kawai K5000S kawai k5000 wizoo 1 of 2

Dave Peter

Bellingham

Gorges

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KAWAI

Introduction

to

Additive Synthesis,

Advanced Sound Design, Tips

and

Tricks

Dave Bellingham Peter Gorges

KAWAI

1<

Introduction Synthesis, Advanced Tips

5c:::Jc:::Jc:::J

Sound Design,

and

Tricks

to

Additive

lmprint

Authors: Dave

Bellingham Gorges

Peter Ali

rights reserved. transmitted, written permission

No

part of this book may

or

stored in any form

of

WIZOO. Making copies of any part

or

by any means

any purpose other than your own persona! right

laws.

be

used,

of

use

is

a violation of copy-

reproduced,

without

prior

this book for

This book implied. While every precaution this book, the publisher and authors or from the further stated that the publisher and authors damage indirectly from your

is

sold

as

is,

omissions. Neither

use

of

the information

or

loss

to

your data or your equipment that results directly or

use

without

is

of

warranty of any kind, either express or

has

been taken in the preparation

assume

no responsibility for errors

any liability assumed for damages resulting

or

instructions contained herein.

are

not

responsible for any

this book.

lt

technology, Cologne, Germany Printed in Belgium

ISBN

3-927954-21-7

WIZOO concept

Proofreading assistant

Peter

Gorges

René

Algesheimer Translations Tom Green Layout and typesetting Uwe

Senkler,

Hamburg

Cover design design-box, Ravensburg

Printed by

Trademark Acknowledgements are

either trademarks of the companies referenced in this book, regis-

tered trademarks

Continental Printing/EGRA Grafik GmbH

Ali

products mentioned in this book

of

the companies in this book,

or

neither.

We

strongly

advise that you investigate a particular product's name thoroughly be-

use

fore you

the name

as

your own.

of

is

Welcome ...

..

. to everybody. This synthesizers not

new

was

to synthesis in general but lost

ditive synthesis,

full

advantage of this extraordinarily powerful

sound engine.

wrzoo

Guide to the Kawai K5000 series

written primarily for those of you who

and

also for anyone who would like to take

when

it cornes to ad-

and

are

flexible

The guide features loads of practical examples, uses planations

in a >real

world<

context

which will make the

and

ex-

Advanced Additive synthesis engine both easier to understand and

to use.

It

is strongly recommended

K5000 with it

turned

on of the explanations are best understood if you can see hear

what's going on.

that

you are in front of your

and

hooked up to your

PA

as many

and

Y ou won 't find info on how to use the arpeggiator or se-

APG

quencer/ dicated to using the synth engine,

we

mean

We're sure a lot of effort into it in tional

and

literally stuffed it with hardcore insights, tips

will not find anywhere else, no

after all, the last thing you wanted

when

you picked up your copy, right?

sections in the specifie models. This guide is de-

and

when

we say using,

USING.

that

you'll enjoy reading the book.

order

to make

humourous thing to read,

matter

it

a relaxed, conversa-

and

best of all, we have

where y ou look ...

was

We

and

tricks you

another

have put

manual

Have fun! Dave Bellingham

& Peter Gorges

\

1

Table

of

Contents

1 Introduction

2 K5000

Programming

Tutorial

What is Sound? 13 What is Synthesis? 1 5

So,

what's this

about?

16

>Additive<

thing all

Colour-Harmonics 16 Contour-Harmonie Envelopes 17 Control-Velocity, Controllers 19 Complex Filter

Changes-

20

The Formant

First step 23 'Ere, this all sounds a bit common ... The

oco-what's

23

it all about? 25 Setting relative levels between sources And we thought company ... Creating harmonie groupstyle

26

27

29

DHL

was a courier

contours-

Harmonie Contours for

and

Fxion 33

30

31

surgeons Fun with Formant Filters Love

7

Table

of

Contents

3 ADD Synthesis Blocks

How to

make

use of

the

DHL

Groups 35

BRIGHT

DARK

ODD

EVEN

OCT

5TH 37

ALL EACH

Use Controlling the entire easy

'em

38

36

37

36

37

35

38

DHL

made

Controlling time using Harmonie Envelopes

DHE Formant sound

Formant

39

Loops-Perpetual

Filter-the

butcher

blade of

43

Filter Nuts

motion

the

and Bolts 43 Keeping the under

Morfs

Up-the

approach

control

46

Formant

44

quick

and

Filter

easy

Using the Copy functions 47 The LFO-your

third

hand

48

41

4 Programming with

PCM

8

Sources

Subtractive Synthesis

A rose by any

What

is the

What

is the

other DCO? DCF?

52

53

51

name

. . . 52

Table

DCF

Tips 53

How

about

the

DCA? Envelopes-a LFOs-simple, catch...

A Subtractive Session 59

DCO

Functions

DCF

Functions

DCA

Parameters

Leslie

simple guide 55 but

57

63

54

there's

59

60

62

Other cool subtractive options

63

of

Contents

a

5 Effects and

Modulation

6 When

to

Use

What

Effects Processor rules of Effect

Routing-potential

Realtime Effects Control

When

and

where

to use

thumb pitfalls

68

FX

Modulation Sources 73

ADD

or

PCM?

77

Memory considerations 78 Saving

sources

memory

79

by

managing

Saving polyphony by saving sources

ADD

points

Working

sound

ADD

Filter Choices

80

and

PCM

weak

80

with

sections

81

for masochists

84

and

83

strong

ofyour

65

66

68

9

Table

of

Contents

7 Analyzing

Patches ...

8 Adding Realtime Control

Fattening up your sounds

Poly

Colour

Sphaera DynoSaur

Gorgizmo

or

85

Mono

86

89

90

93

86

ADD

and

PCM

Creaturz 95 @lsCream 96

Cyber@FX

Wizoolni

Why would you

97

98

want

to have realtime control over sounds? Easy sound programming with Macro Controls Let' s look So, KSOOO?

what

around

can 1 do

106

102

the back . . . 1 via

MIDI

with my

1

01

OS

10

FAQ & Help

9

10

KSOOO

Tricks

Tips'n

MIDI

Questions 109

General Questions 112

Additive Questions 114

SoundDiver Help 115

WIZOO

Online Support 117

Book Updates 117

Website 117

E-mail

118

Optimal EQ settings 119 Copy Functions 120

Table

of

Contents

Additive Tips

Always be careful

harmonie levels

and

Tricks 120

when

120

changing

Simulating >natural< sounds with additive synthesis Avoiding Aliasing Avoiding Distortion

120

121

Using Harmonie Level Copy 122 Using Soft Control of the harmonie shaping sound

and

Loud

124

content-

Simulate Flanging by Formant Filter

125

Create Resonance in the Formant Filter

126

Create bell-like spectrums 126 Create biting leads 12p

SoundDiver

Wavesets

127

Sample Importing 129 Filtering 130

FX

and

Control

131

General SoundDiver Info

Shortcut

Keys

132

131

Appendix

Index

Glossary of Terms 135 Disk Content

137

File List 137 Patch List 138

List of Samples 140

11

Table

of

Contents

12

1 Introduction

This section will introduce you to the >fundamentals< that you

need

to

know on your way

wizard with your

KSOOO. here are pretty theoretical actually getting y ou to re ad them ...

The answer's pretty simple really ... if you don't under-

stand this stuff

now,

you'll be completely lost when we start doing sorne advanced programming with the of the terms used la ter are explained in this section.

There's a second reason too ... we have a sadistic streak!

to

becoming a programming

Sorne of the things you will learn

and

you may wonder why we're

KSOOO

as many

f1iil

Please

ALL

the disk into your K5000 now. tains patches book.

load the

file included

lt

used

con-

in this

ali the example

with

What

is

Sound?

Y ou might think this is a pretty dumb question,' but many people don't know

what

sound is ... re ad y

to

test y our theo-

ries?

Simply put, sound is created by the movement of air. All

sounds that occur in nature (or elsewhere) are actually

combinations of

sine waves

or,

if you like, fundamental tones

plus their related harmonies.

For any of you

thetically

generated-sound

>purists,<

the closest >natural<-i.e. not syn-

to

a pure sine wave is a tuning

fork ... although this also con tains sorne overtones.

If y ou think of the se fundamental

ton es as being like

DNA-

the building blocks of life ... y ou can consider them the

>building

These >building blocks<-fundamental

harmonies-change over time

blocks<

of sound.

tones plus their

to

crea te unique sounds ... let's

say a dog barking.

>What's

yourself ... well let's compare the

so

unique about a dog's bark?< you're thinking

>woof<

of a Great Dane

to to

13

Chapter 1 Introduction

the

>woof< would agree that these barks sound having a louder

>So

(yap) of a Chihuahua. l'rn pretty sure that most

different-the

and

what

have dog barks got

deeper

>woof.<

to

do

with my

K5000?<

larger dog

... well

lots, as it happens!

The Great Dane's bark is deeper and louder because of the

physical characteristics of the animal.

Compared to the

Chihuahua, the Dane has much longer vocal cords, a bigger mouth, deeper chest cavity, bigger lungs and a dozen other physical attributes which can alter the depth and volume of its bark. And this is without going into things like being ex-

cited about going for

Fundamentally, however, the

>walkies<

or chasing a cat.

>woof<

we

hear

from either dog is made up from various combinations of tones or fre- quencies plus the

ir

harmonies ... it's tho se building blocks

again.

1

To

2

illustrate

board. Now

frequencies,

play the C

an

octave above.

play the middle

>C<

on your K5000

key-

The pitch of the 2nd note is higher ... in fact it is playing twice the speed

Playing another C

or

frequency of the first

an

octave above will be playing back

C.

four times the speed or frequency of the middle C we started with.

Do

you see a pattern forming here?

Going back

to

our barking dogs, the >fundamental< or base tone of the Great Dane's bark is actually a slower frequency (and lower pitch)

So,

faster frequencies are

than

that of the Chihuahua.

heard

as higher pitches

lower (or slower speed) frequencies are heard as lower

pitches.

See ... this stuff isn't

14

so

hard

...

at

and

What

is Synthesis?

What

is

Synthesis?

In simple terms, synthesis (musically speaking) is the method of combining various elements together to

illustrate this, let's have a look at the word

If we were

to

break this down into its composite parts you

would end up with something roughly like this ...

to

crea te a sound ...

>chicken.<

CH-1-CK-EN

Working with small sections like the above means that you

have

full

control over the individual bits because (as yet) noone has come up with a method of synthesis which would allow you to create something as complex as speech in one hit.

Among the methods of synthesis which have been used

over the years are analog,

PCM

(Pulse Code Modulation) and

of course, additive as well as many others .

..,..

A simple and often synthesis

..,..

Analog synthesis and much away (subtract)

..,..

Additive synthesis colours together to create new canvas

is

using whatever's handy .

used

analogy when comparing

to

art.

