K2600X

Kurzweil Music Systems K2600X, K2600R, K2600 Reference Manual

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Page 1

KDFX Reference

In This Chapter

Chapter 10 KDFX Reference

In This Chapter

¥ KDFX Algorithms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-2

¥ KDFX Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-3

¥ KDFX Studios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-5

¥ KDFX Algorithm SpeciÞcations . . . . . . . . . . . . . . . . . . . . . . . . 10-8

10-1

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KDFX Reference

KDFX Algorithms

Reverb Algorithms

Combination Algorithms

Special FX Algorithms

ID Name

1 MiniVerb 2 Dual MiniVerb 3 Gated MiniVerb 4 Classic Place 5 Classic Verb 6 TQ Place 7 TQ Verb 8 Diffuse Place

9 Diffuse Verb 10 OmniPlace 11 OmniVerb 12 Panaural Room 13 Stereo Hall 14 Grand Plate 15 Finite Verb

Delay Algorithms

ID Name

130 Complex Echo 131 4-Tap Delay 132 4-Tap Delay BPM 133 8-Tap Delay 134 8-Tap Delay BPM 135 Spectral 4-Tap 136 Spectral 6-Tap

Chorus / Flange / Phaser Algorithms

ID Name

150 Chorus 1 151 Chorus 2 152 Dual Chorus 1 153 Dual Chorus 2 154 Flanger 1 155 Flanger 2 156 LFO Phaser 157 LFO Phaser Twin 158 Manual Phaser 159 Vibrato Phaser 160 SingleLFO Phaser

ID Name

700 Chorus+Delay 701 Chorus+4T ap 702 Chorus<>4T ap 703 Chor+Dly+Reverb 704 Chorus<>Reverb 705 Chorus<>LasrDly 706 Flange+Delay 707 Flange+4T ap 708 Flange<>4T ap 709 Flan+Dly+Reverb 710 Flange<>Reverb 711 Flange<>LasrDly 712 Flange<>Pitcher 713 Flange<>Shaper 714 Quantize+Flange 715 Dual MovDelay 716 Quad MovDelay 717 LasrDly<>Reverb 718 Shaper<>Reverb 719 Reverb<>Compress 720 MonoPitcher+Chor 721 MonoPitcher+Flan 722 Pitcher+Chor+Dly 723 Pitcher+Flan+Dly

Distortion Algorithms

ID Name

724 Mono Distortion 725 MonoDistort+Cab 726 MonoDistort + EQ 727 PolyDistort + EQ 728 StereoDistort+EQ 729 TubeAmp<>MD>Chor 730 TubeAmp<>MD>Flan 731 PolyAmp<>MD>Chor 732 PolyAmp<>MD>Flan

T one Wheel Organ Algorithms

ID Name

733 VibChor+Rotor 2 734 Distort + Rotary 735 KB3 FXBus 736 KB3 AuxFX 737 VibChor+Rotor 4

ID Name

900 Env Follow Filt 901 TrigEnvelopeFilt 902 LFO Sweep Filter 903 Resonant Filter 904 Dual Res Filter 905 EQ Morpher 906 Mono EQ Morpher 907 Ring Modulator 908 Pitcher 909 Super Shaper 910 3 Band Shaper 911 Mono LaserVerb 912 LaserVerb Lite 913 LaserVerb

Studio / Mixdown FX Algorithms

ID Name

950 HardKneeCompress 951 SoftKneeCompress 952 Expander 953 Compress w/SC EQ 954 Compress/Expand 955 Comp/Exp + EQ 956 Compress 3 Band 957 Gate 958 Super Gate 959 2 Band Enhancer 960 3 Band Enhancer 961 Tremolo 962 Tremolo BPM 963 AutoPanner 964 Dual AutoPanner 965 SRS 966 Stereo Image 967 Mono -> Stereo 968 Graphic EQ 969 Dual Graphic EQ 970 5 Band EQ

Tools

ID Name

998 FXMod Diagnostic 999 Stereo Analyze

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KDFX Presets

KDFX Reference

KDFX Presets

ID Preset Name

1 NiceLittleBooth 1

2 Small Wood Booth 4

3 Natural Room 5

4 PrettySmallPlace 4

5 Sun Room 5

6 Soundboard 7

7 Add More Air 10

8 Standard Booth 8

9 A Distance Away 6 10 Live Place 8 15 BrightSmallRoom 1 16 Bassy Room 1 17 Percussive Room 1 18 SmallStudioRoom 4 19 ClassRoom 5 20 Utility Room 5 21 Thick Room 5 22 The Real Room 5 23 Sizzly Drum Room 5 24 Real Big Room 5 25 The Comfy Club 9 26 Spitty Drum Room 7 27 Stall One 7 28 Green Room 7 29 Tabla Room 12 30 Large Room 7 31 Platey Room 14 40 SmallDrumChamber 1 41 Brass Chamber 1 42 Sax Chamber 1 43 Plebe Chamber 1 44 In The Studio 4 45 My Garage 4 46 School Stairwell 4 47 JudgeJudyChamber 7 48 Bloom Chamber 7 55 Grandiose Hall 1 56 Elegant Hall 1 57 Bright Hall 1 58 Ballroom 1 59 Spacious Hall 5 60 Classic Chapel 5 61 Semisweet Hall 5 62 Pipes Hall 704 63 Reﬂective Hall 5 64 Smoooth Hall 5 65 Splendid Palace 5 66 Pad Space 11 67 Bob'sDiffuseHall 9 68 Abbey Piano Hall 7 69 Short Hall 13 70 The Long Haul 7

KDFX Alg

ID Preset Name

71 Predelay Hall 9 72 Sweeter Hall 7 73 The Piano Hall 7 74 Bloom Hall 9 75 Recital Hall 12 76 Generic Hall 12 77 Burst Space 9 78 Real Dense Hall 7 79 Concert Hall 9 80 Standing Ovation 11 81 Flinty Hall 7 82 HighSchool Gym 7 83 My Dreamy 481!! 9 84 Deep Hall 9 85 Immense Mosque 7 86 Dreamverb 10 87 Huge Batcave 12 95 Classic Plate 5 96 Weighty Platey 5 97 Medm Warm Plate 7 98 Bloom Plate 9

