Kurzweil:Dead Letters May 1998
From Sonikmatter
133: Re: pitch question
Date: Tue, 5 May 1998 07:16:01 -0500 From: Joshua McFadden <Joshua.McFadden@OBERLIN.EDU> Subject: ########## 133: Re: pitch question
Cents are just a subdivision of the exponential semitone scale, so every little cent is a tiny bit bigger than the cent before it. Each cent is a factor of 2^( (1/12) * (1/100) ) or just 2^(1/1200)
And every semitone = 100 ct., so: C + semitone+ 50 ct. = C + 150 ct. = C*2^(150/1200)
The 8192 steps are calculated much the same way. If you have the wheel cranked upward on a C and it's set to bend a m3 (3 semitones), that's C*2^( (8192/8192) * (3/12) )
and almost but not quite halfway up would be something like
C*2^( (4057/8192) * (3/12) )
All cents are the same on all gear (that uses cents... :), and all pitchbend scales certainly ought to be the same, or my last MAX patch could get really kinked...
Hope this helps.
Josh
240: Re: Drones and evolving sounds
Date: Thu, 7 May 1998 14:33:56 -0500 From: Joshua McFadden <Joshua.McFadden@OBERLIN.EDU> Subject: ########## 240: Re: Drones and evolving sounds ...
>Could someone tell me if there is a basic setup/procedure for getting
>drones or evolving textures from the K2VX ? In other words, I want to
>strike a note/chord ...let go...and have a sound evolve over a specified
time .
Try setting up really slow LFOs in enharmonic ratios, like .07 Hz, .03 Hz, and .11 Hz, and assign them to unique params like shaper depth, bandpass tuning, and panning... And I mean "enharmonic" as in they're not simple multiples of one another. Like with .07, .03, and .11, since they have no least common factors, they will only repeat every 1 / (.07 * .03 * .11) = almost an hour and a quarter (~4329 sec.). And you can use really really long ENVs and ASRs to envelope or modulate them or their parameters... this help?
Josh
319: Re: can I replace the floppy with a 120mb superdisk drive?
Date: Mon, 11 May 1998 12:02:08 -0500 From: Collectively Unconscious <swarm@HORIZON.HIT.NET> Subject: ########## 319: Re: can I replace the floppy with a 120mb superdisk drive?
I've yet to see the LS-120 as anything other than IDE, but I've not called them to verify this.
Floppies can be SCSI devices, they just usually aren't since the standard floppy controller is way cheaper than doing the drive as scsi.
I suspect that if the LS-120 does come in scsi one could leave the floppy cable unattached and run a long internal scsi cable to the replacement ls-120 (which might need termination. One possible hangup, I don't know if the K2500 bios does a floppy seek at boot to check the drive or not. Also, the LS-120 probaly draws more current and puts out more heat than a regular floppy. If you are running maxed out, an external drive might be better.
What can't be done is just straight swapping the floppy drive for a ls-120. The ls-120 does not run on a standard floppy controller and you may damage both the drive and your K2500.
Jay
On Sun, 10 May 1998, Berkovitch wrote:
> "Is it safe to assume that I can replace the floppy on my K2500X with any 3 1/2 SCSI device???" >
733: Re: Making Seal's Crazy sound?
Date: Fri, 22 May 1998 12:02:34 -0700 From: Omar Torres <vex23@GTE.NET> Subject: ########## 733: Re: Making Seal's Crazy sound?
if its just simple 16th note gated effects then yes....
just use a square shape LFO routed to the AMP block with modulation depth set to high amounts.. Then just set the LFO speed accordingly to match up the bmp or tempo of your track.
now if you want specific rythym patterns or gate patterns, then you will have to use an external gate unit and use a drum machine or use an extra out from the K to use as the audio source to supply the pattern.
<vex>
lgonzalez wrote:
>
> Hello again. I'm trying to create a sound similar to the pad at the
> beginning of the Seal's song "Crazy". Someone told me it was a pad
> processed through a gate effect. Is there any way to recreate something
> like that using V.A.S.T?
>
> Thanks
>
> Luis Gonzalez
734: Re: Making Seal's Crazy sound?
Date: Fri, 22 May 1998 11:11:55 -0600 From: Colin Hart <CHart@ATSI.COM> Organization: Applied Terravision Inc. Subject: ########## 734: Re: Making Seal's Crazy sound?
If its the sound I'm thinking of - that filtered pad - then just make a saw
wave patch. Put the 4 pole lowpass or a 2 pole lopass algorithm on it. .
Set freq to +10000 and the adjust to -7000. Set the cutoff controller to
your mod wheel. Set the resonance around 10 - 15 . Play it in a pad while
moving the mod wheel.
Colin
861: Program output levels
Date: Tue, 26 May 1998 20:11:29 +0200 From: Wim Verheyen <catwim@SKYNET.BE> Subject: ########## 861: Program output levels
>I recently read the 'Gain Structuring On The K2000' by David Fox on Vim's >Atomium site. I then discovered a piece of information that I'd like to see >straightened out: > >As I have understood it (by reading the older 'Gain Staging'-article ages >ago) the OutGain on the [MIDI][CHANNELS]-page replaces the program's >values. But David Fox says that this parameter instead acts as an offset >(in version 3+). Which is true?
