ########## 131: SW_KB3_Progs
>>From: Mike Warpenburg <warpenburg@AUSTIN360.COM>
>>With the KB3 Mode on the K2500, Kurzweil has really >>opened up (or re-opened) the tone wheel additive >>synthesis model where sine waves can be replaced by >>other samples and a host of other tricks can be applied. >> >>Does anyone know of any work going on in this area? >> >>I think it would really be a kick butt thing for someone >>to introduce a KB3 Mode sound farm to get things rolling. >>(Are you listening Kurzweil?)
From: Daniel Fisher <daniel_fisher@sweetwater.com>
Hi Mike,
As for work going on in exploring the K2500 additive synthesis model, the
Kurzweil Engineers created an excellent KB3 interface which makes it very easy to experiment with replacing the Sine Waves yourself.
Simply EDIT a KB3 Program. The very first parameter that is highlighted is
the Keymap. Simply dial in any other Keymap and try it. Many of the other parameters on the "TONEWL" Page will help to produce very non-B3 results.
You can also change the ratios for each Drawbar on the "DRAWBR" Page.
If you'd like a "sound farm" of 100 KB3 Programs that Sweetwater has created
which features "normal" B-3's, Pipe Organ simulations and some bizarre examples of sample substitution and alternate drawbar configurations, you can download it from:
ftp://ftp.sweetwater.com/pub/k2000/sws/SW_KB3_PROGS/
The file is called:
SW_KB3_P.K25 (or SW_KB3_P.ZIP)
I hope this helps with your experiments.
Sincerely,
Daniel Fisher Chief Soundware Engineer Sweetwater Soundware Development Facility
149: Exporting .MID files with Arrangements
- Date: Mon, 5 Jan 1998 17:17:21 EST
- From: KURZWEIL <KURZWEIL@AOL.COM>
- Subject: ########## 149: Exporting .MID files with Arrangements
Mike,
As you noticed, when you export a Song File which uses the Arrangement editor, only the data in the current song (not any data from songs being called up in the Arrangement editor) is exported.
We do hope to add this ability in a future version -it is on our feature request list. In the meantime, the only solution would be to record the song to an external sequencer in real time, with the external sequencer synced to the Kurzweil.
188: Stereo out, mono keymap
- Date: Tue, 6 Jan 1998 19:44:47 +0100
- From: Wim Verheyen <catwim@SKYNET.BE>
- Subject: ########## 188: Stereo out, mono keymap (was Hd Recording
>Or do they apply some VAST processing differently to L/R even on mono keymaps?
Yes, panning could be applied, either automatically with a PANNER block or manually from the MIDI CHANLS page.
195: Slowness in Song mode
Date: Tue, 6 Jan 1998 20:02:06 +0100 From: Wim Verheyen <catwim@SKYNET.BE> Subject: ########## 195: Slowness in Song mode
>If I unplug either the MIDI in or MIDI out cable from the K2000, everything >works fine in song mode. So I'm wondering if there is some sort of MIDI >loop going on that is overloading the processor on the K2000. Why this >only happens in Song mode is a mystery to me.
There's two settings that you might try to change :
SONG, MISC, Sync : on my K2000 this is set to Both by default. It could be that you are syncing the K2000 to itself, try one of the other settings. This might explain why it's only happening in Song mode.
MIDI, XMIT, Control : this is also set to Both by default. Again, try the other settings.
Or try to break the MIDI loop with some setting for your MIDI card or the software you use with it (no idea for your particular card).
196: K-2000 sliders galore!
- Date: Tue, 6 Jan 1998 13:29:55 -0800
- From: I was a maoist intellectual <mager@ARACNET.COM>
- Subject: ########## 196: K-2000 sliders galore!
Many on this list have raved about the Peavy PC-1600 for adding a physical control surface to especially the k-2000 for programming. I'm not sure how many of you use a Yamaha Promix 01, but over the last 2 days I've reprogrammed & used mine as an extended control surface w/ astounding results.
