Kurzweil Music Systems K2500R, K2500, K2500X User Guide

©1998 All rights reserved. Kurzweil is a product line of Young Chang Co.; V. A. S. T. is a registered trademark, and Kurzweil, K2500, and KDFX are trademarks of Young Chang Co. Hammond and Leslie are trademarks of Hammond Suzuki USA. SRS is a trademark of SRS Labs, Inc. All other products and brand names are trademarks or registered trademarks of their respective companies. Product features and speciÞcations are subject to change without notice.

Part Number: 910318 Rev. B

a e

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 curre to reduce the risk of electric shock. This product is equipped with a power supply cord having an equipment-grounding conductor and grounding plug. The plug must be plugged into an appropriate outlet which is properly installed and grounded in accordance with all loc codes and ordinances.

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

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 defeat the function of the equipment-grounding conductor. If you are in doubt as to whether the product is properly grounded, check with a qualifi 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 at tachment 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 tha 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 produc

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 unpluggin 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 referre

to qualified service personnel.

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

15.

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 insta lations of this type create the possibility of a fire hazard and/or personal injury.

RADIO AND TELEVISION INTERFERENCE

Warning: Changes or modiÞcations to this instrument not expressly approved by Young Chang could void your authority to operate the instrum 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 gener uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interfer to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this instrument does c harmful interference to radio or television reception, which can be determined by turning the instrument off and on, the user is encouraged t 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 apparatus set out in the Radio Interference Regulati of the Canadian Department of Communications.

AVIS

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

SAVE THESE INSTRUCTIONS

What is KDFX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1

KDFX Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2

Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2

FX Bus (also called ÒInsert FX BusÓ). . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2

Aux FX Bus (or just ÒAux BusÓ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2

Mix Bus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2

FX Preset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2

FX Algorithm (or just ÒAlgorithmÓ). . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-3

Size/PAUs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-3

Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-3

FXMods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-3

Bus Overrides (or BusMods) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-3

FXMode setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-4

Studio Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-4

Dependent objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-4

Internal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-4

The Structure of KDFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-5

The Studio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-5

Normal Studio Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-7

Software Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-7

Controlling KDFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-7

A Tour of KDFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-1

Load the Tutorial files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-1

A Simple Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-1

FXBus Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2

Input Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3

Auxiliary FXBus Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-4

Output Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-5

A more complex Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-6

FX Bus 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-6

FX Bus 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-7

Inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-7

AuxFX Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-8

Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-9

A complex Studio with real-time control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-10

Setting the FX Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-10

The Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-10

Looking at the Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-11

Building your own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-15

DonÕt forget to Save your Studio!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-16

Inside KDFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-1

Personalities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-1

Navigating KDFX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-1

Table of Contents-i

The Compare and FX Bypass Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . 3-5

Exploring the Studio Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-6

Input section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-6

WhatÕs on a Program output bus? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-7

The Arrow Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-7

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-7

FXBus sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-8

Effects buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-9

The Arrow Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-9

FX Preset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-10

Bus outputs (Returns) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-10

The AuxFX Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-11

About FX Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-11

Bus Overrides (Bus Mods) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-12

Allocation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-15

WhatÕs a PAU? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-15

Auto Allocation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-16

Effect Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-16

PAUs on the Aux Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-16

Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-17

Output section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-18

Separate Analog and KDS Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-19

Analog Mix Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-19

AES/EBU Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-20

Digital Word Length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-21

Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-21

Gain Staging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-22

Saving Studios and other objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-23

Saving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-23

Disk Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-23

Real-time Control of KDFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-1

Linking to Programs and Setups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-1

The KDFX pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-2

Looking into the Studio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-2

Setting up FXMods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-3

Bus assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-3

Parameter assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-3

ÒAdjustÓ setting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4

Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4

Depth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-5

Showing whoÕs in control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-5

Breaking the Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-6

What about Bus Overrides? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-6

Using FXMods so you donÕt have to change Studios. . . . . . . . . . . . . . . 4-6

Table of Contents-ii

Importing Studios from another Program or Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-7

Using KDFX live from the K2500 keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-8

KDFX in Setup Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-8

Using an External Keyboard with Setup mode. . . . . . . . . . . . . . . . . . . . 4-8

KDFX in Program Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-10

Modes table. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-12

Using KDFX with an external Sequencer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-13

Preventing glitches when changing Studios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-14

Tempo-based control of KDFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-16

Tempo within an FX Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-17

Variable tempos using ÒSystemÓ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-17

Tempo as an FXMod Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-17

Tap Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-18

KDFX in Master mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-19

KDFX in Auto Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-19

Using the Algorithms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-1

Conventional Studio Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-1

General Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-2

Reverbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-3

Delays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-4

Equalizers (EQ). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-5

Enhancers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-5

EQ Morpher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-6

Compressors, Expanders, and Gates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-6

Expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-7

Multiband Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-7

Gates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-7

Chorus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-8

Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-9

Quantize + Flange. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-9

LaserVerb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-9

Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-10

Resonant Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-10

Envelope Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-10

Triggered Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-10

LFO Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-11

Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-11

Polydistort. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-12

Rotating Speakers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-12

Vibrato/Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-13

Tremolo and AutoPan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-13

Pitcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-14

Ring Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-15

SRS¨ (Sound Retrieval System) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-15

Stereo Simulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-16

Table of Contents-iii

Stereo Analyze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-16

FXMod Diagnostic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-17

Special Topics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-1

Live Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-1

Some ideas for using Live Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-2

Song Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-6

KB3 Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-8

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-8

Using the Internal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-8

Getting the Effects onto the AES/EBU digital output . . . . . . . . . . . . . . 6-9

KDFX Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .A-1

KDFX Algorithms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-1

KDFX Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-4

KDFX Studios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-9

KDFX Controller Assignments in Programs & Setups . . . . . . . . . . . . . . . . . . . . . . . . . . . B-1

A Note about Secondary Effects in Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-1

Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-2

Setups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-29

System Exclusive Control of KDFX Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .C-1

Device Codes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-1

Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-2

Signed and Unsigned values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-2

Note: Sysex disables FXMods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-3

Sysex and the rest of the K2500 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-3

Table of Contents-iv

Young Chang Distributors

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

Young Chang America, Inc.

2501 Lakewood Drive SW, Suite D P.O. Box 99995 Lakewood, WA 98499-0995 Tel: (253)589-3200 Fax: (253) 984-0245

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.

250 Shields Court, Unit #11 Markham, Ontario L3R 9W7 Tel: (905) 948-8052 Fax: (905) 948-8172

Table of Contents-v

Credits

Text and Graphics:

Editorial Supervision:

Paul D. Lehrman

Rob Huffman

Table of Contents-vi

Chapter 1

Multitap Delay

Flanger

Plate Reverb

Compressor

Room Reverb

K2500 Outputs

Programs

FXBuses (Inserts)

AuxFX (Global)

to Mixing

Console or

tape deck

What is KDFX

Introduction

KDFX puts the power of an entire studioÑequalizers, signal processors, and mixersÑinside your Kurzweil K2500. It allows you to deÞne processing functions, signal paths, and balances, on sounds created by the K2500 and, in Live Mode, sounds from any source. Using FX Modulation routings, you have real-time control over any aspects of your studio, from the buttons, sliders, wheels, and pedals on your K2500, or from any MIDI source at all, like a sequencer or a dedicated controller.