PCM

synthesis both

until the final

is

a lot like painting where you blend different

shape

hues

use

was

revealed .

and then you place them

these

a subtractive method,

bit

of rock and chip

methods of

on

a

..,..

Another term which is

also

found number the art where a corded and placed into memory.

of

samples which

analogy, sampling

>Snapshot<

in

is

related to the

the

KSOOO)

are

is

of

a sound at a particular moment in time

PCM

method of synthesis (and

is

Sampling. The

useful for quick patch creation. Using

most closely related to photography

KSOOO

contains a

is

re-

Analog synthesis at its simplest incorporates three main sec-

tions, namely the vco, Voltage

Controlled Oscillator, Filter

VCF

and VCA-abbreviations for

and

Amplifier, respec-

tively.

15

Chapter 1 Introduction

The vco generates the sound (a simple but harmonically rich waveform such as a sine wave, pulse (sometimes called square) wave or sawtooth wave).

The

VCF

filters

has been sent

The

VCA

the volume of the generated

PCM

synthesis works in essentially the same way but sub-

and

contours the colour of the wave which

to

it from the vco.

is the third component in the chain and controls

and

filtered waveform over time.

stitutes the Voltage control for Digital control of the various sections ... the oco,

DCF

and

DCA.

The other difference is that instead of using a simple waveform as the starting point of a sound, samples (recordings of real instruments ... pianos, guitars, strings, drums etc.) are used instead.

This method of synthesis sounds much more realistic

than analog synthesis when emulating acoustic instruments but is limited by the fact that sounds generated in this way sound >static<

and

have very little movement, if any .

. . . this is where additive synthe sis cornes in.

So, what's this

Additive synthesis is a method employed by the thesizers which allows you lated harmonies together

>Additive<

to

combine tones and their re-

to

crea te new sounds ... more on

thing

ali

about?

KSOOO

that in a moment ...

And

what

The

KSOOO

about the >Advanced< synthesizers, in addition

>Advanced<

Additive bit?

in Advanced Additive means that the

to

conventional additive en-

gines, also offer a separate envelope for each harmonie.

Colour-Harmonics

Remember our dogs from a page

or

two ago and the discus-

sion about tones and frequencies? ... It's time for a new

term->harmonics.

16

<

syn-

So,

what's

this

>Additive<

thing

ali

about?

+ The fundamental (or

>base<)

tone is referred to as the first

harmonie.

+ A tone played

harmonie is called the second

+ A tone played

is called the fourth

+ A tone played

64th

is the

Once again we have weren't

relation to patch

expecting a

Each of these

thefundamental

by adding harmonies, the colour of your sound

at

twice the speed ifrequeney) of the first

harmonie.

at

four times the speed of the first harmonie

harmonie.

at

64 times the speed of the first harmonie

harmonie.

another

maths

pattern

lesson).

forming

here

... (bet you

harmonies have a different tonal quality in

(base) tone

and

as you build up a

to take shape.

In general,

ship to each other, such as Octaves,

harmonies

that

have a mathematical relation-

Odd

numbered

or

Numbered etc. sound >musical.<

A collection of

change over time

or

otherwise.

Contour-Harmonie

Back to howl

ferent to a

gradually with a high pitch and

our

as

well.

l'rn pretty

bark

>howl<

The

then

fades out to silence.

>bark<

The

tones with various related harmonies

are

what

we perceive as a sound, musical

Envelopes

dogs ... the Great Darre

sure

all of y ou will agree

(or a yap).

is longer

than

the bark,

that

is short,

starts

quickly

and

Chihuahua like to

that

a howl sounds dif-

and

usually starts off

slides down to a lower pitch,

and

doesn't vary much

in pitch over time.

Check out the diagrams below to see the difference be-

tween these two.

starts

Even

that

17

Chapter 1 Introduction

Bark

Howl

The waveform diagrams above only show volume differences over time, as well as a comparative length difference. They do

not show pitch differences.

The images above represent what is known technically as

an

amplitude envelope.

In non-technical terms and using the images as a reference, the loudest volume (amplitude) then slowly moves down the longer sustained portion on the right, before eventually fading out loudest amplitude, doesn't sustain much at all and drops to silence almost immediately.

If we were over time:

>Howl<

to

gradually works up from the left

silence. The

to

break down the sounds above into regions

>Bark<

very quickly reaches its

to

its

• The

+ The

+ The terms ab

The amplitude envelope allows you a sound over time.

volume control), you can change the various sections of the

18

>Bark<

tain time and a short release time.

>Howl<

tain time, a short decay time, another attack time, a long

sustain time and finally a long release time.

found in the

In the case of the amplitude envelope (fancy name for

would have a quick attack time, a short sus-

would have a longer attack time, a short sus-

ove

... attack, de

KSOOO's

envelope generators.

ca

y,

sus tain

to

sculpt volume levels of

and

release are

So,

what's

this

>Additive•

thing

ali about?

sound to make them louder (or softer) and

to

take more (or

less) time to change.

We're in the home stretch with this section ... So

far we've covered that all sounds are made up of com-

binations of

queneies

In a traditional synth

which

tones with various harmonies of different fre-

that change over time.

(subtraetive) you cannot control

tones and harmonies are contained in a sound as the

waveform which is generated by the vco is fixed. Any

changes made with this method of synthesis will affect

lope

the

whole sound.

The K5000 allows you

over

eaeh harmonie (up

to

have complete envelope control

to

64 per source!!!) within the sound

PHEW!

enve-

In the Additive section of the K5000, the amplitude enve-

lope

is called the harmonie envelope and it is exactly the

same thing, just a different name and there are 64

of'

em per

source-wow!

With this level of control, it would be possible

the Great Dane's

>bark<

into the Chihuaha's

>yap<

to

change

and viceversa (oh no ... it's the dogs again!) by altering the appropria te

harmonies

and

their respective harmonie envelope

levels within the sound.

Controi-Velocity, Controllers

Having a collection of tones and their harmonies which have each been individually modified by the all well and good

not statie!

are

but ... sounds that occur in the real world

harmonie envelope is

A number of factors can affect this such as wind, other noise, whether the sound happens indoors or outdoors, how loud the sound is

To

simulate this

has a

number

envelope

to

respond

(and the tones and harmonies which it is shaping)

to

and

many thousands of other variables.

>real

world<

aspect of sound, the K5000

of control functions which allow the harmonie

input that you give it.

19

Chapter 1 Introduction

Keeping in line with the >real

tra

te this a little more clearly ... let's take a look

the sound of a Grand

When the piano's keyboard is struck softly, the amount of energy applied to the minimal and

When struck hard, the tonal quality of the piano sound is >bright, loud

Using the

and

rounded.<

so the tonal quality of the sound is

and KSOOO,

monie envelope

keyboard) so hit the keyboard the more loudly the heard prominent.

sponse to your playing style.

tions to modulate the pitch or the keyboard you play, the more (or less) the

lope

and

Used

Other possibilities

and

using keyboard scaling so

affects the sound.

that-as

if you play softly, the odd harmonies

in

this way, the sound

modulation wheels, keyboard pressure (aftertoueh)

Piano.

hammers

sharp.<

you have the power to modify the har-

to respond to veloeity (how

one possible

and

harmonie envelope are through/via the

world<

theme ...

which strike the strings is

example-the

and

at

>mellow,

hard

to illus-

(listen to?)

you hit the

harder

even harmonies are

are

>moves<

methods of using the control fùnc-

that

and

changes in re-

the further up (or down)

harmonie enve-

soft

you

more

Complex

The

Formant KSOOO Technically the filter is not of control you have over it, phenomenal.

In plain language, the Formant Filter is a 128-band equalizer, (see the more to your thumbnail up representing a frequency what

20

Changes-The

Filter is a real >powerhouse< feature of the

and

can do sorne amazing things to your sounds.

Glossary

it-think

the

Formant

Formant Filter

that

remarkable but the amount

and

therefore over your sound, is

ofTerms

of a 128-band-equalizer

and

Filter can do.

on page 135) but there's a lot

down like a haircomb, each tooth

and

you get closer to the concept of

that

you can

run

So,

what's

this

>Additive<

thing

ali

about?

One of the the emulation of physical characteristics of ments, such as the length

many

things

that

and

the

Formant

body of a flute

Filter can do is

>real<

or

instru-

radical sweeps across the frequency spectrum resulting in pseudomelodies.

Here is a simple example of

Formant

Filter

can

what

the

do:

1

Load

up >StageMkl

2

Press

the

EDIT

Press

3

4

5

6

the 05 button in the Sound Select section of your K5000.

Press

the L 1 button.

ln the resulting Window (the Leve! & Bias<

Press

the

R4

Use

the dial to change the

<.

button.

listed on the right.

button.

Bias

DFL

Editor) you will

from 0 up to 63.

see

>GEQ,

Band,

At (or near) 63, the sound should change to a very sweet >bell-like<

This is only

of,

what

will

So From

and

K5000.

From bits, two,

Once you've got the Additive synth engine both easy to use powerful ...

electric piano ...

an

introduction to,

the

Formant

geta

lot

more

...

there

you have

here

on in, we'll concentrate less on the theoretical

more

on the practical aspects of programming the

time to time,

and

maybe the dogs will make a cameo

just

to help out ...

and

Filter

can

do

>in-depth< in the next few chapters.

it!

there

will be sorne technicalltheoretical

hang

of it, you'll find the Advanced

you will be crea ting

and

a very simple example

...

but

we promise

appearance

and

imbelievably

new

and

unique sounds

that

it

or

well into the next millenium.

OK-onto

the next

chapter

... is your propeller-hat on?

[Iiil]

StageMkl-A003

21

Chapter 1 Introduction

22

2 K5000 Programming Tutorial

This chapter is all about

KSOOO more ering both their practical sound-and

First

There's no point in swimming the English Channel if you

can't tread water, so if you haven't read the manual and don't know how select parameters in the various edit windows, then read it play.

'Ere, this

Select the

in simple terms. In the next few chapters we'll take a

>in-depth<

look

also the technicalities if you're a propellerhead.

step

to

now.

When you're done, come back and

ali

sounds a bit

>@Vocoder<

\ A

006

Rez

>how

to<

program a patch using the

at

the actual synthesis functions

application-what

choose banks/patches, write patches and

common

patch and press the EDIT button.

onator

Menu

they

we'lllet

...

do

.(,.

to

go

cov-

your

and you

[iii]

@Vocoder-

A040 The

K5000 Main

Menu

?~~~..u-""'""'--'--...;;.;.;.,;;~"

23

Note

that

this patch

uses

two sources

which

can

be just above the F3

buttons.

seen

F2

Chapter 2 KSOOO

Press the F3 button once so

and

P to S2--. patch so be heard. once-but

~

The

P = a

A

You

that

we

To

unmute this source, simply press the F3 button

leave it alone for now.

six

sources

PCM

source

=

an

Additive source

Programmlng

have

just

are

now left with a single source which can

can

be muted/unmuted in this way.

