K2500

Kurzweil Music Systems K2500 Reference Manual

Page 1

K 2500

eference Guide

©1996 All rights reserved. Kurzweil is a product line of Young Chang Co.; V. A. S. T. is a registered trademark, and Kurzweil, K2500, and K2000 are trademarks of Young Chang Co. All other products and brand names are trademarks or registered trademarks of their respective companies. Product features and speciﬁcations are subject to change without notice.

Part Number: 910252 Rev. F

Page 2

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE THE COVER

NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED SERVICE PERSONNEL

The lightning flash with the arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated

"dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and

maintenance (servicing) instructions in the literature accompanying the product.

IMPORTANT SAFETY & INSTALLATION INSTRUCTIONS

INSTRUCTIONS PERTAINING TO THE RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS

WARNING - When using electric products, basic precautions should always be followed, including the following:

1. Read all of the Safety and Installation Instructions and Explanation of Graphic Symbols before using the product.

2. This product must be grounded. If it should malfunction or breakdown, grounding provides a path of least resistance for electric current to reduce the risk of electric shock. This product is equipped with a power supply cord having an equipment-grounding conductor and a grounding plug. The plug must be plugged into an appropriate outlet which is properly installed and grounded in accordance with all local codes and ordinances.

DANGER - Improper connection of the equipment-grounding conductor can result in a risk of electric shock. Do not modify the plug provided

with the the product - if it will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use an adaptor which defeats the function of the equipment-grounding conductor. If you are in doubt as to whether the product is properly grounded, check with a qualified serviceman or electrician.

3. WARNING - This product is equipped with an AC input voltage selector. The voltage selector has been factory set for the mains supply voltage in the country where this unit was sold. Changing the voltage selector may require the use of a different power supply cord or attachment plug, or both. To reduce the risk of fire or electric shock, refer servicing to qualified maintenance personnel.

4. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool, or the like.

5. This product should only be used with a stand or cart that is recommended by the manufacturer.

6. This product, either alone or in combination with an amplifier and speakers or headphones, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist.

7. The product should be located so that its location or position does not interfere with its proper ventilation.

8. The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat.

9. The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product.

10. This product may be equipped with a polarized line plug (one blade wider than the other). This is a safety feature. If you are unable to insert the plug into the outlet, contact an electrician to replace your obsolete outlet. Do not defeat the safety purpose of the plug.

11. The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time. When unplugging the power supply cord, do not pull on the cord, but grasp it by the plug.

12. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.

13. The product should be serviced by qualified service personnel when: A. The power supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has been spilled into the product; or C. The product has been exposed to rain; or D. The product does not appear to be operating normally or exhibits a marked change in performance; or E. The product has been dropped, or the enclosure damaged.

14. Do not attempt to to service the product beyond that described in the user maintenance instructions. All other servicing should be referred

to qualified service personnel.

15. WARNING - Do not place objects on the product's power supply cord, or place the product in a position where anyone could trip over,

walk on, or roll anything over cords of any type. Do not allow the product to rest on or be installed over cords of any type. Improper installations of this type create the possibility of a fire hazard and/or personal injury.

RADIO AND TELEVISION INTERFERENCE

Warning: Changes or modiﬁcations to this instrument not expressly approved by Y oung Chang could v oid y our authority to operate the instrument. Important: When connecting this product to accessories and/or other equipment use only high quality shielded cables. Note: This instrument has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules.

These limits are designed to provide reasonable protection against harmful interference in a residential installation. This instrument generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. Ho we v er, there is no guarantee that interference will not occur in a particular installation. If this instrument does cause harmful interference to radio or television reception, which can be determined by turning the instrument off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the instrument and the receiver.

• Connect the instrument into an outlet on a circuit other than the one to which the receiver is connected.

• If necessary consult your dealer or an experienced radio/television technician for additional suggestions.

NOTICE

This apparatus does not exceed the Class B limits for radio noise emissions from digital appar atus set out in the Radio Interf erence Regulations of the Canadian Department of Communications.

AVIS

Le present appareil numerique n’emet pas de bruits radioelectriques depassant les limites applicables aux appareils numeriques de la class B prescrites dans le Reglement sur le brouillage radioelectrique edicte par le ministere des Communications du Canada.

SAVE THESE INSTRUCTIONS

Page 3

Table of Contents

Young Chang Distributors ................................................................................................ iv

Front Panel ............................................................................................................................................ 1-1

Front Panel Quick Reference ..........................................................................................1-1

Alphanumeric Pad ............................................................................................... 1-3

Special Keyboard Functions ........................................................................................... 1-4

Special Button Functions ................................................................................................1-6

Special Button Functions: Double Button Presses ..........................................................1-7

Special Button Functions: Double Button Presses ..........................................................1-8

Programs, Setups, and Keymaps .........................................................................................................2-1

K2500 Program List ........................................................................................................ 2-1

Setup List ........................................................................................................................ 2-8

Version 2 Setups with Controller Assignments .............................................................. 2-9

Special Purpose Setups ....................................................................................... 2-9

Storing Objects in the Memory Banks ..........................................................................2-13

K2500 ROM Keymaps .................................................................................................2-14

Effects .....................................................................................................................................................3-1

List of Factory Preset Global Effects and Their Configurations ....................................3-1

Effects Controller Numbers ............................................................................................3-2

LFOs .......................................................................................................................................................4-1

LFO Shapes ..................................................................................................................... 4-1

Note Numbers and Intonation Tables ................................................................................................. 5-1

K2500 Note Numbers and MIDI Note Numbers ............................................................5-1

Note Numbers for Percussion Keymaps ......................................................................... 5-1

5-Octave Percussion Keymaps (C2 - C7) ...........................................................5-1

2-Octave Percussion Keymaps (C3 - C5) ...........................................................5-2

List and Description of Intonation Tables ......................................................................5-3

Control Sources .....................................................................................................................................6-1

Descriptions of Control sources ......................................................................................6-4

MIDI Control Source List ...............................................................................................6-4

Main Control Source List ................................................................................................6-7

Constant Control Sources .............................................................................................6-14

Keyboard Shortcuts for Control Sources ......................................................................6-15

DSP Algorithms ..................................................................................................................................... 7-1

Memory Upgrades and Other Options ............................................................................................... 8-1

Program RAM vs. Sample RAM .................................................................................... 8-1

Viewing RAM Objects .......................................................................................8-1

Choosing SIMMs for Sample RAM ............................................................................... 8-2

Using Headphones with the K2500 ................................................................................8-2

iii

Page 4

Maintenance and Troubleshooting ......................................................................................................9-1

Preventitive Maintenance ................................................................................................9-1

Battery selection and Replacement .................................................................................9-1

User-callable Diagnostics ...............................................................................................9-2

Maximizing Music and Minimizing Noise .....................................................................9-2

Power Problems and Solutions .......................................................................................9-4

Troubleshooting .............................................................................................................. 9-4

MIDI, SCSI, and Sample Dumps .......................................................................................................10-1

SCSI Guidelines ............................................................................................................10-1

Disk Size Restrictions .......................................................................................10-1

K2500 and Macintosh Computers .....................................................................10-3

Accessing a K2500 Internal Drive from the Mac .............................................10-4

The MIDI Sample Dump Standard ...................................................................10-5

SMDI Sample Transfers ................................................................................................10-8

System Exclusive Protocol ..................................................................................................................11-1

K2500 System Exclusive Implementation ....................................................................11-1

Button Press Equivalence Table .......................................................................11-7

Glossary ................................................................................................................................................12-1

Specifications ....................................................................................................................................... 13-1

K2500 FEATURES .......................................................................................................13-1

Environmental Specifications .......................................................................................13-3

Physical Specifications .................................................................................................13-3

Electrical Specifications ................................................................................................13-3

MIDI Implementation Chart .........................................................................................13-4

K2500 Program Farm .......................................................................................................................... A-1

Overview of Program Files ............................................................................................ A-1

ANACOMPS.K25 ..........................................................................................................A-3

ANALEADS.K25 .......................................................................................................... A-4

ANAPADS.K25 .............................................................................................................A-5

BASS.K25 ......................................................................................................................A-6

BELLS.K25 ....................................................................................................................A-7

BRASS.K25 ................................................................................................................... A-8

DIGITAL.K25 ................................................................................................................A-9

DKICKSNR.K25 ......................................................................................................... A-10

DRUMS.K25 ................................................................................................................A-11

ENSEMBLE.K25 .........................................................................................................A-12

ETHEREAL.K25 ......................................................................................................... A-13

FXSOUNDS.K25 .........................................................................................................A-14

GUITARS.K25 ............................................................................................................A-15

HYBPERC.K25 ........................................................................................................... A-16

HYBRIDS.K25 ............................................................................................................ A-17

ORGANS.K25 ............................................................................................................. A-18

PNOEPNO.K25 ........................................................................................................... A-19

STRINGS.K25 ............................................................................................................. A-20

VOX.K25 ..................................................................................................................... A-21

Page 5

K2000 Compatibility .............................................................................................................................B-1

K2000 Compatibility Files ..............................................................................................B-1

Converting K2000 Files to K2500 Files .........................................................................B-2

Converting programs from the K2500 to K2000 ............................................................B-3

Programs using Drum samples ...........................................................................B-3

Effects Programs .................................................................................................B-3

Keymaps .............................................................................................................B-4

Additional Considerations ..................................................................................B-4

Stereo Piano ROM ............................................................................................................................... C-1

Monaural Piano Programs ...................................................................................C-1

Stretch Tuning .....................................................................................................C-1

Stereo Piano ROM Programs ..........................................................................................C-1

Stereo Piano ROM Keymaps ..........................................................................................C-2

Stereo Piano ROM Samples ............................................................................................C-2

Stereo Piano ROM Programs with Controller Assignments ...........................................C-3

Orchestral ROM ..................................................................................................................................D-1

Orchestral ROM Effects ................................................................................................ D-1

Orchestral ROM Programs ............................................................................................ D-2

Orchestral ROM Keymaps ............................................................................................. D-3

Orchestral ROM Samples .............................................................................................. D-4

Orchestral ROM Programs with Controller Assignments ............................................. D-5

Version 2 Orchestral ROM Setups with Controller Assignments ............................... D-10

About the Control Setup .............................................................................................. D-12

Mirror Image Drum Map ............................................................................................. D-13

Getting Started ................................................................................................. D-13

Sostenuto Pedal ................................................................................................ D-13

Sticking ............................................................................................................ D-14

Contemporary ROM ............................................................................................................................E-1

Contemporary ROM Programs .......................................................................................E-2

Contemporary ROM Keymaps .......................................................................................E-3

Contemporary ROM Samples .........................................................................................E-4

Contemporary ROM Effects ...........................................................................................E-5

Contemporary ROM Programs with Controller Assignments ........................................E-6

Contemporary ROM Setups ..........................................................................................E-10

About the Control Setup ...............................................................................................E-12

Page 6

Young Chang Distributors

Contact the nearest Young Chang ofﬁce listed below to locate your local Young Chang/ Kurzweil representative.

Young Chang America, Inc.

13336 Alondra Blvd. Cerritos, CA 90703-2245 Tel: (310) 926-3200 Fax: (310) 404-0748

Young Chang Co.

Kang Nam P.O.Box 998 Seoul, Korea Tel: 011-82-2-3451-3500 Fax: 011-82-2-3451-3599

Young Chang Akki Europe GmbH

Industriering 45 D-41751 Viersen Germany Tel: 011-49-2162-4491 Fax: 011-49-2162-41744

Young Chang Canada Corp.

395 Cochrane Drive Markham, Ontario L3R 9R5 Tel: (905) 513-6240 Fax: (905) 513-9445

Page 7

Front Panel

Front Panel Quick Reference

Chapter 1 Front Panel

Front Panel Quick Reference

This section describes features common to both the rack versions of the K2500 (K2500R and K2500RS) as well as the keyboard versions of the K2500 (K2500, K2500S, K2500X, and K2500XS). The buttons and sliders that are unique to the keyboard models are described on page 1-4.

han/Bank

Layer/Zone

ower

echnology

TSAV

2500RS

Sampler

dit

rogram

Mute 1 Zoom -

Access

etup

QS E MIDI

Mute 2

Mute 3

Zoom +

Samp/Sec

ffects

FX Bypass

Previous Pg

Gain -

Mark

Gain +

aster

Jump

Link

ong

isk

Compare

xit

MIDI

ynthesisrchitectureariable

ptical In

DEF

MNO

VWX

0-9

eadphone

CLR

Space

nter

GHI

PQR

Left

Right

Tip=Left

Ring=Right

ABC

JKL

STU

UPPER/lower

ancel

olume

Volume Knob/ Slider

Controls mixed audio outputs and headphone jack only. Does not send MIDI Volume (MIDI

07).

Mode Buttons

Press any of these eight buttons to enter the corresponding mode.

Chan/Bank Buttons

Scroll through the layers of the current program while in the Program Editor. Scroll through the zones in the current setup while in Setup mode. Scroll through the Quick Access banks while in Quick Access mode.

Edit Button

Functional in most modes. Press Edit to modify the currently selected object or parameter. If it’s not editable, pressing Edit will do nothing.

There are editors available from every mode but Disk mode. The effect of pressing Edit in each of the modes is listed below.

1-1

Page 8

Front Panel

Front Panel Quick Reference

When in this mode—Pressing the Edit button…

Program mode— …enters the Program Editor, where you can edit the currently se-

Setup mode— …enters the Setup Editor, where you can edit the currently selected

Quick Access mode— …enters the Quick Access Editor, where you can change the pro-

Effects mode— …enters the Effects Editor, where you can edit the currently selected

MIDI mode— …enters the Velocity Map or Pressure Map Editor if the Velocity or

Master mode— …enters the Velocity Map, Pressure Map, or Intonation Table Editor

Song mode— …enters the Song Editor. The Song Editor is discussed in Chapter 12

Disk mode— …has no effect.

lected program. Chapter 6 in the Performance Guide covers the Program Editor.

setup. Chapter 7 in the Performance Guide describes the Setup Editor.

gram or setup assigned to the bank slot that was selected when you entered the Quick Access Editor. See Chapter 8 in the Performance

Guide .

effects preset. Chapter 9 in the Performance Guide explains the Effects Editor.

Pressure Map parameter is selected on either the XMIT page or the RECV page. See Chapter 17 in the Performance Guide . Enters the Program Editor if the Program parameter is selected on the CHANLS page. See Chapter 6 in the Performance Guide .

if the VelTouch, PressTouch, or Intonation parameter is selected.

in the Performance Guide . Enters the Program Editor if the Program parameter is highlighted when Edit is pressed.

Soft Buttons

Functions change depending on current display page. Function of each button is displayed on bottom line of display.

EXIT Button

Press to leave various editors. If you’ve made any changes while in the editor, you will be prompted to save them.

Cursor Buttons

Press the corresponding button to move the cursor up, down, left, or right in the display. Different parameter values will be highlighted as buttons are pressed.

Alpha Wheel

For data entry. Rotate clockwise to increase value of currently selected parameter, counterclockwise to decrease.

Plus / Minus Buttons (- and +)

Under the Alpha Wheel. Press to increase or decrease the value of the currently selected parameter by the smallest possible amount.

1-2

Page 9

Alphanumeric Pad

For Numeric Characters

Enter the value numerically instead of using the Alpha Wheel or Plus/Minus buttons. Press ENTER when ﬁnished. Press CANCEL to restore a parameter to its previous value. Pressing CLEAR is equivalent to pressing 0 without pressing ENTER.

For Alphabetic Characters

When naming objects, you can use the alphanumeric pad to enter letters instead of numbers. If you’re renaming a program, for example, just position the cursor under the character you want to change, then press the corresponding numeric button, as labeled. Press the button as many times as necessary to enter the desired character. Pressing CLEAR will enter a space before the selected character. The “0” button will enter the numerals 0–9 when pressed repeatedly.

Here’s an example. To enter the letter “C” in a blank space, press “1” three times. You can press the +/- button before or after entering the letter.

Front Panel

Front Panel Quick Reference

The CANCEL button is equivalent to the >>> soft button, and ENTER is the same as OK. The CLEAR button replaces the currently selected character with a space. The “+/-” button toggles between uppercase and lowercase letters.

When you press the +/- button on the alphanumeric pad, the currently selected character (the one with the cursor under it) will switch from upper case to lower case, and vice versa. The +/button is a toggle; that is, if you switch from lower to upper case, all further entries will be in upper case until you press the +/- button again.

There are several punctuation characters available as well, but they can be entered only with the Alpha Wheel or Plus/Minus buttons. The punctuation characters are between “z” (lower case) and “0.”

Special Alphanumeric Pad Functions

When you’re in Quick Access mode, the Alphanumeric pad can be used to select the entries in the current Quick Access bank. The layout of the alphanumeric pad corresponds to the layout of Quick Access bank entries as seen on the Quick Access mode page.

There’s also a shortcut for selecting different QA banks while in QA mode. Just press the +/- or CLEAR button on the alphanumeric pad, and you’ll be prompted to enter a bank number. Type the desired number on the alphanumeric pad, then press ENTER. The bank will be selected, and you’ll return to the Quick Access page.

You can also use the alphanumeric pad to select strings to search for in the currently selected list of objects, and to enter new strings to search for. The search function is described fully in Chapter 3 in the Performance Guide .

echnology

TSAV

2500RS

Sampler

han/Bank

Layer/Zone

dit

rogram

ffects

Access

etup

QS E MIDI

Mute 1

FX Bypass

Mute 2

Mute 3

Zoom -

Zoom +

Samp/Sec

ower

ynthesisrchitectureariable

xit

MIDI

aster

ong

isk

Mark

Compare

Previous Pg

Jump

Gain +

Gain -

Link

Lastly, rack users can play notes from the numeric keypad by holding down the Cancel button

ptical In

ABC

DEF

GHI

JKL

MNO

PQR

Left

while pressing alphanumeric buttons. This, too, is described fully in Chapter 3 in the

STU

VWX

CLR

UPPER/lower

0-9

Space

ancel

nter

Right

Tip=Left

Performance Guide .

olume

eadphone

Ring=Right

The Display

You may want to adjust the contrast of the display for different lighting conditions. The Contrast parameter in Master mode lets you set the contrast to your liking.

MIDI LED

Lights when the K2500 is receiving MIDI information at its MIDI In port.

1-3

Page 10

Front Panel

Special Keyboard Functions

This section describes the buttons and sliders that are unique to the keyboard models of the K2500. Features common to both rack and keyboard models are described starting on page 1-1.

udio

uts

eadphones

SW1 SW2

LDRL

aster Volume

olo

ixdown

Faders

MIDI



ontrollers

ssignable

132

LRL

igital OutOptical Out

4756 8

CB D

ptical In

igital In

oZ Right In

oZ Left In

rogram

P MIDI

Zoom -

aster

etup

Mute 2

Zoom +

ong

Access

Mute 3

Samp/Sec

ffects

isk

FX Bypass

lay/Pause

ecord

top

MIDI

Select

MIDI

iZ In

Previous PgMute 1 Gain -

Mark Gain +

han/Bank

Jump Link

Layer/Zone

Compare

dit

OutOut Thru

SCSI

InOut/Thru

SCSI

ntry

ata

witch Pedals

Thru

xit

Pedals / Breath

213

1 32

ABC

JKL

STU

+/-

UPPER/lower

ancel

2Breath

DEF

MNO

VWX YZ

0 - 9

KDS

Output

GHI

695

PQR

lear

Space

nter

ower

2500

orty-Eight Voices

F D

igital Multi Effects ulti-Track Sequencer

xpandable to 28MB of Sound ROM

E E

xpandable to 128MB of Sample RAM

ynthesisrchitectureariable

echnology

TSAV

Shows whether physical sliders control pan or volume.

Solo button

Mutes all zones in Setup except the current one. The button of the zone being soloed glows red.

Mixdown button

Brings up the Mixdown screen, as shown below. From this screen you can choose how the K2500’s physical sliders will function during MIDI mixdown. In the example below, the physical sliders A-H will control the volume level of MIDI channels 1-8. By pressing the Pan soft button, you would change the function of the physical sliders to control panning for channels 1-8; or, you could press the 9-16 soft button to have the physical sliders affect channels 9-16.

You can also use the cursor buttons to highlight the pan or volume control for a channel and use the alpha wheel or increment/decrement buttons to change the pan or volume level. In the screen below, for example, you could use the alpha wheel to control panning on channel 9 at the same time that you are using the physical sliders to control volume on channels 1-8.

Mixdown||||<>Prog:|36|DuckWalk||||||||||

|||WXWXWXWX|WXWXWXWX|WXWXWXWX|WXWXWXWX|| |||wxwxC{wx|wxwxwxwx|wxwxwxwx|wxwxwxwx|| >>||z|z}~|z||z|z|z|z||z|z|z|z||z|z|z|z|| ||||_|_|_|_||_|_|_|_||_|_|_|_||_|_|_|_||

|||||||||||||||||||||||||||||||||||||||| |||*****************|||||||||||||||||||| |Pan|||Volume|Ch|1-8|Ch9-16|||||||||Done

1-4

Shows which channels are affected by physical sliders.

Soft buttons for indicating which channels are affected by physical sliders.

Page 11

Front Panel

Special Keyboard Functions

MIDI Faders button

When you press the MIDI Faders button, the K2500’s physical sliders will take on the functions assigned on the current MIDI Faders page. From the MIDI Faders display you can deﬁne four different "pages" that deﬁne how the K2500’s physical sliders will work. In the display shown below, for example, the eight sliders are each deﬁned to send controller 6 (data) on the channels 9 through 16. Press one of the page soft buttons to use (or create) a different page of MIDI fader assignments. Use the Send soft button to transmit values without moving the faders.

The MIDI Faders pages will be saved with the Master table object.

MIDI|Faders:Page2|||||||||||||||||||||||

Chan|:|9|||10||11||12|||13|||14||15||16| Ctl||:|6|||6|||6|||6||||6||||6|||6|||6|| Value:|0|||0|||0|||0||||0||||0|||0|||0|| |||||||||||||||||||||||||||||||||||||||| ||||||\]||}~||\]||}~||||\]||}~||\]||}~|| |||||||_|||_|||_|||_|||||_|||_|||_|||_|| Page1||Page2||Page3||Page4|||Send|||Done

Assignable Controllers (buttons 1-8 and sliders A-H)

The function of these controllers will depend on how they’ve been deﬁned within a setup.

SW1, SW2

The function of these controllers will depend on how they’ve been deﬁned within a setup.

Record, Play/Pause, Stop

These buttons duplicate their namesake soft buttons in Song mode, allowing you to conveniently record, play, pause, and stop the current song.

1-5

Page 12

Front Panel

Special Button Functions

The mode buttons, as well as few of the other buttons, have additional functions, as described below. When you’re in the Program or Setup Editor, they have special functions, as indicated by the green labeling under each button, and they also work as track mutes on the Mixer page of Song Mode.

Program

Setup

Q Access

Effects

MIDI

Master

Disk

Chan/Bank

/ Mute 1 When you’re in the Program Editor, this button will mute Layer 1 of the current

program or the currently displayed layer for drum programs. While in the Setup Editor, it will mute Zone 1 of the current setup, if the setup has three or fewer zones; mutes current zone in setups with more than three zones. On MIXER page of Song mode, mutes either track 1 or 9.

/ Mute 2 When you’re in the Program Editor, this button will mute Layer 2 of the current

program, if any. For drum programs, solos currently displayed layer. While in the Setup Editor, it will mute Zone 2 of the current setup, if the setup has three or fewer zones; solos current zone in setups with more than three zones. On MIXER page of Song mode, mutes either track 2 or 10.

/ Mute 3 When you’re in the Program Editor, this button will mute Layer 3 of the current

program, if any. For drum programs, solos currently displayed layer. While in the Setup Editor, it will mute Zone 3 of the current setup, if the setup has three or fewer zones; solos current zone in setups with more than three zones. On MIXER page of Song mode, mutes either track 3 or 11.

/ FX Bypass When you’re in the Program Editor, pressing this button will bypass (mute) the preset

effect assigned to the current program, letting you hear just the sound of the layer(s) you want to hear. On MIXER page of Song mode, mutes either track 4 or 12.

/ Prev pg In the Program Editor, pressing this button will take you to the previously selected

editing page. The K2500 remembers the four most recently selected pages, so you can press this button up to four times to backtrack through the pages you’ve viewed. Pressing it a ﬁfth time will take you back to the ALG page. On MIXER page of Song mode, mutes either track 5 or 13.

/ Mark This is handy for marking Program Editor pages that you use frequently. Pressing this

button will mark the currently selected page. You can mark as many pages as you like. Then you can use the Jump button to select the marked pages in the order you marked them. Marked pages will show an asterisk in the top line of the display, just before the name of the page. A marked page can be unmarked by pressing the Mark button while the page is visible. On MIXER page of Song mode, mutes either track 6 or 14.

Song

/ Jump Use this button to jump to pages in the Program Editor that you’ve marked with the

Mark button. This will cycle through all the currently marked pages in the order they were marked. On MIXER page of Song mode, mutes either track 7 or 15.

/ Compare This button works in most editors, and lets you compare your edits with the original

version of the object you’re editing. When you press the Compare button, the display changes to remind you that you’re listening to the original version. Press any button to return to the currently selected page of whatever editor you’re in. On MIXER page of Song mode, mutes either track 8 or 16.

/ Layer/Zone In the Program Editor, these buttons let you scroll through the layers in the currently

selected program. In the Setup Editor, you can scroll through the zones. In the Effects Editor, you can scroll through the effect conﬁgurations. In the Quick Access Editor, they scroll through the entries in the currently selected Quick Access bank. In the Keymap Editor, they scroll through the velocity levels of multi-velocity keymaps. In Song mode, switches record track.