KDFX provides up to Þve individual signal effects processors. Four of these are designed to operate on their own individual buses, and the Þfth, the ÒAuxiliaryÓ processor, is designed to be global.

When the K2500 is being used multi-timbrally, KDFX can provide separate processors for each of several instruments. For example, letÕs say four K2500 channels are in use, under the control of a sequencer. Each instrument on each channel can have its own processing: ßanger for the piano, delay for the sax, compression for the bass, and tight reverb for the drums. Then all of these signals would go through the global Auxiliary (ÒAuxÓ) processor, where they would be given a room reverb. At the outputs of the K2500, the reverb would show up on one pair, while the other instrumentsÕ dry or processed (pre-reverb) signals would show up at the others, either in mono or stereo. Or the entire mix, carefully balanced and panned, could appear at a single pair, ready to be recorded or played through a PA.

Figure 1-1. A KDFX Studio

1-1

What is KDFX

KDFX Terms

Alternatively, in a live performance setting, you can use the KDFX in Setup mode as an entire orchestra, with different instruments layered on top of each other and mapped to different parts of the keyboard, all with their own signal processing; and that signal processing can change completely in an instant when you call up a new Setup.

These are just two of the huge variety of scenarios possible with KDFX. The structure of KDFX is so ßexible that you should never run out of ideas for how it can be used.

KDFX Terms

Before starting to work with KDFX, it would be good to go over some important terminology that you will be confronting. Understanding the words will help you get the concepts quickly. Read this chapter Þrst, and refer to it later if something isnÕt clear.

Studio

A Studio is the entire KDFX environment, consisting of Inputs , FX Bus es, an Aux FX Bus , FX

Presets , Parameter settings, Override s, and Outputs . One Studio is current at a time in KDFX.

Studios are objects, like K2500 programs, and have a number. They can be linked to Programs or Setups using the FXMode setting . KDFX comes with a large number of useful Studios, and users can modify them or create new ones and store them in RAM.

FX Bus (also called ÒInsert FX BusÓ)

A signal path with some kind of processing Ña delay, reverb, ßanger, etc.Ñon it. It has stereo inputs and outputs, and contains an FX Preset which determines the kind of processing that will be applied. A Studio has four insert FX Buses, each with its own FX Preset, as well as a Þfth FX Bus, known as the Aux FX Bus .

Aux FX Bus (or just ÒAux BusÓ)

A separate FX Bus from the Insert FX Bus es, which is placed in the signal path after the output of the Insert FX Buses, so that it can act as a ÒglobalÓ processor.

Mix Bus

The various outputs of a Studio can appear individually at the K2500Õs physical outputs, or two or more of them can be combined before they get to the physical outputs. The Mix Bus is where this combining takes place.

FX Preset

An FX Preset determines the type of signal processing that is present on an Insert FX Bus or the

Aux FX Bus . FX Presets consist of an Algorithm , plus the settings of the Parameters associated

with that Algorithm. More than one FX Preset can use the same Algorithm. KDFX comes with a large number of FX Presets, and users can modify them or create new ones and store them in RAM. Algorithms, however, are stored in ROM and are not changeable by the user. Each FX Bus and the Aux FX Bus gets its own FX Preset, so up to Þve FX Presets can be active in a studio at a time.

1-2

FX Algorithm (or just ÒAlgorithmÓ)

A speciÞc type of signal processing, like a hall reverb, plate reverb, chorus, ßanger, pitcher, compressor, rotary speaker, etc., which is at the core of an FX Preset . KDFX comes with a large variety of Algorithms, which are stored in ROM, and are not changeable by the user. Additional Algorithms, supplied by Kurzweil, can be loaded in from disk when they become available. Algorithm Parameters (RT those user-controlled parameters are stored in RAM as part of an FX Preset. (DonÕt confuse these with the VAST Algorithms used inside the K2500 Program Editor.)

, delay feedback, pitch change, etc.) are changeable by the user, and

Size/PAUs

How big an Algorithm is, in terms of how much processing power it needs to operate. Size is measured in Processor Allocation Units, or ÒPAUsÓ. Some simple algorithms require only 1 PAU, while more complex ones require 2, 3, or even 4. The total number of PAUs available to the four FX Buses, or manually by the user. The Aux FX Bus has its own set of 3 PAUs, which are not shared with the Insert FX Buses.

Insert FX Bus es is 4. PAUs can be allocated automatically as FX Presets are assigned to

Parameters

What is KDFX

KDFX Terms

Refers to the user-controlled settings for the different characteristics of an Algorithm . For example, the user can set the reverb time (RT delay line to 90%, or the dynamic ratio of a compressor to 10:1. Parameters are stored, along with the Algorithm they modify, as part of an FX Preset . In certain cases, the parameter settings within a Studio can be overridden, either using FXMods or Bus Overrides .

FXMods

FXMods allow the Parameters within a Studio to be controlled in real time from outside the Studio. Almost any parameter within a Studio can be controlled by MIDI commands, such as sliders or ribbons or sequencer data, or by internal K2500 functions, such as LFOs, envelopes, clocks, or key states, by setting up an FXMod between the parameter and the desired control source. FXMods are not set up in the Studio, but rather in a K2500 Program or Setup that will be associated with that Studio. These links are created on seven ÒFXÓ editing pages in the K2500Õs Program or Setup editor. A Program or Setup can contain up to 18 FXMods. In addition, Programs and Setups now contain two dedicated LFOs, two ASR envelopes, and four FUNctions just for this purpose. FXMods are stored as part of a Program or Setup, not as part of a Studio or FX Preset.

Bus Overrides (or BusMods)

Bus Overrides allow Parameters within an FX Preset to be controlled on the FX Bus page in the Studio Editor, outside the FX Preset editor , but still within the Studio. Any two parameters in an FX Preset can be brought out to its FXBus page. Bus Overrides are stored as part of the Studio, not as part of the FX Preset. They are useful when an existing FX Preset is close to what you want, so that you can tweak it without having to create a new FX Preset. Bus Overrides and FXMods can both exist in a Studio at the same time.

) of an Algorithm to 3.5s, or the feedback of a

1-3

What is KDFX

KDFX Terms

FXMode setting

Studio Editor

This parameter, which is found on the K2500Õs ÒEffectsÓ Mode page, determines whether the parameters in a KDFX Studio will be controlled internally or externallyÑin other words, whether FX Mods will be active. If it is set to ÒProgramÓ, ÒSetupÓ, or ÒAutoÓ, then as you change the Program or Setup, a different KDFX Studio will load, and any FXMod links between that Program or Setup and the Studio will be active. If it is set to ÒMasterÓ, then the KDFX Studio must be chosen manually, and will not change when the Program or Setup changes, and FXMods in the current Program or Setup will be not be active.