Tutorial

that

the display changes from

muted the second source in this

S2

Adjusting the Volume using the dial will suit in the patch being

louder or softer.

Try it.

re-

Press the

L1

(COMMON)

button

and

press the F8 button on the

marne< page which will take you to the display shown below.

Common

~~urees

OF~

~

/_

;.....---

~~------------~-"

Pressing change the patch to play polyphonically or monophonically. Give

The next two functions are linked, so

have

Turn the Portamento

115.

Now, choices the keyboard.

You'll Poly value affects the way this sounds stuff is great for those sounds.

Also on this page is the Sources parameter, which allows you to define the you

L2

to select Poly allows you to use the dial

it a try as well.

no effect unless Portamento is

ON,

and

select

and

hear

want

and

change the Poly value between the 3

play a couple of notes

how the note glides up or down

phat

& fonkee Chicago house bass

to

number

add

other sources to the existing two.

of sources available to the patch if

and

that

Porta Speed will

ON.

change the Porta Speed to

at

least 2 octaves a

and

responds ... this

and

part

on

how the

You

can

24

The

DCO-what's

it

ali

about?

also reduce the

number

of sources available to the patch to

conserve polyphony.

The last

parameter tion) which we don't regard a very powerful like a concession to

~

We

think

AM

was er creative options to really change waveforms. On the K5000 there are

so

many better ways to shape your sound,

AM?

Pressing the

This page where

MORE

and

you set up your patch Macro

lers which are discussed

available is the

AM

(Amplitude Modula-

tool-it's

K4

and

K1

owners.

important on the old K-synths

as

they had no oth-

so

why

button will take you to the next page

Macro

Controller

User2 /

Des

tl

L

FO

Speed <

+10 <

Pi.

teh

< "

and

footswitch control-

the pages

Depthl Dest2

Depth2 <

that

follow (keep pressing F8) is

at

length in Adding Realtime

more

bother about

/

_

::,.....-""

~

Con-

trol from page 101 onwards. The Macro controllers are

available on the

KSOOOS

or by using the

MCB-1/10

with the

KSOOOR/W.

Using these four controllers, you can simultaneously ad-

just

two discrete

parameters

with each knob.

The

oco-what's

Reselect the Vocodor prompted.

The pic below shows the

pressing

EDIT/L2.

it

ali

about?

Patch-don't

DCO

page which you can get to by

save any changes

when

25

The DCO page

Chapter 2 K5000

Programming

Tutorial

Press the then press the

F2

button once,

F3

button

so

that the ADD source is muted,

twice-once

to

select the

source, and once to unmute it.

If

you play a key or two, you should

hear

a kinda metallic

raspy sort of sound.

Press the change it board as you're doing this and that are in the

N ow use the Coarse Tuning and change the value to

You

should be hearing a sawtooth

to

L2

button to select the

398.

You

can repeatedly play a note on the key-

KSOOO.

hear

PCM

Wave No., and

the

raw

PCM

sound-kinda

waveforms

-12.

like

old analog synth.

Congratulations-you've now mastered the selection and tuning of

Setting relative levels between

As unmute source 1 by pressing

raw

PCM

waveforms in the

KSOOO.

sources

we're still playing around with our new sawtooth sound,

F2

and

have a play with the

key board.

The

ADD source is pretty laud in comparison with the saw-

tooth sound, huh?

To

change this, return to the main menu by pressing the

EXIT

button,

and

press the

R1

button-make

sure that source

1 is selected before doing this.

PCM

an

26

Press

0 0 0

and

And

we

thought

L1

which will take you to this screeno

th

en

L1

ag ain which will show y ou the screen

DHL was a courier company ...

belowo

The Additive

Synthesis Menu

The

Digital Harmonie

Level

Menu

Select

and

change the total gain from 63 down to a level

that

you're happy with (we like 45 as the balance between them)

And

we

thought DHL was a courier

company ...

Ifyou

haven't changed anything, press

EXIT/L2o

27

Chapter 2 K5000

Programmlng

Tutorial

The Harmonie Edit

window

Level

Harmonie Level

Edlt

Group

Bnghi

~

1

Press

R4

and

use

the dial to change the value from

2

Press

the

Rl

button and

available watch the where you will notice the

These groups-select

32nd and 64th harmonies that the 3rd, 6th, 12th, 24th and 48th harmonies

These

mental tone

member the mathematical relationships between harmonies stuff?-Octaves, 5ths, even, odd

Select 5th and play a note on your keyboard and hold

3

your sustain pedal if you have one). While the note

4

to

ing on the

5

Now

top should slowly hear the 5th harmonies become audible.

6 Select the Oct group and do the

in this Edit Group parameter, and while you're doing this

display below the vertical lines in the onscreen

>dots<

indicate the individual harmonies in the various

>OCt<

harmonies

change the level

dial to the right and

of

the ramp, if you keep on dialing they continue and you

are

that we talked about in the introduction chapter.

is

sustaining,

display.

use

the dial to scroll through the values

>dots<

changing.

and you'll

tuned to the selected interval above the funda-

of

the 5th group. Y ou'

see

th at the 1

are

selected. Select 5th and you'll

etc.-this

press

R3,

is

and dial like crazy to the left

li

as

the onscreen

same

>bars<

thing.

SOFT

to LOUD.

st,

2nd, 4th, 8th, 16th,

are

selected.

it

in practice!

it

down

see

it

graphically chang-

get up towards the

>ramp<

see

Re-

(use

Apart from giving your dialing finger a great workout, you

to

have just covered almost all there is tion of harmonies

other-well

each

28

and

altering their volumes in relation to

done!

know about the selec-

Creatlng harmonie

contours-groupstyle

Creating harmonie

The grouping used in the

DHE

to the

quickly putting a

(Digital Harmonie Envelope) to assist you in

patch

contours-groupstyle

DHL

section

together.

has

been carried over

Provided you haven't changed anything, press

and

you'll see the following screen.

Press

L2,

and

on the next screen press

Ll-Harmonic

lope Multiview, which looks something like this.

Notice the Edit Group

and

just

check

This works

through

parameter

on the left

like the one in the

them

out using the dial.

DHL,

hand

so you

EXIT

side?

can

twice

Enve-

seroU

The

Harmonie

lope

Multiview-allows you to harmonie envelopes

see

Enve-

ali

1 Select Oct.

2

Press

the

Rl

button and the

to

the left and you'll

block change.

On

the right-hand side, you will see Atk, These adjusted in the ally by pressing the

are

the various sections of the envelope

DHE

Multiview

Rl-R4

see

Rate

that

ali

buttons.

value

is

highlighted. Turn the dial

of

the Octave harmonies in the

DCl,

DC2

that

and

can

be selected individu-

For now, however, we'll simply concentrate on the Atk

tack) portion of the sound's Octave harmonies.

and

can

RLS.

be

(At-

29

Chapter 2 K5000

Programmlng

Tutorlal

We

recommend ing groups as

possible. The alter-

native

of harmonie by harmonie, envelope possible,

tremely painful, slow

and

forget exactly wh at

was out

envelope by

it

is

very

you originally

to

create.

as

often

building

is

certainly

but

is

ex-

easy

us-

to

set

1 Change the rate

that the

2 Change this

and fade in after a short period .

.,...

Using the up

an

LVL

hold

The

Rl

button in this page

will toggle between

is

meter ther

DC1, DC2 or

not selected, then you need

Rate

DHE

ADD

source with a group of harmonies that fade in or

to

is

now

to

a value

it

down.

or

LVL

(whichever you want

RLS.

Multiview in this way allows you

out etc. in the same way.

This is a great way

you

want

to

sculpt the sound

you takes

over-it

look at.

it

Harmonie Contours

As

we're still in the

then

L2.

a value

highlighted.

Vou

of

84 and

of

20 and play a

should hear the Octave harmonies slowly

accesses

Rate

and

LVL

if Atk

to

press

the

Rl

button. Notice

key

or two on the keyboard

three

discrete parameters.

is

selected. If the Atk para-

toggle the

to

adjust)

Rl

before

to

quickly put together a patch, but if

further-the

is possible in the next

for

surgeons

DHE

Multiview window, press

control freak in

area

we'll take a

button to ei-

you select

quickly set

EXIT

and

lt

This

is

the

window

can

individually adjust the shape monie.

envelope

for

DHE

view

where you

each

har-

Press

harmonies.