How to:
First you'll want to reprogram the CCs sent out by the sliders when Local off is selected on the PM 01, so you aren't always inadvertantly turning down the volume or anything wacky like that, and so the k-2000 can 'see' the CCs. After checking the k-2000 manual I programmed them as follows:
- slider# 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
- cc# 9 12 13 14 15 20 21 22 23 24 25 26 27 28 29 30
I didn't bother about the channel #, as I'm routing the sliders through Cubase anyway so they'll be rechannelized to address whatever box I want. I also programmed the remote control options in cubase to interpret the MIDI program changes sent by the track select buttons as transport funtions, which eliminates a lot of mouse fiddling during recording.)
Now, hit the MIDI button on the yamaha & turn local control off (all the sliders jump to zero.) When programming the k-2000 you can assign any of the sladers to any of the mod sources, FUN inputs, all that jazz (assigning sliders to FUN inputs to control how MIDI clocked GPhase waveforms are warped is my favorite so far: instant tripped out electronic wierdness that keeps a beat and morphs all over the place!)
If you need to adjust anything on the Promix, just hit the buttons to go to the right page, and all the sliders jump to show mix levels, effect sends levels, etc and you have local control again. When you want to use the sliders for MIDI CCs or transport funtins again, hit the MIDI button and all the sliders jump back to where you left them. This is very slick for mixdown/ performance situations where you want to alter the mix & k-2000 parameters at the same time. I'll be using it in a performance thursday.
Anyway, I'm very excited about how well this works and thought there must be at least on listmember w/ a Promix who hadn't gotten around to this already.
218: Re: info
- Date: Tue, 6 Jan 1998 12:32:50 -0500
- From: Omar Torres <vex@GTE.NET>
- Subject: ########## 218: Re: info
yes! using a little trick with the layer delay. you can achieve killer wavesequencing effects. and each "wave sequence" or segement is a layer in your program so that means that you can apply VAST setttings differently to each part of the wavesequence. I use a drum program so that you can achieve at least 32 parts ( layers) for the wavesequencing. I will send you a patch that I made demonstrating how well you can emulate the wavestations wavesequencing features with the K2000 or K2500.
239: Re: Five K2500 newbie questions
- Date: Wed, 7 Jan 1998 10:56:06 -0800
- From: John Ruf <johnr@SR.HP.COM>
- Organization: Hewlett-Packard
- Subject: ########## 239: Re: Five K2500 newbie questions
> How do I quickly initialize effects? I have found that switching > from Program 003 (BritePiano) to 159 (Arrakis Grand) or 160 > (Sisternal), then back, occasionally leaves a multi-delay effect.
In addition to the other comments made, you should also note that you can change the way effects are switched in the Effects page. The default mode is Auto, which will switch effects whenever you change the current program or setup (to the effect designated by the new prog or setup). You can change that mode to Master, which will let you manually select an effect, and it will leave it there no matter what other changes are made, until you go change it. That may be a better mode for you. Of course, it may have a significant impact on the way things sound, since you could be using different effects that before (could be quite noticeable with echo or chorusing effects).
-JR
245: Re: Roland EV-1 CC pedal w/ K2500?
- Date: Wed, 7 Jan 1998 11:25:09 -0800
- From: John Ruf <johnr@SR.HP.COM>
- Organization: Hewlett-Packard
- Subject: ########## 245: Re: Roland EV-1 CC pedal w/ K2500?
> Did I assume incorrectly that plugging in an expression pedal > should have an obvious, immediate effect (i.e. volume control > with foot)?
Yes, this is an incorrect assumption. You will find that all the stock sounds have NOT used the Continuous Controller pedal (AFAIK), probably because its optional and they would not want you to miss out on some control because you don't have the pedal. Would have been nice if they provided an optional Control Setup that you could switch to that would wire this into everything appropriately. (That's a suggestion, YCA).
So, to make the pedal work you need to read up in the manual on how to connect Continuous Controller messages to a desired parameter. I've done it on some things and had some fun. And yes, you can set it up to adjust either the volume of a program or the expression and get what you want.
> I wanted to experiment with orchestral swells - and I'm not sure > I can figure out "mono pressure"
BTW, Mono pressure is not mysterious. You just press down on the keys as you are holding some notes. The "mono" part of it means that it will take the key you are pressing the hardest and that will be the value sent. You can even see the values sent by going into the utility display and look at the MIDI mode. As you change the pressure on the keys you will see the values being sent. Of course, holding key pressure is not natural for some control. If you want an orchestra to creszendo (sp?) over several measures, a pedal is the better way to go. You really cannot control mono pressure that well. Its better for expressive playing of a solo instrument.