The Studio Editor section is accessed in one of two ways, depending on the FX Mode setting. If FX Mode is ÒMasterÓ, then the Studio Editor is accessed from the ÒEffectsÓ mode page, by highlighting the current Studio, and pressing ÒEditÓ. If FX Mode is ÒProgramÓ or ÒSetupÓ, then the Studio Editor is accessed from within the Program or Setup Editor, by going to the Editor Õs KDFX page, highlighting the current Studio, and pressing ÒEditÓ.

The Studio Editor consists of the following pages:

Input, where signals coming from the K2500Õs four stereo output buses are routed to one or more FX Buses in KDFX.

FX Bus, where FX Presets are assigned to the four FX Buses and Bus Overrides are set up.

Aux FX, where an FX Preset is assigned to the Aux FX Bus and Bus Overrides are set up.

FXPreset Editor, which is accessed from the FX Bus page and the Aux FX page by highlighting

the name of the FX Preset and pressing ÒEditÓ. This is where Algorithms are chosen and Parameters are set for the FX Presets, and where FX Presets are selected, named, and saved.

Output, where the signals coming from the FX Buses and Aux FX are routed to the K2500Õs eight physical outputs (analog and digital).

Name, Save, Delete, and Dump, for Þle management of KDFX Studios.

Dependent objects

In KDFX, as in K2500 programs, dependent objects are those software objects which make up part of larger objects: in a Studio, the dependent objects are its FX Presets. The Studio itself is now a dependent object in Programs and Setups.

Internal Effects

The original K2500 effects processor chip is still usable in a KDFX-equipped unit, and functions essentially the same as it always has, quite independently from KDFX (except that the FXMode Setting applies both to it and to KDFX). When we refer to Internal Effects in this manual, weÕre talking about that one-in, two-out effects processor.

1-4

The Structure of KDFX

The Studio

All of KDFXÕs functions are contained in a Studio. Only one Studio is active at a time.

Up to four stereo or eight mono inputs feed a Studio. The sources for these inputs are the four output pairs available on the Output pages in the K2500Õs Program and Setup Editors: A, B, C, and D, which are now called ÒKDFX-AÓ through ÒKDFX-DÓ. Instead of going directly to the K2500Õs physical outputs, these program outputs now feed KDFX, and only after going through KDFX do they appear at the physical outputs.

The inputs to the Studio can come from one multi-layered program, or from several programs, or from the K2500Õs own Sample input when the instrument is in Live Mode.

The input signals pass through an input routing systemÑthe Input Editor. Here, the signals go through individual two-band equalizers, or EQs. Then each input, mono or stereo, is routed to any two of the four FX Buses.

Each of the FX Buses contains its own signal-processing program, called an FX Preset. Each FX Preset has a set of parameters: for example the RT60 value on a reverb, or the Feedback level on a delay line. These parameters can be Þxed as part of the FX Preset, or they can be externally controlled, from one of two different places. The four FX Buses are also called ÒInsert FX BusesÓ, because in a conventional studio, thatÕs where they would be found: in the insert loop of a mixer, between the channel input and the mix bus.

What is KDFX

The Structure of KDFX

There is a Þfth FX Preset, which is located on the Auxiliary FX Bus. The Aux FX Bus follows the four main FX Presets in the signal path, and is normally conÞgured as a ÒglobalÓ processor.

Each FX Preset is based on an FX Algorithm. An Algorithm is a processing function, like a reverb, ßanger, or compressor; or a combination of processing functions in a particular order, like a ßanger followed by a delay followed by a reverb. The Algorithms themselves are Þxed in ROM, like Kurzweil ROM samples, but the values of their operating parameters can be changed.

☛The selection of an Algorithm + its user-controlled parameters = an FX Preset.

Each Algorithm requires a certain amount of processing power, which is expressed in ÒProcessing Allocation UnitsÓ (or PAUs). Simple Algorithms will require 1 PAU, while more complex Algorithms will require up to 4 PAUs. The amount of processing power available in each FX Preset is set by its Allocation parameter. When you are selecting an FX Preset for an insert bus, the number of PAUs its Algorithm requires appears on the display, so you can keep track of how many PAUs are in use.

PAUs are shared among the four Insert FX buses. There is a limit to the total number of PAUs that the insert buses can use, and that limit is 4. PAUs can be manually pre-assigned to speciÞc FX Buses, or using ÒAutoÓ mode they can be assigned automatically as FX Presets are assigned to the buses. The Auxiliary FX Bus has a separate set of PAUsÑ3 of themÑwhich are not shared with the insert buses.

Finally, the outputs of the FX Presets are sent to an output routing systemÑthe Output EditorÑwhere they are then sent to the physical outputs of the K2500.

☛EQs + Input Editor settings + FX Presets + Output Editor settings = a Studio

On the following page is a schematic overview of a StudioÕs structure.

1-5

What is KDFX

output A output B output C output D

EQs

FX Presets

program outputs

physical outputs

output A output B output C output D

Aux

effect

Mixer

Pre FXBus1

FXBus1

Pre FXBus2

FXBus2

Pre FXBus3

FXBus3

Pre FXBus4

FXBus4

Mix

Aux

Level

Balance/Pan/

Width

If input is mono, each channel has its own eqs and sends

All signal paths are stereo unless noted

Level

Balance

FX1

FX2

FX3

FX4

The Structure of KDFX

1-6

Figure 1-2. KDFX structure

Normal Studio Structure

Many of the Studios provided in ROM follow an overall organizational plan, which uses KDFXÕs resources efÞciently and clearly. While by no means are you required to follow this structure when creating your own studios, you might want to get familiar with it, and see how KurzweilÕs own engineers have approached the issue of organization for the Studios in ROM.

¥ Inside the ROM Programs and Setups, each of the outputs KDFX-A through KDFX-D are

assigned based on the type of effects processing that would most likely be appropriate for the sound on that layer or Program.

¥ Input A/FXBus 1 contains a relatively simple reverb with a low Size requirement. ¥ Input B/FXBus 2 contains an effect which does not increase the ÒlengthÓ of the sound (i.e.,

not reverb or delay), which could include chorus, ßange, distortion, pitcher, EQ, etc.

¥ Input C/FXBus 3 contains effects which take up lots of time, such as delays, and delays

with reverb.

¥ Input D/FXBus 4 is dry. ¥ The AUXFX Bus contains a larger reverb (Size:3), a compressor, or a graphic EQ.

Software Organization

What is KDFX

Controlling KDFX

Like K2500 Programs, the software user interface of a Studio is organized in a Òtop-downÓ fashion: A Studio is an ÒObjectÓ in K2500 terms, and the FX Presets within a Studio are also Objects, ÒdependentÓ to the Studio, the way a Keymap is to a Program. Studios and FX Presets that are modiÞed or created by the user are stored in Program RAM. A Studio contains up to Þve FX Presets. The same way that one Keymap can be used in multiple Programs, a particular FX Preset can be used in multiple Studios.

