Kurzweil K2600 Vintage Electric Pianos User Manual

K2600 Vintage Electric Pianos User’s Guide

The Vintage Electric Pianos ROM option equips your K2600 with the classic electric piano sounds that are vital to any modern key­board player. While some electric piano sounds have remained obscure vintage gems, others have attained a level of importance to the
keyboardist comparable to that which the Fender Stratocaster or Gibson Les Paul has for the modern guitarist.

Program slots have been assigned and organized for optimum usefulness. The instruments represented in this set are: Fender Rhodes
Electric Piano, Wurlitzer Electric Piano, Hohner Pianet, Yamaha CP-80 Electric Grand Piano, and the RMI Electra-Piano.

Each program was created using high-quality audio samples of electric pianos as a starting point. The sounds were then processed using
Kurzweil’s V.A.S.T. synthesis engine. This allowed us to apply powerful filters, velocity layers and cross-fades, envelopes and a host of
other sound-sculpting tools. In some cases, samples from the K2600’s base-ROM were also used in combination with the Vintage EPs
samples in order to add a certain flavor or to enhance the harmonic content of the sound.

The final stage of sound-shaping was done in KDFX, our massive effects processing engine. KDFX played a crucial role in making this
a truly ground-breaking project, providing on-board effects unprecedented in both quantity and quality. Effects pedals, speaker cabi­nets, and recording techniques have all been faithfully replicated, giving the Vintage EPs programs a level of detail and realism never
before achieved in any electric piano emulation.

Using V.A.S.T. and KDFX we were able to replicate the exact sounds from dozens of different live and studio recordings of electric
pianos. This is why many of the program names in V intage EPs are derived from song titles and not electric piano model numbers. Also,
we have included a section devoted entirely to non-realistic sounds, “hybrids and synths,” where we transformed the V intage EPs sound
sources into a wide variety of sonic textures, ranging from slight mutations to completely unrecognizable new sounds.

We have included detailed charts that list the controller assignments for each program and setup. If a program has been taken from a
specific recording, the artist's name and song title have been provided as well.

On the following pages are brief descriptions of each of the instruments sampled for Vintage EPs.

Program Farm Files

In addition to the 100 programs described on the following pages, we have included a number of other programs in the file
EPFARM.K26, included with your objects disks. You can load these programs into the bank of your choice using the K2600’s Disk
Mode.

Part No. 910380, Rev. A

K2600 Vintage Electric Pianos User’s Guide

Slider Assignments and KDFX V2

Here are a few of the guidelines which were used in determining control and slider assignments for the programs in V intage EPs. These
general rules should make it relatively easy to adjust the most basic program settings when first scrolling and playing through the com­plete set of sounds. Keep in mind that these are general rules , and there will be some exceptions. Refer to the table that begins on page
5 to view the complete controller assignment information for each program. For the rack version of the K2600, programs will respond
to MIDI messages sent on the corresponding MIDI channels for each slider listed below:

Controller Function

ModWheel controls tremolo depth
Data/MIDI 06 (Slider A) controls tremolo rate
MIDI 22 (Slider B) controls tone or EQ settings
MIDI 23 (Slider C) also controls tone or EQ settings
MIDI 25 (Slider E) controls reverb/delay wet/dry
MIDI 26 (Slider F) controls distortion warmth (“fuzz”)
MIDI 27 (Slider G) controls distortion drive (We suggest moving MIDI 26 and 27 up and down together.)
MIDI 28 (Slider H) controls the volume of characteristic noises (“thumps” and “tine sizzle”)

MIDI 29 (Sw2)

performs a variety of functions: low EQ cut/boost, enables secondary effect. (Make sure to
try this one on each program. It's the button just above the ModWheel.)

The Vintage Electric Pianos ROM is the first K2600 sound set to make extensive use of KDFX V2 effects, and the programs were
greatly enhanced by the ability to “chain” multiple effects presets on a single KDFX bus. Thirty-one new KDFX studios are included
with Vintage EPs, and most of them use this powerful “effects-chaining” feature, which was not available in previous versions of
KDFX.

Since you can import studios from any program in the K2600, you may wish to use some of these new studios with other K2600 pro­grams. To select a different studio for a program, press the ImpFX soft button while in program-edit mode, select a “target” program
containing the desired effects studio, then press Import . This imports the target's studio along with all of the FX Mods of the target pro­gram. If it does not seem to work right away, go to the Common page, and select a different KDFX pair (usually A or B) for the pro­gram.