Both are true, the first for a pre-version 3 K2000, the second for a version 3.xx K2000.
FUN Problem
Date: Fri, 29 May 1998 00:56:26 +0000 From: George Hamilton <geosync@CARO.NET> Subject: ########## 940: Re: K2000 Digest - 26 May 1998 to 28 May 1998
> > OK Here's a nice simple challenge for all you K2 programming geniuses > out there: > Can anyone think of a way to use FUNs to control the pitch of a sound in > steps (like an arpeggiator) but in such a way that the steps always > quantise to notes in a particular scale eg Cmajor, Ebminor etc? > I hope I'm not being really stoopid and there's a really easy solution I > haven't thought of :) > > Al Macdonald > > PS I don't want to know how to do chromatic scales, that's too damn > easy!
I haven't tried this lately, but if memory serves me. Assign an LFO (1 or 2) to the pitch Src1 with a value 100ct Then edit the LFO to be 12 step. That will play a major scale on any key you press. As far as the minor scale, not sure. There is a program set on the power tools CD ROM that is called Piano ARP. It contains keymap tunings in the maj7th scale and the dim scale. Micotuning for the minor scale on major third would yield the same results but it is global .
Take Care,
George Hamilton
959: Fw: FUN Problem
Date: Sat, 30 May 1998 17:25:02 -0500 From: jloffink <jloffink@PDQ.NET> Subject: ########## 959: Fw: FUN Problem
Check out my entry for VPC#5: Modular Madness. It does this very thing using the modulation wheel to control pitch. While depressing the sustain pedal move the modulation wheel to play a diatonic scale.
This is accomplished by sending the modulation wheel to a quantize FUN with 7 steps, then sending that FUN to a quantizer with 12 steps. If you use this FUN to modulate pitch set to a depth of 1200 cents, you get a diatonic scale. To get the scale to start at "C" as the tonic I had to add a constant to the modulation wheel before processing it with FUN1. You can change the first FUN's quantize steps to achieve other scales. You could use a FUN with 5 steps to get a pentatonic scale, for instance.
John Loffink
Re: How to _avoid_ creating dependent objects?
Date: Mon, 1 Jun 1998 22:58:54 +0000 From: George Hamilton <geosync@CARO.NET> Subject: ########## 986: Re: K2000 Digest - 29 May 1998 to 30 May 1998
> > Date: Sat, 30 May 1998 00:37:16 -0700 > From: Nick Jameson <njameson@EARTHLINK.NET> > Subject: Re: How to _avoid_ creating dependent objects? > > I guess you could say the definition of a 'dependent object' is an object > that another object uses *that lives in another bank from the object that > uses it*. If it's in the same bank, the object that uses it will always > 'find' it, so it's not a 'dependent object', even though another object > depends on it. So 'not creating dependent objects' doesn't mean the > non-creation of objects per se, but not making objects 'dependent' (i.e. > needed by something in another bank) by having it them in different banks > than the objects that needs them. > Confusing enough for you? :-) >
The main reason for dependent objects is quite simple. They are needed objects that are in erasable memory. This is a carry over from the Synclavier days. To the best of my knowledge, the K series and Synclavier are the only machines that allow such selectivity and the use of macro commands for storage and recall takes it to another level all together. I love making macros for CD Roms. Love is never having to copy samples to the Zip or Jazz cartridges. Thank you Kurzweil for saving us hundreds of dollars over the life of the product. It's all those tiny little details that set Kurzweil apart from the crowd. The longer you use a K2 series, the more you appreciate it if you spend time inside the manuals and the product itself. After almost 8 years with it, I still get a charge out of the things it does to help me in my productions. It's a producer's dream.
Excuse my rambling, but too often these days, the user groups spend most of their time complaining instead of reading, exchanging ideas and taking music to the next level.
-- Take Care,
George Hamilton
984: Re: sounds distorted
Date: Sun, 31 May 1998 19:20:12 -0000 From: tclarke <tim@LOUDMOUTH.COM> Subject: ########## 984: Re: sounds distorted
>hello list >i have a question, i bought the roland brass samples with the power >translater >from sweetwater sound and one of the samples starts distorting when i press >the volume pedal all the way down. this is the only sample that does this and >i was thinking that i might have the gains for that sample set wrong .could >someone please tell me if there is a certain gain structure internally that >you should go by?i know this sounds like a crazy question, but i dont know >what else to do. im pretty sure the sample that is loaded in the keyboard is >not curopted.
No, it's not the samples (I have the exact same discs). I've found that it's best to adjust output at the "F4 AMP" page. You probably just need to cut 3 to 4 dB at the "Adjust" to avoid distortion.
If you're not getting enough presence, but overloading too easily, you might also try rolling off some of the muddy low-mids with a highpass filter or eq.
Timothy Steven Clarke
Composer/Trumpet Player/Sugar Junkie