20 63

30

~~~~~~~~~"=

R3

and use the dial

Note that for harmonies 1 and

and

84, respectively. Harmonie 3 has Atk LVL

and

127, harmonie 4 has 20 and 84 and

to

seroU

2,

the Atk LVL and Rate are

/.

~·

through the individual

and

Rate of

so

on.

Fun

with

Formant

Fllters

The changes that we made in the

are reflected here

and

are related

DHE

Multiview Window

to

the harmonie series we covered earlier for Octave harmonies. (lst, 2nd, 4th, 8th, 16th, 32nd

1 Select harmonie 1 and

see right of the screen.

2

Use

and change the

LVL

Rate

3

Now play a

You

should

and

what

happens

the

L2

and

15

84

press

the

key

on the keyboard.

hear

64th ... remember?)

press

the

L2

button.

to

the attack portion in the graphie in the

L3

buttons

values

63

71

R4

button and change the value from

the

to

step through the options in the chart

so

that they

48

102 0 127

lst

harmonie start cycling after a short

read

as

follows:

Now

use

the dial and

OFF

to

LP1

top

and

period creating a sort of pulsing sound which underpins the sustained stuff.

This cycling/pulsing thing is actually the

lst

harmonic's envelope looping over the first down ramp you can see in the graphie. This is possible for every harmonie in your sound if you wish for those

So

there you have

>Aliens

it!

from

Zarg<

patches.

Fun

with

Now let's get into the real

Formant Filters

fun

stuff ... press

EXIT

back to the Additive Menu and select the Formant

Level)

by pressing

L3

and

then Ll.

twice

to

get

DFL (Digital

31

The Formant Filter

Level

Edit page

Chapter 2 K5000

1

Press

the

R1

scroll through the options.

quick

2

Press

the

R2

R3

... and the winning value

3

4 Finally

Note fected. The

serk

press

with

the

that

while you're doing this, the

Formant

Programming

button and change the value

button and change the value to 91.

R4,

play and hold a note on the keyboard and go ber-

Bias

control.

Filter only works on

1 Change the value to 20

2

Band

to

38

Level

to

3

4

127 and

Play

a round with the values ... particularly the negative

if

you hold

around

-4

mess

down

to

a chord and

-30

you will hear a sort

Band

around

is

99.

with

Tutorial

to

GEQ,

but

PCM

source is unaf-

ADD

sources.

the

Bias.

slow/y

dial through the values from

of

melody start to happen.

first

have

values,

a

and

The

DFE

LFO

Edit page

32

Wouldn't it be great if y ou could automate

As

it

happens-you

1

Set

the

BIAS

to

-28

2 ln the ADD menu, select Formant

and

can.

press

EXIT

twice. Env-L4,

and then

that

melody thing!

R2.

Love

and

Fxlon

ln

the

DFE

LFO page, change the LFO Shape to

Speed to 17 Now play a note

What is actually happening

Formant

and

Filter

the LFO Depth to and

hold it down

that

we set up a little earlier is now having it's

340

000

pretty wild,

here

is

Bias position (center frequency) swept up monie group lator)o

As

this Bias changes, the Formant Filter which can be

(WAVESET) by the LFO

(Low

that

and

TRI,

the LFO

huh?

the 20 Band

down the har-

Frequency Oscil-

customized to enhance particular frequencies, is moved as a wholeo

The

Formant

left static, it's up to you, so

Filter can

be

modulated in other ways or just

experiment-you

can't break any-

thingo

Remember how this patch started out? (a vocal think by now, you're starting to get the

ADD engine is,

and

we haven't even got to the effects sec-

an

idea of how flexible

pad)-we

tion yet.

love

and

Fxion

Press EXIT three times to get back to the main press

R4o

Press F2 to select the effect.

1 Press L 1

2 Press

3 Speed

4 Depth 75

L2

to

and and

33

change set

your

it

to

Phaser

DRY/WET

20

balance

to

33/67

menu

and

The Effects Routing Page

33

Chapter 2 K5000

5 Predelay to 1 00

6 Feedback to

67

Programmlng

Tutorial

If you like, you run through the tutorial again, time

don't

setti

ngs-choose your own. Remember,

you can't break anything, ment!

but

use

so

can

this

our

experi-

Press F3 to select the second effect

the Type to Delay level to 1 00 Delay Tap

Level

DLY

Ti

Feedback to 76

This

patch

TAP

Delay 2

Ti

me 1

to

150mS

to

80

me 2

to

250

is also set up to be routed via the other FX busses

and

change

as well, but we won't bother with them too much stage.

and

F7

From here, you can adjust the F6

and

change the Reverb type will affect

al!

sources)

amount for the entire patch (this

and

the 7 -band

GEQ

parameters

which also affects

the entire patch.

Play the and that

the patch

We show you how much power the easy it is to true patch

keyboard-we'd

only suggest a single note or two

listen to the big, constantly moving

has

become.

did the overkill on the

FX

for two reasons. Firstly to

FX

processor

overdo it. The second reason is to display the

nature

and

of the K5000. This patch is only a two source

yet it

fills

most of the harmonie spectrum making

and

dizzying mess

has

it difficult to put in your drums, bass, pianos etc.

re

The

are sorne things we didn

which we'll get to la

ter

on ... for now, it's coffee

't

co

ver in this chapter,

break

at

and

time!

this

to

how

34

See you

in

the ki tchen.

If

not, see you next chapter!

3

ADD

Synthesis Blocks

This chapter is a relatively hardcore one where we'll take a

at

good look

the synthe sis fun etions of the K5000 without repeating the manual, except where we felt it needed a little clarification. Sorne things here are conceptual and are designed to make you think about new ways of using your KSOOO. reading the tutorial this, dial

We'll assume that you know how

and

your manual, so there's no >press

this<

stuff here.

to

get around after

How

to

make

use

of

the

DHL Groups

This section looks at the various harmonie groupings and ex-

what

plains them in the

type of things they

DHL

page-Harmonie

Try them out using the

1 Select

2 Change the

BRIGHT

an

Edit Group

LEVEL

with the

>Wizoolni<

VALUE

do

to your sounds. You'll find

Level Edit Groups.

Harmonie Level

Edt~

Group

Harm

nghJ:

~

patch.

dial.

This group of harmonies is the upper 32 in your waveset and is the

>top

end<

of your sound. Increasing the

LEVEL

with this setting will make the upper harmonies louder in a proportional scale, with the 64th harmonie gradually changing

The DHL Edit Window

l\i'l

Wizoolni

l\i'l

BRIGHT-A014

-AOOl

35

Chapter 3

ADD

Synthesls Blocks

Vou

can

reduce aliasing by setting the 64th harmonie value of Zero. A smoother way complishing this using a positive value for

KS

to

DHL

Common

[}ill

DARK-A015

[}ill

ODD-A016

Vou

can adjust the

EVEN/ODD

ali

ADD

sources ing the knob on the panel.

to

of

is

Gain in the

Page.

balance for

by

EVEN/ODD

front

a

ac-

by

us-

more quickly to become the loudest

being the softest.

If

you continue

and

the 33rd harmonie

to

increase the level, this scaling becomes less pronounced until all upper harmonies are of equal value.

~

Vou

can

use

BRIGHT

to

soften

or

with

the

careful the keyboard. With very likely

latter-always

to

occur.

brighten the sound.

check by playing on the upper hait of

ali high harmonies tully turned up, aliasing

Be

especially

DARK

The lower 32 harmonies of the waveset and is the >bottom

end<

of your sound. Adjusting this will make the lower harmonies louder in a proportional scale, with the being the loudest as with the

and

the 32nd harmonie being the softest,

BRIGHT group.

If

you continue

lst

harmonie

to

increase the level, this scaling becomes less pronounced until all lower harmonies are of equal value.

ODD

These are the ooo numbered

(1,

3,

5,

7 etc.) harmonies in the waveset. Increasing the level of the ooo harmonies makes the sound more

>hollow.<

This is ideal for creating a

>woody<

sound

and you should use lots of odd harmonies when crea ting clarinets and

oboe-ish sounds.

same amount

and

All

harmonies are changed by the

this is true for all of the following groups

as well.

is

[}ill

EVEN-A017

EVEN

The

EVEN

numbered harmonies in the waveset

etc.). Adjusting the

EVEN

harmonie level will make the sound

more nasal or brassy. Ideal for strings

36

and

brass.

(2,

4,

6, 8

How

to

make

use

OCT

This group adjusts the

mental

(2,

4, 8, 16, 32, 64). This is great for adding over-

tones to your sound

OCTAVE

and

harmonies above the funda-

adds

an

organ like quality. Also

useful for bell sounds.

5TH

Like the octave group, the 5th harmonies

the fundamental tone

and

are

again great for organ

tones.

~

By

starting from Zero, then consecutively selecting setting makings to

ever search for

ALL

Adjusts

~

Vou

can easily add more overall level 3rd harmonie for thinning

ali harmonies

of

great Organ

ALL

harmonies simultaneously by the same value.

with

levels

out

of

these groups

sounds-at

>footages<

ALL,

to

a spectrum

(pipe lengths) ever again!

bottom

then select

higher values. This obviously works in

as

weil.

to

FULL

the very least, you

end

to

a spectrum by lowering the

EACH

and increase the 1

of

the

DHL Groups

are

those above

and

bell

OCT

and 5TH and

level, you have the

won't

have

st,

2nd and

reverse

[iii]

ocTAVES-A018

[iii]

5THS-A019

EACH

Allows you to control the individuallevel of each harmonie in

the waveset. This is extremely powerful, but we recommend that

you initially set up a basic spectrum using the other

DHL

groups, by copying

using a SoundDiver template. Following this, use

sources from other patches or by

EACH

for

fine tuning the spectrum.

37

Be

careful when changing harmonie levels, especially in

lower

area

the 7th harmonie) slight change can alter the tonal character of the spectrum completely.

(up

as

a

Chapter 3

Use

Using the groups efficient way to generate new sounds from scratch.

to

you're getting close

'em

ADD

Synthesls Blocks

and

to

adjusting them as groups is the most

an

approximation of what you want end up with, you can adjust harmonie levels individually if you wish.

Once

to

The DHL Common Win

dow

5jl]

VELCURVE-A020

Controlling the entire DHL made

The

DHL

Common section allows you

easy

to

adjust the entire volume level of the waveset, retaining all proportionate relationships between harmonies.

DHL

Common

Btlgnce

6H~

Ve

y

Additionally, in this section, you can control how the

sponds to the keyboard scaling, set up the treble end of the key board

DHL

to

get gradually louder as you play towards the

and

softer towards the bass end of

Curve 5 <

Ve

Depth 63 <

DHL

or

in other words, you can

re-

the keyboard, as one example.

There are a number of velo city curves available which are graphically displayed in the These affect not only the

weiL

as

The

Velo

Depth

parameter

ally sets the velocity controlled blend from Soft

Velocity curves are a great

K5000 manual

DHL, but also the DHE and

in the

DHL

and

SoundDiver.

common page gradu-

to

>trick<

for changing the way a

DFL

Loud.

areas

patch responds, and therefore, the way it sounds, very quickly

and

easily.

38

Controlling

tlme

uslng

Harmonie

Envelopes

Controlling

time

using Harmonie

Envel opes

The Digital Harmonie Envelopes (DHE)

same

the

fashion as the DHL

and

feature the same

which allow you to adjust mutiple harmonies simultaneously.

Be

careful with the DHE LEVELS as their direct relationship to the source.

DHL LEVELS can alter the tonal characteristics of your

Use the DHL levels for building spectrums as they

more precise.

~

lt

makes

sense

to

have a group of harmonies, such

taves

responding in the

same

share the envelope shape, then their impact pronounced than if ticular

point

tonal character. If these harmonies

in time.

same

way

as

an

individual harmonie fades in

are

edited in much

>groups<

as

5ths

as

these grouped harmonies

have

the

a group will

be

much more

or

out

at a par-

are

or

same

oc-

The

DHE

Multiview window-allows >group<

harmonie envelopes.

editing

for

of

Be

aware

spond to the Harmonie

of the fact

that

the envelope LEVELS directly corre-

Levels-each

envelope level adjusts

the corresponding harmonie level. For example you could set

and

then

all harmonies to full level

and

sawtooth

square by setting these >waveforms< in the DHE

create a blend between

levels.

Adjustments to individual harmonie envelopes will make

subtle differences to the sound

this precision

and

finesse

and

is the beauty of the Advanced Additive synth engine.

l\il

39

DHE

WAVE-A021

The

DHE

you

to

adjust har-

monie

envelopes in-

dividually.

View allows

Chapter

No sound velopes require a

3 ADD

Synthesis

Blocks

other synthesis model gives you such precise control over

intime.

The drawback, however, is that harmonie en-

lot more effort

to

program,

so

we recom-

mend taking the following approach:

~

If you

want

to

create a fast and simple

use

the

DCF

and it's envelope.

you need detailed control over groups of harmonies,

If instead Work in small increments and constantly

of

or

in combination with the

>Color<

DCF.

chee~

envelope over time,

use

as

you're doing this.

the

DHE

The DHE, like the tire

DHE

from one source/patch

a great shortcut (Additive:

DHL,

also features the ability

to

another which is obviously

DHL

Copy).

to

copy an en-

Featured in SoundDiver (which will be covered in more depth later like using the velope shape of a piano medium

on)

is the ability

DHE

release-to

to

use envelope templates, much

copy function. This allows the general en-

sound-short

be quickly applied

attack, long sustain,

to

a vocal sound or

another sound you may create. Likewise you could use a

string

an

envelope-long

attack, long sustain, short

electric piano sound allowing you to

>bow<

release-on

your synthe-

sized Rhodes.

As

you can see, the DHLIDHE combination both work in a

very similar fashion with common methods

to

pairing they allow complete control over the overalllevel and

levels over time of

each of the 64 harmonies available in a

source.

40

both.

As

a

DHE

loops-Perpetual

Controlling

tlme

motion

using

Harmonie

Envelopes

One of the problems with any method of synthesis is sound is not constant

fast-despite

real

car

ance for

alarms is about 10

A major complaint

they sound

start

perceiving loops in the sample. At this point you recog-

nize the sound

>static<

as many of us tend to >shut esting. Having said this,

and

if it is, it becomes real annoying

the modulation in pitch, our persona! toler-

that

and

seconds-how's

people have about samplers is

your

ear/brain

combo will eventually

yours?

being synthetic or just plain boring