99 Clean Plate 9 100 Plate Mail 11 101 RealSmoothPlate 9 102 Huge Tight Plate 9 103 BigPredelayPlate 7 110 L:SmlRm R:LrgRm 2 111 L:SmlRm R:Hall 2 112 Gated Reverb 3 113 Gate Plate 3 114 Exponent Booth 10 115 Drum Latch1 10 116 Drum Latch2 10 117 Diffuse Gate 9 118 Acid T rip Room 10 119 Furbelows 9 120 Festoons 9 121 Reverse Reverb 15 130 Guitar Echo 130 131 Stereo Echoes1 130 132 Stereo Echoes2 130 133 4-Tap Delay 132 134 OffbeatFlamDelay 132 135 8-Tap Delay 134 136 Spectral 4-Tap 135 137 Astral T aps 135 138 SpectraShapeT aps 136 150 Basic Chorus 152

KDFX Alg

ID Preset Name

151 Chorus Comeback 152 152 Chorusier 152 153 Ordinary Chorus 152 154 SlowSpinChorus 152 155 Chorus Morris 152 156 Everyday Chorus 152 157 Thick Chorus 153 158 Soft Chorus 153 159 Rock Chorus 153 160 Sm Stereo Chorus 150 161 Lg Stereo Chorus 151 170 Big Slow Flange 154 171 Wetlip Flange 154 172 Sweet Flange 154 173 Throaty Flange 154 174 Delirium T remens 154 175 Flanger Double 154 176 Squeeze Flange 154 177 Simply Flange 155 178 Analog Flanger 155 190 Circles 156 191 Slow Deep Phaser 157 192 Manual Phaser 158 193 Vibrato Phaser 159 194 ThunderPhaser 159 195 Saucepan Phaser 160 199 No Effect 0 700 Chorus Delay 700 701 Chorus PanDelay 700 702 Doubler & Echo 700 703 Chorus VryLngDly 700 704 FastChorusDouble 700 705 BasicChorusDelay 700 706 MultiTap Chorus 701 707 ThickChorus no4T 701 708 Chorused T aps 702 709 Chorus Slapbacks 705 710 MultiEchoChorus 705 711 ChorusDelayHall 703 712 ChorDlyRvb Lead 703 713 ChorDlyRvb Lead2 703 714 Fluid ChorDlyRvb 703 715 ChorLite DlyHall 703 716 ChorusSmallRoom 703 717 DeepChorDlyHall 703 718 Chorus PercHall 703 719 Chorus Booth 703 720 ClassicEP ChorRm 703

KDFX Alg

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KDFX Reference

KDFX Presets

ID Preset Name

721 ChorusMedChamber 704 722 Vanilla ChorRvb 704 723 Chorus Slow Hall 704 724 SoftChorus Hall 704 725 ChorBigBrtPlate 704 726 Chorus Air 704 727 Chorus HiCeiling 704 728 Chorus MiniHall 704 729 CathedralChorus 704 730 PsiloChorusHall 704 731 GuitarChorLsrDly 705 732 Flange + Delay 706 733 ThroatyFlangeDly 706 734 Flange + 4Tap 707 735 Bap ba-da-dap 707 736 Slapback Flange 706 737 Quantize+Flange 714 738 FlangeDelayHall 709 739 FlangeDelayRoom 709 740 SloFlangeDlyRoom 709 741 FlangeDlyBigHall 709 742 Flange Theatre 710 743 FlangeVerb Clav 710 744 FlangeVerb Gtr 710 745 Flange Hall 710 746 Flange Booth 710 747 Flange->LaserDly 711 748 FlangeTap Synth 708 749 Lazertag Flange 711 750 Flange->Pitcher 712 751 Flange->Shaper 713 752 Shaper->Flange 713 753 Warped Echoes 715 754 L:Flange R:Delay 715 755 StereoFlamDelay 715 756 2Dlys Ch Fl Mono 716 757 LaserDelay->Rvb 717 758 Shaper->Reverb 718 759 MnPitcher+Chorus 720 760 MnPitcher+Flange 721

KDFX Alg

ID Preset Name

761 Pitcher+Chor+Dly 722 762 Pitcher+Flng+Dly 723 763 SubtleDistortion 724 764 Synth Distortion 727 765 Dist Cab EPiano 725 766 Distortion+EQ 726 767 Burnt Tr ansistor 728 768 TubeAmp DlyChor 729 769 TubeAmp DlyChor2 729 770 TubeAmp DlyFlnge 730 771 TubeAmp Flange 730 772 PolyAmp Chorus 731 773 PolyAmp DlyFlnge 732 774 VibrChor Rotors 733 775 SlightDistRotors 734 776 Rotostort 734 777 VibrChor Rotors2 733 778 Full VbCh Rotors 737 779 KB3 FXBus 735 780 KB3 AuxFX 736 900 Basic Env Filter 900 901 Phunk Env Filter 900 902 Synth Env Filter 900 903 Bass Env Filter 900 904 EPno Env Filter 900 905 Trig Env Filter 901 906 LFO Sweep Filter 902 907 DoubleRiseFilter 902 908 Circle Bandsweep 902 909 Resonant Filter 903 910 Dual Res Filter 904 911 EQ Morpher 905 912 Mono EQ Morpher 906 913 Ring Modulator 907 914 PitcherA 908 915 PitcherB 908 916 SuperShaper 909 917 SubtleDrumShape 910 918 3 Band Shaper 910 919 LaserVerb 913 920 Laserwaves 913

KDFX Alg

ID Preset Name

921 Crystallizer 913 922 Spry Y oung Boy 912 923 Cheap LaserVerb 912 924 Drum Neurezonate 911 925 LazerfazerEchoes 911 950 HKCompressor 3:1 950 951 DrumKompress 5:1 950 952 SK FB Comprs 6:1 951 953 SKCompressor 9:1 951 954 SKCompressr 12:1 951 955 Compress w/SC EQ 953 956 Compress/Expand 954 957 Comprs/Expnd +EQ 955 958 Reverb>Compress 719 959 Reverb>Compress2 719 960 Drum Comprs>Rvb 719 961 Expander 952 962 3Band Compressor 956 963 Simple Gate 957 964 Gate w/ SC EQ 958 965 Graphic EQ 968 966 5 Band EQ 970 967 ContourGraphicEQ 969 968 Dance GraphicEQ 969 969 OldPianoEnhancer 959 970 3 Band Enhancer 960 971 3 Band Enhancer2 960 972 Extreem Enhancer 960 973 Tremolo 962 974 Dual Panner 964 975 SRS 965 976 Widespread 966 977 Mono->Stereo 967 998 Stereo Analyze 999 999 FX Mod Diag 998