Like ROM Samples in the K2500, KDFX Algorithms are stored in ROM and are unchangeable. Each FX Preset contains one algorithm. Just as you can use the same Sample in more than one Keymap, you can use the same algorithm in as many FX Presets as you like. Although you cannot modify Algorithms, additional KDFX Algorithms will be available from Kurzweil on disk, which can be loaded into KDFX.

To get inside a Studio, you use the Edit button to reveal the input/EQ, FX Presets, and output pages. To get inside an FX Preset, use the Edit button to access the Algorithm that the FX Preset uses, and its associated parameters.

To leave the FX Preset editor, press Exit. If you have made any changes, you will be prompted to Save the new FX Preset. Then to go back to the StudioÕs main page, press Exit again. If you have made any changes in the other parameters in the Studio, or in the name or number of the FX Preset, you will be prompted to Save the new Studio.

Controlling KDFX

Studios can be called up from the K2500 front panel or, like the original K2500 Internal Effects, they can be assigned to speciÞc K2500 Programs or Setups. If you set the FX Mode parameter on the K2500Õs Effects mode page to ÒProgramÓ, ÒSetupÓ, or ÒAutoÓ, then changing a Program (if the current channel agrees with the FX Channel) or Setup will select the Studio associated with the new Program or Setup. Of course, just as you can use the same Effect in multiple Programs, you can use the same Studio in multiple Programs or Setups. Setting FX Mode to ÒMasterÓ means that the Studio will not change with the Program or Setup.

Studio parameters are set in the Studio editor. They initially are given Þxed values, but they can be also be controlled in real-time by a wide range of control of sources, including K2500 onboard wheels, sliders, and ribbons; various internal software functions; and external MIDI commands like those coming from a sequencer or a dedicated controller.

1-7

What is KDFX

Controlling KDFX

Real-time control of parameters in a Studio is not handled in the Studio editorÑitÕs handled in a Program or Setup that is associated with a Studio. There are several new pages in Programs that contain these controls, known as Effects Modulation or FXMod pages. ItÕs here that the links are set up between real-time control sources and Studio parameters.

In order for these links to work, the FXMode parameter must be set ÒProgramÓ, ÒSetupÓ, or ÒAutoÓ.

Program or

Setup #

KDFX and

FXMod pages

Figure 1-3. KDFX Software organization

real-time

control

Input mixer

Studio #

FX Preset # Output mixer

algorithm # (in ROM)

parameters

Controlling KDFX with a Sequencer

A useful technique for sequencer users is to set up the Program controlling the Studio parameters to be an ÒemptyÓ program with no Keymaps but with all of the FX Mods you need in placeÑthis program produces no sound by itself, and exists only to control the Studio. That way you can use a dedicated MIDI channel for Studio control. More on this in Chapter 4.

1-8

Chapter 2 A Tour of KDFX

LetÕs take a tour through several KDFX Studios. After you do this, you should have a pretty good idea of what itÕs like to work with KDFX. You will still, of course, have many questionsÑ answering them is the job of the rest of this manual.

Load the Tutorial Þles

From the KDFX Objects disk that came with your K2500 or KDFX upgrade, load the Þle ÒTUTOR1B.K25Ó into bank 200...299. You can use a different bank if you like, but then your numbers and the ones in this chapter will be different.

¥ Insert the disk into the drive ¥ Press Disk to go into Disk mode ¥ Set Current Disk to ÒFloppyÓ ¥ Press Load ¥ Cursor down to ÒTUTOR1B.K25Ó ¥ Press OK ¥ On the ÒLoad this Þle as:Ó screen, select 200...299 ¥ Press OK ¥ Press OverWrt (or if you have just installed KDFX or done a Hard Reset, press Append). ¥ Press Exit to get back to Program Mode.

A Simple Studio

Call up Program #199 on your K2500. In Program mode, either scroll the Alpha wheel to Program 199 (ÒDefault ProgramÓ), or press 1-9-9-Enter on the Alphanumeric pad.

Now go into Effects Mode by pressing the Effects button, and youÕll see this screen:

EffectsMode|||Xpose:0ST|||||<>Channel:1|

FX|Mode:Master FX|Chan:None Studio|:199 Default Studio|| Effect|:1|Sweet Hall Wet/Dry:0%Wet Dither|:Flat||||||||DigOut|:16|Bit Octav-|Octav+|Panic|||||||||Chan-||Chan+

If the screen looks very different from this, then put the cursor on the FX Mode parameter and scroll the Alpha wheel until it says ÒMasterÓ.

Now use the down-arrow button to highlight the Studio parameter. Scroll the Alpha wheel until it says Ò200 SimpleÓ.

2-1

A Tour of KDFX

EditStudio:FXBUS|Size:1|Free:3|<>FXBus:1

FX1||200*4|Tap|BPM|||||||||Aux ||Mix

Wet/Dry |:35%wet|||Lvl:3.5dB|Lvl:-4.5d Tempo|||||:120BPM|||Bal:0%||||Bal:0% Allocation:Auto <more||INPUT||FXBUS||AUXFX||OUTPUT|more>

A Simple Studio

FXBus Editor

Now press EDIT, and this page appears:

This is the FXBus editor for FXBus1. It is where an FX Preset is assigned to the FXBus. Put the cursor on the box containing Ò200*4 Tap BPMÓÑthis is the current FX Preset, a four-tap delay whose speed is expressed in terms of tempo (Beats Per Minute). Use the Alpha wheel to scroll through the many other FX Presets that come with KDFX. Like all K2500 objects, those that are in RAM (like this one) will have an asterisk in their name, and those that are in ROM will not. There are three more FX Buses, which can be accessed by pressing the Chan/Bank buttons. In this studio they are all empty (ÒNo EffectÓ).

Go back to Ò4 Tap BPMÓ on FXBus 1, and play the piano sound from your keyboard. The arrow next to ÒFX1Ó ßashes, showing that there is audio passing through this FXBus. The arrow keeps ßashing as long as the FX Bus is processing audio.

Below the FX Preset selector is a Wet/Dry control, which determines how much of the signal will pass through the FX Preset. Below that is a Tempo control, which sets the timing of the delays. These parameters are called ÒBus OverridesÓ, because they override parameters which are actually inside the FX Preset itselfÑthese parameters can be adjusted from inside the FX Preset, or they can be set from out here, where they are much more convenient. If you change FX Presets, these values may change, because the particular Overrides and their values will be different inside the various FX Presets. More about Bus Overrides a little later, and in Chapter 3.

Returns

To the right are two sets of ÒreturnÓ controls from the FX Preset to the output mixer. The Þrst set, Lvl and Bal, determines how much of the sound will go to the global or Auxiliary Effects bus, and how its two channels are balanced. On this FXBus, the signal to the Aux bus is boosted

3.5 dB. The second set determines how much of the sound goes to the Mix bus. On this FXBus, the Mix signal is attenuated -4.5 dB.

Allocation

The Allocation parameter determines how many processor allocation units (PAUs) are reserved for this FXBus. The number of PAUs an FX Preset uses is dependent on the Algorithm at the core of the FX Preset. Algorithms can use anywhere from 1 to 4 PAUs, depending on their complexity. As you scroll through the FX Presets, the number of PAUs required by each one is shown on the top line of the display (ÒSize:Ó), along with the number of PAUs that are available (ÒFree:Ó) for other algorithms.