off<

or

go

do

something more inter-

we're

gonna talk about loops in the

K5000.

Where this differs from a sampler is

cycle over a portion/portions of the

DHE loops cycle over a portion of one

tained in the sound, with the length

that

sample loops

en

tire sound. The K5000

or

more harmonies con-

and

shape of the loop

being different for each harmonie if y ou wish.

that

and

'K:EY',:,(!:N,··'',',,

41

DHE

Loops

can

used

over different

of

LOOP-A022

DHE

looping

each har-

can

DHE

portions monie envelope.

[\ji)

DHE

The

parameters found in the view.

be

Chapter

3 ADD

Synthesls

Blocks

Remember that there are 64 harmonies, each capable of

having it's own envelope, so having two or three or

30 har-

monies all with their own loops will create a sound that

seems to be endlessly moving.

This will eventually cycle

and

the

ear

will eventually pick this up, but it will take a lot longer than recognising the same thing in a sampled loop. Many will

never

hear

it.

This totally discounts other modulation possibilities from

the

LFO

or Formant Filter sections which we'll get

to

shortly.

There are basically three

+

OFF-

If

this needs explanation you really shouldn't be any-

+

where

like a LP1-

near

a piece of sophisticated electronic equipment

KSOOO.

Loops between the levels of

uses the envelope time specified by

+

LP2-

Loops between the levels of

uses the envelope

settings-OFF,

time

specified by

LPl

DECAY

and

1

and

2

1 and

1

LP2.

and

first using one, then the other.

Judicious use of the lot of life

to

any sustained pads that you may create. Going

nuts with the looping can create sorne

DHE

looping parameters can really add a

>out

there< sounds or can emulate chorusing and ensemble settings, which can free up the effects processor for something more useful, par-

ticularly when using the

42

KSOOO

multitimbrally.

DECAY

2.

It

2,

Formant

Fllter-the

blade

of

the

sound butcher

Formant

Filter-the

blade

of

the sound

butcher

In the words of the

Filter is a 128-band graphie equalizer, which can be used create additional additive effects.<

This is not the whole Formant Filter semitone.

When set neutral, which means the Zero

and

there's no influence of any envelope or control, the

64th

band

exactly matches the first harmonie of the note

(60). Accordingly the 76th band matches the second har-

monie, the 88th

~

Check

out

>@Ciustaz,<

The Formant Filter works in a fashion similar which has 128 bands. But the special capabilities of the

come into play when you move the filter laterally (sideways) by changing the

This is

what the most sophisticated synthesizer filter available (in our humble opinion). peaks, a flanger or the Manhattan Skyline.

Peter has programmed a whole bunch of templates which you will find in SoundDiver for the Formant Filter which sorne crazy things

any other

parameters-but

KSOOO

manual;

>The

K5000's Formant

to

truth-in

(FF) is a set of 128 bands in intervals of one

fact, it's not even close. The

BIAS

value is set

to

C3

band

the 4th a.

a patch which demonstrates this.

BIAS

value by hand, wheel or envelope.

distinguishes the FF from

You

can literally draw a lowpass with three

s.

o.

an

to

EQ

a graphie

EQ

FF

and makes it

do

to

the original sound, without touching

more on this later.

~

@Ciustaz-A005

Like

the DHL and DHE

there

is

a copy parameter which the copying of one Formant any patch patch.

allows

Filter from

to

another

Formant Filter Nuts and

Bolts

The Formant Filter shares sorne programming traits of the

DHL

and

DHE

in the form of groups of frequencies, not har-

monies, as in the other sections.

43

Chapter 3 ADD

Synthesls

Blocks

The frequency distance between

harmonies in a DHL spectrum depends on their position. The distance between

two

FF

bands

ways one semitone.

The

GEQ

has

a special feature

which

allows gradually change the band can

use smooth peaks

in the filter

shape.

two

is

al-

band setting

it

to

levels.

You

this

to

create

holes or

We

won't

go

ered by the

through

manual

FF

bands

and

the concept of selecting a specifie

individually as they

are

cov-

frequency or group of frequencies for global adjustment is exactly the same in practise as with harmonies in the and

DHE.

+ The

BAND

control is just like a

ant

Filter is like a comb.

rubber

To

comb, you simply stretch the

BAND

stretch it less. The range of frequencies

then

can

ing-how

be adjusted using the

LEVEL

control adjusts the amount of formant filter-

much the Formant Filter affects the

control effectively defines the

spanned

within the range defined by the

BIAS

control adjusts the entire Formant Filter by shift-

ing the center frequency up

and

band

and

the Form-

lasso more

band-to

(number of

LEVEL

BAND

>teeth<

select less, you

>teeth<)

control.

down the entire range of

DHL

on the

which

sound-

frequencies.

Keeping the Formant Filter under control

As

there is one Formant Filter available to each

want

in your patch, you may

to keep these

This is where the DFE-Digital Formant

the rescue. Think of it as your very own zookeeper who keeps your animal filters in their cages

an

being unleashed onto yet, your $

The

5000 speakers.

standard

complement of envelope controls is here al-

unsuspecting

lowing you to shape the movement of the bias

44

bad

boys in check.

Envelope-comes

and

stops them from

pair

of

ears

ADD

source

or worse

parameter

to

Formant

Filter-the

blade

of

the

sound

butcher

over time. There is also

how

determines

Additionally

much the envelope actually affects the bias.

there

an

envelope depth function which

are

controls for looping, which

are

just

like the loops available for the individual harmonies in the

DHE section we covered above.

can

With these, you

ular

section of the envelope

frequencies for a second

control the

and down for those >door's open, door's closed, door's closed

and

there's a really loud party on the other

FF

to cycle over a partic-

that

say ...

pumped

then almost completely

a range of

shut

open/

side<

sounds.

Velocity Depth allows you to control how much the filter envelope will affect the bias keyboard. This parameter-i. fect-then larly, the

Envelope Depth

The

KS

parameter

e. if the envelope depth is set to

it

won't

KS

Depth

matter

parameter

Depth

parameter

based

is affected by the Envelope Depth

how

is set to Zero.

allows you to control how much

the filter envelope will affect the sound

note played. This is directly related to the

KS

Last,

the

to Gain

FF

parameters.

but

not least,

and

a personal fave is the ability to set

envelope to LFO mode.

on how

hard

you play the

Zero-no

hard

or

soft you play. Simi-

will have no effect if the

based

on the pitch of

DHL

Vel

Curve

and

ef-

The

DFE

Envelope Edit allows precise control over the

Actually the mode more than a fied, looped envelope preset.

is

nothing

LFO

simpli-

FF.

45

f1ill

MeiMaker-AOl

The MeiMaker patch is a classic of the up and down by the Formant

example

FF

being swept

Envelope.

Chapter 3

0

Using this allows the entire FF ways-a

ADD

Synthesis Blocks

to

great patch to check out is

be modulated in amazing

>MelMaker<

which shows this in all it's glory, and if you followed the tutorial, you would have seen this in action already.

Formant

Envelope

Sweeps

the

Filter

Up

and

Down

Morf's

Up-the

quick and easy approach

You've probably seen Terminator 2 with big Arnie and that liquid

terminator-remember

the guy who was a a knife, th en frozen etc.? If you've se en it, you'll remember how he seemed

This was quite a blast at the time

called

>video

living, breathing dinosaurs, but it's still a cool

still dig the

46

to

just melt into whatever he chose to.

and

used a technique

morphing< which is pretty lame in these days of

flick

SFX.

floor,

and we

then

Using

the

Copy

fonctions

Kawai the KSOOO-only using sound, not video images,

had

a great

newbies-to

idea-with

focus on the impatient and

include exactly the same idea into the

to

>morph<

into

each other.

Sustain

Using Morf mode, there are six potential sources in each patch in your

K5000-not

including Loud and Soft variations. Given the fact that you can combine everything with everything there's literally millions of combinations already available in the patch memory of your machine.

Read the manual regarding Morf mode and have a good play with this. we think the manual explains the functions reasonably well, but doesn't explain why you would want to, and

the number of possibilities afforded by morfing sounds.

For you serious programmers, invest your time in other areas of the synth. Morf mode is fun but the results are generally unspectacular.

If you

want

to

create

>Pro<

patches, then

Mo

rf

Mode

is

not for

you,

but

if you just

want

to

have a bit of

fun,

or

are

looking

for a really quick

lution, then give

whirl.

soit

a

Using

You

the

Copy functions

may think that a copy function isn't that exciting,

and

you'd probably be right. Having just read the >potential of

Morf

mode<

stuff, however, the copy functions may now be a

lot more interesting because, like morf mode, you can copy

any source from any patch millions of instant possibilities,

life-only

a handful of them may yield exciting

to

any other patch. This opens up

however-as

it always is in

results-it's

a

matter of tas te.

In the tutorial chapter, you learned how

sources so that you could listen

to

them in isolation. When

to

mute/unmute

47

Chapter

3 ADD Synthesls Blocks

The Source Copy Win

dow

isolated, you can

hear

the portion of the entire sound that you like from your favourite six patches and combine them into one superpatch.

lm\\11

~

f:'i'!m......_.>

tlll!lJ

~

A001

>

Runner

Si.nqle Source

No. No.

-->

SRCl

Source

Copy

~--

i/~

Utilising the copy functions in all areas of the great idea. If a professional programmer grammed setting, a modulation routing or is just a basis for your own experiments.

If you consider that every waveset, envelope etc. that you or someone else has set up is a template which can be used in another patch, then you already have thousands of templates for all sorts of jobs in the factory patches.

As perfect, but pretty close carry out sorne small adjustments.

an

great, then there is no reason not

pointed out earlier, ifyou have a

1

li]~

KSOOO

or

yourself has pro-

is a

envelope template or waveset, a Formant Filter

an

effects combination that

to

make use of it as

>template<

to

what you want, then copy it and

which is not

The

page

LFO

Modulation

The LFO-your third hand

The

LFO

in the

everything in a number of different ways,

48

KSOOO

can be used

to

modulate pretty much

so

the description

The

LFO-your

third

hand

in the

and

manual

tremolo

which says

effects<

doesn't really do it justice.

that

it can be used to

The ability to set a delay time on the

LFO

standing on stage playing a screaming solo

bend

pitch

wheel, but you need modulation to

particular time in the sound.

Other great features are the ability to set the

hard

spond to how

keyboard you're

~

For

more info on the

on page 57.

or soft you're playing or to where on the

playing-bass

LFO

refer to LFOs-simple, but

or

treble end.

>give

vibrato

is great if you're

and

using the

>kick

in<

at

a

LFO

up to re-

there's a catch

...

[iii!]

LFO

FADE-A023

49

Chapter 3 ADD

Synthesis

Blocks

50

4 Programming

with

PCM

Sources

As

you've no doubt discovered, the

PCM

bunch of can be used as the basis of a patch in their own right.

The downside wonderful features, such as control over individual harmonies sources are simply not available

The

KSOOO, tive synthesizers on the market. The bonus of the effects processor ison.

samples which add

to

using

PCM

and

Formant Filtering which are available

on this level, is much like many other subtrac-

and

additive sources, however, end any compar-

Subtractive Synthesis

As

briefly touched on in the introduction chapter, subtractive synthesis is a lot like sculpture. Harmonically rich waveforms such as away

to

In the are actually 123 ments

one

Each

part

and

Any

of these samples can be used alone or combined with

or

more of the six sources available in a

PCM

of,

or

SAWTOOTH

reveal the

KSOOO's

other sounds stored in computer memory)

source can then be individually

an

case, these >harmonically rich waveforms<

PCM

entire, sound.

and

SQUARE

>Venus

de Milo<-your sound.

samples. (recordings of acoustic instru-

KSOOO

>spice<

sources is that many of the

to

the

waves are gradually eut

features a whole

to

ADD

sources and

PCM

synth engine.

KSOOO

>sculpted<

to

additive

to

patch.

form

51

Chapter 4 Programming

wlth

PCM Sources

A rose by any

other

na

me

...

Analog synthesizers feature analog components throughout, and

these da

ys

many of the

>analog<

synths you see in music technology magazines are partially under digital control or are completely digital but sound and, in sorne cases look like, analog synthesizers of the

60's and 70's.

The fundamental theory and methods of subtractive synthesis are still the same sorne 35 years down the road, even though sorne of the names have become

DCO-... a rose is still a rose.

changed-like

so

vco has

Let's take a look at the individual sections of a subtractive synthesizer following the signal flow and the choices available in the

~

We subtractive sound programming find and there's the subtractive portion rule, we decided to keep this chapter short and give more focus to the hardcore

Wh

KSOOO.

won't

spend

it

on billions (weil a

heaps

ADD stuff.

at

is

the

too

much

space

and time on this

is

pretty simple and obvious. You'll

lot

anyway)

of books (take a look at the WIZOO Library

of

the K5000

of

conventional synthesizers

is

not

the exception from the

issue.

DCO?

Analog or

Hill).

As

The Digitally Controlled Oscillator is the synthesizer

and

actually generates the sound. In analog synthesizers its pitch was voltage controlled forms were generated by analog circuits.

The subtractive synthesizer on the synthesis the is available

52

PCM

Wave-ROM

method-you

as

to

ADD

sources too.

will find sorne

well-and

>voice

(vco)

KSOOO

>analog<

box<

of any

and its wave-

uses the

PCM

waveforms in

the subtractive portion of it

What

is

the

DCF?

What

The Digitally Controlled Filter is used for colouring touring the sound generated by the

>filter< tion of the sound about these filters is velocity move,

is

the

DCF?

and