Actually Kurz does produce such a pedal, but it seems that others work fine, too.
-JR
270: Re: Velocity Layering/Keymap Switching
- Date: Thu, 8 Jan 1998 17:40:57 +0100
- From: Tobias Sjogren <sjogren@SWIPNET.SE>
- Subject: ########## 270: Re: Velocity Layering/Keymap Switching
Hi, i've a few basic advises to share that came to mind reading you mail. I've done some experimenting trying to use multisampling (= Velocity Layering/Keymap Switching) with acoustical instruments. I must say, generally, it's very hard to make it sound natural using layering switching. Often you hear the transitions, and it tends to sound mechanical. My solution to this is to use only one layer, one set of samples, and then heavily programm those to be very flexible reacting to mainly attack velocity. This makes more smoother-sounding transitions beetween different attack velocities. IF you don't use a very large number of layers...
To take the other approach to its extreme you can have up to 32 layers and have each of them triggered by a small area of velocity values. (Using 32 layers, 4 values per layer makes all 128 values)(BTW, I don't think you should "cross switch" the layers)
As an alternative to manipulate the velocity map, this is a cool way of triggering layers since you get complete control over what velocity value is triggering what layer:
- EditProg: LAYER: Enable: GAttVel
- Layer 1: S (EnableSense): Norm 0 3 (= velocity values)
- Layer 2: S: 4 7
- Layer 3: S: 8 11 and so on...
You'll need some RAM...
Another thing; use a DAT with 44.1kHz sampling rate so that you don't need to do a sample rate conversion later before mastering it onto CD.
(sorry for my english)
...Tobias
P.S. Use and have FUN.
287: Velocity Layering/Keymap Switching
- Date: Thu, 8 Jan 1998 21:14:31 +0100
- From: Wim Verheyen <catwim@SKYNET.BE>
- Subject: ########## 287: Velocity Layering/Keymap Switching
>I dearly hope there are some real K2500 programmers left on this list
Will a K2000 programmer do as well ;-) ?
>IF soft pedal, >AND note on, >AND velocity range ppp-mp, >THEN use layer/keymap 6, >NOT keymap/layer 1 & 2
>There are more, but these are good examples. Can I program the K to perform >these functions, or am I doomed to using several programs and doing alot of >ugly CAL programs in Cakewalk?
This is a FUN job !
The FUNs can do logical functions, a AND b is the one you need. Combine this with the Enable parameter on the LAYER page and you're almost there.
Or at least I thought so. On my K2000 with version 3.54J, I have to switch Globals ON on the COMMON page. Otherwise I can't control the Enable parameter on the LAYER page with a FUN. I guess this is normal, because the manual explains under GLOBALS that FUNs begin operating each time a note in the layer is triggered (when Globals is OFF). And since no note is triggered when the layer is not yet enabled, the FUNs will never start operating etc.
This is annoying since when Globals are ON, Key State is not available as an input source for the FUNs. This means I can't fulfill the "AND note on" clause. And what's even more annoying : you can only use FUN 2 and 4 when Globals are ON, so only 2 FUNs :-(
Here's an attempt at your first example : >IF soft pedal, >AND velocity range ppp-mp, You could use GAttVel for this, but then the range is mp-fff. Here's how you set it to ppp-mp : FUN 2 : ON GAttVel a-b (sets the velocity range) FUN 4 : SoftPd FUN2 a AND b (AND the soft pedal) >THEN use layer/keymap 6 LAYER 6 : Enable : FUN 4 >NOT keymap/layer 1 & 2 LAYER 1 & 2 : Enable : FUN 4 and set S:Rvrs
There's one more catch : the FUNs apparently get evaluated after you hit the first note, so there's always a delay of 1 note in switching the layers.
There's some work for Kurzweil here for the next OS update ...
643: Re: Self Oscillation
- Date: Fri, 16 Jan 1998 18:21:58 -0500
- From: "Fwedowick H. Veeblefester" <vaster@POP.IQUEST.NET>
- Subject: ########## 643: Re: Self Oscillation
>could one of you big brains please make a self oscillating Keymap and >put it on a ftp or send it to me and those that request it.