KDFX Alg

10-4

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KDFX Studios

KDFX Reference

KDFX Studios

ID Name

1 RoomChorDly Hall 16 156 714 0 78 2 RmChorChRv Hall 17 154 722 0 69 3 RoomChorCDR Hall 16 156 714 0 76 4 RoomChor Hall 23 157 0 0 78 5 RoomChrCh4T Hall 22 156 706 0 72 6 RoomFlngCDR Hall 42 170 711 0 75 7 RoomFlgEcho Hall 21 176 131 0 85 8 RmFlngStImg Garg 19 172 976 0 45

9 RmFlgChDly Room 20 172 151 0 24 10 ChmbFlgGtRv Hall 42 170 112 0 75 11 RoomFlngCDR Hall 16 172 718 0 87 12 RoomFlngLsr Echo 22 172 925 0 119 13 RmFlgFXFlng Flng 23 174 173 0 171 14 SpaceFlng Hall 58 170 0 0 30 15 ChmbFlngCDR Verb 42 170 711 0 83 16 RoomPhsrCDR Hall 16 190 712 0 76 17 RmPhsrQuFlg Hall 19 190 737 0 76 18 RoomPhsr Space 25 191 0 0 114 19 RmEQmphEcho Comp 17 912 131 0 954 20 RmEQmphEcho Hall 17 912 131 0 65 21 RmEQmph4Tp Space 17 912 133 0 5 22 RmEQmph4Tap Hall 17 912 133 0 65 23 RmSweepEcho Hall 15 906 130 0 69 24 RoomResEcho Hall 3 909 131 0 71 25 RmRotoFl4T CmpRv 15 777 734 0 959 26 RoomSrsCDR Hall 16 975 712 0 75 27 RoomSRSRoom Room 17 975 15 0 29 28 RoomSRSChDl Hall 22 975 700 0 78 29 RoomSrsCDR CDR 16 975 712 0 711 30 RmStImgChDl Hall 22 976 700 0 73 31 RoomSRSRoom Chmb 17 975 15 0 47 32 RoomSRSRoom Hall 17 975 15 0 78 33 ChmbCompCDR Hall 42 953 711 0 75 34 RoomCmpChor Hall 15 951 152 0 78 35 RoomComp Hall 27 951 0 0 79 36 RoomComp Hall 7 953 0 0 67 37 BthComp SRS Hall 2 952 0 975 63 38 RoomCmpCh4T Hall 23 951 706 0 78 39 RmDsRotFl4t RvCm 15 776 734 0 959 40 RoomRmHall Hall 22 17 55 0 100 41 Room Room SRS2 22 0 44 0 975 42 RoomRmHall Hall 22 17 55 0 78 43 Room Room Hall 22 0 44 0 75 44 Room Hall Hall 23 0 61 0 78 45 Room Room Hall2 22 0 23 0 79 46 Room Room Hall2 22 44 0 0 85 47 Room Room Hall2 22 0 44 0 85 48 Room Hall Hall2 22 0 62 0 85 49 Sndbrd Room Hall 6 0 15 0 68 50 Sndbrd Rm Hall2 6 0 15 0 73 51 Room Room Hall3 22 0 15 0 68 52 auxChrMDly Room 0 158 753 0 30 53 auxFlngChRv Room 0 170 723 0 28 54 auxShp4MDly Hall 0 917 756 0 63 55 auxDistLasr Room 0 763 920 0 29 56 auxEnhSp4T Class 0 970 136 0 19 57 auxDistLasr Acid 0 767 924 0 118 58 EnhcManPhs Room 970 192 0 0 27 59 EnhrFlg8Tap Room 969 170 135 0 15 60 EnhcCmpFlng Room 969 950 177 0 24

Bus1 FX Preset

Bus2 FX Preset

Bus3 FX Preset

Bus4 FX Preset

Aux Bus FX Preset

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KDFX Reference

KDFX Studios

ID Name

61 CompEQmphCh Room 952 912 153 0 4 62 BthQFlg4Tap Hall 2 737 133 0 76 63 ChmbTremCDR Room 42 973 715 0 29 64 ChmbCmpFlRv Hall 41 952 744 0 69 65 ChamDstEcho Room 41 764 131 0 28 66 ChamFlg4Tap Hall 41 173 136 0 75 67 ChmbEnv4Tap GtRv 42 903 134 0 112 68 CmbrShapLsr Hall 42 916 922 0 69 69 auxPtchDst+ Chmb 0 914 772 0 48 70 auxChorFlRv Cmbr 0 150 742 0 42 71 auxChorFlRv Cmb2 0 155 742 0 42 72 auxChorFlRv Cmb3 0 150 745 0 42 73 auxChorFlRv Cmb4 0 150 742 0 18 74 HallFlgChDl Room 56 177 700 0 29 75 HallPtchLsr Hall 57 915 922 0 75 76 HallGateFl4T Bth 55 963 748 0 1 77 HallChorFDR Room 55 707 739 0 29 78 HallPtchPtFl Lsr 57 915 760 0 919 79 HallFlng8Tp Room 56 176 135 0 29 80 HallChrEcho Room 55 158 132 0 31 81 HallChorCDR Hall 55 152 715 0 55 82 HallRsFltChDl Rm 46 909 700 0 18 83 Hall ChDly Hall 56 0 704 0 30 84 HallFlgChDl Hall 56 177 700 0 65 85 Hall Room SRS 75 0 17 0 975 86 Hall Room Room 78 0 15 0 22 87 Hall CmpRvb 67000958 88 Hall Flng Hall 63 177 0 0 86 89 HallRoomChr Hall 46 15 151 0 82 90 auxPhsrFDR Hall 0 193 741 0 75 91 auxChrDist+ Hall 0 150 768 0 75 92 auxFlgDist+ Hall 0 170 769 0 75 93 auxChrDst+ Hall 0 150 768 0 76 94 auxChorMDly Hall 0 159 755 0 76 95 auxChorSp6T Hall 0 152 138 0 75 96 auxChorChDl Hall 0 153 702 0 64 97 auxPhasStIm Hall 0 195 976 0 95 98 auxFlngCDR Hall 0 172 713 0 65 99 auxPhsrFldblHall 0 193 175 0 75