2-2

The four Insert FX Buses have 4 PAUs to share among them, so if any bus uses more than one

EditStudio:INPUT||||||||||||<>Input:||A|

||A||LoShelf||HiShelf||FXBus1||None

|||G:0.0dB||G:6.0dB||Lvl:-6.0d |||F:123Hz||F:1568Hz|Pan:0% |||||||||||||||||||||Wid:100%

<more||INPUT||FXBUS||AUXFX||OUTPUT|more>

PAU, it means that some buses cannot be assigned an FX Preset. This is a very common situation, as you shall see. The Auxiliary FX Bus has its own set of 3 PAUs, which are completely independent and not shared with the insert FX Bus PAUs.

You can Òpre-assignÓ a PAU value to an FX Bus, in which case any FX Presets that require more PAUs than you have given the bus cannot be loaded into the bus. If you try to put an FX Preset into a bus that requires more PAUs than are currently available on that bus, the PresetÕs name appears in parenthesesÑthe same way a K2500 multi-layer drum program is displayed if you try to access it on a non-drum channel.

Most often, the Allocation parameter will be set to ÒAutoÓ, in which case PAUs are assigned dynamically as you assign FX Presets to the various buses. As you de-assign FX Presets to buses, or assign FX Presets with smaller PAU requirements, the PAUs freed up are automatically re-assigned to other buses where they are needed.

Input Editor

Press the soft button labelled INPUT. This page appears:

A Tour of KDFX

A Simple Studio

This is the input editor. It is showing input A, as indicated both on the left side and in the upper right cornerÑuse the Chan/Bank buttons to view the other three inputs. Input A is the ÒKDFX-AÓ stereo signal pair coming from the output of the K2500 Program Editor. In this case, itÕs our piano program.

The ÒSÓ at the upper left says that the A input is being handled as a stereo feed; this can be changed to two mono feeds. The ÒPÓ means that the stereo feed has a Pan control; you can choose to make this a Balance control instead, by setting this parameter to ÒSBÓ

If you play on the keyboard, you can see the arrow next to the letter ÒAÓ ßashing, as audio is being passed through this part of the Studio. The arrow on this page ßashes only as long as there is an input signal present.

2-3

A Tour of KDFX

A Simple Studio

Equalization

The Þrst two blocks are the low and high EQs on the input. Put the cursor on either block and turn the Alpha wheel, and you will see the options you have available for types of EQÑthese include ÒNoneÓ, which bypasses that EQ. The Þrst block has more choices than the second.

The ÒGÓ underneath each block is its Gain: Ó0.0dBÓ is unity gain; the signal passes through without change. (There is no Gain parameter when a block is set to LoPass or HiPass.) ÒFÓ is the equalizerÕs frequency. In this Input section, the frequencies above 1568 Hz are boosted 6.0 dB.

Sends

The third and fourth blocks determine the destinations of the Input A signal: each block can be set to route the signal to any of the four Insert FX Buses, or to ÒNoneÓ. You cannot, however, set both blocks to the same destination.

The ÒLvlÓ control is the FXBus ÒsendÓ: it sets the level of the signal to the FXBus above it. In this Input section, the level is backed off 6.0 dB, to compensate for the treble boost in the equalizer, so that the signal doesnÕt overload the FXBus.

Pan determines the position of the signal respective to the left and right sides. Width (which is not shown when you are using mono inputs) determines how much the left and right sidesÕ signals will be separated or blended.

Auxiliary FXBus Editor

Press the AUXFX soft button below the LCD screen. This screen appears:

EditStudio:AUXFX|Size:3|Free:0||||||||||

|Aux||204*Big|Chamber|||||||||||Mix

Wet/Dry|||:58%wet||||||||||||Lvl:0.0dB Out|Gain||:0.0dB|||||||||||||Bal:0%

<more||INPUT||FXBUS||AUXFX||OUTPUT|more>

This is the global AuxFX editor, and shows us what is happening on the Auxiliary Effects bus. The AuxFX Bus is a second processor, which follows the four insert FXBuses. It has its own FX Preset, with Bus Overrides, and level and balance controls to feed it into the Mix bus. Its PAU allocation is Þxed at 3, so it doesnÕt need an Allocation parameter. It can also be routed all by itself to an output, as we shall see. In this Studio, the Aux FX bus contains a chamber reverb.

2-4

Output Editor

Press the OUTPUT soft button.

EditStudio:OUTPUT||||||||||||||||||||||||

Mix|Lvl:0.0dB||||||Output|A:Mix Mix|Bal:0%|||||||||Output|B:FXBus1 |||||||||||||||||||Output|C:Off |||||||||||||||||||Output|D:Off

<more||INPUT||FXBUS|AUXFX||OUTPUT||more>||

The Output editor page is the interface to the real world. It determines which of the signals going through the various KDFX buses show up at the K2500Õs four sets of physical outputs: A, B, C, and D. These four outputs, all stereo, go to the K2500Õs analog outputs and to the KDS digital bus. In addition, output A also goes to the K2500Õs AES/EBU digital output.

A Tour of KDFX

A Simple Studio

In this Studio, Output A is carrying the Mix Bus, that is, the combination of the outputs of the four FXBuses (only one of which is in use) and the AuxFX Bus. Output B is carrying FXBus1, which is the signal after it passes through the delay on FXBus1, but before it gets to the reverb on the Aux bus. The other outputs are carrying no signal.

HereÕs a diagram of what this Studio looks like:

AuxFXBus

Big Chamber

+3.5dB

-4.5dB

Mix

Physical output A

Output B

Program output A

-6dB

Figure 2-1. Structure of Studio 200

FXBus1

4 Tap BPM

2-5

A Tour of KDFX

A more complex Studio

Press Exit to get to the Effects page, and again to get to Program mode. Call up Program 200, ElecPno/Flute. This is a split keyboard program: On Layer 1, which has been assigned to the

KDFX-A outputs, is an electric piano, whose key range goes up to B4. On Layer 2, which goes to the KDFX-B outputs, is a ßute, whose key range starts at C5.

Press Effects and call up Studio 201, RngMd/PFD/Plt. Press Edit to look inside of this Studio.

FX Bus 1

On the Þrst FX Bus is an FX Preset called 201*Tut Ring Mod. The Algorithm this uses is a ring modulator. This is a processor that takes the sounds coming into it and combines them with static waveforms by adding and subtracting their frequencies, thereby creating interesting nonharmonic effects. Notice that this FX Preset uses 1 PAU.

EditStudio:FXBUS|Size:1|Free:1|<>FXBus:1

FX1||201*Tut|Ring|Mod||||||Aux ||Mix

Wet/Dry|||:100%wet||Lvl:0.0dB|Lvl:0.0dB Out|Gain||:0.0dB||||Bal:0%||||Bal:0% Allocation:Auto <more||INPUT||FXBUS||AUXFX||OUTPUT|more>

As you play on the lower part of the keyboard, the arrow next to ÒFX1Ó ßashes, but as you play on the upper part it doesnÕt. ThatÕs because the upper part of the keyboard (the ßute sound) is routed to a different FXBus.