Keymaps are always "self oscillating"; otherwise you wouldn't hear them (unless, of course, you have dialed in the Silence or None Keymaps).
If, what you really mean is a "self oscillating Filter" then you are chasing a rainbow. Kurzweil Filters will not attain enough Resonance to self oscillate.
However, in the spirit of, "There's always a way you can do something with VAST":
You could simulate a self oscillating Filter by using a SINE DSP Block
which is modulated with Envelope2 and play it in parallel with your original sound going through a Filter with as much Resonance as it can do.
Now modulate the Filter Cutoff with the Envelope2 as well. You can easily make the SINE Wave's Frequency be the same as the Resonant Filter's Cutoff Frequency.
I'm not near a Kurzweil right now, but in my mind it sounds awfully close to a real self oscillating filter.
Vaster
751: Re: .: amp - "compressor" :.
- Date: Tue, 20 Jan 1998 11:08:02 +0800
- From: Jason <jfewings@CENTRAL.MURDOCH.EDU.AU>
- Subject: ########## 751: Re: .: amp - "compressor" :.
Adem Bajri wrote: > > hi, .tOm > > Try assigning the ModWheel controller to Source 2 in AMP Page and experiment > a little bit with min and max values, that should do the trick, hopefully... >
I used the COS function as well as the mod assigned directly.
Use src1 as Mod and your range to whatever you want.
Then use Mod as source A for COS and a constant for source B. Assign this to SRC2, Turn Mod SRC to ON
Max Value should then be less than min value.
This will have the effect of subtracting a little from the middle section of the mod sweep for volume.
You may have to play with the cos function a little. THis is recited from memory. Have a look at the diagram in the manual and you should get the idea. If you have any problems, mail me privately and I will help you out.
Jason Fewings
886: Re: How to copy ROM to RAM?
- Date: Fri, 23 Jan 1998 09:50:19 EST
- From: KeySolutns <KeySolutns@AOL.COM>
- Organization: AOL (http://www.aol.com)
- Subject: ########## 886: Re: How to copy ROM to RAM?
In a message dated 1/22/98 10:02:39 PM Central Standard Time, rassel@PDI- BERLIN.DE writes:
Since you have a K2500RS you could resample the ROM waveforms into RAM. Go to the sample page, select INT source. Under sample, dial up the ROM sample that you want to work with, set your sample time, rate and go. You now have a copy.
HAVE FUN,
Mike Martin
891: Re: How to copy ROM to RAM?
- Date: Fri, 23 Jan 1998 11:52:43 EST
- From: KeySolutns <KeySolutns@AOL.COM>
- Organization: AOL (http://www.aol.com)
- Subject: ########## 891: Re: How to copy ROM to RAM?
<<Is there a way to transfer the whole ROM, not just single samples? Maybe I can set the range of th samples, that my K should play in terms of the Start and End point of the sample (which would then include some hundreds of samples)?>>
Yes there is, but you'd need a ton of sample memory at 44.1k
- Select Sample #1 Grand Piano G#1
- Press Edit
- Change the sample end point to approximately 50360 seconds or 96691400
samples
- Go to the sample MISC page.
- Change the Decay rate to 0
- Play G#1
- You'll hear all the ROM samples one after another with no loops.
900: Re: How to copy ROM to RAM?
- Date: Fri, 23 Jan 1998 09:49:38 +0000
- From: Thrasher <mail33570@POP.NET>
- Subject: ########## 900: Re: How to copy ROM to RAM?
>Daniel Rapoport wrote: >I would like to transfer the contents of the sample ROM to my mac. >In order to do this I would have to copy the ROM to the sample RAM, >right? >(Maybe thats wrong and there is my prob) Now -- how do I copy the whole >ROM to the RAM???
I believe the K2's ROM's are copy protected, and cannot be sent out digitally (directly that is) Maybe you could "sample" the output of the K2, setting up a default program with the keymap set to cover the entire range of ROM samples. Set up the program to ignore release, hit a note and the entire wavetable would play thru the outputs.