Edit

Whenever the selected parameter’s value is an editable object or a programmable parameter, pressing the EDIT button will take you to that object’s editor, or to the parameter’s programming page.

1-6

Page 13

Front Panel

Special Button Functions: Double Button Presses

Pressing two or more related buttons simultaneously executes a number of special functions depending on the currently selected mode. Make sure to press them at exactly the same time.

In This Mode: These Buttons: Will Do This:

(Pressed simultaneously)

PROGRAM MODE Octav-, Octav+ Reset MIDI transposition to 0 semitones. Double-

press again to go to previous transposition.

Chan-, Chan+ Set current MIDI channel to 1.

Plus/Minus Step to next Program bank (100, 200, etc.)

MASTER MODE CHAN/BANK Enables Guitar/Wind Controller Mode.

SONG MODE left/right cursor buttons Toggle between Play and Stop.

up/down cursor buttons Toggle between Play and Pause.

Plus/Minus Select Quantize Grid values on MISC page and

Edit Song:TRACK Quantize page. Select duration for a step on Edit Song:STEP page. Increment GateTime by 20% intervals on Edit Song: STEP page.

CHAN/BANK Select all tracks on any Edit Song:TRACK page.

DISK MODE 2 leftmost soft buttons Issue SCSI Eject command to currently selected

SCSI device.

CHAN/BANK Hard format SCSI device. List selected objects

when saving objects.

left/right cursor buttons Select all items in a list. Move cursor to end of

name in naming dialog.

up/down cursor buttons Clear all selections in a list. Move cursor to begin-

ning of name in naming dialog.

PROGRAM EDITOR CHAN/BANK Select Layer 1.

KEYMAP EDITOR Plus/Minus With cursor on the Coarse Tune parameter, tog-

gles between default Coarse Tune of sample root and transposition of sample root.

SAMPLE EDITOR 2 leftmost soft buttons Toggle between default zoom setting and current

zoom setting.

Plus/Minus Set the value of the currently selected parameter

at the next zero crossing.

1-7

Page 14

Front Panel

Special Button Functions: Double Button Presses

In This Mode: These Buttons: Will Do This:

(Pressed simultaneously)

ANY EDITOR Plus/Minus Scroll through the currently selected parameter’s

2 leftmost soft buttons Reset MIDI transposition to 0 semitones. Double-

Center soft buttons Select Utilities menu (MIDIScope, Stealer, etc.).

2 rightmost soft buttons Sends all notes/controllers off message on all 16

left/right cursor buttons Toggle between Play and Stop of current song.

list of values in regular or logical increments (varies with each parameter).

press again to go to previous transposition.

channels (same as Panic soft button).

up/down cursor buttons Toggle between Play and Pause of current song.

SAVE DIALOG Plus/Minus Toggle between next free ID and original ID.

1-8

Page 15

Programs, Setups, and Keymaps

K2500 Program List

Chapter 2 Programs, Setups, and Keymaps

K2500 Program List

The 200 preset programs in the K2500 are organized by instrument category. You will ﬁnd a few representatives of each instrument sampled for the base ROM soundset, as well as synthesized instrument emulations, commonly used synthesizer timbres, and templates for new programming. We hope you ﬁnd it a good starting point for your own work.

There are many ways to put expressivity and variety in a single program by assigning MIDI controllers to the various DSP functions in its layers. This list describes how each of the 200 factory preset programs can be modulated or altered by the various MIDI controls. Only those controls which may not be immediately evident are listed. Controls such as attack velocity and keynumber are understood to be assigned to most programs.

Prg # Program Name Mod Wheel Data MPress Comments

KEYBOARDS

Acoustic Piano

2 Stage Piano 3 BriteGrand 4 ClassicPiano&Vox 5 Ballad Pno&Str 6 Rock Piano 1

Honky-Tonk

8 E Grand & Pad

9 Classic E Piano 10 Dyno E Piano 11 E Piano PF

Suitcase E Pno

13 Brite Klav 14 Match Stick

COMPING SYNTHS

Big PWM

16 Matrix 12 17 OBX Braz 4 18 Memorymoog 4 19 Prophet Pulse 2 20 Prophet Square 2

Choir Balance

Strings Balance Soft Ped.

Tremolo

Pad Balance

Tremolo

Vibrato Depth Vibrato Rate

Layer Balance 8vb

Vibrato Vibrato, W/D Mix

Vibrato Filter & Env Ctl Vibrato Vibrato Filter & Env Ctl Vibrato Vibrato Filter & Env Ctl Vibrato Vibrato Filter & Env Ctl Vibrato Vibrato Filter & Env Ctl Vibrato Vibrato Filter & Env Ctl Vibrato

Soft Ped. Soft Ped. Soft Ped. Soft Ped.

Soft Ped.

2-1

Page 16

Programs, Setups, and Keymaps

K2500 Program List

Prg # Program Name Mod Wheel Data MPress Comments

New Shaper

22 Klicomp tree 23 Digicomp 24 Da Clav 25 Simpilton 26 Synth Caliope 27 Chiffloots 28 Bamboo Voices 29 Hyper Guitar 30 Dreamers 31 Pluxichord

LEAD SYNTHS

Fluty Lead

33 Gooshy Lead 34 Orient Wind 35 DC Lead 36 Duke's lead 37 FM Harmonica 38 Mini Lead Poly 39 AlaZawi 40 JR's Lead 41 Funky Lead 42 Hammeron Synth 43 Synthitar Lead 44 Modular Lead 45 Prophet Sync 46 Brt Saxy Lead 47 Don Corllione'

DRUMS

Studio Kit 1

49 Studio Kit 2 MW 50 2 Live Kits MW 51 Rock Kit 52 Jazz Kit 53 Reggae Kit 54 Light Kit

Vibrato Env Ctl Vibrato

Vibrato, Filter Env Detune, Env Ctl Vibrato, Filter Env

Vibrato Env Ctl Vibrato

Env Ctl Vibrato Env Ctl Vibrato, Filter Ctl Vibrato Env Ctl Vibrato Chiff Pitch Vibrato Vibrato Alt Atk Vibrato

Dly Vib Dly Vib

Tremolo Tremolo

Env Ctl

Vibrato Vibrato

Distance W/D Mix

Vibrato W/D Mix Vibrato, Filter Ctl Vibrato Timbre Ctl Vibrato Vibrato W/D Mix, Filter Vibrato Vibrato Tremolo Vibrato Pitch Vibrato

Timbre Ctl Filter, Resonance Vibrato

Vibrato Timbre Ctl Feedback Vibrato W/D Mix Vibrato

Filter 1 Filter 2 Vibrato W/D Mix Vibrato Vibrato 8 ve’s Vibrato Vibrato Slave Osc Pitch Vibrato W/D Mix Vibrato Vibrato Vibrato

W/D Mix

Alt Atk W/D Mix

Alt Kit W/D Mix

Alt Toms W/D Mix

Alt Atk W/D Mix

W/D Mix W/D Mix

Att Vel controls Hi Hat’s decay Att Vel controls Hi Hat’s decay

2-2

Page 17

Programs, Setups, and Keymaps

K2500 Program List

Prg # Program Name Mod Wheel Data MPress Comments

Garage Kit MW

56 Techno Kit 57 General MIDI Kit 58 Slam'n Drums

Alt Kit W/D Mix

Alt Kick W/D Mix(Flange)

W/D Mix

W/D Mix(Flange) 59 Perc Section MW Add Cowbell, Shaker W/D Mix 60 Industry Set 61 Techno Loops 62 Rhythmatic

Resonance (A#4-C5) Resonance (A#4-C5)

Loop Tempo Loop Tempo

Disable Multilay-erRhythm Tempo

PERCUSSION

Dualimba

64 TouchDrums 65

Hand Drums

Vibrato Amp Vibrato Vibrato Amp Vibrato, Pitch

W/D Mix,

Pitch Envelope

66 Dynamic Perc

67 Mark Tree 68 Bell Player 69 Marimba 70 Excited Marimba

Heartbeat (C2)

Filter

W/D Mix,

Heartrate (C2)

W/D Mix, Env Ctl

Vibrato Vibrato

EQ Amp

Alt Atk

BASSES

Dual E Bass

72 Warm Bass 73 Sustain E Bass 74 Ripper Bass 75 Yama Bass 76 Synth Fretless 77 Fretless Lead 78 Moogy Bass 1 79 Moogy Bass 2

Vibrato Vibrato Vibrato Vibrato Vibrato Vibrato Vibrato Vibrato

Layer Balance Vibrato Vibrato Vibrato Vibrato Vibrato Filter Vibrato

Filter Depth Resonance Depth Vibrato

Att Vel controls Hi Hat’s decay

Mod Wheel Engages Non-

tracking Congas

80 Mix Bass 81 Tite Rave Bass 82 Synth Bass 83 House Bass

Filter Depth Layer balance

W/D Mix Filter, Depth

Filter Ctl

Vibrato Filter Vibrato

GUITARS

Acoustic Guitar

85 Steel Str Guitar

Vibrato EQ Vibrato

SoftPd

2-3

Page 18

Programs, Setups, and Keymaps

K2500 Program List

Prg # Program Name Mod Wheel Data MPress Comments

12-str Guitar

87 Strummer Guitar 88 Slo Chorus Gtr 89 Captain Crunch 90 Smooth Lead

Vibrato EQ Vibrato

Tremolo EQ

Vibrato Filter , W/D Mix Vibrato

Shaper, W/D Mix Feedback

EQ SoftPd

PBend goes +2 and -12ST

91 Dist Harmonics Tremolo W/D Mix 92 Kotolin EQ Vibrato 93 Cee Tuar Vibrato Alt Sound Vibrato 94 Green Acres

ORGANS

95 Perc Organ 2500 Rotary Speaker

Perc Balance

96 Ballad Organ 2 Rotary Speaker 97 Gospel Organ Rotary Speaker Perc Balance 98 Drive Organ Rotary Speaker Distortion Ctl

99 Rotating B's & M's Rotary Speaker 100 Cheeze Vibrato Depth Env Ctl Vibrato Depth 101 Tamborgan Vibrato Perc Pitch Vibrato 102 Organ Pad Tremolo 103 Chiffy Pipes 104 Offertory

Decrescendo

Layer Balance

105 Pedal Pipes Decrescendo 106 Church Organ Vibrato Layer Balance Vibrato

Velocity Sensitive

107 Resorgan Dynamics Sost Pdl Does Release Ctl

STRINGS/CHOIR

108 Fast Strings 109 Att ctl Fast Str

Filter Filter For Fast Solo Lines& Active

Comping

110 Att ctl Med Str Env Ctl

For Med or Slow (MW) Solo

Lines

111 SfzTrem Strings

Sfz Envelope Triggered by In-

creased Att Vel

112 ClassicalStrings Vibrato Depth 113 SloClassical Str Decrescendo 114 Silk Strings Decrescendo W/D Mix Vibrato Depth

For Light, Active Comping

For Chordal Comping For Chordal Comping

115 Fast Violin Vibrato Depth 116 Slo Solo Cello Quick Fade W/D Mix Vibrato Depth 117 Stereo Slo Str

Filter

Velocity Controls Timbre Shift

2-4

Page 19

Programs, Setups, and Keymaps

K2500 Program List

Prg # Program Name Mod Wheel Data MPress Comments

118 Cathedral Choir

Decrescendo

Att Ctl Allows Smooth Voice

Leading in 4-Part Playing

119 Mixed Choir Layer Balance 120 The Choir Vibrato Release Env Vibrato

WINDS

121 Wendy's Flute

Higher Att Vel = Less Tremolo

122 Treble Flute 123 Baroque Flute 124 Soft Tenor Sax W/D Mix Vibrato, Filter 125 Fast Solo Tenor EQ Vibrato

For Fast Legato Lines

BRASS

126 Dynamic Trumpet Swell W/D Mix Vibrato 127 Miles Unmuted Vibrato Timbre Ctl Vibrato 128 Strght Mute Trpt Vibrato Defeat W/D Mix Vibrato Rate 129 Almost Muted Vibrato, Amp Timbre Ctl Vibrato 130 Solo Trombone W/D Mix Vibrato Depth 131 Sfz Bone

ENSEMBLES

132 Trumpet Section Swell 133 Hip Brass Vibrato W/D Mix Swell 134 Brt Miami Brass Bright Swell 135 Orchestral Brass Swell 136 Sax Section Swell W/D Mix Swell 137 Dyn Big Band Softer Swell

Sfz Envelope Sfz Envelope

138 Flute & Slo Str Solo String Swell Vibrato Depth SostPd disables Solo Str. Release

Velocity Controls Strings Release

139 Horn&Flute w/ Str Strings Balance Rel. Velocity Controls Strings

Rel.

140 DynamicOrchestra

Light playing engages a horn, flute & string ensemble.

SostPed holds a chord and engages an ensemble suited to solo lines.

At forte, bigger brass is enabled, with pressure controlling a swell.

141 Touch Orchestra

Mod wheel replaces RH trumpets with solo flute.

Each Velocity level brings in a new instrument:

At forte, horns are doubled; at double forte, kettle drums play; at fff, crash cymbal plays.

142 Slo Ensemble Synstring Res Synstring Filter Vibrato Depth

2-5

Page 20

Programs, Setups, and Keymaps

K2500 Program List

Prg # Program Name Mod Wheel Data MPress Comments

143 W Tell Orchestra

Swell Swell

For Active Marcato Comping SostPD Latches and Disables

Brass

144 Jazz Band

LH Bass layered with ride for walking rhythm section.

Data slider switches from guitar to horn section;

SostPed holds brass and adds solo Tenor. Throw the ModWhl for drum solo.

145 Rock Quartet

LH Bass layered with hihat for driving rhythm section.

At forte, kick, snare, and rhythm guitar are added.

Mod wheel does rotary speakers for the organ.

HYBRID SYNTHS

146 Gargantuanism Vibrato Layer Balance Vibrato SostPd Disables Strings 147 Tranquil Pluck

Vibrato

Release Ctl Vibrato

148 The Chase Vibrato W/D Mix Vibrato 149 Enterprize Tremolo Bell Pitch Tremolo 150 Magic Orchestra Piano Balance SostPd Disables Cymbal 151 Passion Source Detune Detune, Swell 152 Microwave Vibrato Release Ctl Vibrato 153 Fuzz Lite Vibrato Release Ctl Vibrato 154 Solina Phaze Vibrato Phaser Rate Vibrato 155 Arystal Layer Balance 156 Timershift Vibrato Release Ctl Vibrato 157 Aurora Mod Speed W/D Mix 158 Gongers Vibrato Pitch, W/D Mix Vibrato 159 Arrakis Grand Vibrato Depth Detune Vibrato Depth 160 Sisternal

Vibrato

Release Ctl

Vibrato

161 PPG 4 Vibrato W/D mix, Env Ctl Vibrato 162 Pseudomento MW

Pseudomento

Rate

163 Big Strings Vibrato Vibrato 164 Spaced Dly Sweep Mod Rate 165 Digital Choir Res Mod Filter Ctl 166 Meditation Pad Res Mod Filter Ctl Vibrato Move data slider from top to

bottom and throw the MW for

best resonance effect.

167 The Cymbal Sings Vibrato Filter 168 Slo FlangeStrngs Flange Rate

Template: Using allpass to cre-

ate flanging within a layer

2-6

Page 21

Programs, Setups, and Keymaps

K2500 Program List

Prg # Program Name Mod Wheel Data MPress Comments

169 Lushlife 170 Crystal too Vibrato Sine Wave Pitch Vibrato 171 Multi Marimba Vibrato Delay Time Vibrato 172 Wave Power Vibrato Vibrato 173 Noo Mutes Pitch Effect Filter Ctl, W/D Mix 174 Hammer Violin Pitch Effect Env Ctl, W/D Mix Vibrato 175 Mallet Flutes

Chiff Pitch

W/D Mix

176 Malletoo Pitch Mod Depth Pitch Mod Rate 177 Ethereal Echoes

Disable Bell

PAD SYNTHS

178 Padifier Vibrato Filter Vibrato 179 Spaced Inn Vibrato Vibrato 180 Glass Bow Vibrato Env Ctl Vibrato 181 Angel Pass 182 In the Air Vibrato Filter Ctl Vibrato 183 Matrix Mellostr Vibrato Env Ctl Vibrato 184 Ethereal Strings Filter Sweep Filter 185 Dawning Sweep Fade 186 Synth Strings 187 Choir Fixer Vibrato, Pan W/D Mix Vibrato 188 Shine On Vibrato Filter Ctl Vibrato 189 ChoirStrings 190 Launch Pad Timbre Ctl Timbre Ctl

EFFECTS SOUNDS

191 cymbal thing 192 a no way CS Mod Depth Mod Rate 193 Environments 194 Gremlin Group Timbre Ctl,

Env Ctl

195 Thunder Storm

Vibrato>Pitch,

Resonance

Play Sparse Staccato Notes in

LH for Thunder. RH is Rain

196 Northern Winds Pan Rate, Filter 197 Doomsday Pitch

UTILITY

198 Click Assigned to output group B (dry) 199 Default Program Used in New Lyr, Sample au-

dition, and Preview Program

2-7

Page 22

Programs, Setups, and Keymaps

Setup List

The Performance Setup, or "Setup" is a combination of up to eight zones, each with independent MIDI channel and controller transmission assignments. Setups can be played on a K2500R via the Local Keyboard Channel feature: Find this parameter in MIDI mode on the RECV page, change it from None to a channel of your choice, and set your controller to send on only that channel. Now, any note that comes in on that channel will be re-mapped according to the display channel (in program mode) and according to the Setup (in Setup mode).

Below is a list of the Setups provided with V2 software; there are detailed descriptions on the pages that follow.

ID# NAME ID# NAME ID# NAME

1 Sahara Touch 35 F1 Perc Comper 69 Digi Ensemble 2 Ethereal Split 36 Multi Chords 70 Pluck Stack 3 Slo Orchestra 37 3-Sec Talk sldrs 71 Quillmeister 4 Whirligig 38 FM Slider Play 72 Organ Select 5 Modern Harpsichord 39 E Grnd Pad 73 Perc Stack 2 6 Kogs & Things 40 BalladCompSplit 74 Action Scene 7 Desert Soil 41 Maggie May 75 Rusty Teeth 8 Mellow BigBand 42 EPnoPad rbnvel 76 Split Stack

9 Fusion Split 43 Dukes Up 77 Pulse Brass 10 Touch Rock Band 44 F1 Latin Comper 78 Majesty 11 Plucksynths 45 Floyd’s Echo 79 Classy Orch 12 Big Pad RbnVel 46 Poly Portem 80 Motion Pad 13 Cembellophone 47 C2 and Lead 81 Wiry Comp 3-Sec 14 MidEast Drone 48 PowerLead 82 GrimlyFiendish 15 Ribbon Thunder 49 Big Synbrass 83 Hold & Tap 16 Press Roll Orch 50 WahPedZawiSplit 84 LayeredSnare Kit 17 C7 F7 G7 Groove 51 Clav EP Organ 85 C#2 Jam 18 Folk Comper 52 Toxic Cheese 86 PassionPad 19 Extra Perc Drums 53 Floyd Wheel 87 Fusioner 20 Chiffer Lead 54 Under Water 88 Duo 21 Slider Play 1 55 Lullaby 89 A2 Foot Drummer 22 Mist Strings 56 Alazawilude 90 Aqua Choir 23 New Pulsar 57 Three Leads 91 Massy Orch 24 It’s Coming 58 News Room 92 Mechanical Mike 25 Summer Snows 59 Aqua Ribbon 93 Haunted House 26 OrchScape 60 New Age Organ 94 All Alone 3 27 Threeway Xfade 61 Drum Arps 95 Witchcraft 28 Royal Dyn Brass 62 Perc Stack 96 Fallout 29 Fairlite Stack 63 3-Sec E Pno 97 Control Setup 30 Mr. Wiz 64 Touch Stick 98 Clear Setup 31 New Dawn 65 Ballad Comp 99 Default Setup 32 Sudden Horrors 66 Dual Synth 33 Cisco Kid 67 C2 Jam 34 ToyBuphone 68 Hertz

2-8

Page 23

Programs, Setups, and Keymaps

Version 2 Setups with Controller Assignments

To take advantage of Version 2's eight zone setup capability, there are 100 new setups in the Version 2 Factory Objects. You will find unique internal program combinations, arpeggiator examples, special ribbon and controller functions, and templates for user created setups. With as many as 24 assignable controllers shared among 8 independent zones, K2500 MIDI setups can be quite powerful, and they require some experimentation to find all their features and nuances. In order to make this process easier, many setups are programmed according to the certain conventions. The sliders generally provide mixing capabilities either as group faders or individual zone faders. They also provide control over timbre, effects mix, and clock tempo. Other conventions include:

Slider F: Arp Vel Slider G: Wet/Dry mix Slider H: Tempo PSw 1: Arp Switch PSw 2: Latch2 Footswitch 1: Sustain Footswitch 2: Sostenuto Footswitch 3: Soft Pedal Large Ribbon: Aux Bend 1 Small Ribbon Press: Mono Pressure Small Ribbon Pos: Aux Bend 2 Mod Wheel: Mod Wheel MPress: MPress

MIDI notes can be triggered from many controllers including pedals, switches, sliders and the ribbons.

Special Purpose Setups

There are three special setups at the end of the bank:

97 Control Setup lets you define controller assignments in program mode. You can customize and select the Con-

trol Setup on the MIDI Xmit page. 98 Clear Setup is a template for creating your own control assignments from a clear palette. 99 Default Setup lets you create your own setups from our common settings. The NewZn parameter uses this

setup as its template for creating new zones.

The complete list of controller assignments for the setups in Version 2 is on the following pages.