Bus Overrides

There are two FX Preset parameters on this page: Wet/Dry mix and Output Gain. These parameters actually exist inside the FX Preset, but are Òbrought outÓ to this page so you can control them without editing the FX Preset itself. As we saw earlier, these are called ÒBus OverridesÓ. You can change both the value of the Override parameter and the name of the parameter that shows up in the Bus Override: to select a different parameter, simply highlight its name and scroll the Alpha wheel. As you do so, you will see the other parameters inside the FX Preset which can be brought out to this page.

The two pieces of information that make up each OverrideÑthe name of the parameter being controlled and its valueÑare stored as part of the Studio, not as part of the FX Preset, and therefore you donÕt have to create new FX Presets just because you want to change a couple of parameters. There are two Studio Overrides available for each of the four Insert FX Buses and two more for the Aux FX Bus.

If you donÕt want any parameter control on this page, then just set the Override to ÒNoneÓ.

The Wet/Dry value is 100%, and the Output Gain is 0.0dBÑunity. The signal on this FXBus goes both to the Aux bus and the Mix bus at unity gain (0.0 dB).

2-6

FX Bus 2

A Tour of KDFX

A more complex Studio

Press the Chan/Bank Up button to get to FX Bus 2.

EditStudio:FXBUS|Size:2|Free:1|<>FXBus:2

FX2||202*Flg+Dly145BPM|||||Aux ||Mix

Wet/Dry|||:90%wet||||Lvl:-9.5d|Lvl:0.0dB Out|Gain||:-2.5dB||||Bal:0%||||Bal:0% Allocation:Auto <more||INPUT||FXBUS||AUXFX||OUTPUT|more>

On this bus is an FX Preset called Flg+Dly145BPM, which uses a combination Algorithm that has two ßangers, a delay, and a short reverb, all rolled into one. The Ò145BPMÓ part refers to the fact that the delay times are based on a tempo of 145 BPM,

As you play the ßute sound, the arrow next to ÒFX2Ó ßashes, and it keeps on ßashing as long as the various feedback delays are sounding. It doesnÕt ßash when you play on the lower part of the keyboard.

Inputs

This FX Preset uses 2 PAUs. Along with the 1 PAU in use on FXBus 1, this makes 3 of the 4 available PAUs accounted for, so the ÒFreeÓ parameter is 1.

The output conÞguration of this FX Bus has the signal going to the Aux bus attenuated by -9.5 dB, and going to the Mix Bus at unity gain.

The other two FX Buses are empty, which you can conÞrm by pressing the Chan/Bank buttons a few times: they say Ò199 No EffectÓ.

Now letÕs look at the inputs to the FX Buses. Press the INPUT soft button, and see this page:

EditStudio:INPUT||||||||||||<>Input:||A| SP

||A||LoShelf||HiShelf||FXBus1||None

|||G:12.0dB|G:0.0dB||Lvl:0.0dB| |||F:370Hz||F:1047Hz|Pan:0%|||| |||||||||||||||||||||Wid:100%||

<more||INPUT||FXBUS||AUXFX||OUTPUT|more>

Input A carries the electric piano, coming from the ProgramÕs ÒKDFX-AÓ outputs. Play on the piano part of the keyboard, and the arrow next to ÒAÓ ßashes.

This Input is conÞgured to be stereo. It has a large bass boost: 12.0 dB of everything at 370 Hz and below, which adds a strong low-frequency emphasis to the signal being ring-modulated. Its signal is being sent only to the Þrst FX Bus. The stereo separation (Width) of the signal is at maximum.

2-7

A Tour of KDFX

A more complex Studio

Use the Chan/Bank Up button to go to Input B.

EditStudio:INPUT||||||||||||<>Input:||B| SP

||B||LoShelf||HiShelf||FXBus2||None

|||G:0.0dB||G:4.0dB||Lvl:0.0ddB |||F:123Hz||F:3136Hz|Pan:0%|||| |||||||||||||||||||||Wid:100%||

<more||INPUT||FXBUS||AUXFX||OUTPUT|more>

This is the ßute, coming from the ProgramÕs ÒKDFX-BÓ outputs. It is also stereo. The incoming signal has some treble boost on it. It is sent directly to FX Bus 2 at unity gain and full width. Play on the ßute part of the keyboard, and the arrow next to ÒBÓ ßashes.

The other two Inputs, C and D, are not assigned to any FX Bus.

AuxFX Bus

Now letÕs look at the Auxiliary FX Bus. Press the AUXFX soft button to look at its page.

EditStudio:AUXFX|Size:3|Free:0||||||||||

||Aux||203*MedWarmPlate||||||||||Mix

|||Wet/Dry|||:100%wet|||||||||||Lvl:0.0dB |||Out|Gain||:0.0dB|||||||||||||Bal:0%

<more||INPUT||FXBUS||AUXFX||OUTPUT|more>

Here is an FX Preset called ÒMedWarmPlate,Ó which is just what it sounds like: a mediumsized, warm-sounding plate reverb. It has two Bus Overrides, Wet/Dry mix, and Output Gain. The output from the Aux FX Preset is sent to the Mix bus at unity gain.

Since both Insert FXBuses have signal going to the Aux FX Bus, the arrow next to ÒAuxÓ will ßash as long as any signal processing is going on in either of the Insert FXBusesÑin other words, when you play anywhere on the keyboard.

2-8

Outputs

A Tour of KDFX

A more complex Studio

Finally, press the OUTPUT soft button to get to the Output page. Here we see that the four physical output pairs all are passing different parts of the studio. If the outputs are connected to an external mixer, you can treat each of them separately: recording them on different tracks of a tape deck, sending them to different outboard processors, or mixing them differently in a monitor mix.

EditStudio:OUTPUT||||||||||||||||||||||||

Mix|Lvl:0.0dB||||||Output|A:Mix Mix|Bal:0%|||||||||Output|B:FXBus1 |||||||||||||||||||Output|C:FXBus2 |||||||||||||||||||Output|D:AuxFX

<more||INPUT||FXBUS|AUXFX||OUTPUT||more>||

Output A has the Mix bus. This is the combined output of the two FX Buses, plus the reverb on the AuxFX bus. Its gain and balance (the controls on the left) are at unity.

Output B has the output of FXBus1, that is, the ring-modulated piano, without any reverb.

Output C has the output of FXBus2, the delayed/ßanged ßute, without any reverb.

Output D has the output of the AuxFX bus, which is just the reverb signal, with no dry component.