Peace,
-Thrasher
942: Aliasing problems in K2000 Hard-sync
- Date: Sun, 25 Jan 1998 14:11:32 -0800
- From: Harvey Devoe Thornburg <harv23@LELAND.STANFORD.EDU>
- Subject: ########## 942: Aliasing problems in K2000 Hard-sync (was:
Re: Newbie question) > > Hi everyone, > I'm new to the mailing list and new to synth programming really. I > have a K2Vxs and there's one sound in particular that I've been trying to > get but haven't had much success. To describe it, I'm told it's a > hard-sync program--it sounds a lot like a guitar that's very processed and > overdriven with 'wah' effect. It's used in the Cars' song 'I Like the > Nightlife' and also on 'I'm Just a Girl' by No Doubt. The only thing > similar to it I've found in the K2vx's Rom is called 'Prophet Sync', but it > doesn't sound quite right (there's a high pitched frequency that descends > which shouldn't be there). I toyed around with the parameters in the > Program editor but it didn't change the sound much. Does anyone know how > to get this sound? Thanks in advance. >
The K2000 uses a "ramp-reset" algorithm for hard-sync (I assume you are talking about the Sync M/S algorithms). This method is terribly prone to aliasing. The high frequencies that you hear which sound like they shouldn't be there are these foldover frequencies from aliasing. Some aliasing can be removed by post-filtering, but then you are also removing the upper partials that you want to keep for reasons of crispness etc. Sorry, but there is no way of emulating "proper" bandlimited hardsync on the K2000.
-Harvey
1052: Re: ALPASS and phase shifting
- Date: Wed, 28 Jan 1998 15:17:19 +0100
- From: Daniel Rapoport <rassel@PDI-BERLIN.DE>
- Subject: ########## 1052: Re: ALPASS and phase shifting
>While browsing www.harmony-central.com I ran into the Effects Explained >section (I didn't really know the physics behind any of 'em) and try to >apply what I saw in the Phase Shifting article to my K2000. They say phase >shifting is more or less an allpass filter that changes the phase of the >waveform it processes and then it mixes it with the original wave. > >Ok. :) But how do I implement a good phase shifting with my K2000? I've >tried with 2-pole allpass filters but I know I'm missing something. Anyone >can help? > >Carlos Yoder >Canopus ISP >churlo@canopus.com.ar >ICQ UIN: 3435297 >InterNIC Handle: CY440
Last reply for today:
Carlos,
As far as I know, the ALLpass changes the phase of the signal by a constant amount (see DSP section in the handbook). You might hear some slight difference to the unprocessed signal, but if you are looking for a phasing effect you will need to sweep the phase constantly. You can achieve this by assigning an LFO as MOD source and set an appropriate speed (most phasers work at pretty slow frequencys like .2Hz). Try to play with different LFO shapes and Speeds - should work, though I never used it :)
Greetings,
Daniel
1072: Re: ALPASS and phase shifting
- Date: Wed, 28 Jan 1998 18:40:56 -0800
- From: Harvey Devoe Thornburg <harv23@LELAND.STANFORD.EDU>
- Subject: ########## 1072: Re: ALPASS and phase shifting
> > >While browsing www.harmony-central.com I ran into the Effects Explained > >section (I didn't really know the physics behind any of 'em) and try to > >apply what I saw in the Phase Shifting article to my K2000. They say phase > >shifting is more or less an allpass filter that changes the phase of the > >waveform it processes and then it mixes it with the original wave. > > > >Ok. :) But how do I implement a good phase shifting with my K2000? I've > >tried with 2-pole allpass filters but I know I'm missing something. Anyone > >can help? > > > >Carlos Yoder > >Canopus ISP > >churlo@canopus.com.ar > >ICQ UIN: 3435297 > >InterNIC Handle: CY440 > > Last reply for today: > > Carlos, > > As far as I know, the ALLpass changes the phase of the signal by a constant > amount (see DSP section in the handbook).
You might hear some slight
> difference to the unprocessed signal, but if you are looking for a phasing > effect you will need to sweep the phase constantly.
The phasing effect that you commonly hear is caused by mixing in the input signal with the allpass version. So create a new layer that has no allpass filtering, and mix it with the layer that has allpass, then sweep the center frequency up and down, adjusting the levels to taste. The effect won't be too dramatic but it's definitely there.