100 auxSRSRoom Hall 0 975 25 0 78 101 auxFlLsr SwHall 0 170 922 0 72 102 auxEnh4Tap Hall 0 972 133 0 79 103 EnhcChorCDR Hall 969 152 716 0 56 104 EnhChorChDl Hall 970 156 703 0 61 105 EnhcChor Plate 971 152 0 0 98 106 CompFlgChor Hall 952 173 153 0 63 107 ChorChorFlg Hall 159 150 170 0 55 108 ChapelSRS Hall 60 975 0 0 79 109 ChapelSRS Hall2 60 975 0 0 85 110 Chapel Room Hall 60 0 23 0 78 111 PltEnvFl4T Room 43 903 735 0 25 112 PlatEnvFl4T Filt 43 903 735 0 907 113 PltEnvFl4T Plate 43 902 735 0 103 114 PltTEnvFlg Plate 43 905 170 0 31 115 PlateRngMd Hall 102 913 0 0 95 116 auxDist+Echo Plt 0 772 130 0 31 117 auxEnvSp4T Plate 0 904 136 0 31 118 auxShap4MD Plate 0 918 756 0 31 119 auxChorDist+ Plt 0 156 768 0 31 120 auxShFlgChDl Plt 0 752 710 0 103

Bus1 FX Preset

Bus2 FX Preset

Bus3 FX Preset

Bus4 FX Preset

Aux Bus FX Preset

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KDFX Reference

KDFX Studios

ID Name

121 auxMPFlgLasr Plt 0 760 923 0 103 122 auxShap4MD Plate 0 917 756 0 31 123 FlgEnv4Tap Plate 173 904 133 0 31 124 EnhrFlgCDR Plate 969 170 712 0 96 125 auxRingPFD Plate 0 913 762 0 97 126 GtRvShapMDl Room 112 916 754 0 29 127 GtdEnhcStIm Room 112 969 976 0 17 128 Gtd2ChrEcho 2Vrb 112 151 130 0 110 129 GtdEnhcStIm Hall 112 969 976 0 72 130 auxEnvSp4T GtVrb 0 904 136 0 112 131 GtRbSwpFlt Lasr 112 908 0 0 924 132 GtRbSwpFlt FlDly 112 907 0 0 733 133 ChRvStIEcho Hall 724 976 130 0 75 134 ChorChorCDR Spac 151 152 715 0 58 135 ChDlDstEQ Hall 701 767 0 0 83 136 auxDPanCDR ChPlt 0 974 713 0 725 137 AuxChorFlng CDR 0 157 173 0 712 138 auxEnhcSp4T CDR 0 970 136 0 711 139 auxPtchDst+ ChRv 0 914 772 0 721 140 EnhcChorChDl PCD 970 156 703 0 761 141 auxPoly FDR 0 764 0 0 738 142 EnhcChorChDl FDR 970 156 703 0 740 143 EnhcChrChDl FDR2 970 156 705 0 740 144 auxRotoSp4T FlRv 0 777 136 0 743 145 auxRotaryFDR Plt 0 774 739 0 97 146 RotoOrgFX Hall 778 0 0 0 59 147 CmpRvbFlDl Hall 960 0 732 0 86 148 auxEnhSp4T CmpRv 0 971 136 0 958 149 auxPtchRoom RvCm 0 914 17 0 958 150 PhsrChorCDR Phsr 194 151 717 0 194 151 ChDlSp4TFlDl Phs 151 137 732 0 192 152 auxFlgDst+ ChLsD 0 170 769 0 709 153 auxFlgDst+ ChLs2 0 170 771 0 709 154 RoomRoomSRS CmRv 4 15 0 975 960 155 RoomRoom Room 5 18 0 0 27 156 GtRvPlate Hall 113 96 0 0 82 157 RoomRoom SRS 17 26 0 0 975 158 EnhcSp4T Hall 970 136 0 0 61 159 Room RoomChr SRS 17 0 15 157 975 160 KB3 V/C ->Rotary 779 0 0 0 780 161 EQStImg 5BndEQ 199 965 976 199 966 162 aux5BeqStIm Hall 199 966 976 199 78 198 Digitech Studio 00000 199 Default Studio 0 0 0 0 0

Bus1 FX Preset

Bus2 FX Preset

Bus3 FX Preset

Bus4 FX Preset

Aux Bus FX Preset

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KDFX Reference

KDFX Algorithm Speciﬁcations

KDFX Algorithm Speciﬁcations Algorithms 1 and 2: MiniVerbs

1 MiniVerb 2 Dual MiniVerb

Versatile, small stereo and dual mono reverbs

PAUs: 1 for MiniVerb

2 for Dual MiniVerb

MiniVerb is a versatile stereo reverb is found in many combination algorithms, but is equally useful on its own because of its small size. The main control for this effect is the Room Type parameter. Room Type changes the structure of the algorithm to simulate many carefully crafted room types and sizes. Spaces characterized as booths, small rooms, chambers, halls and large spaces can be selected.

Dry

L Input

R Input

Figure 10-1 Simpliﬁed Block Diagram of MiniVerb

Each Room Type incorporates different diffusion, room size and reverb density settings. The Room Types were designed to sound best when Diff Scale, Size Scale and Density are set to the default values of 1.00x . If you want a reverb to sound perfect immediately, set the Diff Scale, Size Scale and Density parameters to

1.00x , pick a Room Type and youÕll be on the way to a great sounding reverb. But if you want to

experiment with new reverb ßavors, changing the scaling parameters away from 1.00x can cause a subtle (or drastic!) coloring of the carefully crafted Room Types.

L PreDelay

R PreDelay

Miniverb

Dry

Core

Wet Out Gain

L Output

R Output

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KDFX Algorithm Speciﬁcations

KDFX Reference

seamless. Density controls how tightly the early reßections are packed in time. Low Density settings have the early reßections grouped close together, and higher values spread the reßections for a smoother reverb.

L Input

R Input

Dry

MiniVerb Balance

MiniVerb

Dry

Wet

Pan

Balance

Pan

L Output

R Output

Figure 10-2 Simpliﬁed Block Diagram of Dual MiniVerb

Dual MiniVerb has a full MiniVerb, including Wet/Dry, Pre Delay and Out Gain controls, dedicated to both the left and right channels. In Figure 10-2, the two blocks labeled MiniVerb contain a complete copy of the contents of Figure 10-1. Dual MiniVerb gives you indepenent reverbs on both channels which has obvious beneÞts for mono material. With stereo material, any panning or image placement can be maintained, even in the reverb tails! This is pretty unusual behaviour for a reverb, since even real halls will rapidly delocalize acoustic images in the reverberance. Since maintaining image placement in the reverberation is so unusual, you will have to carefully consider whether it is appropriate for your particular situation. To use Dual MiniVerb to maintain stereo signals in this manner, set the reverb parameters for both channels to the same values. The Dry Pan and Wet Bal parameters should be fully left

-100% ) for the left MiniVerb and fully right ( 100% ) for the right MiniVerb.