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K2600 Vintage Electric Pianos User’s Guide

Fender Rhodes

Produced from 1965-1986 in a number of variations of the original model, the Fender Rhodes is the most widely recognized
and easily identified electric piano sound in popular music. The Rhodes played an important role in defining some of the new
styles of music that began to emerge in the mid-sixties and early seventies, mainly jazz-fusion, disco and funk, and was
adopted quickly by other already established styles such as R&B, rock, pop, blues, and jazz. The Rhodes sound remains popu­lar today and it can be found in a variety of settings: played live by blues, funk and jam bands among others, and on recordings
of hip-hop, pop, acid-jazz, and electronica.

Like most other electric pianos, the Rhodes produced its sound electromechanically, with a hammer mechanism striking metal
bars or “tines.” A damper pedal, much like the one found on an acoustic piano, provided sustain.

The two main models (of which there were a few variations) were the Suitcase Piano and the Stage Piano. The suitcase model
was introduced first. Featuring an enclosure equipped with an amplifier, speaker cabinet, and tremolo circuit, the original suit­case model used hammers with felt tips, which were later replaced by ones with neoprene (hard synthetic rubber) tips. The felt
hammers gave the early suitcase models a slightly less-bright attack sound and a less-tight decay for each note. The Stage
Piano (which did not have an amplifier nor speaker cabinet) was introduced in the early seventies as a more portable alterna­tive to the Suitcase model. Both models were replaced in 1979 by corresponding “Mark II” versions.

Wurlitzer

Similar in both its design and sound to the Rhodes, the Wurlitzer electric piano was nearly as popular, and actually pre-dated
the first Rhodes suitcase model. Two basic models were produced, of which there were a few versions: the 100 series, manu­factured from c.1954-1967, and the 200 series, which continued from c.1967-1980. Most recordings of the Wurlitzer feature
one of the 200 series models.

Using a piano-type action with felt-tipped hammers to strike metal elements, called “reeds”, the Wurlitzer employed a damper
pedal mechanism to provide sustain, much the way the Rhodes did. The Wurlitzer was smaller than the Rhodes (most had 64
notes), and was available exclusively as a console, which sat on four metal legs. Most models came equipped with at least two
built-in speakers, and a tremolo circuit. The Wurlitzer produced a sound which had a slightly more narrow frequency range
than the Rhodes; it was “thinner” sounding, blending more easily with other instruments in a mix.

Hohner Pianet

Although featured prominently in a number of classic rock songs by The Beatles, The Zombies and others, the Hohner Pianet
remains a lesser-known instrument, its sound having often been mistakenly attributed to the Wurlitzer.

Produced from c.1962-1980 in various console models, the Pianet series differed from the Rhodes and Wurlitzer in a few
important areas. Sound was produced by metal reeds, which were plucked by a set of adhesive pads. Also distinguishing the
Pianet was the absence of a sustain pedal.

Hohner also manufactured the much more rare Electra-Piano (not to be confused with the RMI Electra-Piano) which featured
an enclosure resembling that of an upright piano. Reported to have a hammer mechanism very much like the one found in the
Rhodes, the Hohner Electra-Piano featured a built-in amp and four speakers. Led Zeppelin made this sound famous, employ­ing it in a number of hits. Using our Pianet samples and bit of processing, we were able to craft some realistic imitations of the
Hohner Electra-Piano, and we’ve included them in the Pianet section of Vintage EPs.

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K2600 Vintage Electric Pianos User’s Guide

Yamaha CP-80

Known commonly as the “electric grand”, the CP-80 (88 notes), along with its smaller counterpart, the CP-70 (76 notes), was
the product of clever engineering combined with traditional piano-making craftsmanship. Inside the CP-80, are the basic
workings of a real acoustic piano, which have been altered to fit into a smaller enclosure. On the outside, the CP-80 looks like
a “grand” version of the Rhodes, covered in tolex, with the top portion extending in the rear to accommodate the piano harp
inside. Up until the mid-1980’s, when sampled pianos became available, the CP-70/80 was the only instrument capable of pro­viding a decent substitute for a real piano. While it served this purpose well, the CP-70/80 had some unique features, which
allowed it to have its own very distinct sound when desired.