nco. The filters literally

out frequency ranges so

that

you

that

or

an

LFO-can make the filter cutoff frequency

th

us crea ting changes of the sound color over time.

that

you are left with the por-

want

to hear. The interesting thing

a control

source-like

an

envelope,

con-

Traditional analog synthesizer filters come in two fla-

PASS

and

HIGH

vours-LOW

LOW

allow the

~

You

can even bypass the whole

(bet

that

with

ADD

very high frequency range a bit.

DCF

filtering can be quite brutal to your sound as it can clear

and/or

was a surprise!)-but

sources. lt's always good

large chunks in one

PASS-which as you might expect,

HIGH

frequency ranges to

DCF

we

won't

to

hit-no

comparison to the fine, detailed

by setting its mode

recommend doing

have the

DCF

>pass.<

>Smooth

to-Bypass

so

even

out<

the

changes available with additive harmonie levels.

You

can make the

using resonance.

Be

DCF

effect even more pronounced by

careful

when

turning up the resonance

value because it adds to the overall source level, high reso-

4)

are

nance values (above

You

can balance the reso effect by lowering the

value.

Our rule of thumb: for every two steps you increase

the resonance decrease the

Both the subtractive

KSOOO

the without

can use the

it,

but

the

PCM

very likely to cause distortion

DCF

level

DCF

level by one.

and additive synthesizer engines of

DCF

section, the

ADD

section can get by

section really needs it.

flii'l

DCF

As are coin: Techno use tion and distorted sounds. This reason wai engineers implement balance nance and

flii'J

LOPA-A024/

HIPA-A025

always in lite there

two

sides

to

ADDicts

the filter distor-

for

basslines

is

why

the

an

for

reso-

DCF

RESO-A026

the

drum

the

Kadidn't auto-

level.

DCF Tips

+

On

instrument

always let the

sounds-whether

DCF

cutoff be controlled by velocity

natural or

tracking. Velocity gives you a better overall feel

electronic-

and

key

and

key

53

[Iii]

FF-A027/FILTER-

A028

Chapter 4 Programming

with

PCM Sources

tracking provides a balanced sound character throughout the entire keyboard range.

+

You

will need

Velo

to give a bit to the add

the envelope

tain level

to

experiment with the

Velo

to

Cut and the

Env parameter to find the right balance. Always

Velo

to

(Dcy2

to

it.

As

L) of the

Cut parameter

a good guide: The lower the sus-

DCF

envelope, the higher the di-

(+10

at least) and

rect envelope depth, otherwise the velocity would not affect sustained notes.

+ Make heavy use of the

only sound shaping

creating

ADD

sources, your preference should be the use

DCF

only on

tool-apart

PCM

sources. Its your

from effects, that is. When

of harmonie envelopes and the Formant Filter. In fact the Formant Filter can easily

and

completely simulate the

plus a whole lot more.

DCF,

How

DCA

about the DCA?

stands for Digitally Controlled Amplifier and is the

of the synthesizer that controls the volume of the sound

sections of the sound over time.

In the

use the

K5000, both subtractive and additive sources can

DCA.

The subtractive engine relies entirely on the overall envelope shape whereas the additive engine is more accurately shaped by the

We

suggest the use of the

DHL

and

DHE.

DHE

to

set the volume

differences between harmonies and the use of the

shape the overall volume envelope for the entire source.

In most cases this is the best solution in addition the easiest and fastest

~

The DCA envelope offers a few functions

You

can-among

key

tracking, controllers and velocity.

by use

of

these features

54

way.

others-control

in

addition

not

available

Attack, Decay and

We

recommend you

to

the ADD envelope parameters

DCA

for it's

DCA

to

the DHE.

Release

part

or

far

to

being

times make

as

Envelopes-a

this gives you even more realtime control and expression to the overall sound.

simple

guide

Envelopes-a

Each of the sections in a subtractive synthesizer features envelopes which control different aspects of the sound over time.

To

offer detailed control over the shape of the envelope, it

is broken down into segments, each consisting of a

a

LEVEL

parameter. Most envelopes are more or less broken

down into these four segments:

+

ATTACK-

rameter ferent ways so fade in

key.

a

to make the piano slowly fade in.

+

DECAY-After

pleted, most naturally occuring sounds dip slightly in level

which is

+

SUSTAIN-

longest part. In the case of a piano sound, after the initial

keystrike

This is the beginning of a sound. The attack pa-

can shape the start of a sound to respond in dif-

and

Adjusting the attack to a longer time could be used

what

This is the body of the sound

and

simple guide

that-as

piano sounds

the attack portion of a sound

the decay

the brighter

examples-string

are

heard

parameter

and

as soon as you strike

deals with.

louder decay portion, the

TIME

sounds slowly

has

been com-

and

is usually the

and

55

Chapter 4 Programming

with

PCM Sources

resounding string tone takes

over-this

is the sustain of a

piano.

+

RELEASE-

This is the portion of the sound

that

fades away

to silence. This fade can be quick or slow.

+ Collectively the envelope is often called the ADSR-each

letter signifying the first letter of each sound tack, Decay, Sustain, Release.

+ In the most popular analog

ADSR

envelopes, the four parameters were even more restricted to Attack Time, cay Time, Sustain Level Level, no Decay Level. program including the KSOOO

yet not very flexible, many digital

KSOOO

each envelope consists of the following segments,

each offering a separate time

and

Release Time.

As

this envelope concept is easy to

series-offer

sorne extensions. In the

and

level parameter:

A This is the attack portion as known from the

velope.

Dl

This is the first decay.

little clicks or plucks

D2 From the

Dl

Level the envelope goes on to the

You

will most often use this for

at

the beginning of the sound.

Level, which is comparable to the Sustain Level of the

ADSR-

Envelope

+ Look

ferent alog<

at

the table

KSOOO

ADSR.

below-it

allows you

to

envelopes with each other

section-At-

De-

No

Attack

synthesizers-

ADSR

compare the dif-

and

with the

>an-

en-

D2

56

conventional

ADSR

Pitch

Env

DCF

Env

DCA

Env

DHE

Attack

Level

0

y es y es 0

0 y es y es y es y es 0 y es y es

y es y es y es y es

Decay Sustain Level

lime

Level

y es y es y es

y es 0

y es y es y es 0 y es

y es y es y es y es

Release

lime

Level

lime

0 y es

y es 0 y es

LFOs-simple,

but

there's a catch ...

DFE

Parameter Name in K5000

Attack

Leve! Ti

y

es y es y es y es y es

AL

AT

me

Decay Leve! Ti

Dll

Sustain Release

me

Leve! Ti

DlT

D2L D2T

me

Leve! Ti

y

es y es y es

RL

me

RT

When designing envelopes for a synth the developers always

and

have to find a compromise between flexibility

Well-at

use. to

start

colour

and

you want.

least one thing is for sure: Note volumes have

and

end

at

Zero level, so this is fixed. But sound

separate harmonies can start

Be

aware

that

the

KSOOO

and

envelopes offer you unri-

valled flexibility in controlling sound over time

You

may

The best thing:

As

each

part

of a subtractive synthesizer-DCO,

use it, but you don't have to.

ease-of-

end wherever

and

velocity.

DCF,

DCAdoes a different job, many synthesizers have a separate envelope for each of the se sections to achieve more control over the sound. This is how they affect the

+ The envelope in the + The envelope in the + The envelope in the

DCO

controls pitch changes over time.

DCF

controls tonal changes over time.

DCA

controls volume changes over

KSOOO

sources:

time.

+ The envelope in the

each harmonie over time

for

+ The envelope in the

time-again:

over

DHE

DFE

ADD

section controls volume changes

(ADD

sources only)

section controls the

sources

only.

FF

BIAS

value

The most flexible envelopes are located in the ADD

Harmonie Envelopes

and Formant Filter

Envelope, flexible envelope the Pitch Envelope.

section-

the least

is

LFOs-simple, but there's a catch ...

The

LFO

section of the yet offers sorne features you won't find in any other synth's LFO.

KSOOO

is pretty easy to understand,

57

l'ii]

SmthWssn-

AOll

Chapter 4 Programming

Do

we have

to

mention trois the shape of the modulation, square plays a

You

know this already?

OK,

let's take you a step further

>trill<

fun feature: The Delay

Let's say you

fect-like

can achieve this by applying the LFO to Pitch Gust a bit),

you

DCF Cutoff (a bit more)

want

a Leslie speaker cabinet, for example. Simply put,

Lets say you're the demanding type of person. the rotation to smoothly blend you

want

it to accelerate over time.

The rotor in a Leslie cabinet is a those of you not familiar. This

horn

outlet of the you,

and

most of the time it's in-between. The

points towards you, sometimes away from

affects the pitch (something like the sound of

with

PCM Sources

that

the Waveform

that

when

applied to oco pitch?

and

Fade In.

sine crea tes vibrato or

and

have a look

parameter

at

a really

the LFO to create kind of a rotating

and

DCA Volume (quite a bit).

You

in

when

the note is held,

horn

that

rotates-for

means

that

sometimes the

horn

an

ambulance-

position

con-

ef-

want

and

coming towards you-and-going past-effect), the sound color and

the volume.

·

We

admit this sounds difficult to replicate,but look

following to see how easy this is to achieve with the

LFO:

Select the

Waveform

Speed Delay Onset 0 Fade

ln Time

Fade

ln

Speed

Vibrato

Growl

Tremolo 23 plus volume change

>SmthWssn<

to

patch.

Tri

smooth rotation shape

95 end speed

delays the Ti

46

63 6 a little pitch change

17

me from

speed and rotor

amount speed over the

some more color change

of

the fast rotation

LFO,

not

al

most no rotation

of

change

Fade

needed here

to

the Rotor

ln

Ti

me

to

full

at

the

K5000's

58

A Subtractlve Session

Try this with two sources slightly detuned and phase (use Delay and there you

go

Onset

with a nice Leslie simulation.

to

offset them against each

Programming can always be that easy with a little nation cens with technical

thesis requires

and

a creative approach instead of boiling your brain-

BS.

We

can only encourage you

an

open mind.

to

think creatively:

LFOs

out of

other)-

imagi-

KSOOO

syn-

A Subtractive Session

OK-let's put sorne of that subtractive synthesis power to work.

We

strongly advise that you follow the steps. This everything should be pretty clear as you work your way through.

This is a totally subtractive patch with the added bonus of effects. Dave was messing around with a sort of J. >Magnetic

Fields<

track and came up with this patch as a re-

suit in a couple of minutes.

The patch is extremely responsive

opening

and

closing in response

hit, the faster the filter envelopes attack.

and

fat bottom-end pad

can be used as a

to

touch with the filters

to

velocity. The

It

is also useful as a

>house<

harder

lead sound.

Now let's mess around with it a bit.

M.

way,

Jarre

you

[iiil]

Magnetic-A006

DCO

Functions

The tutorial section covers the selection

and

tuning of

PCM

waveforms, so we won't double-up here. Take another look at this chapter la ter if y ou like.

1

Press

EDIT

/

L2

and then

2 Make sure that Sl

3 ln the Pitch Envelope

to

67.

F8

is

selected and

window

(MORE).

change the

is

showing Sl

STRT

P.

L

to

+63 and Atak T

59

The

DCO

Pitch

Envelope adjusts the pitch of

a

PCM

source over

ti me.

Chapter 4 Programmlng

wlth

PCM Sources

ŒiJ

PITCHENV-A029

Œil

Magnetic-A006

Play the keyboard

Congratulations-you

and

listen to what's happened.

have just adjusted the Pitch Enve-

lope. Let's take it a step further.

1 Change Atak L

2

Ensure

that

Play the keyboard again. That's attack

If

you like, you can play with these settings a little further

on your own to get a better

Also in this edit window is the rameters. Change the Time value ally clear picture of keyboard

to

-28.

Dcay T

is

set

to

what

at

different velocities.

64.

and

decay mastered!

>feel<

for what's going on.

Vel to

+57

to Level

and

you'll get a re-

this does as you play a note on the

Do

the same with the level

parameter.

that

Remember

and

pitch envelopes.

each source can have different tunings

You

can also set up each source to re-

spond to velocity in different ways.

DCF

Functions

Get out of press

Ensure

1

Press

2 ln the DCF window, mute source 2 by pressing

3

Press

4

Play

to

EDIT mode by pressing EXIT a couple of times

F8

when

prompted to save or quit.

that

>Magnetic<

EDIT

/

L3

L 1 and tu

a couple

Active and play a few more notes.

rn

the dial

of

notes on the keyboard and then turn the dial back

is loaded.

to

Bypass

F3.

Time pa-

and

60

A Subtractive Session

The

DCF

Window

There's quite a bit of difference between the bypassed fil

te red signals ...

1

Press

L2

it

and

to

you're doing this, repeatedly play a note on the keyboard.

2

Reset

This function

but

not enough!

use

the dial

31

when you're done.

>cuts

off<

to

adjust the Cutoff from 0

to

the frequency range at a particular

and

127-while

point allowing you to shape a more muffled or brighter sound.

1

Now

press

L3

and

use

pass

and play a few notes.

2

Reset

it

to

Lowpass when you're done.

3 Select the

playing the keyboard how

you playing

Velo

the filter responds

the dial to change the filter from Low

Curve and change the value, trying a few

across

the

entire

range. This parameter adjusts

you play on the

keyboard-i.

bass

or treble notes.

to

where

to

out

e.

Hi

by

are

Time to introduce the nasty little monster of the KSOOOfilter resonance. This control,

when

coupled with the Cutoff function does savage things to your sound, your hearing, your speakers

causes the dog to

run

away-pausing

on

and

it's way out to bite you for being such a bastard!

We

cannot emphasize this

parameter-it's

KSOOO

y our

filter is very capable of damaging your hearing

speakers-no

great if you're into this sort of thing but the

joking!

enough-use

caution with this

and

61

The

DCF

Envelope

View

The

DCA

controls the volume source over

of

your

ti

me.

entire

Chapter 4 Programming

The

DCF

Envelope is marginally more sophisticated than the

DCO

envelope, but the concepts of the

with

PCM Sources

ADSR

are the same. The

only difference here is that your are controlling the

the sound over

as you were with the

DCA Parameters

time-or

DCO

more correctly, the

envelope.

filter-not

~=