(

MiniVerb Parameters

Page 1

Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB Rvrb Time 0.5 to 30.0 s, Inf HF Damping 16 to 25088 Hz L Pre Dly 0 to 620 ms R Pre Dly 0 to 620 ms

Page 2

Room Type Hall1 Diff Scale 0.00 to 2.00x

Size Scale 0.00 to 4.00x Density 0.00 to 4.00x

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KDFX Reference

KDFX Algorithm Speciﬁcations

Dual MiniVerb Parameters

Page 1

L Wet/Dry 0 to 100%wet R Wet/Dry 0 to 100%wet L Out Gain Off, -79.0 to 24.0 dB R Out Gain Off, -79.0 to 24.0 dB L Wet Bal -100 to 100% R Wet Bal -100 to 100% L Dry Pan -100 to 100% R Dry Pan -100 to 100%

Page 2

L RoomType Hall1 L RvrbTime 0.5 to 30.0 s, Inf

L Diff Scl 0.00 to 2.00x L Density 0.00 to 4.00x L Size Scl 0.00 to 4.00x L HF Damp 16 to 25088 Hz L PreDlyL 0 to 620 ms L PreDlyR 0 to 620 ms

Page 3

R RoomType Hall1 R RvrbTime 0.5 to 30.0 s, Inf

R Diff Scl 0.00 to 2.00x R Density 0.00 to 4.00x R Size Scl 0.00 to 4.00x R HF Damp 16 to 25088 Hz R PreDlyL 0 to 620 ms R PreDlyR 0 to 620 ms

Wet / Dry A simple mix of the reverb sound with the dry sound.

Out Gain

Rvrb Time

The overall gain or amplitude at the output of the effect.

The reverb time displayed is accurate for normal settings of the other parameters (HF Damping = 25088kHz, and Diff Scale, Room Scale and Density = 1.00x). Changing Rvrb Time to Inf creates an inÞnitely sustaining reverb.

HF Damping Reduces high frequency components of the reverb above the displayed cutoff frequency.

Removing higher reverb frequencies can often make rooms sound more natural.

L/R Pre Dly The delay between the start of a sound and the output of the Þrst reverb reßections from

that sound. Longer pre-delays can help make larger spaces sound more realistic. Longer times can also help improve the clarity of a mix by separating the reverb signal from the dry signal, so the dry signal is not obscured. Likewise, the wet signal will be more audible if delayed, and thus you can get by with a dryer mix while maintaining the same subjective wet/dry level.

Room Type Changes the conÞguration of the reverb algorithm to simulate a wide array of carefully

designed room types and sizes. This parameter effectively allows you to have several different reverb algorithms only a parameter change away. Smaller Room Types will sound best with shorter Rvrb Times, and vice versa. (Note that since this parameter changes the structure of the reverb algorithm, you donÕt want to modulate it.)

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KDFX Reference

KDFX Algorithm Speciﬁcations

Diff Scale

Size Scale

Density

Wet Bal

A multiplier which affects the diffusion of the reverb. At 1.00x, the diffusion will be the normal, carefully adjusted amount for the current Room Type. Altering this parameter will change the diffusion from the preset amount.

A multiplier which changes the size of the current room. At 1.00x, the room will be the normal, carefully tweaked size of the current Room Type. Altering this parameter will change the size of the room, and thus will cause a subtle coloration of the reverb (since the roomÕs dimensions are changing).

A multiplier which affects the density of the reverb. At 1.00x, the room density will be the normal, carefully set amount for the current Room Type. Altering this parameter will change the density of the reverb, which may color the room slightly.

In Dual MiniVerb, two mono signals (left and right) are fed into two separate stereo reverbs. If you center the wet balance (0%), the left and right outputs of the reverb will be sent to the Þnal output in equal amounts. This will add a sense of spaciousness

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KDFX Reference

KDFX Algorithm Speciﬁcations

3 Gated MiniVerb

A reverb and compressor in series.

PAUs: 2

This algorithm is a small reverb followed by a gate. The main control for the reverb is the Room Type parameter. The main control for the reverb is the Room Type parameter. Room Type changes the structure of the algorithm to simulate many carefully crafted room types and sizes. Spaces characterized as booths, small rooms, chambers, halls and large spaces can be selected.

Each Room Type incorporates different diffusion, room size and reverb density settings. The Room Types were designed to sound best when Diff Scale, Size Scale and Density are set to the default values of 1.00x. If you want a reverb to sound perfect immediately, set the Diff Scale, Size Scale and Density parameters to

1.00x, pick a Room Type and youÕll be on the way to a great sounding reverb. But if you want experiment with new reverb ßavors, changing the scaling parameters away from 1.00x can cause a subtle (or drastic!) coloring of the carefully crafted Room Types.

Diffusion characterizes how the reverb spreads the early reßection out in time. At very low settings of Diff Scale, the early reßections start to sound quite discrete, and at higher settings the early reßections are seamless. Density controls how tightly the early reßections are packed in time. Low Density settings have the early reßections grouped close together, and higher values spread the reßections for a smoother reverb.

The gate turns the output of the reverb on and off based on the amplitude of the input signal.

A gate behaves like an on off switch for a signal. One or both input channels is used to control whether the switch is on (gate is open) or off (gate is closed). The on/off control is called Òside chainÓ processing. You select which of the two input channels or both is used for side chain processing. When you select both channels, the sum of the left and right input amplitudes is used. The gate is opened when the side chain amplitude rises above a level that you specify with the Threshold parameter.

The gate will stay open for as long as the side chain signal is above the threshold. When the signal drops below the threshold, the gate will remain open for the time set with the Gate Time parameter. At the end of the Gate Time, the gate closes. When the signal rises above threshold, it opens again. What is happening is that the gate timer is being constantly retriggered while the signal is above threshold.

signal rises above threshold

Figure 10-3 Gate Behavior

10-12

attack

time

signal falls below threshold

gate time

release

time

Page 13

KDFX Reference

KDFX Algorithm Speciﬁcations

If Gate Duck is turned on, then the behaviour of the gate is reversed. The gate is open while the side chain signal is below threshold, and it closes when the signal rises above thresold.