2-9

Page 24

Programs, Setups, and Keymaps

Version 2 Setups with Controller Assignments

1 Sahara Touch Sliders: A timbre, B-E zone faders; PSw: 1 arp sw, 2 mute group 2 Ethereal Split Sliders: A port time for bass, B-E zone faders; PSw: 2 port sw for bass; FootSw: 1 sost

& enables fretless bass, 2 enables drums 3 Slo Orchestra Sliders: A-E zone faders; L Rib: cymbal roll; Press: cym roll vel 4 Whirligig Sliders: A-F zone faders; L Rib: 1 aux bend, 2 pan, 3 pan 5 ModernHarpsichord Sliders: A-E zone faders 6 Kogs & Things Sliders: A-E zone faders; PSw 2: group mute 7 Desert Soil Sliders: A-C group faders, D timbre control, E detune; L Rib: pan 8 Mellow BigBand Sliders: A-C zone faders 9 Fusion Split Sliders: A-D zone faders 10 Touch Rock Band Sliders: A-E group faders, F snare balance; PSw 2: group mute 11 Plucksynths Sliders: A-F zone faders; L Rib: filter freq; PSw 2: group mute 12 Big Pad RbnVel Sliders: A-C zone faders; L Rib: filter freq, pan, arp vel, & fx depth; PSw 2: group mute 13 Cembellophone Sliders: A-E zone faders; L Rib: group mutes 14 Mideast Drone Sliders: A-F group faders; L Rib: tempo 15 Ribbon Thunder Sliders: A-C zone faders, D filter freq, H key vel for thunder; L Rib: thunder; ModWh

timbral modulation 16 Press Roll Orch Sliders: A-B zone faders; L Rib & MPress: arp vel for drum roll on keys G1 to F#2;

PSw2: mute group 17 C7 F7 G7 Groove Sliders: A-F group faders; FootSw: 1 crash cym, 2 ride cym; L Rib: pitch bend for bass;

PSw: 1 arp latch, 2 panic 18 Folk Comper Sliders: A zone fader, B group fader, C guitar timbre; PSw: 1 arp sw & zone mute, 2

latch2; L Rib: arp pan 19 Extra Perc Drums Sliders: A-B group faders; Mod Wh: drum timbre 20 Chiffer Lead Sliders: A-B group faders 21 Slider Play 1 Sliders: B velocity, C pitch bend, D pan, E expression; Slider A & L Rib: key num; PSw2:

panic; FootSw2: latch2 22 Mist Strings Sliders: A-C zone faders, D timbre, E pan 23 New Pulsar Sliders: A-B group faders; PSw: 1 arp latch, 2 group mute 24 It's Coming Sliders: A-D zone faders; FootSw1: arp latch 25 SummerSnows Sliders: A-B group faders, C timbre; FootSw1: arp latch; L Rib: arp vel and pitch bend

for bass 26 OrchScape PSw: 1 group mute, 2 group mute 27 Threeway XFade Slider A & L Rib: three way crossfade; Mod Wh: strings balance 28 Royal Dyn Brass Sliders: A-B group faders, C release time 29 Fairlite Stack Sliders: A-C group faders, D filter sweep, E key num, F key vel; PSw2: panic 30 Mr. Wiz Sliders: A-B group faders; FootSw2: latch2; Mod Wh & L Rib: filter sweep 31 New Dawn Sliders: A pad fade, B balance for pad and timbral modulation; L Rib: pad pan and

pitch bend 32 Sudden Horrors Sliders: A-C zone faders; L Rib: pitch bend and pan 33 Cisco Kid Sliders: A-C group faders, PSw2: group mute; FootSw1: arp latch; L Rib: pan 34 ToyBuphone Sliders: A-D zone faders 35 F1 Perc Comper Sliders: A-B group faders; PSw1: arp latch

2-10

Page 25

Programs, Setups, and Keymaps

Version 2 Setups with Controller Assignments

36 Multi Chords Sliders: A-B group faders; L Rib: filter sweep 37 3-Sec Talk Sldrs Sliders: A key num, B key vel; FootSw3: arp latch; PSw2: panic; L Rib Sect1 & Slider F:

pitch bend; L Rib Sect2 & Slider C: timbre; L Rib Sect3 & Slider D: filter modulation

speed 38 FM Slider Play Sliders: B key vel, C pitch bend, D timbre, F expression; L Rib and Slider A: key num;

PSw2: panic 39 E Grand Pad Sliders: A-B group faders, C Pad balance; Higher velocity enables zones 3 and 4 40 BalladCompSplit Sliders: A-B group faders, C release env & balance; L Rib: 1 bass pitch bend, 2 timbre,

3 bass timbre; FootSw3: mute zone 1 41 Maggie May Sliders: A-C mute groups, D attack time; PSw2: mute group 42 EPno Pad RbnVel Sliders: A-C zone faders; L Rib: arp vel, pan, fx depth, timbre; PSw1: arp sw & group

mute 43 Duke's Up Sliders: A-B zone faders, C pan; L Rib: arp vel 44 F1 Latin Comper Sliders: A-C group faders, D timbre; FootSw2: group mute; L Rib: bass pitch bend;

ModWh: extra perc enable; PSw1: arp latch 45 Floyd's Echo Sliders: A-B group faders; ModWh: pitch transpose, tremolo, & mod 46 Poly Portem Sliders: A port time, B-C group faders; PSw2: port enable 47 C2 and Lead Sliders: A-E zone faders; PSw1: arp latch 48 PowerLead Sliders: A port time, B staggered port time, C-F zone faders; L Rib: timbre and pitch

bend; ModWh: timbre; PSw: 1 port switch, 2 momentary bend 49 Big Synbrass Sliders: A-B group faders, C & E bass timbre, D comp timbre 50 WahPedZawiSplit Sliders: A-E zone faders; L Rib: filter sweep (LH pad); S Rib: filter; PSw: 1 arp latch, 2

panic; FootSw4: modulation (zone 6); CC Pedal 1: filter sweep 51 Clav EP Organ Sliders: A-C zone faders, D timbre (zone 2); PSw1: arp latch 52 Toxic Cheese Sliders: A-C group faders; FootSw1: arp latch; L Rib: arp vel, pan (mallet sound), filter

sweep freq/res 53 Floyd Wheel Sliders: A-B group faders, C timbre; FootSw2: arp latch; L Rib: filter sweep & zone fad-

er (zone 4); ModWh: filter sweep 54 Under Water Sliders: A-C zone faders for zones 2-4, D detune piano & increase volume of pad,

FootSw1: arp latch, L Rib: zone fader for arpeggiated zone 55 Lullaby Sliders: A-B group faders; ModWh: filter sweep (strings); PSw2: octave transpose (flute

and choir) 56 Alazawilude Sliders: A-B group faders, E portamento time (RH lead); FootSw: 3 mute zone, 4 arp

latch; ModWh: filter; PSw2: portamento switch (RH lead) 57 Three Leads Sliders: A-B group faders, C decay time (flute), timbre (RH lead), L Rib: vibrato; Mod-

Wh: timbre 58 News Room Sliders: A-E group faders, F key vel; FootSw2: latch2; L Rib: theramin & pitch bend;

ModWh: filter sweep/res (bass) 59 Aqua Ribbon Sliders: A-B zone faders, C filter sweep; L Rib: filter; PSw2: arp latch; ModWh: filter 60 New Age Organ Sliders: A-C group faders, D timbre 61 Drum Arps Sliders: A-B group faders, PSw1: arp latch 62 Perc Stack Sliders: A-B group faders; FootSw4: arp latch; PSw2: mute zones 2&3 (percussives);

Press: arp vel 63 3-sec E Pno CC Pedal 1: filter; L Rib: 1 filter sweep, 2 tremolo rate, 3 tremolo amount; PSw2: arp

latch

2-11

Page 26

Programs, Setups, and Keymaps

Version 2 Setups with Controller Assignments

64 Touch Stick Sliders: A-B zone faders; Press: tremolo (EPiano) 65 Ballad Comp Sliders: A-B zone faders 66 Dual Synth Sliders: A-E zone faders; PSw2: zone mutes toggle 67 C2 Jam Sliders: A-C group faders, D timbre (drums), E timbre (bass), F timbre (RH comp); L

Rib:1 pitch (drums), 2 timbre (bass) & octave transpose (RH comp), 3 bend (RH comp);

PSw1: arp latch 68 Hertz Sliders: A-C group faders; L Rib: timbre (bass) 69 Digi Ensemble Sliders: A-C zone faders; FootSw2: arp latch 70 Pluck Stack Sliders: A-B group faders; PWhl: pan (cymbal) 71 Quillmeister Sliders: A-D zone faders; PSw: 1 group mute (zones 1&2), 2 group mute (zones 3&4) 72 Organ Select Sliders: A-D zone faders 73 Perc Stack 2 Sliders: A-C zone faders 74 Action Scene Sliders: A-C group faders; L Rib: pan (clav arps.); filter/res (pad); ModWh: filter

sweep/res (pad); PSw1: arp latch 75 Rusty Teeth Sliders: A-C zone faders; FootSw 2: octave transpose; Breath: filter res; L Rib: 1 bend, 2

filter res & distortion, 3 filter res; PSw2: arp latch 76 Split Stack Sliders: A-C group faders 77 Pulse Brass Sliders: A-B group faders 78 Majesty Sliders: A-B group faders, C piano balance, D timbre 79 Classy Orch Sliders: A-D zone faders 80 Motion Pad Sliders: A-B group faders; FootSw: 1: arp latch; L Rib: arp vel 81 Wiry Comp 3-Sec Sliders: A-C zone faders; L Rib: 1 pitchbend, 2 distortion, 3 filter 82 GrimlyFiendish Sliders: A-D zone faders; L Rib: 1 pitchbend, 2 pitchbend, 3 release time 83 Hold & Tap Sliders: A-B zone faders, C perc vel; L Rib: filter and perc trigger 84 LayeredSnare Kit Sliders: A-E group faders 85 C#2 Jam Sliders: A-C group faders; FootSw2: arp latch; L Rib: 1 perc pitch, 2 filter, 3 pitch bend 86 PassionPad Sliders: A-B zone faders, C filter; L Rib: filter 87 Fusioner Sliders: A-D group faders; L Rib: bass pitch bend 88 Duo Sliders: A-D zone faders; FootSw2: arp latch; 89 A2 Foot Drummer Sliders: A-C group faders; FootSw 1: kick drum; L Rib :1 pitch bend perc, 2 pitch bend

perc, 3 pitch RH drum 90 Aqua Choir Sliders: A-B zone faders, C release time; L Rib : filter & pan; FootSw 1: arp latch 91 Massy Orch Sliders: A-C group faders 92 Mechanical Mike Sliders: A-E group faders 93 Haunted House Sliders: A-D group faders; PSw 1 arp latch, 2 ghost whistle enable; Above G5: skeletons 94 All Alone Sliders: A-E zone faders; L Rib: wind; PSw: 1 arp latch, 2 panic; Press: pitch bend 95 Witchcraft Sliders: A key vel, timbre, B group fader, C mod rate, D wind key num, E zone fader;

L Rib: voice trigger; Sm Rib: thunder trigger; ModWh: filter; PSw2: panic 96 Fallout Sliders: A-C group faders, D piano detune; L Rib: wind; PSw2: panic 97 Control Setup Slider A: data; FootSw4: arp latch; CPed2: breath; PSw2: panic 98 Clear Setup nothing assigned 99 Default Setup defaults

2-12

Page 27

Storing Objects in the Memory Banks

The number of available IDs differs between object types, and depending on whether you are storing the object to the Zeros bank or one of the other 9 banks.

Programs, Setups, and Keymaps

Storing Objects in the Memory Banks

OBJECT TYPE NUMBER OF OBJECTS AND ID RANGE IN ROM IN RAM

Sample, Keymap, Program, Setup 100 1—99 100 200—299

100—199 300—399

. .

900—999

A total of 999 objects of these types can be stored, 99 of each type in the Zeros bank, and 100 of each type in every other bank.

Quick Access Banks, Songs, Velocity Maps, Pressure Maps, Intonation Tables 75 1—75 20 100—119

A total of 255 objects of these types can be stored, 75 of each type in the Zeros bank, and 20 of each type in every other bank.

200—219

. .

900—919

Preset Effects 37 1—37 10 100—109

200—209

. .

900—909

A total of 127 preset effects can be stored, 37 in the Zeros bank, and 10 in every other bank.

2-13

Page 28

Programs, Setups, and Keymaps

K2500 ROM Keymaps

ID# Keymap ID# Keymap ID# Keymap ID# Keymap

0 None 55 Dry Snare 2 104 Jazz Guitar Atk 151 Sawtooth 1 Grand Piano 56 Dry Snare 3 105 Steel Guitar Atk 152 Dull Sawtooth 2 Dual Elec Piano ** 57 Ambient Snare 1 106 Perc Atk 1 153 Very Dull Saw 3 Hard Elec Piano 58 Ambient Snare 2 107 Perc Atk 2 154 Square Wave 4 Soft Elec Piano 59 Ambient Snare 3 108 Perc Atk 3 155 Dull Square 5 Voices 60 Cross Stick 109 Wood Bars 156 Very Dull Square 6 Ensemble Strings 62 10in Dry Tom 110 Solo Strings 157 Buzzy Square 7 Elec Jazz Guitar 63 12in Dry Tom 111 Six String Mutes 158 Buzz Wave 8 Acoustic Guitar 64 15in Dry Tom 112 Oboe Wave 159 Hi Formant Wave 9 5 String Guitar 65 13in Amb Tom 113 Clav Wave 160 PrimeNumber Wave

10 Dual E Bass ** 66 15in Amb Tom 114 Elec Piano Wave 161 Triangle Wave 11 Elec Pick Bass 67 16in Amb Tom 115 Bell Wave 162 Third Wave 12 Elec Slap Bass 68 Reversals 116 Ping Wave 163 Sine Wave 13 Finger Atk Bass 69 Reverse Bell 117 Drawbars 1-3 164 ExtDynPrtls1 *** 14 Flute 71 Bidir Amb Kick 1 118 Drawbars 1-4 165 ExtDynPart2 *** 15 Tenor Saxophone 72 Reverse Snare 119 Drawbars 1-3 Dist 166 ExtDynSaw *** 16 Sax no Altissimo 73 Conga Bass 120 Full Drawbars 167 Mellow Vox 17 Trumpet 74 Conga Slap 121 Drawbars 1-4,8 168 Silence 18 Trombone 75 Conga Tone 122 Organ Wave 1 169 Synflute Brt 19 Trombone/Trumpet 76 Syn Conga Tap 123 Organ Wave 2 170 Synflute mello 20 Bone/Trp 2 77 Timbale 124 Organ Wave 3 171 SlapBass/Guitar 21 Trombet 78 Timbale Shell 125 Organ Wave 4 172 Mello Vox 2 22 Trumpbone 79 Cabasa 126 Organ Wave 5 173 Shift Guitar 2 23 Preview Drums 80 Clave 127 Organ Wave 6 174 Single Mute 24 Dry Kit1 81 Cowbell 128 Organ Wave 7 177 Fingered Bass 2 25 Dry Kit2 82 Tambourine 129 Partials 1-3 178 Ext Dual Bass ** 26 Amb Kit 1 83 Handclaps 130 Partials 4-7 179 Syn Bass Pick 27 Amb Kit 2 84 Reverse Crash 131 Partials 8-12 180 Syn Bass Slap 28 Amb Kit 3 85 Reverse Clsd Hat 132 Partials 13-20 181 Shift Guitar 29 2 8ve Dry Kit 86 Reverse Open Hat 133 Partials 21-30 182 Syn Guitar 30 General MIDI Kit 87 Reverse hat loop 134 Partials 1&2 183 Syn Voices 39 Ride Rim Cymbal 88 Chiff 135 Partials 3&4 184 Syn Voices 2 40 Ride Bell Cymbal 89 Chirp 136 Partials 5-7 185 Perc Voice 41 Crash Cymbal 90 FM Bell Trans 137 Partials 8-10 186 Synstrings 1 42 Closed Hihat 91 Waterphone 138 Partials 11-15 187 Synstrings 2 43 Slt Open Hihat 92 Metal Clank 139 Partials 16-21 188 Syn Piano 44 Open Hihat 93 TimbaleShell Atk 140 Partials 2-4 189 Funny Perc 45 Open>Close Hihat 94 Cowbell Atk 141 Partials 5,7,9,11 190 TechnoLoops 46 Foot Close Hihat 95 Timbale Atk 142 Partials 1,2,4 191 Hat Loop 47 Dry Kick 1 96 Bell Attack 143 Partials 1,2,4,6 199 Silence 48 Dry Kick 2 97 Clave Atk 144 Partials 3-5 49 Amb Kick 1 98 Wood Bar Atk 145 Partials 1-3 50 Amb Kick 2 99 Conga Tone Atk 146 Partials 1,3,5 51 Amb Kick 3 100 Conga Slap Atk 147 Partials 1&4 52 DrySnare 1 Soft 101 Elec Pno Atk 148 Partials 1&6 53 DrySnare 1 Hard 102 Brass Attack 149 Partials 1&8 54 Dual Dry Snare 1 ** 103 Bow Attack 150 Partials 1&12

** dual-velocity keymaps *** triple-velocity keymaps

2-14

Page 29

Effects

List of Factory Preset Global Effects and Their Configurations

Chapter 3 Effects

List of Factory Preset Global Effects and Their Conﬁgurations

ID#

1 2 Small Hall Room Simulator 3 Medium Hall Ultimate Reverb 4 Large Hall Ultimate Reverb 5 Big Gym Room Simulator 6 Bright Plate 1 Ultimate Reverb 7 Opera House Ultimate Reverb 8 Live Chamber Room Simulator

9 Bathroom Ultimate Reverb 10 Med Large Room Room Simulator 11 Real Room Ultimate Reverb 12 Drum Room Room Simulator 13 Small Dark Room Room Simulator 14 Small Closet Ultimate Reverb 15 Add Ambience Room Simulator 16 Gated Reverb Gated Reverb 17 Reverse Reverb Reverse Reverb 18 Non-Linear Ultimate Reverb 19 Slapverb Room Simulator 20 Full Bass Chorus+Delay+Room+Mixer 21 Room & Delay Delay+Room+Mixer 22 Delay Big Hall Delay+Hall+Mixer 23 Chorus Room Chorus+Room+Mix 24 Chorus Smallhall Chorus+Hall+Mix 25 Chorus Med Hall Chorus+Hall+Mix 26 Chorus Big Hall Chorus+Hall+Mix 27 Chor-Delay Room Chorus+Delay+Room+Mixer 28 Chor-Dly Hall Chorus+Delay+Hall+Mixer 29 Flange-Dly Room Flange+Delay+Room+Mixer 30 Flange-Dly Hall Flange+Delay+Hall+Mixer 31 Stereo Chorus Stereo Chorus 32 Stereo Flanger Stereo Flange 33 Stereo Delay 4-Tap Delay 34 4 Tap Delay 4-Tap Delay 35 Chorus Delay Parametric EQ+Chorus+Delay+Mixer 36 Flange Delay Parametric EQ+Flange+Delay+Mixer 37 Chorus 4 Tap EQ+Chorus+4 Tap Delay+Mixer

100 Flange 4 Tap EQ+Flange+4 Tap Delay+Mixer 101 Chorus Echo EQ+Chorus+4 Tap Delay+Mixer 102 Chorus Echoverb EQ+Chorus+4 Tap Delay+Mixer 103 Fast Flange Stereo Flange 104 Wash Chorus+Delay+Hall+Mixer 105 Into the Abyss Chorus+Delay+Hall+Mixer 106 Space Flanger EQ+Flange+4 Tap Delay+Mixer 107 Flange Room Flange+Delay+Hall+Mixer 108 Predelay Hall Delay+Hall+Mixer 109 Flange Echo EQ+Flange+4 Tap Delay+Mixer

Name Configuration

Sweet Hall Ultimate Reverb

3-1

Page 30

Effects

Effects Controller Numbers

The K2500 uses the Digitech 256 chip for its effects processor. When in Program Mode, the operating system allows you to assign any MIDI controller to Wet/Dry Mix plus two additional parameters related to the effect. (The choice of controllable parameters changes depending on the effect conﬁguration. They are the parameters you see when you go to edit the effect.)

But if the FX Mode parameter on the Effects page is set to Master, then the remapping that takes place within the program is not applied. Instead, you use a predeﬁned set of controller numbers. So to control the effects processor in real time when FX Mode is set to Master, you must use the following controller numbers.

To control the effects processor in this manner, press the EFFECTS button. Change FX Mode to Master, and set FX Chan to the channel you will use to send the controller info. (You can also send program changes on this channel to switch effects, so it is usually best to pick a channel that is not being used for notes.) These settings are remembered as long as the Power Mode parameter on the MIDI receive page is set to User. Otherwise, you will have to re-enter the settings each time you power up.

In the following chart, the parameters are grouped by Conﬁguration. Multi FX will contain parameters found in more than one conﬁguration.

Ultimate Reverb

Decay time 77 Room volume 78 HF damping 14 Envelopment 32 Early Delay 29 Early Diffusion 30 Later Delay n/a Later Diffusion 93 Dry Level 28 Early Level 31 Later Level 92

Room Simulation

Gross Size 90 Decay Time 15 Listening Position 79 HF Damping 14 Dry Level 28 Reverb Level 88

Reverb in Multi FX

3-2

RevPre-Delay 80 Hi-Freq Damp 83 Reverb Decay 82 Revin dry 86 Revin ﬂange 87 Revin Delay 85

Page 31

Effects

Effects Controller Numbers

Gated Reverb

Pre-Delay 80 Decay Time 38 Envelope 39 Accent Dly 01 Dry Level 57 Accent Level 02 Right Level 62 Left Level 94

Reverse Reverb

Pre-Delay 80 Reverse Time 89 Accent Delay 01 Accent Level 02 Dry Level 57 Right Level 66 Left Level 65 Accent Lvl L 50 Accent Lvl R 51

Parametric EQ

Band 1 Freq 03 Band 1 level 04 Band 2 Freq 05 Band 2 level 06 Band 3 Freq 07 Band 3 level 08 EQ level 58

Graphic EQ

63 Hz 41 125 Hz 43 250 Hz 45 500 Hz 47

1.0 Khz 42

2.0 Khz 44

4.0 Khz 46

8.0 Khz 48

Stereo Chorus

Chorus Delay 10 LFO Speed 13 LFO Depth 12 Dry Level 57 Right Level 54 Left Level 52 Chorus Level 53

3-3

Page 32

Effects

Effects Controller Numbers

Stereo Flange

Flange Delay 33 LFO Speed 37 LFO Depth 36 Feedback 35 Dry Level 57 Right Level 61 Left Level 59 Flange Level 60

Stereo Delay

Delay Time 22 Feedback 17 Dry Level 57 Right Level 56 Left Level 55 DelayDry In 19 Delay Chr In 18 Delay Flg In 21 Delay EQ In 20 Delay EQ Src 16

4 T ap Delay

Tap 1 Delay 24 Tap 2 Delay 25 Tap 3 Delay 26 Tap 4 Delay 27 Feed Delay 23 Feedback 17 Dry Level 57 Tap 1 Level L,R 67, 68 Tap 2 Level L,R 69, 71 Tap 3 Level L,R 72, 74 Tap 4 Level L,R 75, 76 Tap 2 Level 70 Tap 4 Level 73

Other

Wet/Dry Mix 91 Bypass 09 LowPass Filter 49

NOTES: In the interest of signal to noise performance, the effects dry level parameter should be left at 0

and the Wet/Dry mix (91) should be used instead.

3-4

Some of the above parameters may only be found in a Multi FX patch.

Page 33

LFOs

LFO Shapes

Chapter 4 LFOs

LFO Shapes

LFO Shape Displayed:

Sine Sine Positive Sine +Sine Square Square Positive Square +Squar Triangle Triang Positive Triangle +Trian Rising Sawtooth Rise S Positive Rising Sawtooth +Rise Falling Sawtooth Fall S Positive Falling Sawtooth +Fall 3 Step 3 Step Positive 3 Step +3 Ste 4 Step 4 Step Positive 4 step +4 Ste 5 Step 5 Step Positive 5 Step +5 Ste 6 Step 6 Step Positive 6 Step +6 Ste 7 Step 7 Step Positive 7 Step +7 Ste 8 Step 8 Step Positive 8 Step +8 Ste 10 Step 10 Ste Positive 10 Step +10 St 12 Step 12 Ste Positive 12 Step +12 St

4-1

Page 34

LFOs

LFO Shapes

Sine

-1 90°

0° 360° / 0°

-1 90°

0° 360° / 0°

270°

180°

Triangle

270°

180°

Positive Sine

-1 90°

0° 360° / 0°

Positive Triangle

-1 90°

0° 360° / 0°

270°

180°

270°

180°

Sq uare

-1 90°

270°

180°

0° 360° / 0°

Rising Sawtooth

-1 90°

270°

180°

0° 360° / 0°

Positive Sq uare

-1 90°

0° 360° / 0°

Positive Rising Sawtooth

-1 90°

0° 360° / 0°

270°

180°

270°

180°

Falling Sawtooth

-1 90°

0° 360° / 0°

-1 90°

0° 360° / 0°

270°

180°

4 Step

270°

180°

Positive Falling Sawtooth

-1 90°

0° 360° / 0°

Positive 4 Step

-1 90°

0° 360° / 0°

270°

180°

270°

180°

3 Step

-1 90°

270°

180°

0° 360° / 0°

5 Step

-1 90°

0° 360° / 0°

270°

180°

Positive 3 Step

-1 90°

0° 360° / 0°

Positive 5 Step

-1 90°

0° 360° / 0°

270°

180°

270°

180°

4-2

Page 35

LFOs

LFO Shapes

6 Step

-1 90°

270°

180°

0° 360° / 0°

8 Step

-1 90°

0° 360° / 0°

270°

180°

6 Step

Positive Sine

-1 90°

0° 360° / 0°

Positive 8 Step

-1 90°

0° 360° / 0°

270°

180°

270°

180°

7 Step

-1 90°

0° 360° / 0°

-1 90°

0° 360° / 0°

270°

180°

10 Step

270°

180°

Positive 7 Step

-1 90°

270°

180°

0° 360° / 0°

Positive 10 Step

-1 90°

0° 360° / 0°

270°

180°

12 Step

-1 90°

0° 360° / 0°

270°

180°

Positive 12 Step

-1 90°

270°

180°

0° 360° / 0°

4-3

Page 36

LFOs

LFO Shapes

4-4

Page 37

Note Numbers and Intonation Tables

Note Numbers for Percussion Keymaps

Chapter 5 Note Numbers and Intonation Tables

K2500 Note Numbers and MIDI Note Numbers

K2500 MIDI

C -1—B -1 0—11 C 0—B 0 12—23 C 1—B 1 24—35 C 2—B 2 36—47 C 3—B 3 48—59 C 4 (Middle C)—B 4 60—71 C 5—B 5 72—83 C 6—B 6 84—95 C 7—B 7 96—107 C 8—B 8 108—119 C 9—G 9 120—127

You can assign samples to keymaps in the range from C 0 to G 9. The K2500 will respond to MIDI events in the octave from C -1 to B -1. If a Note On event is generated in the range from C

-1 to B -1, the K2500 will respond by setting the Intonation key correspondingly (C -1 will set it to C, C# -1 will set it to C#, etc.)

Note Numbers for Percussion Keymaps

Most of the K2500’s percussion programs have keymaps that place the various percussion timbres at standardized key locations. There are eight drum keymaps: Preview Drums, ﬁve 5octave kits (two dry and three ambient), a 2-octave kit, and the General MIDI kit. The keymap 30 General MIDI Kit adheres as closely as possible to the General MIDI standard for placement of timbres. As a rule, programs that use this keymap can be assigned in percussion tracks for prerecorded sequences and will play appropriate timbres for all percussion notes.

The timbres are located consistently within the 5-octave kit keymaps so you can interchange keymaps within percussion programs freely without changing the basic timbres assigned to various notes (snare sounds will always be at and around Middle C, for example). The note assignments for the timbres in the 5-octave kit and 2-octave kit keymaps are listed below. MIDI note number 60 (Middle C) is deﬁned as C 4.