~~~~~~;;.u.;.:;;..~~"=

colour of

pitch

The

DCA

can be

mod-

ulated

by

velocity and keyboard scaling.

This is the master can, as with the their own

ADSR.

VOLUME

DCO

and

envelope for the entire sound. Y ou

DCF,

control individual sources with

The combined output of the original signal generated by

the

DCO

and

filtered by the

DCF

is sent your sound is too loud or soft or takes too long to then the first port of call should be the

62

to

DCA.

the

DCA.

If

>get

part

of

going,<

Les

lie

Does this sound need a Leslie? above.

A Subtractlve Session

If

so, try the option explained

Other

The features which chapter-surprise,

cool subtractive options

KSOOO

has a number

are

discussed in the Effects

of great effects

surprise.

and

modulation

and

Modulation

These can be used with any source be they additive or

subtractive.

The other great bonus is, of course, additive synthesis. So

if you've got

add

>spice<

to your subtractive sounds.

an

>analog<

headspace-you

have this to

63

Chapter 4 Programmlng

wlth

PCM

Sources

64

5 Effects and Modulation

The

KSOOO which sounds great Additive synth engine.

The ters available for each of the algorithms, so we won't replicate this information, >Coliseum< tortion this sort of gram. Rather, we'll concentra te on sorne of the routing practicalities, shortcomings

available.

In addition, there are a for modulation of We'll cast

features

manual

patches-there

off ers a reasonable description of the parame-

or

>Whitehouse< reverb or >Spawn of Satan< dis-

thing-take

ADD

an

eye over these as well.

an

extremely powerful effects processor

and

is a vital component of the Advanced

nor

will we cover different settings for

are

many other books dedicated to

a look into Wizoo's Library

and

creative control options

and

number

PCM

of flexible source routings

sources, filtering

and

Hill

effects.

pro-

Effects Processor rules

When used on a single patch, each source can be routed to a

different

FX bus.

of

thumb

The Effects Page

65

Chapter

5 Effects

and

Modulation

Utilize the difference in effect routings for creating new patches. Combine a phasing string pad with a ensembled choir patch or try the originally clean with a wall drive.

The effects processor can out< levels resulting in aliasing or other unwanted artifacts.

The Effect meter routes the currently selected source to puts (buses) in the effects section.

completely

guitar signal

of

over-

seriously >blow

the harmonie

of

your patch

Path

para-

any of the four in-

When used multitimbrally, each

cau be routed to a different

FX

sound-an

bus. This may,

entire

and

in

patch-

alllikelihood will, radically affect the sound of the patches used. This is a double-edged sword as sometimes it sounds great and

sometimes ... well it doesn't!

~

Like

ali

the best things in life, effects though it's fun to indulge occasionally. Add effects after setting up the rest of your patch. The best way to do this ized<

neutral patch with

ing a patch which sounds strong

to

add

cide

them-look

The other advantage is

ali

out!

FX

that

are

best

used

disabled. This will

without

when

FX-if

used multitimbrally,

in moderation al-

is

by using

assist

and when you de-

an

>initial-

you in creat-

patches with minimal effects sound pretty much as they should in the overall mix.