With single strings on the lower notes, and double strings on the rest, the CP-70/80 included a modified Yamaha grand piano
action and employed piezo-electric transducers in lieu of pickups. The original CP series featured bass and treble tone controls
and a tremolo circuit. Later, seven bands of EQ, balanced outputs and MIDI capabilities were added (CP-70/80B and M mod­els). Often used with chorus and compression effects, the CP-80 was known for having more “punch” than an acoustic piano.
Production began in 1977 and ended in 1987.

RMI Electra-Piano

Built by Rocky Mount Instruments, a division of the Allen Or gan Company, from 1967-1980, the RMI Electra-Piano is the one
instrument represented in V intage EPs which did not produce sound by electromechanical means. With an electronic tone-gen­erator for each note, un-weighted plastic keys, which were not touch-sensitive, and a set of “stops” for sound selection, the
RMI more closely resembled an organ than anything else. Both sustain and volume pedals were included with the unit. Most
were black tolex-covered consoles with 61 (later 68) keys, and rested on a set of metal legs.

There were five stops on the RMI for tone: Piano, Piano PP, Harpsi, Harpsi PP, and Lute. There were two additional stops;
Accenter, which added in an attack “thump” as well as Organ Mode, which extended the decay of held notes.

Though not capable of producing a realistic piano sound, the RMI, with its Harpsi stops did provide a viable “electric harpsi­chord/clavichord” tone. In addition, the overall sound of the RMI was warm, yet thin and manageable, and lent itself nicely to
the use of effects processors and pedals. The RMI was most widely used by progressive-rock bands like Genesis and Yes in the
early to mid-1970s, although it has also appeared in a broad variety of other settings.

2002, All Rights Reserved. K urzweil is a product line of Young Chang Co., Ltd. K urzweil, K2600, LaserVerb, KDFX, and



V.A.S.T. are trademarks of Young Chang Co., Ltd. All other trademarks and registered trademarks are the property of their
respective owners. Product features and specifications are subject to change without notice.

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Vintage EP Programs

K2600 Vintage Electric Pianos User’s Guide

Vintage EP Programs

ID Name Control Function

MWheel Tremolo Depth
Data Tremolo Speed
MIDI 23 Bass EQ
MIDI 24 Treble EQ
MIDI 25 Reverb Wet/Dry

600 Model This! Rhds

601 Shinin' Xfade

602 CleanRhdsEchPlx

MIDI 26 Distortion Warmth
MIDI 27 Distortion Drive
MIDI 28 Xcouple (tone)
MIDI 29 (Sw2) MIDI29+Mwheel gives classic

“hard pan” tremolo shape

Rhodes sound inspired by Chick Corea's album,
“Friends”, Peter Gabriel's “Humdrum”, and Kate
Bush's “Blow Away”.

MWheel Stereo Trem on (KDFX FX1c

Simple Panner)
Data Trem Rate (for both Trems)
MIDI 22 Mono Trem on
MIDI 25 Reverb Wet/Dry
MIDI 26 Distortion W armth
MIDI 27 Distortion Drive
MIDI 28 Enable Compressor (Comp

Ratio)
Rhds W/Compression & Distortion, recreating

the EP on Earth Wind & Fire's “Shinin' Star”.
MWheel Stereo Tremolo Depth
Data Tremolo Rate
MIDI22 EQ Brightness
MIDI 23 Echo Tap2

(Enables 1/8th Note Echoes)
MIDI 24 Echo Pitch Adjust
MIDI 25 Echo Wet/Dry
MIDI 26 Reverb Wet/Dry
MIDI 27 Echo Mid EQ Gain
MIDI 28 Echo Bass EQ Gain
MIDI 29 (Sw2) Multiple Functions: Changes

Reverb Length, Enables Smooth

(sine-shaped) tremolo.MIDI

29(Sw2) + Modwheel enables

“hard pan” (square shaped)

tremolo.
The sound itself recreates the Rhds on Stevie

Wonder's “Living for the City”. Featured in
KDFX is Kurzweil's emulation of the classic
Echoplex tape delay, with sliders assigned to con­trol the tone and pitch of the echo effect.

ID Name Control Function

MWheel Enable Mono Tremolo
Data Tremolo Rate
MIDI 22 Brightness

(Filter Cutoff Freq in VAST)
MIDI 23 Phaser Rate
MIDI 24 Phaser Center Freq (Tone)

603 AgedTolexPhasSw2

604 Real 70's Chorus

605 Studio ClassicEP

MIDI 25 Reverb Wet/Dry
MIDI 26 Bass EQ (KDFX)
MIDI 27 Treble EQ (KDFX)
MIDI 28 Phaser Depth
MIDI 29 (Sw2) Enables Phaser
In “dry” mode, this program emulates the EP

sound used by Herbie Hancock on Joni Mitchell's
“Mingus” album.