5-Octave Percussion Keymaps (C2 - C7)

MIDI NOTE NUMBER KEY NUMBER SAMPLE ROOT

36-37 C2-C#2 Low Tom 38-39 D2-D#2 Low Mid Tom 40-41 E2-F2 Mid Tom 42-43 F#2-G2 Hi MidTom 44-45 G#2-A2 Mid Hi Tom 46 A#2 Hi Tom 47–51 B 2–D# 3 Kick 52–54 E3–F#3 Snare (Sidestick)

5-1

Page 38

Note Numbers and Intonation Tables

Note Numbers for Percussion Keymaps

55-56 G3-G#3 Low Snare (dual vel. on Dry Kit 1) 57-59 A3-B3 Mid Snare (dual vel. on Dry Kit 1) 60-61 C4-C#4 Hi Snare (dual vel. on Dry Kit 1) 62–64 D 4–E 4 Closed HiHat 65–67 F 4–G 4 Slightly Open HiHat 68–69 G# 4–A 4 Open HiHat 70–71 A# 4–B 4 Open to Closed HiHat 72 C 5 Foot-closed HiHat 73-74 C#5-D5 Low Crash Cymbal 75-78 D#5-F#5 Pitched Crash Cymbals 79 G5 Splash Cymbal 80 G#5 Ride Cymbal (Rim) 81-82 A5-A#5 Ride Cymbal (Rim and Bell) 83-84 B5-C6 Ride Cymbal (Bell) 85 C# 6 Cowbell 86 D 6 Handclap 87 D# 6 Timbale 88 E 6 Timbale Shell 89 F 6 Conga Tone 90 F#6 Conga Bass Hi 91 G 6 Conga Slap 92 G#6 Conga Bass Low 93 A 6 Clave 94 A# 6 Cabasa 95–96 B 6–C 7 Tambourine Shake

2-Octave Percussion Keymaps (C3 - C5)

MIDI NOTE NUMBER KEY NUMBER SAMPLE ROOT

48–49 C 3–C# 3 Kick

50 D 3 Low Tom 51 D# 3 Cowbell 52 E 3 Low Tom 53 F 3 Mid Tom 54 F# 3 Cowbell 55 G 3 Mid Tom 56 G# 3 Timbale 57 A 3 High Tom 58 A# 3 Snare (Sidestick) 59 B 3 High Tom

60-61 C4-C#4 Snare (dual velocity)

62 D 4 Closed HiHat 63 D#4 Ride Cymbal (Rim and Bell) 64 E 4 Closed HiHat 65 F 4 Slightly Open HiHat 66 F# 4 Crash Cymbal 67 G 4 Slightly Open HiHat 68 G# 4 Crash Cymbal 69 A 4 Open HiHat 70 A# 4 Crash Cymbal 71 B 4 Open to Closed HiHat 72 C 5 Foot-closed HiHat

5-2

Page 39

Note Numbers and Intonation Tables

List and Description of Intonation Tables

1 Equal No detuning of any intervals. The standard for modern western music. 2 Classic Just Tunings are defined based on the ratios of the frequencies between intervals. The origi-

nal tuning of Classical European music.

7th Similar to classic Just, but with the Dominant 7th flatted an additional 15 cents.

3 Just 4 Harmonic The perfect 4th, Tritone, and Dominant 7th are heavily flatted.

5 Just Harmonic 6 Werkmeister Named for its inventor, Andreas Werkmeister. It’s fairly close to equal temperament,

7 1/5th Comma 8 1/4th Comma

9 Indian Raga Based on the tunings for traditional Indian music. 10 Arabic Oriented toward the tunings of Mid-Eastern music. 11 1Bali/Java Based on the pentatonic scale of Balinese and Javanese music. 12 2Bali/Java A variation on 1Bali/Java, slightly more subtle overall. 13 3Bali/Java A more extreme variation. 14 Tibetan Based on the Chinese pentatonic scale. 15 CarlosAlpha Developed by Wendy Carlos, an innovator in microtonal tunings, this intonation table

16 Pyth/aug4 This is a Pythagorean tuning, based on the Greek pentatonic scale. The tritone is 12 cents

17 Pyth/dim5 This is a Pythagorean tuning, based on the Greek pentatonic scale. The tritone is 12 cents

18 Obj v n.n

and was developed to enable transposition with less dissonance.

flats each interval increasingly, resulting in an octave with quarter-tone intervals.

sharp.

flat. Not an intonation table; indicates version number of K2500 ROM objects.

In general, you should select a non-standard intonation table when you’re playing simple melodies (as opposed to chords) in a particular musical style. When you use intonation tables based on pentatonic scales, you’ll normally play pentatonic scales to most accurately reproduce those styles. An excellent reference source for further study of alternative tunings is Tuning In:

Microtonality in Electronic Music , by Scott R. Wilkinson.

5-3

Page 40

Note Numbers and Intonation Tables

List and Description of Intonation Tables

5-4

Page 41

Control Sources

Chapter 6 Control Sources

Control sources are assigned as values for control source parameters, like Src1 and Src2, Depth Control for Src2, and LFO rate control. Assigning a control source to one of these parameters is like connecting control source outputs to various inputs on early modular synthesizers. You can think of each control source parameter as the input to a synthesizer module, and the values for those parameters as the outputs of modules generating control signals.

For the control sources to have an effect, two things have to happen. First, the control source must be assigned as the value for (patched to) a control source parameter like Src1. In other words, for a control source parameter to have an effect, it must be programmed to respond to a particular control message. Second, the control source must generate a signal. The level of the control source’s signal determines how much effect it has on the control source parameter to which it’s assigned.

In terms of generating signals, there are two types of control sources. The ﬁrst, which might be called hardware control sources, require some physical movement to transmit them. The control source called MWheel (MIDI 01) is probably the most prominent example of this type of control source. When you move your MIDI controller’s Mod Wheel, it sends a Modulation message (MIDI 01), unless you’ve programmed it to send something else. By default, when the K2500 receives a MIDI 01 message, it responds by sending a control signal to whatever control source is assigned as the value for the ModWhl parameter on the MIDI mode RECV page. Of course, you can program the Mod Whl parameter to send any available control source signal in response to MIDI 01 messages.

Some of these hardware control sources have physical controls “hard-wired” to transmit them. That is, there are certain physical controls that always generate these control signals. Every time you strike one of your MIDI controller’s keys (or pluck a string, or whatever), for example, a Note on message is generated, along with an Attack velocity message. So any time you strike a key, any control source parameter that has AttVel assigned as its value will be affected by the Attack velocity message. Similarly, every time you move the physical Pitch Wheel, a PWheel message is generated. Whether this affects anything depends on whether you have assigned any control source parameters to respond to the PWheel message (in other words, whether any control source parameter has PWheel assigned as its value).

On the MIDI XMIT page (and in the Setup Editor) you’ll ﬁnd six parameters that correspond to the standard physical controls found on many keyboard controllers: Mod Wheel, Foot Switches 1 and 2, the Control Pedal (CPedal), the Controller Slider (Slider), and mono pressure (Press). As long as the LocalKbdCh parameter on the RECV page in MIDI mode matches the transmit channel of your MIDI controller, these parameters will always respond to speciﬁc MIDI control messages: ModWhl always responds to Modulation messages (MIDI 01); FtSw1 always responds to Sustain (MIDI 64); FtSw2 always responds to Sostenuto (MIDI 66); CPedal always responds to Foot (MIDI 04); Slider always responds to Data (MIDI 06); Press always responds to mono pressure.

The values you assign for these six parameters determine which control messages will be transmitted to the K2500 and to its MIDI Out port when you move the corresponding controls on your MIDI controller. If you look at the MIDI XMIT page, you’ll see that the parameter called ModWhl has a default value of MWheel. You can interpret this as follows: “Moving the Mod Wheel on my MIDI controller sends the MWheel (Modulation, MIDI 01) message to the

6-1

Page 42

Control Sources

K2500’s sound engine, and, if the K2500’s LocalKbdCh parameter matches my controller’s transmit channel, to the K2500’s MIDI Out port.”

If you change the value of the ModWhl parameter, the Mod Wheel will no longer send the MWheel message, and any control source parameter with MWheel assigned as its value will no longer respond to movement of the Mod Wheel. All of the control assignment parameters on the MIDI mode XMIT page (and in the Setup Editor) can be programmed to send any of the MIDI controller numbers. For example, if you assign Foot (MIDI 04) as the value for the Press parameter , then generating mono pressure messages from your MIDI controller will send a Foot (MIDI 04) message to the K2500’s sound engine, and will affect any control source parameter that has Foot assigned as its value. If the value for the K2500’s LocalKbdCh parameter matches your MIDI controller’s transmit channel, then in this case the Foot message will be sent to the K2500’s MIDI Out port as well, when you generate mono pressure messages from your MIDI controller.

The other type of control source is independent of the movement of physical controls. These control sources generate their control signals internally, and might be called software control sources. They either run automatically (like A Clock and RandV1), or they’re programmed to generate their signals according to parameters of their own (as with the LFOs and FUNs). The software control sources must have some non-zero value set for one or more of their parameters before they’ll generate control signals.

To summarize, there are two different cases in which you’ll assign control sources. One, the transmit case, determines what control message will be sent by a particular physical control. For example, MWheel is set by default to be transmitted by the Mod Wheel. The other case, the receive case, determines which control message will activate a particular control source parameter. For example, if you assign MPress as the value for the Src1 parameter on the PITCH page in the Program Editor, then that layer’s pitch will be affected whenever an MPress message is generated by any physical control.

Control Source Lists

There’s one long list of control sources stored in the K2500’s memory, although not all control sources are available for all control source parameters. With time you’ll become familiar with the types of control sources available for various control source parameters.

The available list of control sources varies depending on the type of control source parameter you’re programming. There are four basic types: MIDI control sources, local control sources, global control sources, and FUNs.

When you’re setting the control assignment parameters on the MIDI mode XMIT page or in the Setup Editor, you’ll see only the portion of the Control Source list that has values appropriate to MIDI controller messages. Consequently we refer to this subset of the Main Control Source list as the MIDI Control Source list.

You’ll see variations on the Main Control Source list as you program the other control source parameters. We’ll explain these variations, but it’s not important that you memorize each variation. The lists differ to prevent you from assigning a control source where it would be ineffective. All you have to do is to scroll through the list of control sources available for any given control source parameter, and choose from the available values.

6-2

If you’re programming one of the FUNs, you’ll see the Main Control Source list, which includes almost every control source from the MIDI Control Source list (with the exception of Data Inc, Data Dec, and Panic, which belong exclusively to the MIDI Control Source list). The list for the FUNs also includes a set of constant values, that set an unvarying control signal level for one or both of the FUN’s inputs.

For most other control source parameters, you’ll see the Main Control Source list (without the FUN constants and the three special MIDI control sources we mentioned above). There are two

Page 43

Control Sources

exceptions to this rule, which have to do with global control source parameters. Globals affect every note in each program’s layer(s). Consequently they can’t use local control sources as their values, since local control sources affect each note independently.

Four of the control source parameters are always global: the Enable parameter on the LAYER page (Program Editor), and the three control source parameters on the EFFECT page, (Program Editor). When programming these parameters, you’ll see the Main Control Source list minus the three special MIDI control sources, minus the following local control sources:

Note St Key St KeyNum BKeyNum AttVel InvAVel PPress BPPress RelVel Bi-AVel VTRIG1 VTRIG2 RandV1 RandV2 ASR1 LFO1 FUN1 FUN3 Loop St PB Rate AtkSt Rel St

Finally, if you’ve turned on the Globals parameter on the COMMON page in the Program Editor, the available values for GLFO2, and the values for GASR2’s trigger will lack the local control sources listed above, as well as the three special MIDI control sources and the FUN constants. The available values for GFUN2 and GFUN4 will exclude the same list of local control sources, but will include the FUN constants.

6-3

Page 44

Control Sources

Descriptions of Control sources

This section is organized into two sets of descriptions: the MIDI Control Source list, and the rest of the control sources. The numeral preceding the name of each control source can be entered on the alphanumeric pad to select the control source directly (press ENTER after typing the numeral).

Many of the MIDI control sources are assigned as default values for the control assignment parameters on the MIDI mode XMIT page and the Setup Editor page. We’ll indicate these assignments as they appear, simply by mentioning that they’re the default control source for a control assignment parameter.

MIDI Control Source List

With a few exceptions, the MIDI control sources correspond to the standard MIDI controller numbers used by every MIDI device.

128 OFF

This value eliminates the effect of any control source parameter to which it’s assigned.

0, 33 MONO PRESSURE (MPress)

Many of the K2500’s factory programs are assigned to modify parameters such as pitch, filter cutoff frequency, and depth control when MPress messages are received. The mono pressure (Press) control assignment parameters in MIDI and Setup modes are set by default to transmit MPress messages when mono pressure messages are received from a controller.

1 MIDI 01 (MWheel)

Many factory programs are assigned to respond to MWheel messages. The Mod Whl parameter in MIDI and Setup modes is set by default to transmit MWheel.

2 MIDI 02 (Breath) 3 MIDI 03 4 MIDI 04 (Foot)

This is the standard MIDI controller number for continuous control foot pedals. It’s the default value for the CPedal control assignment parameter, so a control pedal on your MIDI controller which sends MIDI controller 04 messages will send MIDI controller 04 messages to the K2500 by default.

6-4

5 MIDI 05 (PortTim)

This is the standard MIDI controller number for portamento time control. The K2500 always responds to this control message. For any program that has portamento turned on (on the COMMON page in the Program Editor), MIDI Portamento Time messages received via MIDI will affect the rate of the program’s portamento.

6 MIDI 06 (Data)

MIDI 06 is the standard MIDI controller number for data entry. The Slider parameter on the MIDI mode XMIT page and in the Setup Editor is set by default to trans-

Page 45

mit this message, and can be used to select programs and edit parameters on MIDI slaves if your controller can send it.

7 MIDI 07 (Volume)

This is the standard MIDI controller number for volume. The Volume parameter on the CHANLS page in MIDI mode will respond to MIDI controller 07 unless the VolLock parameter is turned on.

8 MIDI 08 (Balance) 9 MIDI 09 10 MIDI 10 (Pan)

MIDI controller 10 is defined as Pan control. The Pan parameter on the CHANLS page in MIDI mode will respond to MIDI controller 10 unless the PanLock parameter is turned on.

Control Sources

MIDI Control Source List

11 MIDI 11 (Express) 12—14 MIDI 12—14 15 MIDI 15 (AuxBend2)

The K2500 interprets MIDI controller 15 as AuxBend2, which is assigned by default to the short ribbon (below the pitch and mod wheels) on keyboard models of the instrument. A value of 64 is centered.

16—19 MIDI 16—19 (Ctl A—D) 20 MIDI 20 21 MIDI 21 (AuxBend1)

The K2500 interprets MIDI controller 21 as AuxBend1, which is assigned by default to the long ribbon (above the keyboard) on keyboard models of the instrument. A value of 64 is centered.

22—31 MIDI 22—31 64 MIDI 64 (Sustain)

This is the standard MIDI controller number for Sustain. The control assignment parameter FootSw1 is set by default to MIDI controller 64, so a switch pedal on your MIDI controller which sends MIDI 64 will send sustain messages to the K2500 by default. The K2500 will always respond to sustain messages by sustaining currently active notes.

65 MIDI 65 (PortSw)

This is the standard MIDI controller number for Portamento Switch. The Portamento parameter on the COMMON page in the Program Editor always responds to this controller, and will turn Portamento on for monophonic programs when the controller signal is at 64 or above. It won’t affect polyphonic programs.

6-5

Page 46

Control Sources

MIDI Control Source List

66 MIDI 66 (SostPD)

67 MIDI 67 (SoftPd)

68 MIDI 68 69 MIDI 69 (FrezPd)

MIDI controller 66 is defined as Sostenuto Switch. The control assignment parameter FootSw2 is set by default to MIDI controller 66, so a switch pedal on your MIDI controller which sends MIDI 66 will send sostenuto messages to the K2500 by default. The K2500 will always respond to sostenuto messages.

This is the standard MIDI controller number for Soft Pedal. The K2500 will always respond to Soft pedal messages.

The K2500 will always respond to this message. It causes all notes to be frozen at their current amplitude levels while the function is on.

70—74 MIDI 70—74 75 MIDI 75 (LegatoSw)

The K2500 always responds to this message. When a MIDI controller 75 message with a value above 64 is received, the K2500 will force polyphonic programs to be monophonic.

76—79 MIDI 76—79 80—83 MIDI 80—83 (Ctl E—H) 84—90 MIDI 84—90 91 MIDI 91 (FXDep)

The MIDI specification defines this controller as External Effects Depth. If the FX Mode parameter is set to Master, and the FX Channel parameter is set to a specific MIDI channel, the K2500 will respond to this message when it is received on the FX channel. It responds by adjusting the Wet/Dry mix of the current preset effect.

92—95 MIDI 92—95 96 MIDI 96 (DataInc)

This is defined as Data Increment. It’s intended to be assigned to a switch control. When the control is on (value 127), the currently selected parameter’s value will be increased by one increment. This could be assigned to FootSw2, for example, to scroll through the program list while in Program mode.

6-6

97 MIDI 97 (DataDec)

This is defined as Data Decrement. It’s intended to be assigned to a switch control. When the control is on (value 127), the currently selected parameter’s value will be decreased by one increment.

123 MIDI 123 (Panic)

The K2500 always responds to this message by sending an All Notes Off and All Controllers Off message on all 16 MIDI channels.

Page 47

Main Control Source List

This list contains all but the last three control sources in the MIDI Control Source list. It also contains the following control sources. All are local unless speciﬁed as global.

32 Channel State (Chan St)

Chan St refers to whether any notes are currently active on a given MIDI channel. Chan St switches on whenever a note is started, and switches off when a Note Off has been received for each current note on that channel, even if notes are sustained.

33 Mono pressure (MPress)

This is the same as the MPress control source in the MIDI Control Source list, but is assigned by entering 33 on the alphanumeric pad when used with a parameter that takes its values from the Main Control Source list.

34 Bipolar mono pressure (BMPress)

Control Sources

Main Control Source List

This control source generates a control signal of -1 when the value of the control to which it’s assigned is at its minimum, and +1 when the control is at its maximum. For example, if you had the MPress control assignment parameter assigned to send BMPress, and you had Src1 on a program layer’s PITCH page assigned to BMPress, with its depth parameter set to 1200 cents, then the layer would be transposed down an octave when no pressure (value 0) was applied to your controller’s keys (assuming it sends mono pressure). Maximum pressure (value 127) would transpose the layer up an octave, while a pressure level of 64 would leave the pitch unchanged.

35 Pitch Wheel message (PWheel)

The K2500 is hard-wired to respond to this message. Any parameter with PWheel assigned as its value will be affected when your MIDI controller’s Pitch Wheel is moved.

36 Bipolar Mod Wheel (Bi-Mwl)

This control source will always respond to MIDI controller 01 (MWheel). Control source parameters set to this value will generate control signals of -1 when the MIDI controller 01 message value is 0, and will generate a control signal of +1 when the MIDI controller 01 message is at 127, scaling all values in between. For example, you might set Src1 on a program layer’s PITCH page to a value of BiMwl, and its depth parameter to 1200 cents. Then as long as the ModWhl control assignment parameter is set to a value of MWheel, your controller’s Mod Wheel will be bipolar; in this case it will bend the layer’s pitch down as you move the Mod Wheel toward minimum, and bend the pitch up as you move the Mod Wheel toward maximum.

37 Absolute value of Pitch Wheel (AbsPwl)

This control source always responds to movement of your MIDI controller’s Pitch Wheel, but makes the Pitch Wheel unipolar. Whereas pulling the Pitch Wheel fully down usually generates a control signal value of -1, this control source generates a value of +1 when the Pitch Wheel is pulled fully down.

6-7

Page 48

Control Sources

Main Control Source List

38 Global ASR (GASR2)

39 Global FUN2 (GFUN2)

40 Global LFO (GLFO2)

When the Globals parameter on the COMMON page is turned on, ASR2 becomes global, and is labeled GASR2. The functions of ASRs are explained in Chapter 6 in the Performance Guide , in the section “The ASR Page.” This control source does not appear in the Control Source list for parameters whose functions are local.

When the Globals parameter on the COMMON page is turned on, FUN2 becomes global, and is labeled GFUN2. The functions of FUNs are explained in Chapter 16 in the Performance Guide . This control source does not appear in the Control Source list for parameters whose functions are local.

When the Globals parameter on the COMMON page is turned on, LFO2 becomes global, and is labeled GLFO2. The functions of LFOs are explained in Chapter 6 in the Performance Guide , in the section “THE LFO PAGE.” This control source does not appear in the Control Source list for parameters whose functions are local.

41 Global LFO Phase (GLFO2ph)

42 Global FUN 4 (GFUN4)

When the Globals parameter on the COMMON page is turned on, FUN 4 becomes global, and is labeled GFUN4. This control source does not appear in the Control Source list for parameters whose functions are local.

43 Volume Control (VolCtl)

This control source will always respond to MIDI controller 07 messages. Assign this value to a parameter when you want MIDI volume messages to affect the parameter.

44 Pan Control (PanCtl)

This control source always responds to MIDI controller 10 messages. Assign this value to a parameter when you want MIDI pan messages to affect the parameter.

45 Balance Control (BalCtl)

This control source will always respond to MIDI controller 08 messages. Assign this value to a parameter when you want MIDI balance messages to affect the parameter.

6-8

46 Channel Count (ChanCnt)

This control source keeps track of the total number of active voice channels (how many notes are playing), and converts the number into a control signal between 0 and +1. The control signal’s value is 1 when all 48 voice channels are active, and 0 when no voice channels are active.

You can use this control source in several ways. One example is to limit the volume of each note so that you have a more nearly constant volume regardless of how

Page 49

Control Sources

Main Control Source List

many notes you’re playing (this is independent of the effect of attack velocity on volume). To set this up, you would go to the F4 AMP page in the Program Editor, and set the Src1 parameter to a value of ChanCnt. Then set the Depth parameter to a negative value. This will decrease the overall amplitude of each note as you play more simultaneous notes. This example works best with short-release sounds. It’s great for an organ program, for example.

Channel count is also useful for controlling the modulation applied to a sound. For example, you may have a sound what you use both as a lead and for rhythm. Suppose you want a deep vibrato when you’re soloing, but less vibrato when you’re playing chords. Set up the vibrato by using LFO1 as the value for the Src2 parameter on the PITCH page in the Program Editor. Set the MinDpt parameter to 72 cts, and the MaxDpt parameter to 12 cts. Then set the value of the DptCtl parameter to ChanCnt, and You’ll get maximum vibrato depth when only one note is active. (Channel count outputs a control signal of 0 when no notes are playing, so with only one note playing, its value is near 0, which causes the DptCtl parameter to generate a value near its minimum: 72 cents in this case.)

If you want to increase the depth of the vibrato as you increase the number of active notes, set the value of the MaxDpt parameter higher than that of the MinDpt parameter.

NOTE: There are no control sources that correspond to the numeric entries 47—54.

55 Sync State (SyncSt)

This unipolar control source responds to MIDI clock messages received from an external MIDI device. Sync State switches on (+1) at each clock start, and switches off (0) with each clock stop.

56 A Clock

This is a unipolar square wave that responds to MIDI clock messages. It switches to +1 and back to 0 with every clock beat. This control source looks first for externally received MIDI clock messages, and if none is received, it responds to the K2500’s internal clock, which is always running. The internal clock speed is set with the Tempo parameter in Song mode.

57 Negative A Clock (~A Clock)

This is the opposite of A clock, that is, it switches from 0 to +1 with every clock beat (the square wave is 180 degrees out of phase with that of A Clock).

58 B Clock

This is similar to A Clock, but it’s bipolar—it switches from +1 to -1 with every clock beat.

59 Negative B Clock (~B Clock)

The opposite of B Clock, this bipolar control source switches from -1 to +1 with every clock beat (the square wave is 180 degrees out of phase with that of B Clock).

60, 61 Global Phase 1 and 2 (G Phase 1, G Phase 2)

These bipolar global control sources are both rising sawtooth waves that rise from

-1 to +1 with each MIDI clock beat. Like A Clock and B clock, they look for an external clock signal, and if none is received, they respond to the K2500’s internal clock.

6-9

Page 50

Control Sources

Main Control Source List

62, 63 Global Random Variant 1 and 2 (GRandV 1, GRandV 2)

96 Note State (Note St)

These are also bipolar and global, and generate random control signal values between -1 and +1 when assigned to a control source parameter. There is a subtle difference in the randomness of the signals they generate, therefore choosing between them is a matter of preference.

At any moment, any given note is either on or off; this is its Note State. Note State can be used as a unipolar control source that responds to each note that’s played. It switches to +1 when the note starts, and stays on as long as the note is held on (by the sustain pedal, for example), or by holding down the trigger for that note. It switches to 0 when the note is no longer sustained by any means. For example, if you play a note, then hold it with the sustain pedal, its Note State is still on (+1) even if you’ve released the key that triggered the note. As soon as you release the sustain pedal, the note’s Note State switches to off (0), even if it has a long release and you can still hear the release section of the note.

97 Key State (Key St)

This is a unipolar control source that responds to the motion of your MIDI controller’s keys. It switches to +1 when a key is pressed, and switches to 0 when the key is released. Its effect differs from Note State in that when the key that switched it on is released, it will switch off even if the note is sustained. If you’re using a nonkeyboard MIDI controller, Key State will switch to 0 when the equivalent of a key release is sent.

98 Key Number (KeyNum)

This is a unipolar control source that generates its signal value based on the MIDI key number of each note triggered. That is, it generates a value of 0 in response to MIDI key number 0, a value of 64 in response to MIDI key number 64, and so on. Note that some parameters, such as Enable Sense on the Program Editor Layer Page, will not accept this parameter. GKeyNum, controller number 129, would be acceptable however.

99 Bipolar Key Number (BKeyNum)

This is like KeyNum, but generates a signal value of -1 in response to MIDI key number 0, a value of 0 in response to MIDI key number 64, and a value of +1 in response to MIDI key number 127.

100 Attack V elocity (AttV el)

This unipolar control source responds to Attack velocity values received at the K2500’s MIDI In port. Velocity values of 0 cause it to generate a signal value of 0, while velocity values of 127 will generate a value of +1. All other velocity values will result in signal values proportionally scaled between 0 and +1. Note that some parameters, such as Enable Sense on the Program Editor Layer Page, will not accept this parameter. GAttVel, controller number 130, would be acceptable however.

6-10

101 Inverse Attack Velocity (InvAttVel)

This is the opposite of AttVel, generating a signal value of 0 in response to attack velocity values of 127.