Add effects

and

DCO, DCF, DCA in your additive

after you have set up your DHL,

and

subtractive sources.

When programming your patches, use the Effect

rameter

in the Control pages to choose the effects bus INPUT

DHE,

DFL etc

Path pa-

for each source.

Effect

The flexibility of the onboard route the four While there

Routing-potential

FX

>effects

are

units< into others in series or parallel.

no absolute rules about

pitfalls

processor allows you to

should or shouldn't route into other effects, there factors which you should be mindful

66

of:

what

effects you

are

sorne

Effect

Routing-potential

pitfalls

• Sorne effects, like phasing gain and emphasis

to

or

distortion, can add a lot of

particular harmonies resulting in

your original sound being unrecognizable.

• This extra gain can blast your eardrums and the speaker membranes into the

rear

wall of your studio.

• Again with the gain. If the level coming out of one of your >effects

units<

is too hot going into the next processor, you

can easily introduce distortion or aliasing even if you're using

>nice<

effects like reverbs and delays.

• Routing chorus into delay is not the same as routing delay into chorus. The results are

complete/y different.

• Logically plan your effects routings, pausing for a moment to

consider what each effect will

to

if you're only going

swap the chorus and delay around,

do

to the sound although

you shouldn't spend too much time concerning yourself with this. Remember that once a sound has passed through one processor, the output from that processor is

summed-is

and

is then passed onto the next processor in the chain.

a combination of the sound and the

effect-

This summed effect will, in general, be, louder and will enhance certain frequencies in the original source.

• The global

REVERB

which follows the four

>effects

units< can be used to enhance the overall ambience of the sound. It can also destroy any of the subtle delay and chorus effects you may have set up in the ceding effects. Add it and

only if your patch which is the last has the ability

to

after you have set up the other FX

>effect<

>needs<

in the sound signal flowpath also

it. The 7-Band graphie EQ

destroy any subtlety you may have programmed into your patch. It's useful, however, for than

perfect< listening environments and for circumvent-

ing sorne technical issues with the

DHE

or the four pre-

KSOOO's

output

>less

stage-

see the Tips and Tricks chapter.

67

[Iii]

CONTROL-A030

Chapter 5 Effects and Modulation

Realtime Effects Control

The effects processor, like other sections of the K5000 synth

engine, can be manipulated in realtime using a variety of controllers such as the mod wheel, aftertouch and many others.

You

can access these via the effects control page.

The Effects Control

Page

While it's possible

do, we mend putting

your eggs in one

ket. Assigning your various destinations to different lers

A031

is

a better bet.

[iii]

Gospel0rg-

don't

recom-

ali

of

bas-

control-

Effect

Controller

to

Sou reeZ DestZ DepthZ

As

other parts of y our sound can also be controlled using the

Ch

EZ

Press

Para

+12

<

< <

same modulation sources, such as your mod wheel, aftertouch etc., it

is

possible

to

assign bath effects and synthesis

parameters to a single control source.

As

an

example, you could assign the effect depth, the balance between two sources and the speed of the Formant Filter

LFO

to

one

controller such as the mod wheel.

your thumb and your patch would

to

the

Take a listen

wheel

to

change the Rotary effect speed. This is a great ex-

>Gospelürg<

go

nuts!

patch and use the mod

ample of how to use the effects control parameters-sensibly.

When

Sometimes it's smarter and easier than or similar results. It's also smarter at times

effect over another

appropria te

First

and where

to

do

a whole lot of programming

to

the type of music/playing style of y our tracks.

off,

we'll take a look at where the K5000 FX processor

to

use

FX

to

achieve a particular

use the FX processor

to

achieve the same to

use one type of

>sound<

has a bit of a weakness. The global reverb which runs across

One

roll of

which is

68

When

and

where

to

use

FX

the entire mix is not a particularly great reverb

and

doesn't offer enough control to really tailor the sound given it's location in the signal path. ternal and

processing-more

>shimmer<-if you have a superior external effects unit.

Another shortcoming is in the absence of compression gating types of algorithms although similar effects tained by elever use of the filters (including and

envelopes.

+ Delay

and take a look rithms

FX-

The

there's a good

at

where

more

effectively

You

may get better results with ex-

precise control, more

bandpass

KSOOO

delay algorithms

range

of

them

are

for different jobs. Let's

you may be able to use specifie algo-

than

others.

headroom

and

can

be ob-

effect)

qui te good

+ TAP DELAYS have two discrete delay times which can be

that

set. The advantage of using this delay type is irregular beating

patterns

can

be created by changing

really

these times. If you control these in realtime, you can crea te those

>trippy< late pushing ahead/pulling behind the sequenced

or

effects used on the dancefloor to simu-

beat

arpeggiated riff.

with a

+ SINGLE DELAY offers really precise control over the timing

and

of your delays peggiated material tween the original

+ DUAL DELAY

pans

is ideal for effecting sequenced

that

and

incoming signais

gardless of incoming signal

can

so you

get effects which bounce from

requires perfect synchronicity be-

effected signal

hard

left

and

uses two discrete delays

or

right, re-

speaker

ar-

to

speaker.

+

STEREO

nal

+ CROSS DELAY bounces each

from

DELAY retains the

and

sounds full

speaker

to speaker. The effect is quite different to

and

pan

position of the incoming sig-

rich-the

Rolls Royce delay.

repeat

of the delayed signal

the Dual Delay.

69

[lill

Engage-A004

Chapter 5 Effects and Modulation

+

AUTO

PAN

constantly moves the signal from one side

other of the stereo field. Useful on sustained pads

to

and

the

on

sorne more staccato sounds like electric pianos for creat-

>movement<

ing

in the sound.

+ Chorus PX-Chorus effects are slightly detuned signals

which are summed with the original signal and are useful

for

>thickening< great on strings thing that sustains.

and >warming

and

pads, electric

up<

the sound. They are

pianos-in

Used in conjunction with a simple

fact any-

DCF setting, you can save hours of programming time by taking the

>edge<

off of

hard

digital sounds like

raw

DX-ish

electric piano sounds.

Use of the chorus can save programming time on single or

dual source patches. by simula ting the effect of two detuned sources source

1

2 ln here, select

3 After playing

and

the chorus.

Load

>Engage<

it

the following settings: Dry/Wet=

Speed= 3 Depth= Predelay= Wave=TRI

0/100

100

Oms

You

can even save sources

by

and open the

El

and change the Dry/Wet balance to 100/0.

for a short time, change the effect

Effects

Edit page-EDIT/R4.

to

and

voices

using one

Chorus 1 with

This adds a subtle but noticeable difference and

motion of the sound. Experiment with the following fects using this patch if you wish. Remember Wet balance

0/100

and

Depth parameter

to

cable to the effect.

+

FLANGING

or

quickly moves the detuned signal out of phase with the

is a different type of chorus effect which slowly

original signal resulting in a sound which has a

>whooshing<

70

quality to it, formerly called

to

the

>fullness<

to

set the Dry/

to

100 if appli-

>jet

effect.<

ef-

>cyclic,<

The

When

and

main

difference between Chorus

and

where

Flanger is

to

that Flanger feeds the effect signal back to the Flanger Input (Feedback). The higher the Feedback amount, the more cutting the Flanger sound appears. Hard to describe

and

sounds great on electric pianos, clavinets

pad

string

sounds. The more percussive the sound you

on synthetic

use the Flanger on, the less delay time you should use unless you any

want

to create doubling echos. Don't use it on

>real<

string emulations as it will instantly make

sound synthetic.

+ ENSEMBLE effects

or

sounds with a slow attack semble effect is actually which create a really rich sound. The

are

great for

three

>real<

string

and

long sustain. The en-

out of

phase

chorus effects

reason

pad

why ensemble works so well on string sounds is because the correlation between the choruses changes

but

the detuning doesn't, unlike flanging type effects. Avoid using ensemble on sounds with a quick attack such as electric pianos. Ensemble is

Peter's favourite effect on additive sounds as it gives even single metallic sources a >richness< that

he

regards

+ CELESTE, which is also a

electric pianos because the constant

+ Phase

the original source, phase both rus

but

Fx-Phasing

(out of time) with the original. The effect

more

FX

and

one of the strongest points of the K5000.

three

detune rate

effects don't

subtle

and

phase

and

time can be changed.

but

generate a signal which is out of

much

more pronounced

chorus is great on

correlation remains

add

a detuned signal to

than

creates motion in a range of different sound types. Useful on electric pianos, strings, basses ... you name

it.

+ ROTARY effects

sounds. Don't sounds, (Leslie

just

speaker

are

essential on any Hammond B3/C3

bother

trying to

program

this into your

use the effect. While it ain't the >real thing<

cabinets) it's pretty good.

use

FX

the

but

it

them

sounds

phase

can

be

cho-

71

f1ii'l

Engage-A004

Chapter 5 Effects

+ Fil

ter

FX-

Wah which adds ... well a

and

Modulation

The most obvious type of

>wah<

kind of sound, so

fil

ter

effect is Wah

that your instrument seems to >talk<-check out any Jimi Hendrix album

you'll know

what

a Wah Wah sounds like.

and

When using the Wah Wah effect, be cautious, particularly with the resonance setting as it can be

output, resulting in distortion, aliasing and

nose exploding in a torrent of blood.

very hot on the

and

your eyes,

By

the way

ears

wah

ef-

fects are great on guitars, clavs etc.

+

BANDPASS-Is patches on which a simple those nasal particularly useful on bass sounds for adding

+

EXCITER/ENHANCERlar

sound out of the mix, either in multitimbral mode or in

single mode

zle<

to a particular source in your patch.

useful for quickly modifying certain types of

DCF

>Video

is already applied

Killed the Radio

Star<

covers. Can be

and

>punch.<

when

These

you

are

want

great for

to

add

>lifting<

that

extra bit of

Be

a particu-

aware

>siz-

that

for

these effects both enhance the high frequency content of

and

the original signal, so they can introduce aliasing

alter the tonal quality (colour) of your

+

DISTORTION/OVERDRIVE-Again,

add

effects can

a lot of gain to your signal. Great for guitars, ela vs, Nine Inch Nails covers etc. ter

gain can

add

a lot of

>balls<

caution is advised as these

to your sound (sorry if

ADD

Use of the Low Fil-

wavesets.

can

that offended the more politically correct among you). Adjusting the

Filter gain adds

>crunch<

to your sounds.

If

you

Hi

listen to Engage with the default Overdrive effect, you'll

an

have

Feeding Bandpass Hi

and

instant Adrian Belew simulation.

or

Exciter into the Distortion

Lo

Filters adjusted can create a range of speaker sim-

FX

with the

ulations-experiment!

72

kawai K5000S kawai k5000 wizoo 1 of 2

Specifications and Main Features

Frequently Asked Questions

User Manual