If the gate opened and closed instantaneously, you would hear a large digital click, like a big knife switch was being thrown. Obviously thatÕs not a good idea, so Gate Atk (attack) and Gate Rel (release) parameters are use to set the times for the gate to open and close. More precisely, depending on whether Gate Duck is off or on, Gate Atk sets how fast the gate opens or closes when the side chain signal rises above the threshold. The Gate Rel sets how fast the gate closes or opens after the gate timer has elapsed.

The Signal Dly parameter delays the signal being gated, but does not delay the side chain signal. By delaying the main signal relative to the side chain signal, you can open the gate just before the main signal rises above threshold. ItÕs a little like being able to pick up the telephone before it rings!

Parameters

Page 1

Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB Rvrb Time 0.5 to 30.0s, Inf HF Damping 16 to 25088 Hz L Pre Dly 0 to 620ms R Pre Dly 0 to 620 ms

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Room Type Hall1 Diff Scale 0.00 to 2.00x

Size Scale 0.00 to 4.00x Density 0.00 to 4.00x

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Gate Thres -79.0 to 0.0 dB Gate Time 0 to 3000 ms Gate Duck In or Out Gate Atk 0.0 to 228.0 ms

Gate Rel 0 to 3000 ms GateSigDly 0.0 to 25.0 ms Reduction -dB 60 40 * 16 * 8 4 0

Wet/Dry A simple mix of the reverb sound with the dry sound. When set fully dry (0%), the gate is

still active.

Out Gain An overall level control of the effectÕs output (applied after the Wet/Dry mix).

Rvrb Time The reverb time displayed is accurate for normal settings of the other parameters (HF

Damping = 25088kHz, and Diff Scale, Room Scale and Density = 1.00x). Changing Rvrb Time to Inf creates an inÞnitely sustaining reverb.

HF Damping Reduces high frequency components of the reverb above the displayed cutoff frequency.

Removing higher reverb frequencies can often make rooms sound more natural.

L/R Pre Dly The delay between the start of a sound and the output of the Þrst reverb reßections from

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if delayed, and thus you can get by with a dryer mix while maintaining the same subjective wet/dry level.

Room Type The conÞguration of the reverb algorithm to simulate a wide array of carefully designed

room types and sizes. This parameter effectively allows you to have several different reverb algorithms only a parameter change away. Smaller Room Types will sound best with shorter Rvrb Times, and vice versa. (Note that since this parameter changes the structure of the reverb algorithm, you may not modulate it.)

Diff Scale A multiplier which affects the diffusion of the reverb. At 1.00x, the diffusion will be the

normal, carefully adjusted amount for the current Room Type. Altering this parameter will change the diffusion from the preset amount.

Size Scale A multiplier which changes the size of the current room. At 1.00x, the room will be the

normal, carefully tweaked size of the current Room Type. Altering this parameter will change the size of the room, and thus will cause a subtle coloration of the reverb (since the roomÕs dimensions are changing).

Density A multiplier which affects the density of the reverb. At 1.00x, the room density will be the

normal, carefully set amount for the current Room Type. Altering this parameter will change the density of the reverb, which may color the room slightly.

Gate Thres The input signal level in dB required to open the gate (or close the gate if Gate Duck is on).

Gate Duck When set to ÒOffÓ, the gate opens when the signal rises above threshold and closes when

the gate time expires. When set to ÒOnÓ, the gate closes when the signal rises above threshold and opens when the gate time expires.

Gate Time The time in seconds that the gate will stay fully on after the signal envelope rises above

threshold. The gate timer is started or restarted whenever the signal envelope rises above threshold. If Retrigger is On, the gate timer is continually reset while the side chain signal is above the threshold.

Gate Atk The attack time for the gate to ramp from closed to open (reverse if Gate Duck is on) after

the signal rises above threshold.

Gate Rel The release time for the gate to ramp from open to closed (reverse if Gate Duck is on) after

the gate timer has elapsed.

Signal Dly The delay in milliseconds (ms) of the reverb signal relative to the side chain signal. By

delaying the reverb signal, the gate can be opened before the reverb signal rises above the gating threshold.

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Algorithms 4–11: Classic / TQ / Diffuse / Omni Reverbs

4 Classic Place 5 Classic V erb 6 TQ Place 7 TQ V erb 8 Diffuse Place

9 Diffuse V erb 10 OmniPlace 11 OmniV erb

Parameters

Absorption This controls the amount of reßective material that is in the space being

emulated, much like an acoustical absorption coefÞcient. The lower the setting, the longer it will take for the sound to die away. A setting of 0% will cause an inÞnite decay time.

Rvrb Time Adjusts the basic decay time of the late portion of the reverb.

LateRvbTim Adjusts the basic decay time of the late portion of the reverb after diffusion.

HF Damping This controls the amount of high frequency energy that is absorbed as the

reverb decays. The values set the cutoff frequency of the 1 pole (6dB/oct) lopass Þlter within the reverb feedback loop.

L Pre Dly, R Pre Dly These control the amount that each channel of the reverb is delayed relative to

the dry signal. Setting different lengths for both channels can de-correlate the center portion of the reverb image and make it seem wider. This only affects the late reverb in algorithms that have early reßections.

Lopass Controls the cutoff frequency of a 1 pole (6dB/oct) lopass Þlter at the output of

the reverb. This only affects the late reverb in algorithms that have early reßections.

EarRef Lvl Adjusts the mix level of the early reßection portion of algorithms offering early

reßections.

Late Lvl Adjusts the mix level of the late reverb portion of algorithms offering early

reßections.

Room Type This parameter selects the basic type of reverb being emulated, and should be

your starting point when creating your own reverb presets. Due to the inherent complexity of reverb algorithms and the sheer number of variables responsible for their character, the Room Type parameter provides condensed preset collections of these variables. Each Room Type preset has been painstakingly selected by Kurzweil engineers to provide the best sounding collection of mutually complementary variables modelling an assortment of reverb families. When a room type is selected, an entire incorporated set of delay lengths and diffusion settings are established within the algorithm. By using the Size Scale, DiffAmtScl, DiffLenScl, and Inj Spread parameters, you may scale individual elements away from their preset value. When set to 1.00x, each of these

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Size Scale This parameter scales the inherent size of the reverb chosen by Room Type. For

InÞnDecay Found in ÒVerbÓ algorithms. When turned ÒOnÓ, the reverb tail will decay

LF Split Used in conjunction with LF Time. This controls the upper frequency limit of

LF Time Used in conjunction with LF Split. This modiÞes the decay time of the energy

elements are accurately representing their preset values determined by the current Room Type.