Here is the overall structure for this Studio:

AuxFXBus

MedWarmPlate

-9.5dB

Mix

Physical

output A

Output B

Output C

Output D

Program output A

output B

-5dB

EQs

Figure 2-2. Structure of Studio 201

FXBus1

Tut Ring Mod

FXBus2

Ptc+Flg+Dly145BP

-2.5dB

2-9

A Tour of KDFX

A complex Studio with real-time control

The third Studio we will look at is a very complex one, which allows real-time control using MIDI. Just like the original K2500 Effects, in order to enable MIDI control, the Studio has to be associated with a particular Program or Setup. The assignments of parameters to be controlled are made within the Program or Setup, and the Effects mode must be in Program or Setup (or Auto)

In this example, weÕll work with Setup controlÑthe procedure for working with Program control is almost exactly the same.

Setting the FX Mode

To enable real-time control from the Setup of KDFX parameters, we have to put the K2500 in the right Effects mode. Go to the main Effects page, and set FX Mode to ÒSetupÓ. FX Channel will automatically go to ÒNoneÓ.

EffectMode||||Xpose:0ST|||||<>Channel:1|

FX|Mode:Setup|| FX|Chan:None

Dither|:Medium||||||DigOut||16|Bit Octav-|Octav+|Panic|||||||||Chan-||Chan+

If you were previously in Master FXMode, youÕll notice that the Studio disappears from the screen. When FX Mode is set to Setup, you canÕt view the KDFX Studio except from inside the Setup. This is so you canÕt make any changes in the Studio which the Setup doesnÕt know about, which could cause all kinds of conßict and confusion.

The Setup

LetÕs look at the Setup that weÕre going to be controlling our Studio with. Press Setup to go into Setup mode, and select number 200, ÒKDFXComboÓ.

This is a four-Zone Setup, with the keyboard split into three parts: bass and drums at the bottom, a piano/string pad in the middle, and a breathy-ßutey sound on the top. Each layer goes to a separate KDFX output, so they can all get different processing.

If you Edit the Setup and look at the various Zones, youÕll see this:

¥ Zone 1: Gtr Jazz Band, a layered bass and drum program, going to KDFX-A ¥ Zone 2: Dual Slap Bass, also going to KDFX-A. This and the previous Zone are active from

¥ Zone 3: Pno & EPno & Pad, a layered piano, electric piano, and string program, going to

¥ Zone 4: Hybrid Vox, going to KDFX-C, and active from G5 and up.

the bottom of the keyboard up to A3.

KDFX-B, which is active from Bb3 to F#5.

2-10

Note: if you are using a K2500R and controlling it from a conventional MIDI keyboard (i.e., not a PC-88), see ÒA Note about KDFX in SetupsÓ at the end of this chapter before proceeding further.

Looking at the Studio

To view the Studio, press Edit, and more> three times, and then the KDFX soft button. The name of the Studio associated with this Setup, 202*Complex, will appear.

EditSetup:KDFX||||||||||||||||All|Zones|| Studio:202*Complex||||||||||

Bus:|Param:|||||Adjust:||Source:||Depth: FX1||In/Out|||||Out||||||SoftPd|||1 FX1||Aux|Lvl||||-55.0dB||MIDI27|||52dB FX2||L|Fdbk|Lvl|100%|||||MIDI26|||120%

<more||KDFX|||FXMOD2|FXMOD3|FXMOD4|more>

(There is nothing wrong with your manualÑsome of the parameters are in grey deliberately. Ignore them for now.)

Put the cursor on the StudioÕs name and press Edit, and letÕs dig into this Studio.

Press INPUT if youÕd like to look at the Input pages. These are all set up straightforwardly, with Input A going to FXBus1, Input B going to FXBus2, etc.

A Tour of KDFX

A complex Studio with real-time control

On the FX Bus pages: FXBus 1

Press FXBUS to look at the FX buses. On FXBus 1 is 205*CompresHK, a hard-knee compressor.

EditStudio:FXBUS|Size:1|Free:0|<>FXBus:1

FX1||205*CompresHK|||||||||Aux ||Mix

In/Out||||:FXMod|||||Lvl:FXMod|Lvl:-5.0dB None||||||:||||||||||Bal:0%||||Bal:0% Allocation:Auto <more||INPUT||FXBUS||AUXFX||OUTPUT|more>

Look at the ÒIn/OutÓ parameter. This is a Bus Override, meaning this parameter is actually inside the FXPreset but it can be changed from here. However, instead of saying ÒInÓ or ÒOutÓ it says ÒFXModÓ. This means that this parameter isnÕt controlled from inside the Studio at allÑ itÕs controlled by something else entirely outside the studio.

As it happens, itÕs controlled by the soft pedal, controller number 67ÑSwitch Pedal 3 for K2500 keyboard users. WeÕll see how this is done in a moment. Pressing this pedal will cause the compressor to kick in, squashing the dynamic range of the sound. However, the MakeUpGain inside the compressor is set to 6.5 dB, so the level doesnÕt change much when the compressor is engaged.

This type of control is useful on this program, because it uses velocity-switching to change drum and bass sounds. Normally as you play harder, the sounds change, and they also get louder. With the compressor engaged, however, the drum and bass sounds can change without getting louder.

ThereÕs another FXMod, which is assigned to the Aux FX Bus send level. On the Aux bus is a reverb, so this FXMod controls how much of the signal coming through here will get reverbed. It happens to be under the control of Slider G, controller number 27. Play the bass and drums and move that slider, and hear the reverb go in and out.

2-11

A Tour of KDFX

A complex Studio with real-time control

Setting up FXMods

How are these controls set up? ThatÕs back on the KDFX page in the Setup. Exit the Studio (if you have made any changes, donÕt save themÑthat will only confuse things!) and look at the settings here:

EditSetup:KDFX||||||||||||||||All|Zones|| Studio:202*Complex||||||||||

Bus:|Param:|||||Adjust:||Source:||Depth: FX1||In/Out|||||Out||||||SoftPd|||1 FX1||Aux|Lvl||||-55.0dB||MIDI27|||52dB FX2||L|Fdbk|Lvl|100%|||||MIDI26|||116% <more||KDFX|||FXMOD2|FXMOD3|FXMOD4|more>

On FX1 bus, the In/Out parameter has an initial value (ÒAdjustÓ) of ÒOutÓ, which means that normally it is not engaged.

The controller that controls this parameter is the ÒSourceÓ, and in this case, it is the Soft Pedal/Switch Pedal 3, MIDI controller 67. The amount the Source can change the parameter is the Depth, and here it is Ò1Ó.

On a parameter that has only two states, like ÒIn/OutÓ, the Depth can only have three values: 1, 0, or -1. If it is set to 1 or -1, then changing the source puts the parameter into its other stateÑin this case, going from Out to In. (If itÕs set to 0, then changing the Source has no effect on the parameterÕs state.)

Also on the FX1 bus, the Aux Lvl is initially -55 dB. The Source, MIDI controller 27, can raise that level by as much as 52 dB, to put it at -3 dBÑand in fact, thatÕs what youÕre hearing as you move Slider G.

FX Bus 2

LetÕs go back into the Studio and look at FXBus 2Ñpress Edit and then Chan/Bank Up. HereÕs our piano and string pad, going through an FX Preset called 206*Fast&RichChorus.