Page 51

102 Polyphonic pressure (PPress)

This unipolar control source responds to poly pressure (aftertouch) messages received via MIDI. It generates a signal value scaled from 0 to +1 based on the poly pressure value range of 0—127.

103 Bipolar polyphonic pressure (BPPress)

This is like PPress, but scales its signal value from -1 to +1.

104 Release V elocity (RelVel)

Also unipolar, this control source scales its signal value from 0 to +1 in response to release velocity values from 0—127.

105 Bipolar Attack Velocity (Bi-AVel)

This is similar to AttVel, but scales its signal values from -1 to +1.

106, 107 Velocity Triggers 1 and 2 (VTRIG1, VTRIG2)

Control Sources

Main Control Source List

These unipolar control sources are switch controls, that is, they generate signal values of either 0 or +1. These must be programmed in order to have an effect; their programming parameters are found on the VTRIG page in the Program Editor. When a VTRIG’s Sense parameter is set to normal, it switches to +1 when a note plays at a dynamic level exceeding the dynamic level set for its Level parameter. See “THE VTRIG PAGE” in Chapter 6 in the Performance Guide for more information.

108, 109 Random Variants 1 and 2 (RandV1, RandV2)

These are similar to GRandV1 and GRandV2, but are local, so will affect each control source parameter independently.

110, 111 ASR1, ASR2

These are programmable envelopes with three segments, Attack, Sustain, and Release. Their control source signals are unipolar. See “The ASR Page” in Chapter 6 in the Performance Guide for a thorough explanation.

112, 113 FUN1, FUN2

These generate their control source signals by combining the control signal values of two programmable inputs, and performing a mathematical function on the result. Their control signals can be unipolar or bipolar, depending on the control sources assigned as their inputs. See “The FUN Page” in Chapter 6 in the Perfor-

mance Guide . FUN2 becomes global (GFUN2) when the Globals parameter on the

COMMON page in the Program Editor is set to On.

114 LFO1

LFO1 can be unipolar or bipolar depending on the value set for the Shape parameter on its programming page. See “The LFO Page” in Chapter 6 in the Performance

Guide .

115 LFO1 Phase (LFO1ph)

This bipolar control source generates it signal based on the cycle of LFO1. When the phase of LFO1 is 0 degrees, the signal value of LFO1ph is 0. When the phase of LFO1 is 90 degrees, the signal value of LFO1ph is 1. When the phase of LFO1 is 180

6-11

Page 52

Control Sources

Main Control Source List

116 LFO2

117 LFO2 Phase (LFO2ph)

118, 119 FUN3, FUN4

degrees, the signal value of LFO1ph is 0. When the phase of LFO1 is 270 degrees, the signal value of LFO1ph is -1.

This functions exactly the same as LFO1, when the Globals parameter is set to Off (on the COMMON page in the Program Editor). When the Globals parameter is set to On, LFO2 becomes global (GLFO2).

This functions exactly the same as LFO1ph, responding to the cycle of LFO2.

These function exactly the same as FUNs 1 and 2, when the Globals parameter is set to Off (on the COMMON page in the Program Editor). When the Globals parameter is set to On, FUN4 becomes global (GFUN4).

120 Amplitude Envelope (AMPENV)

This programmable unipolar control source lets you vary the effect of a control source parameter over time. See “The AMPENV Page” in Chapter 6 in the Perfor-

mance Guide .

121, 122 Envelopes 2 and 3 (ENV2, ENV3)

These are programmed in the same way as AMPENV, but they can be bipolar.

123 Loop State (Loop St)

This unipolar control source switches to +1 when the currently playing sample reaches its LoopStart point. If you’ve programmed a sound with a User amplitude envelope, Loop St will always be on (+1) for that sound. See Chapter 15 in the Per-

formance Guide for more about sample loops.

124 Sample Playback Rate (PB Rate)

The signal value of this bipolar control source is determined by the sample playback rate of each note. The playback rate is a function of the amount of transposition applied to a sample root to play it at the proper pitch for each note. If you trigger a note where a sample root is assigned, the PB Rate signal value for that note is 0. If the note is above the sample root, the sample is transposed upward, and its playback rate is higher than that of the sample root. Consequently the PB Rate signal value for that note will be positive. If the note is below the sample root, the PB Rate signal value will be negative.

6-12

125 Attack State (Atk State)

This unipolar control source switches to +1 and back to 0 very quickly with each note start.

126 Release State (Rel State)

This unipolar control source switches to +1 when a note is released, and stays on until the note has completed its release (faded to silence), then it switches to 0. It will stay on if a note is sustained, even if its trigger (key, string, whatever) is released.

Page 53

127 ON

This generates a constant control signal value of +1.

128 -ON

This generates a constant control signal value of -1 (the numeric entry 128 selects a value of OFF in the MIDI Control Source list).

129 GKeyNum

Uses the key number (global) to modify whatever it is patched into. Higher notes will have a very different effect than will lower notes. Users can use this new Source to control any K2500 parameters such as F/X depth, or to scale amplitude or pitch.

130 GAttVel

This is updated every time you strike another key (kind of a multi- trigger function). Users can patch this new Source to control parameters such as F/X Depth.

In addition to enabling (triggering) layers from any controller (works like an on/ off switch), users may now set the assigned controller’s threshold (value, or range of values from 0-127), thus defining the controller’s active range where it will enable the layer.

Control Sources

Main Control Source List

For example, you could create a 32 layer nylon guitar where each layer is assigned to a different V.A.S.T. Algorithm and each layer is enabled by discrete narrow velocity ranges. This would produce 32 different sounding layers with 32 cross switch points emulating a picked guitar where no two attacks are exactly alike. If the layers' velocity ranges were very close together yet not overlapping, you could create very subtle non-repeating changes. This kind of power usually eludes most sample playback devices, as this technique uses only one layer of polyphony, due to cross switching versus cross fading.

131, 132 GHiKey, GLoKey

These control sources work the same as GKeyNum except that they track the highest key currently held and the lowest key currently held respectively. By using one of these as the only source for pitch tracking, you can create "mono-like" layers within a polyphonic program.

6-13

Page 54

Control Sources

Constant Control Sources

The remaining control sources are constants, which appear only when you’re assigning control sources as inputs for the FUNs. Assigning one of these values ﬁxes the input’s control signal value at a steady level.

133 -0.99 134 -0.98 135 -0.97

136-140 -0.96 to -0.92

141 -0.91

142 -0.90 143-145 -0.88 to -0.84 146-150 -0.82 to -0.74 151-155 -0.72 to -0.64 156-160 -0.62 to -0.54 161-165 -0.52 to -0.44 166-170 -0.42 to -0.34 171-175 -0.32 to -0.24 176-180 -0.22 to -0.14

181 -0.12

182 -0.10

183 -0.09

184 -0.08

185 -0.07 186-190 -0.06 to -0.02

191 -0.01

192 0.00

193 0.01

194 0.02

195 0.03 196-200 0.04 to 0.08

201 0.09

202 0.10

203 0.12

204 0.14

205 0.16 206-210 0.18 to 0.26 211-215 0.28 to 0.36 216-220 0.38 to 0.46 221-225 0.48 to 0.56 226-230 0.58 to 0.66 231-235 0.68 to 0.76 236-240 0.78 to 0.86

241 0.88

242 0.90

243 0.91

244 0.92

245 0.93 246-250 0.94 to 0.98

251 0.99

6-14

Note: There are no control sources that correspond to numeric entries 252—254.

256 OFF

Page 55

Control Sources

Keyboard Shortcuts for Control Sources

You can use the keyboard of your MIDI controller to choose control sources, since most key numbers correspond to a value on the control source list. If you have a certain control source that you use over and over (for example, LFO1), this can be the quickest way to enter its value. To do this: highlight a parameter which uses a value from the control source list, hold down ENTER, then strike the key corresponding to the control source you want to choose. LFO1, for example, is assigned to B5.

C-1 to A0

(Below Standard 88-note Keyboard)



C -1



02 - Breath

04 - Foot

06 - Data

07 - Volume

09 - MIDI 09

11 - Expression

12 - MIDI 12 14 - MIDI 14



01 - Mod Wheel 03 - MIDI 03 05 - Portamento Time



08 - Balance



10 - Pan

13 - MIDI 13



15 - MIDI 15



(Standard 88-note Keyboard)

16 - Ctl A 18 - Ctl C 19 - Ctl D

21 - Aux Bend 1

23 - MIDI 23 24 - MIDI 24 26 - MIDI 26 28 - MIDI 28 30 - MIDI 30

31 - OFF

33 - Mono Pressure

35 - Pitch Wheel

36 - Bipolar Mod Wheel

38 - Global ASR (ASR 2)

40 - Global LFO (LFO 2)

42 - Global FUN 2 (FUN 4)

47 - A Clk4 49 - B Clk4 51 - A Clk2

52 - ~A Clk2

54 - –B Clk2

56 - A Clock 58 - B Clock

59 - –B Clk

61 - Global Phase 2

63 - Global Random Variant 2

96 - Note State

98 - Key Number

100 - Attack Velocity

102 - Poly Pressure

103 - Bipolar Poly Pressure

105 - Bipolar Attack Velocity

107- VTRIG 2

108 - Rand Variant 1

110 - ASR 1 112 - FUN 1

114 - LFO 1 115 - LFO 1 Phase 117 - LFO 2 Phase

119 - FUN 4

120 - Amp Envelope

122 - Envelope 3

124 - Sample PB Rate

126 - Release State

127 - ON

129 - GKeyNum

131 - GLowKey

A0 to C8



17 - Ctl B

20 - MIDI 20 22 - MIDI 22

25 - MIDI 25 27 - MIDI 27 29 - MIDI 29

32 - Channel State 34 - Bipolar Mono Pressure

37 - Pitch Wheel Absolute Value 39 - Global FUN (FUN 2) 41 - Global LFO Phase

48 - ~A Clk4 50 - –B Clk4

53 - B Clk2 55 - Sync State 57 - ~A Clk

60 - Global Phase 1 62 - Global Random Variant 1



97 - Key State 99 - Bipolar Key Number 101 - Inverse Attack Velocity



104 - Release Velocity 106 - VTRIG 1

109 - Rand Variant 2 111 - ASR 2 113 - FUN 2



116 - LFO 2 118 - FUN 3

121 - Envelope 2 123 - Loop State 125 - Attack State

128 - GHiKey 130 - GAttVel

6-15

Page 56

Control Sources

Keyboard Shortcuts for Control Sources

6-16

Page 57

Memory Upgrades and Other Options

Program RAM vs. Sample RAM

Chapter 8 Memory Upgrades and Other Options

Program RAM vs. Sample RAM

If you’re creating a lot of your own programs, and using samples loaded from disk, there are a few things you should be aware of to avoid perplexity. First of all, there’s an important distinction between what we call Sample RAM and what we call Program RAM. Sample RAM refers to any SIMMs you may have had installed in your K2500. This RAM is reserved exclusively for sample storage; nothing else is stored there. Sample RAM is volatile; that is, when you power down your K2500, the data stored there will “evaporate” almost immediately. That’s why you have to load RAM samples every time you power up.

The amount of sample RAM in your K2500 is indicated in the center of the top line of the Disk mode page. If the center of the display’s top line is blank when you’re on this page, it means that there is no sample RAM installed in your K2500 (or that the K2500 isn’t recognizing it, in which case you should see your dealer or service center).

Program RAM is where all the other RAM objects you create (programs, setups, QA banks, songs, keymaps, etc.) are stored. The K2500 comes from the factory with approximately 240K of available Program RAM. The amount of free Program RAM is indicated at the right side of the top line of the display in Song mode and Disk mode. You can add a Program RAM (P/RAM) option to increase your total available Program RAM to about 1250K. Ask your dealer.

Program RAM is battery-backed, so anything that’s stored there will be preserved even when you power down (as long as your batteries have enough juice). Fresh alkaline batteries will last up to two years, so you’ll have very few worries about losing your RAM program information. Nonetheless, we recommend that you back up your programs, songs, etc. by saving them to disk. This offers insurance in case the RAM becomes corrupted. This is unlikely, but still a possibility.

If you create a program that uses a disk-loaded sample, the program information (number of layers, keymap assignment, output group, algorithm, etc.) is stored in Program RAM. All RAM samples associated with the program are stored in Sample RAM. This means that when you power down, the RAM samples associated with your programs will disappear. The program information, however, will remain in Program RAM indeﬁnitely. When you power up again, your RAM programs will still appear in the display as you scroll through the program list, but they won’t play if they use RAM samples, because the RAM samples are lost when you power down.

Viewing RAM Objects

If you’re a heavy Disk mode user, you’ll often be faced with the decision to overwrite, merge, or append objects when you load ﬁles from disk. If you’re loading into a memory bank that’s nearly full, this can be a tricky call, because if you decide to merge or append, there may not be enough open slots in the memory bank to accommodate the objects you load. In this case, the extra objects will be loaded into the next-higher memory bank.

Things get even trickier if you save dependent objects when you save to disk. (A dependent object is any object that’s associated with another object stored in a different memory bank—for example, a RAM sample with ID 301 that’s used in a program with ID 200. See the discussion of dependent objects in Chapter 13 in the Performance Guide .) If you load a ﬁle that contains a number of dependent objects, some of them may be loaded into a higher memory bank than

8-1

Page 58

Memory Upgrades and Other Options

Choosing SIMMs for Sample RAM

the one you speciﬁed in the Bank dialog before you loaded the ﬁle. A quick way to see where the objects you loaded ended up is to use the “Objects” Utility function in Master mode.

Select Master mode and press the Utility soft button. Press the Objects soft button, and a list of RAM objects will appear. Use the Alpha Wheel to scroll through the list of objects. You’ll see the type, ID, name, and size (in bytes) of each object.

Choosing SIMMs for Sample RAM

Single In-Line Memory Modules, commonly referred to by the acronym "SIMM", are the small memory cards that the K2500 uses for Sample RAM. You can add up to eight SIMMs to your K2500, and since they range in available size up to 16 Megabytes, that means you can add up to 128 Megabytes of Sample RAM to your machine.

The K2500 will accept 30-pin non-composite SIMMs, in sizes of 1 Megabyte, 4 Megabytes, and 16 Megabytes, in either 8-bit or 9-bit conﬁgurations. The SIMMs must have an access time of 80 nanoseconds (ns) or faster. The maximum height and width of a SIMM for the K2500 is 30mm x 90mm (approximately 1.2 inches x 3.5 inches). Below is a list of some SIMMs that will work with your K2500:

Hitachi HB56A48A; 4Mx8 Hitachi HB56A49A; 4Mx9 TI TM124EU9B, TM124EU9C; 1Mx9 TI TM497EAD9B, TM4100EAD9; 4Mx9 TI TM4100GAD8, TM497GAD8A; 4Mx8 TI TM16100GBD8;16Mx8 TI TM16100EBD9;16Mx9 NEC MC-421000A8B; 1Mx8 NEC MC-424100A8B; 4Mx8 NEC MC-421000A9B; 1Mx9 NEC MC-424100A9B; 4Mx9 Tosh THM81000AS, Tosh THM81000BS, Tosh THM81070AS; 1Mx8 Tosh THM91000AS, Tosh THM91000BS, Tosh THM91070AS; 1Mx9

SIMMs are always installed in adjacent pairs, and must be installed by an authorized Kurzweil facility.

CAUTION:

PAL or other additional circuitry to make multiple DRAM chips act like bigger chips. Non-composite SIMMs (the kind you may use in your K2500) have no chips other than DRAM memory chips soldered to the board. SIMMs with PALs, buffers, or other logic components will not work in your K2500, and must not be used.

You must not use composite SIMMs in your K2500. A composite SIMM is one that uses a

Using Headphones with the K2500

A good pair of headphones can be indispensable when you want to play but need to keep the volume down. You’ll get optimum performance from headphones with at least 50 ohms impedance, but anything over 8 ohms is adequate. Headphone volume decreases as the impedance decreases.

8-2

Page 59

Maintenance and Troubleshooting

Power Problems and Solutions

Finally, magnetic ﬁelds can be a source of interference. The area surrounding the K2500’s Alpha Wheel and alphanumeric pad is sensitive to ﬁelds from large transformers in power amps; keep them at least a foot away from the K2500’s front panel. Smaller gear like drum machines and hardware sequencers can also cause interference.

Power Problems and Solutions

The K2500 is quite tolerant of voltage ﬂuctuations, noise, and transients in the AC power it receives. The input line ﬁlter and grounded power cable will protect against even large amounts of noise from motors and the like while the built-in ﬁlter coupled with the fuse will protect against all but the largest transients. If your installation is actually suffering from line noise or transients, most likely your other equipment will be suffering more than your K2500.

Very low line voltage or severe voltage dips are a problem for any computer-based instrument. When the K2500 is set for 120 volt input (the normal North American setting), it should function down to 90 volts. If the line voltage drops below 90 volts, a special circuit halts all activity to protect against software crashes or damage. When the line voltage returns to and stays at an acceptable level for at least one second, the computer will automatically restart. The net effect is just as if you had performed a soft reset. Continuous low line voltage or transient dips will never produce symptoms other than unexpected soft resets as just described. Any other problems such as distortion, disk errors, or lost data are caused by something other than line voltage ﬂuctuations.

Soft resets from line voltage dips are most common. These are easily identiﬁed because the reset occurs coincident with the building lights dimming, stage lights or power amps being switched on, or air-conditioning equipment starting up. The solution in all cases is to get a more direct connection between your K2500 (and any other computer-based equipment) and the building’s power. Floodlights, large power ampliﬁers, and motor-operated devices should use a separate extension cord; preferably they should be plugged into a separate outlet.

Chronic low line voltage is best conﬁrmed by measurement. Readings below 100-105 volts mean that even small dips could cause resets, while readings below 95 volts (accounting for meter inaccuracies) are a deﬁnite problem. Again, the best solution is to separate your heavy lighting and ampliﬁer loads from your K2500 and other synths on separate extension cords or separate circuits when possible. If the actual building voltage is that low, use of an external step-up transformer or voltage regulator is recommended. We DO NOT recommend changing the line voltage selector to 100 volts (or 220 volts in Europe) because overheating or blown fuses may occur if you leave the K2500 at the lower setting and use it later at a normal voltage level.

Troubleshooting

Naturally, we’ve done everything possible to ensure that your K2500 arrives free of defects. And there’s a good chance that there’s nothing wrong, even if you’re not seeing the proper display or hearing the sounds. Carefully check the following things:

Make sure that your power supply is at the right voltage, and is functioning properly.

Make sure the power cable is connected properly.

Adjust the display contrast if necessary (with the Contrast parameter in Master mode). If for some reason you have trouble reading the display, even after adjusting the Contrast parameter, you can also adjust the contrast by holding down the ENTER button and turning the Alpha Wheel. If this improves the contrast, immediately return to the Contrast parameter and adjust it slightly. This will cause the K2500 to remember the current display contrast level, and should take care of any difﬁculties you may have been having. If this procedure doesn’t work, it’s time to contact your dealer.

9-4

Page 60

Maintenance and Troubleshooting

Troubleshooting

Make sure your audio cables are fully connected to the K2500 and to your sound system. You may want to switch your audio cables, unless you’re sure they’re functioning properly.

Make sure that your MIDI connections are correct, and that your MIDI cables are functional. You should have at least one MIDI cable, which should be connected from the MIDI Out port of your MIDI controller to the MIDI In port of the K2500.

Check that the K2500’s Volume slider is at least partially up.

Check the volume level of your sound system.

Lower the volume of your sound system, and turn the K2500 off, then on again (this is called a power cycle).

Press the +/-, 0, and Clear buttons (on the alphanumeric pad at the far right of the front panel) at the same time. This is called a soft reset.

As a last resort, save to disk any RAM objects you’ve created, and perform a hard reset. Do this by pressing the Master Mode button, then pressing the “Reset” soft button (at the lower right of the display). The K2500 will warn you about deleting everything (only RAM objects will be deleted). Press Yes. After a few seconds, the power-up display should appear.

Also check the suggestions on the following pages. If it’s still not happening, the next step is to shut off the power and call your dealer.

Other Possible Problems

Condition Possible Cause

No sound, no display, no LEDs illuminated.

1 AC line cord not fully inserted into outlet or unit. If using a multiple outlet

box, check its plug.

2 Power not on at AC power source (wall outlet). Check with a different ap-

pliance. 3 Power switch not on (either the unit or multiple outlet box). 4 Incorrect voltage selection setting. REFER TO QUALIFIED SERVICE PER-

SONNEL.

No sound.

1 Volume control turned all the way down on the K2500 or on amplifier or

mixer. 2 Amplifier or mixer not turned on. 3 Cabling is not correct - see Chapter 2 in the Performance Guide - Startup,

and Chapter 18 in the Performance Guide - Audio Outputs. Also check that

amplifier, mixer and speaker cabling is correct. 4 MIDI volume has been assigned to a control source which has sent a value

of 0. Pressing the Panic soft button will reset all controls, and resolve this

problem.

No sound at MIX outputs or headphones.

1 Audio cables are plugged into some or all of the separate outputs. Cables

plugged into of the separate outputs will remove some or all of the audio

signal from the MIX and headphone outputs. See Chapter 18 in the Perfor-

mance Guide —”Audio Output” for output configurations.

9-5

Page 61

Maintenance and Troubleshooting

Troubleshooting

Left MIX output seems louder than Right MIX output when used individually.

Volume knob has no effect.

Programs, Setups, Songs, etc. are missing.

LCD is too dark or too light to read.

Cannot mount or read disk.

Cannot write floppy disk.

Cannot format disk.

1 This is normal. When a cable is plugged into the left MIX output alone,

both the left AND the right audio signals are routed to the jack. When a

cable is plugged into right MIX output alone, only the right channel audio

signal is heard.

1 Separate outputs are in use - the volume knob does not affect the separate

outputs. 2 MIDI volume has been assigned to a control source which has sent a value

of 0.

1 Batteries have run down or have been disconnected. If the batteries have

failed, the message “Battery voltage is low - X.X volts” (where X.X is less

than 3.0) will appear in the display on power-up. All user data will be per-

manently lost if this occurs. See the information on battery selection and

replacement elsewhere in this manual.

1 Contrast not adjusted. Select Master mode and adjust the Contrast param-

eter. If this fails, hold the ENTER button and turn the alpha wheel clockwise to make display darker; counterclockwise to make it lighter. Then adjust the Master mode Contrast parameter to a higher value if the LCD was too light, or to a lower value if it was too dark.

1 Disk is not MS-DOS (or Akai, Ensoniq, or Roland) format. 2 Disk is damaged.

1 Disk is not MS-DOS formatted. 2 Disk write protected. 3 Sample is copy protected. 4 Disk is damaged.

1 Disk is damaged. 2 Disk is write protected. 3 You have instructed the K2500 to format a Double density (720K) disk as

a high-density (1.4M) disk. NOTE: Punching a hole in a double-density disk case to try to make the K2500 read it as a high-density disk is not recommended.

9-6

Page 62

MIDI, SCSI, and Sample Dumps

SCSI Guidelines

Chapter 10 MIDI, SCSI, and Sample Dumps

SCSI Guidelines

The following sections contain information on using SCSI with the K2500, as well as speciﬁc sections dealing with the Mac and the K2500.

Disk Size Restrictions

The K2500 accepts hard disks with up to 2 gigabytes of storage capacity. If you attach an unformatted disk that is larger than 2 gigabytes, the K2500 will still be able to format it, but only as a 2 gigabyte disk. If you attach a formatted disk larger than 2 gigabytes, the K2500 will not be able to work with it; you could reformat the disk, but this - of course - would erase the disk entirely.

Conﬁguring a SCSI Chain

Here are some basic guidelines to follow when conﬁguring a SCSI chain:

1. According to the SCSI Speciﬁcation, the maximum SCSI cable length is 6 meters (19.69'). You should limit the total length of all SCSI cables connecting external SCSI devices with Kurzweil products to 17 feet (5.2 meters). To calculate the total SCSI cable length one must add up the lengths of all SCSI cables, plus 8" for every external SCSI device connected. No single cable length in the chain should exceed 8 feet.

2. The ﬁrst and last device in the chain must be terminated.

The K2500 comes with SCSI termination enabled. You must disable this termination if the K2500 will be in the middle of a SCSI chain or if you are installing a hard drive into the K2500.

There are three ways to disable the K2500’s termination, depending on the manufacture date of the unit. Newer K2500’s have an external "SCSI Termination Enable/Disable" switch on the rear panel. Older K2500’s require either the removal of SCSI termination resistors or a jumper setting; these modiﬁcations can only be performed by an authorized service center.

Poor termination is a common cause of SCSI problems. Having more than two terminators on the bus will overload the bus drivers, but this should not cause permanent damage to the hardware. Poor termination can corrupt the data on your disk, however, as can bad SCSI cables.

For the K2500R, if it is not located at one end of a SCSI chain all internal termination, including the terminator resistor network on the K2500 Engine Board plus terminator resistors in the internal SCSI drive must be removed. It is much simpler to just make sure that the K2500 is at one end of the SCSI chain.

For a K2500 keyboard model, it must be at the end of the SCSI chain if it has an internal disk drive.

A note about active termination - The K2500 uses active termination of the SCSI bus. Active termination has some beneﬁts over traditional passive termination. Some people have positioned active termination as a panacea for SCSI problems, but this is more hype than reality. Active terminators are available to be used at the end of one's SCSI chain and

10-1

Page 63

MIDI, SCSI, and Sample Dumps

SCSI Guidelines

all APS SR2000 series external drives use internal active termination that can be switched on or off.