Room Types with similar names in different reverb algorithms do not sound the same. For example, Hall1 in Diffuse Verb does not sound the same as Hall1 in TQ Verb.

a true representation of the selected Room Type size, set this to 1.00x. Scaling the size below this will create smaller spaces, while larger scale factors will create large spaces. See Room Type for more detailed information.

indeÞnitely. When turned ÒOffÓ, the decay time is determined by the ÒRvrb TimeÓ or ÒLateRvbTimÓ parameters.

the low frequency decay time multiplier. Energy below this frequency will decay faster or slower depending on the LF Time parameter.

below the LF Split frequency. A setting of 1.00x will make low frequency energy decay at the rate determined by the decay time. Higher values will cause low frequency energy to decay slower, and lower values will cause it to decay more quickly.

TrebShlf F Adjusts the frequency of a high shelving Þlter at the output of the late reverb.

TrebShlf G Adjusts the gain of a high shelving Þlter at the output of the late reverb.

BassShlf F Adjusts the frequency of a low shelving Þlter at the output of the late reverb.

BassShlf G Adjusts the gain of a low shelving Þlter at the output of the late reverb.

DiffAmtScl Adjusts the amount of diffusion at the onset of the reverb. For a true

representation of the selected Room Type diffusion amount, set this to 1.00x.

DiffLenScl Adjusts the length of the diffusion at the onset of the reverb. For a true

representation of the selected Room Type diffusion length, set this to 1.00x.

DiffExtent Adjust the onset diffusion duration. Higher values create longer diffuse bursts

at the onset of the reverb.

Diff Cross Adjusts the onset diffusion cross-coupling character. Although subtle, this

parameter bleeds left and right channels into each other during onset diffusion, and also in the body of the reverb. 0% setting will disable this. Increasing this value in either the positive or negative direction will increase its affect.

Expanse Amount of late reverb energy biased toward the edges of the stereo image. A

setting of 0% will bias energy towards the center. Moving away from 0% will bias energy towards the sides. Positive and negative values will have a different character.

LFO Rate Adjusts the rate at which certain reverb delay lines move. See LFO Depth for

more information.

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LFO Depth Adjusts the detuning depth in cents caused by a moving reverb delay line.

Moving delay lines can imitate voluminous ßowing air currents and reduce unwanted artifacts like ringing and ßutter when used properly. Depth settings under 1.5ct with LFO Rate settings under 1.00Hz are recommended for

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modeling real spaces. High depth settings can create chorusing qualities, which wonÕt be unsuitable for real acoustic spaces, but can nonetheless create interesting effects. Instruments that have little if no inherent pitch ßuctuation (like piano) are much more sensitive to this LFO than instruments that normally have a lot of vibrato (like voice) or non-pitched instruments (like snare drum).

Inj Build Used in conjunction with Inj Spread, this adjusts the envelope of the onset of the

reverb. SpeciÞcally, it tapers the amplitudes of a series of delayed signals injected into the body of the reverb. Values above 0% will produce a faster build, while values below 0% will cause the build to be more gradual.

Inj Spread Used in conjunction with Inj Build, this scales the length of the series of delays

injected into the body of the reverb. For a true representation of the selected Room Type injector spread, set this to 1.00x.

Inj LP This adjusts the cutoff frequency of a 1 pole (6dB/oct) lopass Þlter applied to

the signal being injected into the body of the reverb.

Inj Skew Adjusts the amount of delay applied to either the left or right channel of the

reverb injector. Positive values delay the right channel while negative values delay the left channel.

E DiffAmt Adjusts the amount of diffusion applied to the early reßection network.

E DfLenScl Adjusts the length of diffusion applied to the early reßection network. This is

inßuenced by E PreDlyL and E PreDlyR.

E Dly Scl Scales the delay lengths inherent in the early reßection network.

E Build Adjusts the envelope of the onset of the early reßections. Values above 0% will

create a faster attack while values below 0% will create a slower attack.

E Fdbk Amt Adjusts the amount of the output of an early reßection portion that is fed back

into the input of the opposite channel in front of the early pre-delays. Overall, it lengthens the decay rate of the early reßection network. Negative values polarity invert the feedback signal.

E HF Damp This adjusts the cutoff frequency of a 1 pole (6dB/oct) lopass Þlter applied to

the early reßection feedback signal.

E PreDlyL, E PreDlyR Adjusts how much the early reßections are delayed relative to the dry signal.

These are independent of the late reverb predelay times, but will inßuence E Dly Scl.

E Dly L, E Dly R Adjusts the left and right early reßection delays fed to the same output

channels.

E Dly LX, E Dly RX Adjusts the left and right early reßection delays fed to the opposite output

channels.

E DifDlyL, E DifDlyR Adjusts the diffusion delays of the diffusers on delay taps fed to the same

output channels.

E DifDlyLX, E DifDlyRX Adjusts the diffusion delays of the diffusers on delay taps fed to the opposite

output channels.

E X Blend Adjusts the balance between early reßection delay tap signals with diffusers fed

to their same output channel, and those fed to opposite channels. 0% will only allow delay taps being fed to opposite output channels to be heard, while 100% allows only delay taps going to the same channels to be heard.

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12 Panaural Room

Room reverberation algorithm

PAUs: 3

The Panaural Room reverberation is implemented using a special network arrangement of many delay lines that guarantees colorless sound. The reverberator is inherently stereo with each input injected into the "room" at multiple locations. The signals entering the reverberator Þrst pass through a shelving bass equalizer with a range of +/-15dB. To shorten the decay time of high frequencies relative to mid frequencies, low pass Þlters controlled by HF Damping are distributed throughout the network. Room Size scales all the delay times of the network (but not the Pre Dly or Build Time), to change the simulated room dimension over a range of 1 to 16m. Decay Time varies the feedback gains to achieve decay times from 0.5 to 100 seconds. The Room Size and Decay Time controls are interlocked so that a chosen Decay Time will be maintained while Room Size is varied. A two input stereo mixer, controlled by Wet/Dry and Out Gain, feeds the output.