What the familiar "Phasing" effect does is by mixing the two signals, you get phase cancellation at a certain frequency and attenuation at surrounding frequencies. Otherwise known as a notch filter. with a phaser stompbox, you deepen the effect by mixing some of the output in with the input, giving the phasor a resonant quality. Because the K2000 allpass filters are rather weak, it's much better to replicate this effect with a notch filter setup. Create two layers, one with a lowpass and one with a highpass filter. Make sure they have resonance and are of the 4-pole variety. Track the two filters in parallel. The highpass cutoff should be +1900 ct ( octave and a half) above the lowpass cutoff. Then assign resonance for both filters to the mod wheel and you're done! you have a good simulation of a Mutron phaser (well not 100% accurate, but...)
Of course the K2000 also has a notch filter but doing the parallel lowpass/highpass approach allows for a "resonant" sound.
enjoy, --Harvey
1093: ALLPASS and phase shifting
- Date: Thu, 29 Jan 1998 13:44:07 +1100
- From: cowzar <cowzar@ASCCOMP.NET>
- Subject: ########## 1093: ALLPASS and phase shifting
Hi,
ALLPASS (2 pole and one pole),aren't nearly as effective as
the NOTCH filter.
Make sure you use a LFO as a SOURCE and make it 'swoosh' the
depth about 2400ct for that type of effect.
And if you want that 'analog' like phase shifting effect on
your playing , then use LFO2 anset GLOBAL to ON.
This sets the 'free-running' LFO2 off and running... :)
hope this helps you ,
Brian Cowell,
1098: Re: ALPASS and phase shifting
- Date: Thu, 29 Jan 1998 20:09:37 -0600
- From: jloffink <jloffink@PDQ.NET>
- Subject: ########## 1098: Re: ALPASS and phase shifting
> The phasing effect that you commonly hear is caused by mixing in the > input signal with the allpass version. So create a new layer that has > no allpass filtering, and mix it with the layer that has allpass, then > sweep the center frequency up and down, adjusting the levels to taste. > The effect won't be too dramatic but it's definitely there. > You don't need to use two layers. Just use Algorithm #6, which will mix your original and processed signals together.
You can also get some interesting spacial effects by panning the original signal to one side and the allpass signal to the other. Algorithm #3 limits you to a 2 pole allpass with 360 degrees of phase shift, so for the spacial case :-) you might want to use 2 layers.
John Loffink
1109: Re: ALPASS and phase shifting
- Date: Fri, 30 Jan 1998 11:52:56 +0100
- From: josef.rabitz@SEA.ERICSSON.SE
- Subject: ########## 1109: Re: ALPASS and phase shifting
> Because the K2000 allpass filters are rather weak, it's much better > to replicate this effect with a notch filter setup
1) but a notch filter setup sounds different !
the "real" phasing effect produces a comb-like filter, so to say a lot of notches at the same time.
2) the Kurz's allpass filters are not weak at all, they are like any other allpass filters of this kind. the K2000's drawback is another one :
actually the principle of both phaser and flanger is to DELAY an audio signal and process it in some way.
historically seen there were different approaches delaying a signal, the first one was to use allpass filters, then came analog delays realized with CCDs, and then the digital delays RAM. no - the very first was to record music on 2 tapes and play it back synchronously by varying the speed of one of them and mix it together again. (wasn't it some famous WHO record ?)
the delay of an allpassfilter depends on it's order, that is the reason why you get a stronger effect on the Kurz when using a 4th order allpass instead of a 2nd order.
in general the delay achieved with just one filter is too short. I remember having built a phaser for my Rhodes piano 20 years ago which used 6 cascaded allpass filters of 4th order (don't blame me on these numbers if not correct). the K2000 does not feature cascading that much filters.
3) BTW the flanger is realized with a delay line, too :
the phaser mixes the delayed with the original signal, the flanger uses the delayed signal and feeds back a part it's output to the input of the delay line. thus you additionally get a resonance effect that colors the sound more than a phaser does.
so long - Josef !
Matkatamibakundo 14:55, 12 May 2006 (EDT)