3. Each device in the chain (including internal hard drives) must have its own unique SCSI ID. The default K2500 ID is #6. Macintoshes use ID #7 & #0.

4. Use only true SCSI cables - high quality, twisted pair, shielded SCSI cable. Do not use RS432 or other non SCSI cables.

The majority of SCSI cables we've tested were poorly made and could damage data transferred to and from the disk. Nearly all the SCSI data problems Young Chang's engineering department has had have been due to bad cables that didn't twist pairs of wires properly. Correctly made SCSI cables have one ground wire for every signal wire and twist them together in signal/ground pairs. Cables made by APS Technologies (800233-7550) are very good and are highly recommended. Young Chang manufactures 1 and 2 meter 25-25 SCSI cables, that we can also recommend. Good cables are essential to reliable data transfers to and from the disk drive.

5. You should buy all SCSI cables from a single source to avoid impedance mismatch between cables.

6. Theoretically all eight SCSI IDs can be used. However, feedback from users has shown us that many people have problems with more than 5-6 devices in a chain. If you have 7 or 8 devices and are having problems, your best bet is to make sure you have followed all of the previous information, especially with respect to cables.

7. Connect all SCSI cables before turning on the power on any equipment connected by SCSI cables. Plugging or unplugging SCSI cables while devices are powered on can cause damage to your devices or instrument.

8. Authorized service centers should remove termination from the K2500 when installing an internal drive, set its ID correctly, and terminate the drive.

9. When using a Macintosh, power up the K2500 and other devices ﬁrst.

10. The K2500 ﬁle format is a proprietary format; no other device will be able to read or write a Kurzweil ﬁle.

11. The ﬂoppy disk format of the K2500 is DOS. The SCSI disk format is a proprietary form that is close to DOS, but it is not DOS. Nonetheless, the K2500 can read and write to a DOS formatted disk provided it was formatted on the PC with no partitions.

12. It is possible to view, copy, move, name, delete ﬁles on a K2500 formatted ﬂoppy disk or removable media hard drive, with a PC or Macintosh running a DOS mounting utility program such as Access PC.

13. As long as the SCSI bus is properly terminated there is no way you can damage your hardware simply by operating it. There are a few hazards K2500 users should be aware of, however:

10-2

The only damage that usually occurs to SCSI hardware comes from static electricity "zapping" SCSI connector pins when the cables are disconnected. The silver colored shell of the SCSI connector on the end of the cable is connected to ground and is safe to touch, but the brass colored pins inside eventually lead to the SCSI interface chip and are vulnerable. You should discharge static from your body before touching SCSI connectors by touching the 1/4" jacks on the rear of the K2500 or another grounded metal object. Any devices connected to the SCSI bus should be turned off when plugging or unplugging SCSI cables.

Page 64

If the K2500 is connected to a Macintosh or PC you should make sure that the computer cannot access a SCSI disk at the same time the K2500 does (see below for more information on this). Those who occasionally want to share a drive, but don't want to take any risks would be best served by disconnecting and connecting devices as needed. If you want to share drive(s) often and cannot constantly disconnect and reconnect devices, make sure the Mac or PC is really done with the disk before using the K2500. Furthermore, you should quit or exit from all running programs and disable screen savers, email, network ﬁle sharing, and any INITs or TSR's that run in the background. If the computer and K2500 access the disk at the same time there will be no damage to the hardware, but the bits on the disk, K2500, and computer memory can easily be corrupted. You may not know that damage has been done to these bits until weird things start to happen for no apparent reason.

K2500 and Macintosh Computers

1. The Mac really does not like having another SCSI master on the bus (i.e., the K2500). It assumes that it owns the bus and its drives, therefore it will not tolerate the situation where the K2500 is trying to talk to its (the Mac's) disk. This suggests that you never want to select the ID of any drive mounted on the Mac's desktop. Even more fundamental is the problem that the Mac assumes that the bus is always free, so if it tries to do anything via SCSI when the K2500 is doing anything via SCSI, the Mac will freak. The only solution is, wait until your Mac is completely idle before accessing SCSI from the K2500.

MIDI, SCSI, and Sample Dumps

SCSI Guidelines

2. The Mac and the K2500 cannot share a drive in any way, with or without partitions. If you are using a drive with removable media, you cannot easily switch back and forth between a Mac formatted volume and a K2500 formatted volume. To prevent problems, you will need to unmount the drive from the Mac desktop before switching to a K2500 format volume. The Mac will basically ignore the volume if it's not Mac format, but once you insert a Mac format volume, the Mac owns it. Don't forget about #1 above; inserting a cartridge will cause the Mac to access SCSI, so don't try to use the K2K at that moment.

3. The only good reason for connecting the Mac and the K2K on the same SCSI bus is to use Alchemy or equivalent. If you're using a patch editor or librarian, you can just hook up via MIDI. Connecting via SCSI will allow fast sample transfers through the SMDI protocol. In this type of conﬁguration the easiest solution is to let the K2K have its own drive, and the Mac have it's own drive.

However, we have discovered that when using a K2500 with a Mac and a removable media drive in the middle of the chain, the following scenario will work:

Start with a Mac formatted cartridge in the drive. When you want to use the K2500, put the drive to sleep from the K2500. You can then change to a K2500 formatted cartridge and perform whatever disk operations you need. When you want to go back to the Mac, put the drive to sleep again, switch cartridges, and then wake up the disk by pressing Load . Of course the K2500 will tell you it can't read the cart, but the Mac will now access it ﬁne.

10-3

Page 65

MIDI, SCSI, and Sample Dumps

SCSI Guidelines

Accessing a K2500 Internal Drive from the Mac

Access PC is one of the many programs for the Mac which allow it to format, read, and write to DOS ﬂoppy disks and removable SCSI cartridges. However, we have discovered that it is possible to format internal K2500 hard drives, even though the documentation claims to only support removable media (not a ﬁxed drive). Because the program claims not to be able to do this, we do not necessarily recommend it.

The main thing to remember is:

Never change the disk contents (i.e., save or delete ﬁles) from the K2500 when the disk is mounted by the Macintosh. If you do, this could easily lead to trashed ﬁles, directories, or even the entire disk. Access PC has no way of knowing when the K2500 has modiﬁed the disk structure, and it can just overwrite any state of the disk it thinks should be there. The safest thing is to connect a drive to either the K2500 or the Mac, but not both at the same time. Of course, you can't always predict when a Mac will access its drive, and it doesn't do SCSI bus arbitration, so using the Mac while using the SCSI bus from the K2500 (e.g., doing a disk mode operation) is also a bad idea, and can cause the Mac to hang.

10-4

Page 66

The MIDI Sample Dump Standard

Samples can be transferred between the K2500 and most other samplers and computer sampling programs using the MIDI Sample Dump Standard.

Due to the relatively slow transfer rate of MIDI data, transferring samples into the K2500 via the MIDI Sample Dump Standard can take a long time, on the order of a coffee break for a long sample. Most samplers, synthesizers, and computer software will “freeze up” during this process, preventing other features of the machine or program from being used. Your K2500, however, will allow you to continue playing the instrument or using any of its sound editing features during a MIDI Sample Dump! The transfer takes place in the background; the MIDI mode LED on the K2500’s front-panel will ﬂash repeatedly during the transfer, so you will always know if the MIDI Sample Dump is still proceeding. The MIDI mode LED will ﬂash only when the K2500 is transmitting or receiving a MIDI Sample Dump, or when it receives a MIDI System Exclusive message.

Note: if you’re using Sound Designer® to transfer samples, you’ll have to offset the sample number by 2 to transfer the right sample. For example, if you want to dump sample ID 208 from the K2500, then when you begin the sample fetching command from Sound Designer, instruct it to get sample 210.

MIDI, SCSI, and Sample Dumps

The MIDI Sample Dump Standard

Loading Samples with the MIDI Standard Sample Dump

To load a sample into the K2500 from an external source such as a computer or sampler, ﬁrst connect the MIDI Out port of the sampler (or computer) to the K2500’s MIDI In port, and connect the K2500’s MIDI Out to the MIDI In of the sampler. This is known as a closed-loop conﬁguration.

Next, access the Sample Dump facility on the sampler. In addition to selecting which sample you wish to transfer over MIDI, you will need to set the correct sample dump channel number and destination sample number. The channel number should match the K2500’s SysX ID parameter (on the RECV page in MIDI mode). If the sampler has no facility for setting the Sample Dump channel number, try setting the K2500’s SysX ID parameter to 0 or 1. Alternatively, if you set the SysX ID to 127, the K2500 will accept a MIDI Sample Dump no matter what Sample Dump channel is used to send the sample dump.

If the sampler has a provision for setting the destination sample number, you can use it to specify the ID the K2500 will use for storing the sample. The K2500 sample number is mapped from the destination sample number as follows:

Sample Number K2500 ID

0 uses lowest unassigned ID between 200 and 999. 1-199 adds 200 to the ID (i.e. 5 becomes 205 in the K2500.) 200-999 ID is the same number.

If the sample number maps to a number already assigned to a RAM sample in the K2500, the RAM sample will be deleted prior to the K2500’s accepting of the new sample load. The K2500 will always map sample number zero to an unassigned ID, and therefore no samples will be overwritten when zero is speciﬁed.

Some computer-based sample editing software limits the sample numbers to a low range such as 1-128. This conﬂicts with the K2500, which reserves IDs 1-199 for ROM samples, which cannot be loaded or dumped. To get around this, the K2500 adds 200 to any numbers between 1 and 199. Therefore, if you want to load a sample into the K2500 at number 219, but your program can’t transfer samples at numbers greater than 128, specify number 19 (There’s an exception to this; please see “Troubleshooting a MIDI Sample Dump” later in this section).

10-5

Page 67

MIDI, SCSI, and Sample Dumps

The MIDI Sample Dump Standard

At this point, you’re ready to try loading a sample. See “Accessing a New K2500 Sample” later in this section to learn how to use samples once they’ve been dumped to the K2500.

Getting a Sample into a Sample Editor from the K2500

Connect the MIDI ports of the K2500 and the computer/sampler in a closed-loop conﬁguration as described for the Sampler/Computer to K2500 procedure above.

Access the computer software’s “Get Sample” page (it might be called something different). As with loading a sample into the K2500, the K2500 adds 200 to dump request sample numbers between 1 and 199. K2500 samples with IDs from 1 to 199 are ROM samples, and cannot be dumped. Therefore, if you want to get sample number 219 from the K2500 but your program can’t transfer samples at numbers greater than 128, specify number 19 (There’s an exception to this; please see “Troubleshooting a MIDI Sample Dump” later in this section).

Loading a Sample into the K2500 from another K2500

Connect the MIDI ports of the two K2500s in a closed-loop conﬁguration as described for the Sampler/Computer to K2500 procedure above.

On the source K2500, go to the Sample Editor and select the sample you wish to transfer. To do this, start in Program mode and press EDIT, followed by the KEYMAP soft button. Now you should be on the KEYMAP page. Now move the cursor to the Sample parameter, use any data entry method to select the desired sample, then press EDIT.

To start the sample transfer, press the Dump soft button. A dialog will appear, suggesting the ID for the sample to be dumped to the destination K2500. The source K2500 will suggest the same ID as it uses for the sample, but you can change the destination ID with any data entry method. If you choose the default by pressing Yes, the sample will transfer to the same ID on the destination K2500 as it is on the source K2500.

Dumping from the K2500 to a Sampler

This procedure is the same as dumping a sample from one K2500 to another. This will work only if the sampler supports the MIDI Sample Dump Standard.

Dumping a Sample from the K2500 to a MIDI Data Recorder

This can be accomplished in an open-loop conﬁguration, by connecting the MIDI Out port of the K2500 to the MIDI In port of the MIDI Data Recorder. Go to the Sample Editor and select the K2500 sample you wish to transfer. Set up the MIDI Data Recorder to begin recording, and press the Dump soft button on the Sample Editor page. This will bring up a dialog allowing you to change the sample number in the dump if you wish. In most cases, you will just use the default value. The K2500’s MIDI mode LED will ﬂash while the data transfer is in progress.

Loading a Sample into the K2500 from a MIDI Data Recorder

10-6

Connect the MIDI Out port of the Data Recorder to the MIDI In port of the K2500. Load the appropriate ﬁle containing the MIDI Sample Dump data into the Data Recorder, and send the ﬁle. The K2500’s MIDI mode LED will ﬂash during this procedure.

Accessing a New K2500 Sample

First, select the K2500 program you wish to play the new sample from, and press the EDIT button. Then select the layer you wish (using the CHAN/BANK buttons if necessary), press the

Page 68

MIDI, SCSI, and Sample Dumps

The MIDI Sample Dump Standard

KEYMAP soft button, and select a keymap. Use the default keymap called “168 Silence” if you don’t want to alter any existing keymaps.

Now, enter the Keymap Editor by pressing EDIT once again. Use the Sample parameter to select the new sample. If the new sample was loaded from another K2500, it will have the same ID as it did on the other K2500. If the sample was loaded from any other source, its ID will be deﬁned as described above (in the section called “Loading Samples with the MIDI Standard Sample Dump”).

The name of the sample will be assigned by the K2500 if the sample has been assigned to a previously unused ID. In most cases, the sample will have a name of “New Sample - C 4”.

The name will be “New Sample! - C 4” (note the exclamation point) if checksum errors were detected by the K2500. Checksum errors are usually not serious, since they may just mean the source sampler doesn’t adhere to the MIDI Sample Dump Standard checksum calculation. In other cases, a checksum error could indicate that the MIDI data ﬂow was interrupted during the sample transfer.

You can now press EDIT to edit the parameters of the new sample such as Root Key, Volume Adjust, Pitch Adjust, and Loop Start point. You can also rename the sample. Be sure to save the parameters you change when you press EXIT. Once the sample is adjusted to your liking, you can assign it to any Keymap.

Troubleshooting a MIDI Sample Dump

This section will help you identify what has gone wrong if your MIDI sample dumps fail to work.

WHEN LOADING SAMPLES TO THE K2500

There are two reasons a K2500 will not accept a MIDI Sample Dump. First, a dump will not be accepted if the destination sample number maps to a K2500 sample that is currently being edited—that is, if you’re in the Sample Editor, and the currently selected sample has the same ID as the sample you’re trying to dump. Second, a dump will not be accepted if the length of the sample to be dumped exceeds the available sample RAM in the K2500. There may be samples in the K2500 RAM that you can save to disk (if not already saved) and then delete from RAM to free up sample RAM space. You can delete the current sample by pressing the Delete soft button while in the Sample Editor.

Note that when you’re loading a sample to an ID that’s already in use, the K2500 will not accept a MIDI Sample Dump if the length of the sample to be loaded exceeds the amount of available sample RAM plus the length of the existing sample. If the K2500 accepts the sample load, the previously existing sample will be deleted.

Also note that certain computer-based editing programs will subtract one from the sample number when performing MIDI sample transfers to remote devices. So if you instruct these programs to send a sample to the K2500 as sample ID 204, the program will send the sample as

203. The only way to know if your program behaves in this manner is to try a MIDI Sample

Dump and see what happens.

WHEN DUMPING SAMPLES FROM THE K2500

Certain computer-based sample editing programs subtract one from the sample number when performing MIDI Sample transfers to remote devices. For instance, if you tell these programs to get sample number 204, the programs will request that the K2500 dump sample ID 203, which would ordinarily dump a different sample from the one you intended, possibly causing the dump to fail. The K2500 automatically counteracts this offset by adding a number to sample requests. This was done because more sample editing programs create this offset than do not. If

10-7

Page 69

MIDI, SCSI, and Sample Dumps

SMDI Sample Transfers

you ﬁnd that the K2500 is sending samples with higher IDs than the ones you requested, you can compensate by requesting the sample ID one lower than the one you want. For example, if you want the K2500 to dump sample 205, ask for sample 204.

Some samples in the K2500 are copy-protected. These include all ROM samples and possibly some third-party samples. The K2500 will not dump these samples.

Aborting a MIDI Sample Dump

The Abort soft button in the Sample Editor can be used to cancel any sample load into the K2500 from an external source (e.g. a computer or a sampler). This button will also halt a sample dump from the K2500. The K2500 will ask for conﬁrmation before it aborts the sample dump.

SMDI Sample Transfers

You can use Passport’s Alchemy® and Opcode’s Max® SMDI-capable Macintosh® software packages to transfer mono and stereo samples to and from the K2500. These applications use the SMDI data transfer format (SMDI stands for SCSI Musical Data Interchange—pronounced

smiddy . SMDI is parallel, not serial, so sample transfers can be made much faster than with the

MIDI sample dump standard.

Each of these applications has commands for getting and sending samples, which is how you’ll make the transfer from your ofﬂine storage to the K2500. Once the samples have been loaded to the K2500, you can use the Keymap and Sample Editors as you would with any other sample. Check your manuals for Alchemy or Max for the speciﬁcs.

Keep in mind that when transferring samples via SMDI, the K2500’s sound engine is disabled, so you can’t play it during a SMDI transfer as you can during a MIDI sample transfer. The average SMDI sample transfer time is about 20K per second.

As of this writing, the latest versions of Alchemy and Max are the only software packages supporting SMDI sample transfers to and from the K2500. SMDI is a new technology, however, and many software developers are working on packages that will support K2500 SMDI sample transfers. Your Kurzweil/Young Chang dealer can let you know about new developments.

10-8

Page 70

System Exclusive Protocol

K2500 System Exclusive Implementation

Chapter 11 System Exclusive Protocol

K2500 System Exclusive Implementation

The MIDI System Exclusive capabilities of the K2500 allow you to manipulate objects in the K2500’s memory from a computer system, another K2500, or a MIDI data recorder. The following is a reference to the SysEx protocol used by the K2500. This information can be used to build a simple object librarian software program. A word of advice—before you begin experimenting with SysEx, make sure you have saved anything of value in RAM to disk.

NOTE: To support new features and changes in the K2500 line of products, the internal program

structure has been changed from that of the K2000. Due to these changes, you cannot transfer a K2000 program to a K2500, or a K2500 program to a K2000 via MIDI system exclusive. The K2500 software will continue to be enhanced, and in the future the K2500 will be capable of accepting K2000 programs over MIDI. As a result of this, computer based K2000 editor/librarians will not currently work with the K2500, unless they have been revised to accommodate the changes.

Common Format

In the following discussion, the ﬁelds of the K2500 System Exclusive Protocol messages are notated as…

field(length)

…where ‘ﬁeld’ is the name of the particular information ﬁeld in the message, and ‘length’ is either 1, 2, 3, or n, representing the number of sequential MIDI bytes that make up the ﬁeld. A length of ‘n’ means that the ﬁeld is of a variable length that is determined by its contents or subﬁelds.

All K2500 SysEx messages have the common format:

sox(1) kid(1) dev-id(1) pid(1) msg-type(1) message(n) eox(1)

‘sox’ is always F0h, and represents start of System Exclusive.

‘kid’ must be 07h, and is the Kurzweil Manufacturer ID.

‘dev-id’ is Device ID. The K2500 will recognize a SysEx message if the ‘dev-id’ is the same is the SysX ID parameter from the MIDI Receive page (from the top level, press the MIDI mode button and the RECV soft button.) If the K2500’s SysX ID parameter is set to 127, it will recognize SysEx messages no matter what the ‘dev-id’ is.

‘pid’ is the Product Identiﬁer, and must be 78h (120 decimal), indicating the SysEx message is for the K2500.

‘msg-type’ is the identiﬁer of one of the K2500 SysEx messages deﬁned below, and ‘message’ is the variable-length message contents.

‘eox’ is always F7h, for end of System Exclusive.

Data Formats

K2500 SysEx messages are subdivided into ﬁelds that contain data in different formats. The various ﬁelds are shown in the Messages section below. Within a message, any ﬁelds for values that can be bigger than 7 bits are broken into 7 bit chunks. Thus two MIDI bytes gives 14 bits, three bytes gives 21 bits. The signiﬁcant bits are right justiﬁed in the ﬁeld. All bytes in a ﬁeld must be present no matter what the value is. For example, an object type of 132 would be split into two MIDI bytes in a ‘type’ ﬁeld as 01 04:

11-1

Page 71

System Exclusive Protocol

K2500 System Exclusive Implementation

decimal: 132

binary: 10000100

binary encoding for type(2) field: 0000001 0000100

decimal encoding for type(2) field: 1 4

Object name ﬁelds are sent as a string of ASCII values in a ‘name’ ﬁeld, with one MIDI byte of zero as a string terminator. For example, the name “Glass Kazoo” would be sent as letters:

G l a s s _ K a z o o <null>

hex encoding for ‘name’ field: 47 6C 61 73 73 20 4B 61 7A 6F 6F 00

Data sizes and offsets are sent in the ‘size’ and ‘offs’ ﬁelds.These values refer to quantities of 8bit bytes in the K2500’s memory, which is packed in the ‘data’ ﬁeld.

Binary data in the ‘data’ ﬁeld is sent by in one of two formats, according to the value of the ‘form’ ﬁeld. If the ‘form’ ﬁeld equals zero, the data is transmitted as 4 bits or one “nibble” in every MIDI byte. If the ‘form’ ﬁeld equals one, then the data is sent as a compressed bit-stream, with 7 bits per midi byte. The bit-stream format is more efﬁcient for data-transmission, while the nibble format is easier to read (and write software for).

For example, to send the following four K2500 data bytes,

hex: 4F D8 01 29 decimal: 79 216 1 41

binary: 01001111 11011000 00000001 00101001

eight MIDI bytes are sent in “nibble” format:

hex: 04 0F 0D 08 00 01 02 09 decimal: 4 15 13 80129

binary: 0000100 0001111 0001101 0001000 0000000 0000001 0000010 0001001

ﬁve MIDI bytes are sent in bit-stream format:

hex: 27 76 0 12 48 decimal: 39 118 0 18 72

binary: 0100111 1110110 0000000 0010010 1001000

The bit-stream format can be thought of as taking the binary bits of the K2500 data and, starting from the left, slicing off groups of 7 bits. Note that the trailing bits are set to zero.

11-2

After the ‘data’ ﬁeld, there is another ﬁeld, ‘xsum’. This is a checksum ﬁeld which is calculated as the least signiﬁcant 7-bits of the sum of all of the MIDI bytes that make up the ‘data’ ﬁeld.

Messages

This section deﬁnes the K2500 System Exclusive message formats. Each message has a message type (that goes in the ‘msg-type’ ﬁeld; see Common Format, above), followed by the ﬁeld deﬁnitions of the message.

Page 72

System Exclusive Protocol

K2500 System Exclusive Implementation

DUMP = 00h type(2) idno(2) offs(3) size(3) form(1)

…requests the K2500 to send a data dump of an object or portion thereof. ‘type’ and ‘idno’ identify the object. ‘offs’ is the offset from the beginning of the object’s data and ‘size’ describes how many bytes should be dumped starting from the offset. ‘form’ indicates how the binary data is to transmitted (0=nibblized, 1=bit stream). The response is a LOAD message:

LOAD = 01h type(2) idno(2) offs(3) size(3) form(1) data(n) xsum(1)

…which writes data into the speciﬁed object, which must exist. Both load and dump operate on the object data only. The response to a load message will be

DACK = 02h type(2) idno(2) offs(3) size(3)

…meaning “load accepted”, or

DNAK = 03h type(2) idno(2) offs(3) size(3) code(1)

…meaning “load not accepted.” The ‘code’ ﬁeld indicates the cause of the failure, as follows::

code meaning

1 Object is currently being edited 2 Incorrect checksum 3 ID out of range (invalid) 4 Object not found (no object with that ID exists) 5 RAM is full

To request information about an object, use:

DIR = 04h type(2) idno(2)

The ‘type’ and ‘idno’ identify the object. The response is an INFO message:

INFO = 05h type(2) idno(2) size(3) ramf(1) name(n)

This is the response to DIR, NEW, or DEL. If object is not found, ‘size’ will be zero and ‘name’ will be null. ‘ramf’ is 1 if the object is in RAM.

NEW = 06h type(2) idno(2) size(3) mode(1) name(n)

…creates a new object and responds with an INFO message of the created object. The object’s data will not be initialized to any default values. If ‘idno’ is zero, the ﬁrst available object ID number will be assigned. If ‘mode’ is 0, the request will fail if the object exists. If ‘mode’ is 1, and the object exists in ROM, a RAM copy will be made. If ‘mode’ is 1, and the object exists in RAM, no action is taken.

DEL = 07h type(2) idno(2)

…deletes an existing object and responds with an INFO message for the deleted object. If there is only a RAM copy of the object, the response will indicate that the object doesn’t exist anymore. However, if the deletion of a RAM object uncovers a ROM object, the INFO response will refer to the ROM object. A ROM object cannot be deleted.

11-3

Page 73

System Exclusive Protocol

K2500 System Exclusive Implementation

CHANGE = 08h type(2) idno(2) newid(2) name(n)

…changes the name and/or ID number of an existing object. If ‘newid’ is zero or ‘newid’ equals ‘idno’, the ID number is not changed. If ‘newid’ is a legal object id number for the object’s type , then the existing object will be relocated in the database at the new ID number. This will cause the deletion of any object which was previously assigned to the ‘newid’. If the ‘name’ ﬁeld is null, the name will not change. Otherwise, the name is changed to the (null-terminated) string in the ‘name’ ﬁeld.

WRITE = 09h type(2) idno(2) size(3) mode(1) name(n) form(1) data(n) xsum(1)

…writes an entire object’s data directly into the database. It functions like the message sequence DEL followed by NEW followed by a LOAD of one complete object data structure. It ﬁrst deletes any object already existing at the same type/ID. If no RAM object currently exists there, a new one will be allocated and the data will be written into it. The object name will be set if the ‘name’ string is non-null. The response to this message will either be a DACK or a DNAK, as with the load message. The ‘offs’ ﬁeld of the response will be zero. The K2500 will send a WRITE message whenever an object is dumped from the front-panel (using a “Dump” soft-button), or in response to a READ message.