EditStudio:FXBUS|Size:1|Free:1|<>FXBus:2

FX2||206*Fast&RichChorus|||Aux ||Mix

None||||||:|||||||||Lvl:FXMod|Lvl:0.0dB None||||||:|||||||||Bal:0%||||Bal:0% Allocation:Auto <more||INPUT||FXBUS||AUXFX||OUTPUT|more>

The Aux Lvl, as on FXBus1, is also under FX Mod control. If you now go inside the FX Preset (by pressing Edit), youÕll see that the left and right feedback levels (ÒFdbk LvlÓ) are under FXMod control.

EditFXPreset:PARAM1|||||||EffectSize:1/1

FXAlgorithm:152|Dual|Chorus|1|

||||||||||||||||||||In|Gain|||:0.0dB L|Wet/Dry|:50%wet|||R|Wet/Dry|:50%wet L|Out|Gain:0.0dB||||R|Out|Gain:0.0dB

L|Fdbk|Lvl:FXMod||||L|Fdbk|Lvl:FXMod

Xcouple|||:0%|

<more||PARAM1|PARAM2|PARAM3||||||||more>

2-12

A Tour of KDFX

A complex Studio with real-time control

Press PARAM2, youÕll see that the Left and Right LFO1 Rates are also under FXMod control.

EditFXPreset:PARAM2|||Dual|Chorus|1|||||

L|Tap|Lvl|:75%||||||R|Tap|Lvl|:75%| L|Tap|Pan|:-100%||||R|Tap|Pan|:100%

L|LFO|Rate:FXMod||||R|LFO|Rate:FXMod

L|LFODepth:5.0ct||||R|LFODepth:5.0ct L|Tap|Dly|:4.0ms||||R|Tap|Dly|:4.0ms L|HF|Damp|:25088Hz||R|HF|Damp|:25088Hz

<more||PARAM1|PARAM2|PARAM3||||||||more>

Go back out of the FXPreset and the Studio, to the SetupÕs KDFX page. Here we see that on FX Bus 2, L Fdbk Lvl has a starting value of 0%, and can be changed, using MIDI controller 26 (Slider F), up to 100%.

Press FXMOD2 to go to the next page of FXMods, and youÕll see the same slider changing the R Fdbk Lvl, only in this case the Depth is -100%, meaning the feedback on this channel will be out of phase with the main signal.

EditSetup:FXMOD2||||||||||||||All|Zones|| Bus:|Param:|||||Adjust:||Source:||Depth: FX2||R|Fdbk|Lvl|0%|||||||MIDI26|||-100%

FX2||L|LFO1Rate||0.50Hz||MIDI25|||8.25H FX2||R|LFO1Rate||0.52Hz||MIDI25|||8.25H FX2||Aux|Lvl||||-15.5dB||MIDI27|||15dB FX3||Fdbk|Level|10%||||||MIDI24|||89% <more||KDFX|||FXMOD2|FXMOD3|FXMOD4|more>

Further down the FXMOD2 page are the assignments to the LFO rates: MIDI controller 25 (Slider E) is assigned to the left and right LFO1 Rates, with minimum values of 0.50 and 0.52 Hz, respectively, and maximum change of 8.25 Hz. Set the feedback level high and you can really clearly hear the LFO rate changing (but watch out that the effect doesnÕt go into oscillation at the highest feedback level).

Finally, MIDI Controller 27, our old friend Slider G, controls the Aux Level send on this bus as

well, thereby determining how much reverb will appear on the signal on this bus. There are no limits to how many FXMods a single Source can be assigned to.

FXBus 3

Press Edit, then use the Chan/Bank button to select FXBus 3. HereÕs where our breathy ßute sound is, and itÕs going through a delay FXPreset called 207*Adj Delay.

EditStudio:FXBUS|Size:1|Free:1|<>FXBus:3

FX3||207*Adj|Delay|||||||||Aux ||Mix

Wet/Dry|||:50%wet|||Lvl:FXMod|Lvl:0.0dB Out|Gain||:0.0dB||||Bal:0%||||Bal:0% Allocation:Auto <more||INPUT||FXBUS||AUXFX||OUTPUT|more>

2-13

A Tour of KDFX

A complex Studio with real-time control

Go inside the FXPreset, and youÕll see that the Feedback Level is under FXMod control.

EditFXPreset:PARAM1|||||||EffectSize:1/1

FXAlgorithm:131|4-Tap|Delay|

||||||||||||||||||||In|Gain|||:0.0dB Wet/Dry|||:50%wet|||Out|Gain||:0.0dB

Fdbk|Level:FXMod

||||||||||||||||||||Dry|Bal|||:0% HF|Damping:25088Hz||Hold||||||:Off|

<more||PARAM1|PARAM2|PARAM3||||||||more>

Press PARAM2, and on that page, youÕll see that Delay Scale is also under FXMod control.

EditFXPreset:PARAM2|||||4-Tap|Delay|||||

Loop|Crs||:480ms|||||

||||||||||||||||||||DelayScale:FXMod|

Loop|Fine|:0.0ms Tap1|Crs||:120ms||||Tap3|Crs||:360ms| Tap1|Fine|:0.0ms||||Tap3|Fine|:10.0ms| Tap2|Crs||:240ms||||Tap4|Crs||:480ms| Tap2|Fine|:5.0ms||||Tap4|Fine|:-5.0ms|

<more||PARAM1|PARAM2|PARAM3||||||||more>

Go back out to the Setup, and look at the bottom of the FXMOD2 page. Here we see the Feedback Level parameter is under the control of Controller 24 (Slider D), with a minimum of 10% and a maximum of 10+89=99%.

EditSetup:FXMOD3||||||||||||||All|Zones|| Bus:|Param:|||||Adjust:||Source:||Depth: FX3||DelayScale||0.54x|||Foot||||||6.00x

FX3||Aux|Lvl||||-50.0dB||MIDI27|||52dB None|None||||||||||||||||OFF None|None||||||||||||||||OFF None|None||||||||||||||||OFF <more||KDFX|||FXMOD2|FXMOD3|FXMOD4|more>

On the FXMOD3 page, we see that the Delay Scale, which scales all of the various delays in the Algorithm, is controlled by the Foot Pedal, MIDI controller 4ÑControl Pedal 1 for K2500 keyboard users. The delay is nominally a 480 ms loop, with four equal-spaced taps inside it, 120 ms apart. With the Foot Pedal, we can scale all those times by a factor of between 0.54 and 6.00.

Finally, the Aux Level from this bus, controlling the reverb send, is once again assigned to MIDI controller 27, Slider G.

So hereÕs a summary of the FXMods in this studio:

¥ Switch pedal 3 (Soft pedal) puts compression on the bass and drums. ¥ Slider F controls the feedback on the chorus on the piano/string pad. Slider E controls the

LFO speed on that chorus.

¥ Slider D controls the feedback on the delay on the breathy ßute. ¥ Control Pedal 1 (Foot Pedal) controls the delay time on the breathy ßute. ¥ Slider G controls the reverb send for all three Zones.

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