MWheel Enables Stereo Tremolo
Data Tremolo Rate
MIDI 22 Brightness Control

(Filter Cutoff Freq in VAST)
MIDI 23 Chorus Hi Freq Dampening
MIDI 24 Reverb Time
MIDI 25 Reverb Wet/Dry
MIDI 26 Chorus Depth
MIDI 27 Chorus Wet/Dry
MIDI 28 Compression Amount (Lowers

Thresh, Increases Ratio)
MIDI 29 (Sw2) Lo Freq Cut
MWheel Enables Stereo Tremolo
Data Tremolo Rate
MIDI 22 Phaser Rate
MIDI 23 Reverb Hi Freq Dampening

(Brightness)
MIDI 24 PhaserWet/Dry
MIDI 25 Reverb Wet/Dry
MIDI 26 Distortion W armth
MIDI 27 Distortion Drive
MIDI 28 Reverb Density
MIDI 29 (Sw2) Lo Freq Cut

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K2600 Vintage Electric Pianos User’s Guide

Vintage EP Programs

ID Name Control Function

MWheel Enables mono tremolo
Data tremolo Rate
MIDI 25 Reverb Wet/Dry
MIDI 26 Distortion Warmth

606 SweetLoretta Amp

607 TheNightFly

608 Sugdaddy Mtron

MIDI 27 Distortion Drive
MIDI 28 Env release decay
Emulates Billy Preston's EP sound from the

Beatles song, “Get Back”. MIDI28 (H slider) will
tighten up the release.(Amount of decay after a
note is struck and released)

MWheel Phaser Notch Depth (Tone)
Data Chorus Rate
MIDI 22 Phaser Rate
MIDI 23 Phaser Depth
MIDI 24 Phaser Center Freq (Tone)
MIDI 25 Reverb Wet/Dry
MIDI 26 Chorus Hi Freq Dampening
MIDI 27 Chorus Depth
MIDI 28 Release Tine Noise Volume
MIDI 29 (Sw2) Chorus On/Off
Recreates Donald Fagen's EP sound on “Green

Flower Street” from his album “The NightFly”.
MWheel Enables Mono Tremolo
Data Tremolo Rate
MIDI 23 Mutron (Env Filter) Wet/Dry
MIDI 25 Delay Wet/Dry
MIDI 26 Distortion Warmth
MIDI 27 Distortion Drive
MIDI 29 (Sw2) Enables Flange Effect
This KDFX studio reproduces the Mutron sound

used by Bootsy Collins and Bernie Worrell from
Parliament/Funkadelic.

ID Name Control Function

MWheel Enables smooth stereo tremolo
Data Tremolo Rate
MIDI 22 Echo Feedback
MIDI 23 Behaves exactly like a Wah

Pedal when MIDI29 is pressed.

(For those without the ccpedal)
MIDI 24 Echo delay time (for TAP1)
MIDI 25 Echo W et/Dry
MIDI 26 Distortion W armth
MIDI 27 Distortion Drive
MIDI 28 Feedback Control

609 Herbie'sEPWahSw2

610 Adjstbl ChDlyRvb

MIDI 29 (Sw2) Enables Wah Pedal
CCPedal1 Behaves exactly like a real Wah

Pedal when MIDI29 is pressed.
This program recreates the sound and FX chain

used by Herbie Hancock on his albums, “Head­hunters” and “Manchild”, with distortion and ste­reo trem with an FX loop to Wah and Echoplex.
MIDI29 button clicks on the wah, and a continu­ous controller pedal (volume pedal) acts like the
wah pedal. Plug the pedal into cc1 jack on the
back. MIDI23 (C slider) will also function as the
wah for those without the ccpedal. This program
(with the wah turned off) also resembles the EP
used by Patrick Moraz on Yes's “Relayer” album.

MWheel Enables stereo tremolo
Data Tremolo Rate
MIDI 22 Brightness Control

(Filter cutoff Freq in VAST)
MIDI 23 Chorus Rate Control
MIDI 24 Chorus Depth Control
MIDI 25 Reverb Wet/Dry
MIDI 26 Delay wet/Dry
MIDI 27 Chorus feedback Control
MIDI 28 Chorus pitch Env Shape -

Trapezoid or Triangle
MIDI29(Sw2) Disables FX

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