The ‘mode’ ﬁeld is used to determine how the ‘idno’ ﬁeld is interpreted.

If ‘mode’ = 0:

The ‘idno’ speciﬁes the absolute ID number to write to, which must exist.(must be valid)

If ‘idno’ equals zero, write to the ﬁrst available ID number.

If ‘mode’ = 1

The object is written at the ﬁrst available ID number after what is speciﬁed by ‘idno’.

It doesn’t matter if ‘idno’ is a legal ID number. Remember that for certain object types, the 100s through 900s banks allow fewer than 100 objects to be stored (for example, the 100s bank will store preset effects at IDs 100—109 only). In this mode, if ‘idno’ was 313, the object would be written to ID 400 if available.

READ = 0Ah type(2) idno(2) form(1)

…requests the K2500 to send a WRITE message for the given object. No response will be sent if the object does not exist.

READBANK = 0Bh type(2) bank(1) form(1) ramonly(1)

…requests the K2500 to send a WRITE message for multiple objects within one or all banks.

11-4

‘type’ and ‘bank’ specify the group of objects to be returned in WRITE messages. The ‘type’ ﬁeld speciﬁes a single object type, unless it is zero, in which case objects of all user types will be returned (see object type table below). The ‘bank’ ﬁeld speciﬁes a single bank, 0-9, unless it is set to 127, in which case objects from all banks will be returned.

‘form’ requests the format of the binary data in the WRITE messages. If ‘ramonly’ is one, only objects in RAM will be returned. If ‘ramonly’ is zero, both RAM and ROM objects are returned.

Page 74

System Exclusive Protocol

K2500 System Exclusive Implementation

The responses, a stream of complete WRITE messages, will come out in order of object type, while objects of a given type are in order by ID number, from lowest to highest. If no objects are found that match the speciﬁcations, no WRITE messages will be returned. After the last WRITE message, an ENDOFBANK message (deﬁned below) is sent to indicate the completion of the bank dump.

The K2500 will insert a small delay (50ms) between WRITE messages that it issues in response to a READBANK message.

A bank dump can be sent in its entirety to another K2500, which will add all of the objects contained in the dump to its own object database. IMPORTANT: If the K2500 receives a large bank dump for a bank or banks that already contain objects, errors may result unless the sender waits for the DACK message before sending the next object’s WRITE message. One way to avoid transmission errors such as this is to make sure that the bank being dumped is clear in the K2500 before sending the dump, so that the K2500 will not miss parts of the dump while its CPU is busy deleting already existing objects. This can be done using the DELBANK message (deﬁned below). If the destination bank in the K2500 is pre-cleared, it is not necessary to wait for the DACK before sending. Even if the sender chooses not to wait for the DACK before sending the next message, it may be necessary to preserve the 50ms delay between the WRITE messages.

Due to the large amount of incoming data during a bank dump containing many objects, the receiving K2500 may have a more sluggish response to front-panel use and keyboard playing during the data transfer. This is normal behavior and the machine will become fully responsive as soon as the dump is ﬁnished.

DIRBANK = 0Ch type(2) bank(1) ramonly(1)

This is similar to the READBANK message. The DIRBANK message requests an INFO message (containing object size, name, and memory information) be returned for each object meeting the speciﬁcations in the ‘type’ and ‘bank’ ﬁelds. Following the last INFO response will be an ENDOFBANK message.

ENDOFBANK = 0Dhtype(2) bank(1)

This message is returned after the last WRITE or INFO response to a READBANK or DIRBANK message. If no objects matched the speciﬁcations in one of these messages, ENDOFBANK will be the only response.

DELBANK = 0Eh type(2) bank(1)

This message will cause banks of objects (of one or all types) to be deleted from RAM. The ‘type’ and ‘bank’ speciﬁcations are the same as for the READBANK message. The deletion will take place with no conﬁrmation. Speciﬁcally, the sender of this message could just as easily delete every RAM object from the K2500 (e.g. ‘type’ = 0 and ‘bank’ = 127) as it could delete all effects from bank 7 (e.g. ‘type’ = 113, ‘bank’ = 7.)

MOVEBANK = 0Fh type(2) bank(1) newbank(1)

This message is used to move entire banks of RAM objects from one bank to another. A speciﬁc object type may be selected with the “type” ﬁeld. Otherwise, if the “type” ﬁeld is unspeciﬁed (0), all object types in the bank will be moved. The “bank” and “newbank” ﬁelds must be between 0 and 9. The acknowledgement is an ENDOFBANK message, with the “bank” ﬁeld

11-5

Page 75

System Exclusive Protocol

K2500 System Exclusive Implementation

equal to the new bank number. If the operation can’t be completed because of a bad type or bank number, the ENDOFBANK message will specify the old bank number.

LOADMACRO = 10h

…tells K2500 to load in the macro currently in memory.

MACRODONE = 11h code(1)

…acknowledges loading of macro. Code 0 indicates success; code 1 means failure.

PANEL = 14h buttons(3n)

…sends a sequence of front-panel button presses that are interpreted by the K2500 as if the buttons were pressed at its front-panel. The button codes are listed in a table at the end of this chapter. The K2500 will send these messages if the Buttons parameter on the XMIT page in MIDI mode is set to On. Each button press is 3 bytes in the message. The PANEL message can include as many 3-byte segments as necessary.

Byte 1 Button event type: 08h Button up 09h Button down 0Ah Button repeat 0Dh Alpha Wheel Byte 2 Button number (see table) Byte 3 Repeat count (number of clicks) for Alpha Wheel; the count is the delta (difference)

from 64—that is, the value of the byte minus 64 equals the number of clicks. A Byte 3 value of 46h (70 dec) equates to 6 clicks to the right. A Byte 3 value of 3Ah (58 dec) equates to six clicks to the left. For example, the equivalent of 6 clicks to the right would be the following message:

(header) 14h 0Dh 40h 46 (eox)

For efﬁciency, multiple button presses should be handled by sending multiple Button down bytes followed by a single Button up byte (for incrementing with the ‘+’ button, for instance. )

Object Types

These are the object types and the values that represent them in ‘type’ ﬁelds:

Type ID (decimal) ID (hex) ID(hex, ‘type’ field)

11-6

Program 132 84h 01h 04h Keymap 133 85h 01h 05h Effect 113 71h 00h 71h Song 112 70h 00h 70h Setup 135 87h 01h 07h Soundblock 134 86h 01h 06h Velocity Map 104 68h 00h 68h Pressure Map 105 69h 00h 69h

Page 76

System Exclusive Protocol

K2500 System Exclusive Implementation

Quick Access Bank 111 6Fh 00h 6Fh Intonation Table 103 67h 00h 67h

Master Parameters

The Master parameters can be accessed as type 100 (00h 64h), ID number 16. Master parameters cannot be accessed with any of the Bank messages.

Button Press Equivalence Table

Button

Code (hex) Button Code(hex)

Alphanumeric pad Soft-Buttons ‘A-F’

zero 00 A ‘(leftmost) 22 one 01 B 23 two 02 C 24 three 03 D 25 four 04 E 26 five 05 F (rightmost) 27 six 06 AB 28 seven 07 CD (two center) 29 eight 08 EF 2A nine 09 YES 26 +/- 0A NO 27

Alphanumeric pad Edit/Exit

CANCEL 0B EDIT 20 CLEAR 0C EXIT 21 ENTER 0D

Navigation Mode Selection

Plus (+) 16 PROGRAM 40 Minus (-) 17 SETUP 41 Plus and Minus 1E QUICK ACCESS 42 CHAN/BANK Inc 14 EFFECTS 47 CHAN/BANK Dec 15 MIDI 44 CHAN/BANK Inc/Dec 1C MASTER 43 Cursor Left 12 SONG 46 Cursor Right 13 DISK 45 Cursor Left/Right 1A Cursor Up 10 Cursor Down 11

11-7

Page 77

System Exclusive Protocol

K2500 System Exclusive Implementation

Cursor Up/Down 18

The next four commands allow you to read the screen display, both text and graphics layers.

ALLTEXT = 15h

…requests all text in the K2500’s display.

PARAMVALUE = 16h

…requests the current parameter value.

PARAMNAME = 17h

…requests the current parameter name.

GETGRAPHICS = 18h

…requests the current graphics layer.

SCREENREPLY = 19h

This is the reply to ALLTEXT, PARAMVAL, PARAMNAME, GETGRAPHICS, or SCREENREPLY.

The reply to ALLTEXT will be 320 bytes of ASCII text (the display has 8 rows of 40 characters each). If you receive less than that, then the screen was in the middle of redrawing and you should request the display again.

The reply to PARAMVALUE will be a variable length ASCII text string. Some values (like keymaps, programs, samples, etc.) include their ID number in the text string (e.g., "983 OB Wave 1"). Some messages are also padded with extra spaces.

The reply to PARAMNAME will be a variable length ASCII text string. In cases where there is no parameter name (like on the program page) there will just be the single 00 null terminator.

The reply to GETGRAPHICS will be 2560 bytes of information. The 6 least signiﬁcant bits of each byte indicate whether a pixel is on or off. If pixels are on over characters, the text becomes inverted. Characters on the K2500 display are a monospaced font with a height of 8 pixels and a width of 6 pixels.

11-8

Page 78

Glossary

Chapter 12 Glossary

Algorithm

Aliasing

Amplitude

Analog

Bandwidth

Bank

Cent

In the K2500, a preset conﬁguration of programmable digital signal processing functions. Each of a program’s layers uses its own algorithm, which determines the type of synthesis each layer uses to generate its sound.

A type of distortion that occurs in digitally sampled sounds when higher pitches (increased sample playback rates) introduce partials that were not present in the original sound. These partials may or may not be musically useful.

The intensity of a signal, perceived as loudness in the case of audio signals.

A term used widely in electronics-related ﬁelds to describe a method of representing information, in which the method of representation resembles the information itself. Analog synthesizers, for example, use gradual variations in electrical voltage to create and modify sounds. The oscillations in voltage are analogous to the waveforms of the sounds they generate. Compare Digital.

In terms of sound generation, the range of frequencies within which a device functions. The human ear has a “bandwidth” of almost 20 KHz (it can distinguish sound at frequencies from 20 Hz to 20KHz). The K2500’s 20KHz bandwidth enables it to produce sounds that span the entire range of humanly audible sound.

There are two types of banks in the K2500’s memory: memory banks, which store and organize the programs and other objects you create, and Quick Access banks, where you can store programs and setups for one-button access while in Quick Access mode.

1/100th of a semitone. The standard increment for ﬁne adjustment of pitch.

Continuous control

Control Source

DSP

DSP Functions

Default

A device that converts motion into a range of 128 possible values that can modulate a sound source. The Mod Wheel, a standard volume pedal, and controllers like Breath and Aftertouch are continuous controls. Compare switch controls.

Anything that can be used to modify some aspect of a program’s sound. LFOs, envelopes, Mod Wheel messages (MIDI 01), and FUNs are just a few examples of the K2500’s control sources.

Digital signal processing (see)

The K2500’s collection of digital signal processing functions are what give the Variable Architecture Synthesis system its ﬂexibility. Within each layer’s algorithm, you can select from a long list of DSP functions like ﬁlters, EQ, oscillators, and a few that are unique to the K2500. Each DSP function has a corresponding page that enables you to assign numerous control sources to deﬁne how the DSP functions affect the sound of the program you’re editing.

The starting condition of a system. The settings for the K2500’s parameters are at their defaults when you unpack it, and they stay there until you change them. A hard reset will erase RAM and restore all parameters to their defaults.

12-1

Page 79

Glossary

Dialog

Digital

Digital Signal Processing

Drum Program

A page that prompts you to enter information that the K2500 needs in order to execute an operation. Dialogs appear, for example, when you initiate a Save or Delete operation.

A term used widely in electronics-related ﬁelds to describe a method of representing information as a series of binary digits (bits)—1s and 0s. Digital computers process these strings of 1s and 0s by converting them into an electrical signal that is always in one of two very deﬁnite states: “on” or “off.” This is much more precise than the analog method, therefore digital computers can operate at speeds unattainable by analog devices. Digital synthesizers like the K2500 are actually computers that process vast strings of digital information signals, eventually converting them (at the audio output) into the analog signals that ﬂow into PAs and other audio systems. See also Analog.

The term “Signal processing” refers to a vast range of functions, all of which have in common the fact that they act upon an electric current as it ﬂows through a circuit or group of circuits. A simple form of signal processing is the distortion box used by many guitarists. Digital signal processing refers to similar processes that are performed by digital (see) circuitry as opposed to analog (see) circuitry. Many of the effects devices available today use digital signal processing techniques.

The only difference between a drum program and an ordinary program is that a drum program can contain up to 32 layers instead of the usual maximum of three. Since each layer has its own keymap and algorithm (not to mention all the other control sources), this gives you enormous control over whatever sounds you assign to the layers in a drum program.

Editor

Envelope

File

Global

Hard Reset

Keymap

The complete set of parameters used to modify a particular aspect of the K2500, for example, the currently selected Program, which is modiﬁed with the Program Editor. The Program Editor spans several display pages, which can be viewed by using the soft buttons (the ones labeled “<more>.”

An aperiodic modiﬁer. In other words, a way to cause a sound to change over time without repeating the change (unlike periodic modiﬁers like LFOs, which repeat at regular intervals).

A group of objects stored to a ﬂoppy or hard disk, or loaded into the K2500’s RAM from disk.

In this manual, used primarily in reference to control sources. A global control source affects all notes in a layer uniformly. If a layer uses a global control source, that control source begins to run as soon as the program containing it is selected. Its effect on each note will be completely in phase, regardless how many notes are being played. Compare Local.

Resets all parameter values to their defaults, and completely erases the contents of RAM. Press the Reset button in Master mode to do a hard reset. This is a quick way to restore the factory defaults to your K2500, but EVERYTHING in RAM (all the objects you’ve created) will be erased, so objects you wish to keep should be saved to disk or SyxEx dump. A hard reset should not be used to recover if your K2500 is hung up, except as a last resort. See Soft Reset.

A keymap is a collection of samples assigned to speciﬁc notes and attack velocities. Keymaps usually contain numerous sample roots pitch-shifted across a range of several notes. When you trigger a note, the keymap tells the K2500 what sound to play, at what pitch, and at what loudness.

12-2

Page 80

Glossary

LFO

Layer

Leslie effect

Local

Memory banks

Low frequency oscillator. An oscillator is an electrical signal that cycles regularly between a minimum and maximum amplitude. The simplest oscillating waveform is the sine wave, but an LFO waveform can have almost any shape. The number of times each second that an oscillator repeats itself is called its frequency, which is measured in Hertz (Hz). Anything up to 50 Hz is considered low-frequency in musical applications. Use an LFO whenever you want to generate a periodic (repeating) effect. Adjusting the rate of the LFO will change the repetition rate of the effect.

A layer consists of a keymap processed through an algorithm. Layers can be stacked together within a program. Each layer uses one of the K2500’s 48 available voices. Each K2500 program can contain up to three layers—except drum channel programs, which can contain up to 32 layers.

This classic vibrato effect was originally created by mounting a speaker in its cabinet so the speaker could be rotated at varying speeds. This applied a vibrato of varying rate to all sounds played through the rotating speaker.

In this manual, used primarily in reference to control sources. A local control source affects each note in a layer independently. For example, if a local LFO is used as a control source, a separate LFO cycle will begin with each note start. The LFOs don’t run in phase unless notes are started simultaneously. Compare Global.

The K2500’s memory is divided into ten spaces where you can store any object you edit. These spaces are called banks. Each bank can hold up to 100 objects of each type, so we refer to them as the 100s bank, the 200s bank, and so on. The ID of an object determines which bank it’s stored in. An object with an ID of 399, for example, would be stored in the 300s bank. ROM objects are stored in the Zeros and 100s banks. RAM objects can be stored in any bank.

MIDI

MIDI device

MIDI Master

MIDI Slave

Non-linear DSP Function

Note State

Object

Musical Instrument Digital Interface. A specialized format for representing musical information in terms of standardized computer data, which enables electronic musical instruments to communicate with computers

Any device—keyboard, computer, wind instrument, etc.—which is capable of transmitting and receiving MIDI messages.

A MIDI device that is conﬁgured to control one or more other MIDI devices. The MIDI Out port of the master is connected by cable to the MIDI In port(s) of the slave device(s).

A MIDI device that is conﬁgured to receive MIDI messages from a master device. The MIDI In port of the slave is connected by cable to the MIDI Out port of the master.

Without getting technical, non-linear DSP functions like SHAPER and WRAP add waveforms to those already present in a sound, while linear DSP functions act upon the existing waveforms without adding new ones.

Any K2500 note is either on or off; this is its note state. Normally, any given note’s Note State switches on when you strike the key for that note. It switches off when you release the key, and any sustain controls you may have applied to the note (Sustain or Sostenuto pedal, etc.). Also see the index entry for Note State.

A chunk of information stored in the K2500’s memory. Programs, setups, keymaps, and samples are all objects. There are several others as well. Also see the index entry for “Objects.”

12-3

Page 81

Glossary

Page

Parameter

Pixel

Program

Program Editor

RAM

A set of performance or programming parameters that appear as a group in the display. The entry level page for each mode appears when you select the mode. Most other pages are selected with the soft buttons, from within an editor.

A programming feature. The name of the parameter describes the function it controls—transposition, for example. Each parameter has a value associated with it, which indicates the status of the parameter.

A contraction of “picture element.” The K2500’s display consists of a screen with small square dots (the pixels). Each pixel lets light through or blocks it depending on whether it is receiving an electrical charge. The combination of light and dark dots creates a pattern that you recognize as text or graphics. The K2500’s display is 240-by64 pixels, in other words, 64 horizontal rows, each containing 240 pixels, for a total of 15360 pixels.

The K2500’s basic performance-level sound object. Programs can consist of up to 3 layers (32 layers for programs on the drum channel); each layer has its own keymap (set of samples) and sound-processing algorithm.

The set of parameters that lets you modify the sound of ROM or RAM programs. Enter the Program Editor by pressing the EDIT button while in Program mode, or any time the currently selected parameter has a program as its value.

Random Access Memory, one of the two basic types of computer memory. RAM can be both read from and written to. When you load samples into the K2500, or save a program you’ve created, you’re writing to RAM. Compare ROM.

ROM

Sample

SCSI

SMDI

SMF

Semitone

Read Only Memory, one of the two basic types of computer memory. You can retrieve the information stored in ROM, but you can’t write (save) new information to it. The onboard sounds of your K2500 are stored in ROM.

A digital recording of a sound that can be assigned to a keymap as part of the process of building a program. Samples are stored in ROM (factory-installed) or in RAM (loaded from disk).

Pronounced “scuzzy,” this acronym stands for Small Computer Systems Interface. It’s simply a standardized form of information exchange that allows any SCSI equipped device to communicate with any other SCSI device. Two or more SCSI devices—they can be computers, hard disks, printers, just about anything that sends or receives information in standardized form—are connected via special cables to their SCSI ports. This conﬁguration is much faster than serial information exchange, the precursor to SCSI.

Pronounced “smiddy,” this acronym stands for SCSI Musical Data Interchange. It’s a new format for data transfer, based on the SCSI format, which uses parallel input/ output rather than serial, as used by MIDI and standard SCSI operations. This enables data to ﬂow much faster. You can use SMDI to transfer samples to and from the K2500 using software packages from Passport and Opcode.

Standard MIDI File. MIDI Type 0 ﬁles are single track, while MIDI Type 1 ﬁles are multi-track. The K2500 can read and write Type 0 ﬁles and read Type 1 ﬁles.

In “Western” music, the standard interval between the twelve notes in the scale. There are twelve semitones to an octave. The interval between C and C# is one semitone.

12-4

Page 82

Glossary

Setup

Soft Reset

Switch control

Toggle

Value

Variable Architecture Synthesis Technology (V. A. S. T.)

A multi-timbral performance object. A setup consists of three zones, each of which can be assigned its own program, MIDI channel, and control assignments. These assignments control the K2500’s operation while in Setup mode, as well as determining the Program Change numbers and controller messages the K2500 sends via MIDI.

Returns the K2500 to Program mode without affecting the contents of RAM. Press the +/-, 0, and CLEAR buttons to do a soft reset. If your K2500 is hung up for some reason, this will usually get take care of the problem. See Hard Reset.

A device that converts motion into discrete on/off signals. A switch control, like the Sustain pedal, is either on or off. Compare continuous control.

As a verb, to switch between (usually) two conditions using a device that makes the switch. As a noun, the device that makes the switch. For example, pressing the “View” soft button on the top level Program mode page toggles between small-type and large-type views of the current Program.

The current setting of a parameter. Each parameter has a range of available values, one of which you select while editing. The Transposition parameter on the Program mode page, for example, has a default value of 0. Change the value to change the parameter’s effect on the current program.

The term created by Kurzweil engineers to describe the multi-faceted capabilities of the K2500, combining sample playback (ROM and RAM), and waveform generation with a broad array of processing functions. This architecture provides preset algorithms created by Kurzweil sound engineers, which include ﬁlters, distortion, panning, EQ, waveform oscillators, waveform shaper, hard sync oscillators, amplitude modulation, gain, crossfade, and more. V. A. S. T. is a registered trademark of Young Chang Akki Co. Ltd.

Zero Crossing

Any of a number points in the digital representation of a sound’s waveform where the digital signal is neither positive or negative. When looping samples, starting the loop at one of these points will reduce or eliminate the click or change in timbre that can occur in sample loops.

12-5

Page 83

Glossary

12-6

Page 84

Specifications

K2500 FEATURES

Chapter 13 Speciﬁcations

K2500 FEATURES

•

240 x 64-pixel backlit ﬂuorescent graphic display with adjustable contrast

•

3.5-inch ﬂoppy disk drive, for DD or HD disks, DOS compatible

•

MIDI In, Thru, and Out with selectable second MIDI Out

•

MIDI LED to indicate MIDI activity

•

48-note polyphony with dynamic voice allocation

•

Multi-timbral, for multi-track sequencing and recording

•

199 factory preset programs, and 100 factory preset setups

•

Up to 3 layers per program, up to 32 layers for programs on drum channels

•

Receives mono (channel) pressure and poly (key) pressure

•

8-zone setups transmit on8 MIDI channels with independent programmable controls

•

Fully featured onboard sequencer for recording from keyboard or via MIDI; loads and plays MIDI Type 0 sequences

•

Easy-to-use programming interface including soft buttons, Alpha Wheel, and alphanumeric pad

•

8 Megabytes of 16-bit sample ROM, including acoustic instrumental sounds, waveforms, and noise

•

20 KHz maximum bandwidth

•

Optional stereo sampler with analog and digital inputs

•

AES/EBU I/Os and optical I/O

•

Sound ROM expandable to a total of 28 Megabytes

•

8 SIMM sockets for optional sample RAM—up to 128 Megabytes

•

Stereo sample playback capability

•

Akai® S1000 sample disk compatibility

•

Two 1/4-inch mixed audio outputs (stereo pair)

•

Eight 1/4-inch audio outputs programmable as four stereo pairs or as eight separate outputs, with insert capability for effects patching

•

Stereo headphone jack

•

Optional effects board with direct digital out and digital stereo insert

•

240K battery-backed RAM for user programs, setups and other objects, expandable to 1256K

•

Two SCSI ports for connection with external SCSI disks, CD-ROM drives, or Macintosh® personal computers

•

Optional internal hard disk

•

Optional 8 channel interface to AES, ADAT, DA-88

•

Realtime DSP for each voice: 31 programmable DSP algorithms incorporating ﬁlters, EQ, distortion, panning, pulse width modulation, and more; up to 3 programmable DSP functions per voice

13-1

Page 85

Specifications

K2500 FEATURES

•

Filters: Lowpass, Highpass, Allpass, Bandpass, Notch, programmable resonance

•

Programmable stereo multi-effects on MIX outputs, including simultaneous reverb, chorus, delay, ﬂanging, EQ—and more

•

Realtime internal and MIDI control of effects parameters

•

MIDI standard sample dump/load capability

•

SMDI sample dump/load capability

•

System Exclusive implementation

•

MIDIScope™ for analyzing MIDI events

13-2

Page 86

Environmental Speciﬁcations

Temperature ranges

For operation: minimum 41

maximum 104

For storage: minimum -13

maximum 186

Relative humidity ranges (non-condensing)

Operation and storage: 5—95%

F (5

F (40

F (85

F (-25

Physical Speciﬁcations

Overall dimensions K2500R K2500 K2500X

Width 16.9 in.* 43 cm. 47.8 in. 121.4 cm. 54.3 in. 137.9 cm. Depth 13.9 in. 35.4 cm. 17.8 in. 45.1 cm. 17.8 in. 45.1 cm. Height 5.1 in. 13 cm. 4.8 in. 12.2 cm. 4.8 in. 12.2 cm. Weight: 24.65 lb. 11.2 kg. 55.5 lb. 25.2 kg. 72 lb. 32.7 kg.

Specifications

Electrical Specifications

* Excluding the rack-mount brackets

Electrical Speciﬁcations

AC supply: selectable; 100V, 120V, 220V, or 240V. 1.0 amps at 120 volts nominal Safe voltage ranges

Voltage setting: 100V 120V 220V 240V

Safe voltage range: 85—107 95—125 180—232 190—250 Safe frequency range: 48—65 48—65 48—65 48—65

If the voltage drops below the minimum safe level at any voltage setting, the K2500 will reset, but no data will be lost. If the voltage exceeds the maximum safe level, the K2500 may overheat.

13-3

Page 87

Specifications

MIDI Implementation Chart

Model: K2500

Manufacturer: Date: 3/21/95 Young Chang Version 1.0

Digital Synthesizers

Function Basic Channel

Mode

Note Number

Velocity

After Touch

Pitch Bender Control Change

Program Change

System Exclusive System Common

System Real Time

Aux Messages

Notes *Manufacturer’s ID = 07

Device ID: default = 0;

Default

Changed 1 - 16 1 - 16

Default Mode 3 Mode 3 Use Multi mode for multi-

Messages

Altered

True Voice 0 - 127 0 - 127 Key

Note ON

Note OFF O O

Keys

Channels O O

True # 0 - 127 0 - 127

Song Pos. O O

Song Sel. O O

Tune X X

Clock

Messages O O

Local Control

All Notes Off O O

Active Sense X X

Reset X X

Transmitted Recognized Remarks

O 0 - 31

32 - 63 (LSB)

64 - 127

O 1 - 999

programmable 0 - 127

1 1 Memorized

timbral applications

0 - 127

O O

X O

O O

O 0 - 31

32 - 63 (LSB)

64 - 127

O 1 - 999 Standard and custom

O O

0-11 sets intonation

Controller assignments are programmable

formats

Mode 1: Omni On, Poly Mode 2: Omni On, Mono O = yes Mode 3: Omni Off, Poly Mode 4: Omni Off, Mono X =no

13-4

Page 88

Numerics

440-tuned piano voice

C-1

A clock Absolute Pitch Wheel Amplitude envelope Amplitude Envelopes

ASR1, ASR2 Attack state Attack velocity

6-9

6-7

6-12

K2000 compatability

6-11

6-12

6-10

B-4

B clock Balance (MIDI 08) Balance control Battery replacement Beat tuning Bipolar attack velocity Bipolar key number Bipolar Mod Wheel Bipolar mono pressure Bipolar polyphonic pressure Breath (MIDI 02) Buttons

Bypass effects

6-9

6-8

C-1

6-4

double presses

1-6

6-5

9-1

6-11

6-10

6-7

1-7, 1-8

CHAN/BANK buttons Chan/Bank buttons Channel count Channel state Cleaning your K2500 Compare Contemporary ROM Contemporary ROM Setups Control messages

AuxBend2 (MIDI 15) Balance (MIDI 08) Breath Data (MIDI 06) Data decrement (MIDI 97) Data increment (MIDI 96) Effects depth (MIDI 91) Expression (MIDI 11) Foot (MIDI 04) Freeze pedal (MIDI 69) Legato switch (MIDI 75) Mod Wheel (MIDI 01)

6-8

6-7

1-6

6-4

1-6

9-1

E-1

6-5

6-4

6-5

6-4

6-11

E-10

6-6

Mono pressure Pan (MIDI 10) Panic (MIDI 123) Portamento switch (MIDI 65) Portamento time (MIDI 05) Soft pedal (MIDI 67) Sostenuto (MIDI 66) Sustain (MIDI 64)

Volume (MIDI 07) Control source lists Control sources

A clock

Absolute Pitch Wheel

Amplitude envelope

ASR1, ASR2

Attack state

Attack velocity

B clock

Balance control

Bipolar attack velocity

Bipolar key number

Bipolar Mod Wheel

Bipolar mono pressure

Bipolar polyphonic pressure

Channel count

Channel state

Constants for FUNS

Envelopes 2 and 3

FUN1, FUN2

FUN3, FUN4

GAttVel

GKeyNum

Global ASR2

Global FUN2

Global FUN4

Global LFO2

Global LFOphase

Global phase 1 and 2

Inverse attack velocity

Key number

Key state

LFO1

LFO1 phase

LFO2

Loop state

Mono pressure

Negative A clock

Negative B clock

Note state

-ON

Pan control

Pitch Wheel

6-9

6-11 6-12

6-13

6-4

6-5

6-6

6-5

6-2

6-1

6-11

6-12

6-10

6-8

6-7

6-12 6-11 6-12

6-13

6-8

6-8 6-8

6-8

6-10

6-11

6-12

6-7

6-9

6-10

6-8

6-7

6-5

6-4

6-6

6-7

6-12

6-11

6-10

6-7

6-11

6-14

6-9

6-10

Index

Page 89

Polyphonic pressure Random variants 1 and 2 Release state Release velocity Sample playback rate Sync state Velocity triggers 1 and 2

Volume control 6-8

6-12

6-9

6-11

6-12

6-11

Data (MIDI 06) 6-4 Data decrement (MIDI 97) 6-6 Data increment (MIDI 96) 6-6 Descriptions of control sources 6-4 Diagnostics 9-2 Disk 1-6 Disk button 1-6 Disk Size Restrictions 10-1 Double button presses 1-7, 1-8 Dumping samples via SMDI 10-7

Edit button 1-6 Edit compare 1-6 Effects button 1-6 Effects bypass 1-6 Effects configurations 3-1 Effects Controller Numbers 3-2 Effects depth (MIDI 91) 6-6 Ensemble tuning C-1 Envelopes 2 and 3 6-12 Expression (MIDI 11) 6-5

Farm A-1 Floppy disk drive maintenance 9-1 Foot (MIDI 04) 6-4 Freeze pedal (MIDI 69) 6-6 Front panel reference 1-1 FUN1, FUN2 6-11 FUN3, FUN4 6-12 FX bypass 1-6

GAttVel control source 6-13 GKeyNum control source 6-13 Global ASR2 6-8 Global effects 3-1 Global FUN2 6-8 Global FUN4 6-8 Global LFO phase 6-8 Global LFO2 6-8

Global phase 1 and 2 6-9 Global random variant 1 and 2 6-10 Ground hum 9-3

Headphones 8-2

Impact

K2000 compatability B-4 Intonation tables 5-3 Inverse attack velocity 6-10

Jump to page 1-6

K2000

SysEx compatibility 11-1 K2000 Compatibility Disks B-1 K2500 and Macintosh Computers 10-3 K2500 Features 13-1 K2500 Program Farm A-1 Key number 6-10 Key numbers 5-1 Key state 6-10

Keymaps

list of 2-14

Layers

Muting 1-6 Legato switch (MIDI 75) 6-6 LFO shapes 4-1 LFO1 6-11 LFO1 phase 6-11 LFO2 6-12 LFO2 phase 6-12 Loop state 6-12

Main Control Source list 6-7 Maintenance and Prevention 9-1 Mark pages 1-6 Master button 1-6 Memory bank ID allottments 2-13 Memory management 8-1

MIDI

Key and note numbers 5-1

Sample dumps 10-4 MIDI button 1-6

Index-ii

Page 90

MIDI Control Source list 6-4 MIDI Implementation Chart 13-4

MIDI sample dump standard

Aborting 10-7 Loading 10-4 New samples 10-5

Troubleshooting 10-6 Mirror Image Drum Map D-13 Mod Wheel (MIDI 01) 6-4 Mode buttons—Program and Setup Editors 1-6 Mono pressure 6-7 Music workstation ideas 8-2, 11-1

Mute

Layers 1-6

Setup zones 1-6

Negative A clock 6-9 Negative B clock 6-9 Noise prevention and reduction 9-2 Note numbers 5-1 Note numbers, percussion keymaps 5-1 Note State 20 6-10

Objects

Numbering in memory banks 2-13

RAM, viewing 8-1

SysEx values 11-6 Objects, storing 2-13 Orchestral ROM D-1 Orchestral ROM Effects D-1 Orchestral ROM Keymaps D-3 Orchestral ROM Programs D-2

Orchestral ROM Programs with Controller Assign-

ments D-5 Orchestral ROM Samples D-4 Orchestral ROM Setups D-10

Pages

Jumping to 1-6 Marked 1-6

Previous 1-6 Pan (MIDI 10) 6-5 Pan control 6-8 Panic (MIDI 123) 6-6

Piano voices

440-tuned C-1 Pitch Wheel 6-7 Polyphonic pressure 6-11 Portamento switch (MIDI 65) 6-5

Portamento time (MIDI 05) 6-4 Power problems 9-4 Previous page 1-6 Program button 1-6 Program Farm A-1 Program list 2-1 Program RAM vs. Sample RAM 8-1

Quick Access button 1-6

RAM

Sample vs. Program 8-1 RAM objects, viewing 8-1 Random variants 1 and 2 6-11 Release state 6-12 Release velocity 6-11

Sample

SMDI transfers 10-8 Sample dumps 10-4 Sample ID offset 10-6 Sample playback rate 6-12 Sample RAM vs. Program RAM 8-1 SCSI Guidelines 10-1 Setup button 1-6 Setup List 2-8

Setups

Muting zones 1-6

SIMMs

for Sample RAM 8-2 SMDI sample transfers 10-8 Soft pedal (MIDI 67) 6-6 Solo tuning C-1 Song button 1-6 Sostenuto (MIDI 66) 6-6 Special button functions 1-6

Specifications

K2500 13-1 Stereo Piano ROM C-1 Storing Objects in Memory Banks 2-13 Stretch tuning C-1 Sustain (MIDI 64) 6-5 Sync state 6-9

System Exclusive

Button press values 11-7

Common format 11-1

compatibility with K2000 11-1

Data formats 11-1

Master parameters 11-7

Index-iii

Page 91

Messages 11-2 Object types 11-6

System Exclusive implementation 11-1

Troubleshooting 9-4

Velocity triggers 1 and 2 6-11 Viewing RAM objects 8-1 Volume (MIDI 07) 6-5 Volume control 6-8

Wrong sample being dumped 10-6

Young Chang Distributors iv

Index-iv

Page 92

K2500 Program Farm

Overview of Program Files

Appendix A K2500 Program Farm

The K2500 Program Farm, included on one of the accessory disks, provides you with a large collection of additional programs. You can either use these programs as they are, or edit them further to suit your own tastes.

Overview of Program Files

ANACOMPS.K25

Analog Comping Sounds

Prophets PWM Synth Saws w/ Resonance Sawtooth Synth Brass Vintage Synths Mellotrons

ANALEADS.K25

Analog Lead Sounds

Fusion Intervals Minimoog Pseudamentos Rock Leads Syncro Sounds

ANAPADS.K25

Analog Pads

Analog String Pads Classic Pads Philtered Pads Soft Sawtooth Pads

BASS.K25

Bass

Dual Basses Picked or Fingered Basses Slap Basses Stylized Basses Analog Synth Basses House Basses

BELLS.K25

Bell Sounds

Bell Pads Percussive Bell Comps

BRASS.K25

Brass & Winds

Solo Trumpets Muted Trumpet Emulations Solo Trombones Bass Horn Emulations Solo Flutes Piccolo Emulations Sax Emulations Sax Sections Brass Sections Brass and Strings

DIGITAL.K25

Digital Sounds

Digital Leads AM Sounds DigiBuzz Digital Clavs DigiDistort PPG's Miscellaneous Digital Sounds

DKICKSNR.K25

Individual Kicks And Snares

Kicks Snares

DRUMS.K25

Drum Kits And Percussion Sounds

Techno sounds Percussion Drums Kits Toms Mallet Sounds Multi Taps

ENSEMBLE.K25

Acoustic Ensembles

Orchestral Ensembles Layered w/ Guitar Jazz and Rock Combos

ETHEREAL.K25

Ethereal

Stepped Pads Vocal Pads Air Pads Glassy Pads Pads w/ Partials Hybrid Strings and/or Vocal Pads Generic Ethereal Sounds

FXSOUNDS.K25

Effects Sounds/Textures

Sawtalk Water Sounds Weather Emulations Weird Percussive Things Natural Sounds Strange Loops

Appendix A-1

Page 93

K2500 Program Farm

Overview of Program Files

GUITARS.K25

Guitars

Steel String Guitars 12-String Guitars Stylized Steel String Guitars Guitars w/ Strings or Pads Combination Guitars Jazz Guitars Guitar Mutes Distorted Emulations Exotic Plucked Things

HYBPERC.K25

Percussive Hybrids

Percussive Comps Percussive Pads

HYBRIDS.K25

General Hybrid Sounds

Hybrid String Pads Hybrid String Pads w/ Resonance Hybrid Stacks Flute-Like Hybrids

ORGANS.K25

Organs

Clean Rock Organs Clean Percussive Organs Pipe Organs Velocity Sensitive Organs Organ-Like Synths

PNOEPNO.K25

Piano & E Pianos

Classical Pianos Rock Pianos Pianos w/ Strings or Choir Bright and House Pianos Stylized Pianos Electric Grands Rhodes Pianos Dyno Pianos FM Pianos Clavinet Emulations Harpsichord Emulations

STRINGS.K25

Strings

Straight Strings Attack Velocity Strings Sfz Strings Ensemble Strings Layered Solo and Ensemble Strings Solo Violin and Cello Pizz Emulations String Pads

VOX.K25

Vocal Sounds

Programs Within the Files

The complete list of programs in the K2500 Program Farm is provided on the following pages. Each program is numbered as if it were loaded into the 200’s bank.

Appendix A-2

Page 94

K2500 Program Farm

ANACOMPS.K25

Analog Comping Sounds (88 Programs)

Prophets

200-Prophet Clav 201-Prophet Clav #3 202-Prophet Disco 203-Prophet Disco 2 204-Prophet Fuzz 205-Prophet Fuzz #2 206-Prophet Piano 1 207-Prophet Pulse 1 208-Prophet Pulse 2 209-Prophet Pulse 3 210-Prophet Pulse 4 211-Prophet Pulse 5 212-Prophet PWM Clav 213-Prophet Square 1 214-Prophet Square 2 215-Prophet Square 3 216-Prophet Square 4 217-Prophet phase 218-Brightsaw Prophet 219-Neo-Prophet 220-Mellow Prophet 221-70's Synth

PWM Synth

222-Big Mondo PWM 223-Big PWM 224-Big PWM #2 225-Big PWM #5 226-Env PWM 227-PWM Ags 228-Journey Synth

Saws w/ Resonance

229-Ana's Saws 230-OB-8 1 231-Obyrez #1 232-R&B Synth 233-Clean Sweep 234-Alaska 235-Analog Saw Pad 236-Poly Analog 1 237-Poly Analog 2 238-Poly Analog 5th 239-Bright and Fat 240-Saw Teeth 241- 9 Osc Sweep 242-Big Synthy #1 243-Saw Repeater

Sawtooth

244-Sawz 245-Big Jupiter 246-Dry Pluck Pad

247-o b Waves 248-Polysynth 249-Thick Osc 250-Oh Bee !!!

Synth Brass

251-OBX Braz #1 252-OBX Braz #2a 253-OBX Braz #4 254-Synth Brass 255-Real OBX Braz 256-Synbrass Sect 257-Synth Brass 1 258-Synth Brass 2 259-Mellow Synbrass 260-Dyno Synbrass 261-Analog Brazz

Vintage Synths

262-Memorymoog #4 263-Memorymoog Split 264-Poly 2600 #1 265-Poly ARP #1 266-Poly ARP #2 267-Elka 4 268-Elka II 269-Univox Piano #2 270-Univox Piano #3 271-Matrix 12 272-Matrix 12 2 273-Matrix 12 House 274-Matrix 12 Rez 5 275-Matrix 12 Soft 5

Mellotrons

276-Chiffatron 277-Mellotron 278-Mellotron 1 279-Mellotron 2 280-Mellotron 3 281-Tron Flutes 282-Tron Flutes 2 283-Tron Vox 284-Tron Vox 2 285-Tron Tapes 286-Tron Tapes 2 287-Tron Strings

Appendix A-3

Page 95

K2500 Program Farm

ANALEADS.K25

Analog Lead Sounds (73 Programs)

Fusion

200-Chick Lead 1 201-Chick Lick 202-Duke Lead 1 203-Duke Lead 2 204-Duke's Lead 3 205-Control Formants 206-Ewi Lead 207-Ewi Lead 2 (CS) 208-Porta Lead (CS) 209-Ballad Lead

Intervals

210-Wakeman #2 211-Wakeman #3 212-Duo Synth 213-Zawinul 2600 214-Zawinul 2600 #2 215-Quadra #1 216-Quadra #2 217-Quadra #3 218-Maj/Min Break 219-Dr. Dre Lead 220-Lonely 5ths

Minimoog

221-Mini Lead #1 222-Mini Lead #2 223-Mini Lead #3 224-Mini Lead #4 225-Mini Lead #5 226-Mini Lead #6 227-Mini Lead #7 228-Mini Lead #8 229-Poly Mini 230-Mini 2 231-Poly Mini 2

Pseudamentos

232-PseudamentoCS 233-Pseudamento 2 234-Pseudamento 3 235-Pseudamento 5 236-Pseudamento 6 237-Pseudamento 7 238-MonoLead 1 239-PRS Wow Lead

Rock Leads

240-Rich Raunch 1 241-Rich Raunch 2 242-Wakeman 243-Wakeman#1 244-Wakeman#4 245-JR Lead 2 246-Later Emerson 247-DC Lead

248-Modular Lead 249-Lucky Lead 250-Mono Brass 251-OB Brass 252-SynBass Lead PRS 253-Clock S&H Lead 254-Fun Delay Square 255-Square Pad 256-TimsDukeyDick 1 257-TimsDukeyDick 2 258-AlaZawinul 259-Lead Program 260-Lead Program 2 261-RezoLead Program 262-Skinny Lead

Syncro Sounds

263-Car's Sync 264-Car's Sync 2 265-Classic Sync 266-Sync 267-Sync It ! 268-Prophet Sync 2 269-Yo Mama ! 270-Velocitync 2 271-Prophet Sync 272-Velocitync 3

Appendix A-4

Page 96

ANAPADS.K25

Analog Pads (47 Programs)

Analog String Pads

200-Orch Pad 4 201-Lore Pad 202-MatrixMelostring 203-String Like 2 204-Eerie Synth Pad 205-Resonator 206-ARP Omni 207-String Machine 1 208-Synstring 209-Mixpad

Classic Pads

210-Mello Analog 211-Oberheim Pad 212-Prophet Pad 213-Memorymoog #2 214-Mister Softy 215-OB-8 Pad 216-Slo Generic OBX 217-Prophet 5 Mello 218-Prophet 5 Mello5 219-Slo PWM 220-Soft PWM 221-Soft PWM 7

Philtered Pads

222-Slow Filter 223-JB Synth Pad 224-Sawphaze 225-Sawphaze 7th 226-Solina Phaze 227-Solina Phaze 2 228-Solina Phaze 7th 229-Sweep Pad 230-AM Square Synth 231-Matrix 12 Pad 232-Matrix 12 Pad 5 233-Matrix 12 Pad 5 II 234-Slo SawPad 235-Pad 5th

Soft Sawtooth Pads

236-Another Pad 237-Bag Slush Pod 238-Big Lush Pad 239-Slo Lush Pad 240-Lo Pad 7 Split 241-Matrix SoftPad 242-Matrix SoftPad 5 243-In the Air 244-Ride Sweep 245-Pulsar 246-Scanners

K2500 Program Farm

ANAPADS.K25

Appendix A-5

Page 97

K2500 Program Farm

BASS.K25

Bass (61 Programs)

Dual Basses

200-Dual E Bass 1 201-Dual E Bass 2 202-Warm Dual Bass

Picked or Fingered Basses

203-Sustain EBass 2 204-Fingered Bass 205-Fingered Bass 2 206-Picked Bass 207-Finger Bass 208-Warm Bass 209-E Bass & Ride 210-Ripper

Slap Basses

211-Slap Bass 1 212-Slap E Bass Prs 213-Funk Me Bass

Stylized Basses

214-Hammer Bass 215-Too Bad Bass 216-Walking Bass 217-No Frets

Analog Synth Basses

218-Big Lo Bass 219-Big Mono Bass 220-2 Big Basses 221-Bass & Lead 222-Bass & Rhodes 223-Dubb Bass 224-Mooger Bass 225-Big Res Bass 226-AnalogBass D 227-Saw Bass 228-Synth Bass 1 229-WonderSynth Bass 230-Mondo Bass 231-Mogue Bass 2 232-Mogue Bass 3 233-Doom Bass 234-Matrix Big Bass 235-Matrix BigBass 3 236-Moogy Bass #1 237-Moogy Bass #2 238-Moogy Bass #3 239-Moogy Bass #4 240-Moogy Bass #5 241-Moogy Bass #6 242-Moogy Bass #8 243-ProphetPulsBass 2 244-ProphetPulsBass 3 245-ProphetPulseBass 246-Synth Bass 2 247-Synth Bass 3

248-Tuch Bass 249-Tuch Bass 2

House Basses

250-Unison House 251-Pop Attack Bass 252-Slap House Bass 253-AnaHouse Bass 254-House Bass #3 255-House Bass #4 256-House Bass #5 257-House Bass #6 258-House Bass #7 259-Low BigBass 3 260-Low BigBass 4

Appendix A-6

Page 98

BELLS.K25

Bell Sounds (28 Programs)

Bell Pads

200-Larabell 201-Space Bell 1 202-Metallic Pad 203-Fantasia 204-Space Bell 6 205-d50 Voce 2 206-Leningrad 207-With Tinklers 208-Lullaby 209-Tranquility 210-Tranquil Bell 211-PM'S Bell Pad 212-Digiphaze 213-Blistener 214-Simmbell 215-Bell Tree > Big Bell

Percussive Bell Comps

216-Crystal 217-DigiBell 218-Wave Bells 219-Little Metals 220-Clangorous 221-Gong Layers 222-Mallet Pad 223-Clockbells 224-Balarimba 225-Pinger 226-Belles 227-Toy Box

K2500 Program Farm

BELLS.K25

Appendix A-7

Page 99

K2500 Program Farm

BRASS.K25

Brass & Winds (68 Programs)

Solo Trumpets

200-Dynamic Trumpet 201-Solo trp mw vib 202-Miles Unmuted 203-Gentle trumpet

Muted Trumpet Emulations

204-Strght Mute Trpt 205-Muted trumpet 2 206-Sfz "mute" trp 207-20's Trumpet 208-Almost Muted

Solo Trombones

209-Trombone 210-Solo Trombone 211-Sfz Bone

Bass Horn Emulations

212-Tuba 213-Solo Bass Horn

Solo Flutes

214-Legato Flute 215-Legato Flute(prs) 216-Orchestral Flute 217-fast orch flute 218-wendy's Flute 2 219-Treble Flute 220-Jethro's Flute 221-JethroFlute(prs) 222-Baroque Flute 1 223-Baroque Flute 2 224-EchoFlute

Piccolo Emulations

225-Piccolo 226-Orch Piccolo 3

Sax Emulations

227-Tenor Sax 228-Kenny's Tenor 229-StreetCorner Sax 230-Get Real Bari

Sax Sections

231-Fake Sax 232-Hybrid Sax 233-Reed Section 234-Sax Section 8ve 1 235-Section Sax 2

Brass Sections

236-Tijuana Brass 237-Trp Section 1 238-Trps & Bones 239-Bri Trp & Bone 240-Trumpet & Bone 241-Hip Brass 242-Brass Section 243-Brass Band

244-Dyn Hi Brass B 245-Dyn Lo Brass B 246-Dyn Tbn & Hrn 247-Huge Brass 2 248-Huge Brass Too 249-SoftLowBrass B 250-Hall Horns 251-Mello Orch Brass 252-Chorale Brass 4 253-Soft Section 1 254-Soft BigBand 2 255-Big Band 3 256-Big Band 4 260-Trombone Section 261-Braz Sect 262-Orchestral Brass 263-SoftLowBrass 264-Spit Brass

Brass and Strings

265-Stacc. Brass & St 266-Brass & Strings 267-Huge Brass

Appendix A-8

Page 100

K2500 Program Farm

DIGITAL.K25

Digital Sounds (63 Programs)

Digital Leads

200-Carrie or Maud 201-FM Guitar 1 202-FM Guitar 2 203-FM Guitar 3 204-FM Guitar 5 205-FM Harmonica 206-FM Lead 207-Funfare Leadelay 208-Monolead 1

AM Sounds

209-Shape Mod Rules ! 210-VS-Type 211-Wave Table II 212-Velveteen 213-Digi Strange

DigiBuzz

214-Buzz-a-Loo Too 215-Buzz-a-Loo 216-Digi Wet 2 217-The Buzz 218-Hybrid Sweep 219-Buzz Ofe 220-Cycler 221-Fuzz Lite 2 222-Growl 223-Cycler 2 224-Farr Feesah 225-Rezzysteppy 226-Whipstep 227-Deetuara II 228-Shap Mod Oscar 229-Backwards 2 230-Backwards 3 231-Backwards 4

Digital Clavs

232-Klikomp too 233-Klikomp tree 234-CS Clav 235-Talking Clav 3 236-Klav Ennette 237-Shape 3 238-Shape 1

DigiDistort

239-New Shaper 240-RAD wave 2 241-Buzz Slap 242-Rizzak 243-Chorusar II 244-Lowteeth 245-Digi Power 246-Microwave 2 247-Insect Klav Rise

248-Insectrise 249-FuzzFall 250-EP Lead 251-Ep Lead Too

PPG's

252-PPG 9 253-Slo PPG 10 254-PPG 1 255-PPG 2 256-PPG 4 257-PPG 8 258-Shape 2 259-Shape 4

Miscellaneous Digital Sounds

260-Cricketar 261-Piano Ring 262-StringBell

Appendix A-9

Kurzweil Music Systems K2500 Reference Manual

Specifications and Main Features

Frequently Asked Questions

User Manual