Dry

L Input

R Input

PreDelay

Dry

Reverb

Wet

Out Gain

Figure 10-4 Simpliﬁed block diagram of Panaural Room.

The duration and spacing of the early reßections are inßuenced by Room Size and Build Time, while the number and relative loudness of the individual reßections are inßuenced by Build Env. When Build Env is near 0 or 100%, fewer reßections are created. The maximum number of important early reßections, 13, is achieved at a setting of 50%.

To get control over the growth of reverberation, the left and right inputs each are passed through an "injector" that can extend the source before it drives the reverberator. Only when Build Env is set to 0% is the reverberator driven in pure stereo by the pure dry signal. For settings of Build Env greater than 0%, the reverberator is fed multiple times. Build Env controls the injector so that the reverberation begins abruptly (0%), builds immediately to a sustained level (50%), or builds gradually to a maximum (100%). Build Time varies the injection length over a range of 0 to 500ms. At a Build Time of 0ms, there is no extension of the build time. In this case, the Build Env control adjusts the density of the reverberation, with maximum density at a setting of 50%. In addition to the two build controls, there is an overall Pre Dly control that can delay the entire reverberation process by up to 500ms.

L Output

R Output

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Parameters

Page 1

Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 Room Size 1.0 to 16.0 m Pre Dly 0 to 500 ms Decay Time 0.5 to 100.0 s HF Damping 16 to 25088 Hz

Page 2

Bass Gain -15 to 15 dB Build Time 0 to 500 ms

Build Env 0 to 100%

Wet/Dry The amount of the stereo reverberator (wet) signal relative to the original input (dry)

signal to be output. The dry signal is not affected by the Bass Gain control. The wet signal is affected by the Bass Gain control and by all the other reverberator controls. The balance between wet and dry signals is an extremely important factor in achieving a good mix. Emphasizing the wet signal gives the effect of more reverberation and of greater distance from the source.

Out Gain The overall output level for the reverberation effect, and controls the level for both the wet

and dry signal paths.

Decay Time The reverberation decay time (mid-band "RT60"), the time required before the

reverberation has died away to 60dB below its "running" level. Adjust decay time according to the tempo and articulation of the music and to taste.

HF Damping Adjusts low pass Þlters in the reverberator so that high frequencies die away more quickly

than mid and low frequencies. This shapes the reverberation for a more natural, more acoustically accurate sound.

Bass Gain Shapes the overall reverberation signal's bass content, but does not modify the decay time.

Reduce the bass for a less muddy sound, raise it slightly for a more natural acoustic effect.

Room Size Choosing an appropriate room size is very important in getting a good reverberation

effect. For impulsive sources, such as percussion instruments or plucked strings, increase the size setting until discrete early reßections become audible, and then back it off slightly. For slower, softer music, use the largest size possible. At lower settings, Room Size leads to coloration, especially if the Decay Time is set too high.

Pre Dly Introducing predelay creates a gap of silence between that allows the dry signal to stand

out with greater clarity and intelligibility against the reverberant background. This is especially helpful with vocal or classical music.

Build Time Similar to predelay, but more complex, larger values of Build Time slow down the

building up of reverberation and can extend the build up process. Experiment with Build Time and Build Env and use them to optimize the early details of reverberation. A Build Time of 0ms and a Build Env of 50% is a good default setting that yields a fast arriving, maximally dense reverberation.

Build Env When Build Time has been set to greater than about 80ms, Build Env begins to have an

audible inßuence on the early unfolding of the reverberation process. For lower density reverberation that starts cleanly and impulsively, use a setting of 0%. For the highest density reverberation, and for extension of the build up period, use a setting of 50%. For

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an almost reverse reverberation, set Build Env to 100%. You can think of Build Env as setting the position of a see-saw. The left end of the see-saw represents the driving of the reverberation at the earliest time, the pivot point as driving the reverberation at mid-point in the time sequence, and the right end as the last signal to drive the reverberator. At settings near 0%, the see-saw is tilted down on the right: the reverberation starts abruptly and the drive drops with time. Near 50%, the see-saw is level and the reverberation is repetitively fed during the entire build time. At settings near 100%, the see-saw is tilted down on the left, so that the reverberation is hit softly at Þrst, and then at increasing level until the end of the build time.

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13 Stereo Hall

A stereo hall reverberation algorithm.

PAUs: 3

The Stereo Hall reverberation is implemented using a special arrangement of all pass networks and delay lines which reduces coloration and increases density. The reverberator is inherently stereo with each input injected into the "room" at multiple locations. To shorten the decay time of low and high frequencies relative to mid frequencies, bass equalizers and low pass Þlters, controlled by Bass Gain and by HF Damping, are placed within the network. Room Size scales all the delay times of the network (but not the Pre Dly or Build Time), to change the simulated room dimension over a range of 10 to 75m. Decay Time varies the feedback gains to achieve decay times from 0.5 to 100 seconds. The Room Size and Decay Time controls are interlocked so that a chosen Decay Time will be maintained while Room Size is varied. At smaller sizes, the reverb becomes quite colored and is useful only for special effects. A two input stereo mixer, controlled by Wet/Dry and Out Gain, feeds the output. The Lowpass control acts only on the wet signal and can be used to smooth out the reverb high end without modifying the reverb decay time at high frequencies.

Dry

L Input

R Input

PreDelay

Reverb

Dry

Wet

Out Gain

L Output

R Output

Figure 10-5 Simpliﬁed block diagram of Stereo Hall.

Within the reverberator, certain delays can be put into a time varying motion to break up patterns and to increase density in the reverb tail. Using the LFO Rate and Depth controls carefully with longer decay times can be beneÞcial. But beware of the pitch shifting artifacts which can accompany randomization when it is used in greater amounts. Also within the reverberator, the Diffusion control can reduce the diffusion provided by some all pass networks. While the reverb will eventually reach full diffusion regardless of the Diffusion setting, the early reverb diffusion can be reduced, which sometimes is useful to help keep the dry signal "in the clear".

The reverberator structure is stereo and requires that the dry source be applied to both left and right inputs. If the source is mono, it should still be applied (pan centered) to both left and right inputs. Failure to drive both inputs will result in offset initial reverb images and later ping-ponging of the reverberation. Driving only one input will also increase the time required to build up reverb density.

To gain control over the growth of reverberation, the left and right inputs each are passed through an "injector" that can extend the source before it drives the reverberator. Only when Build Env is set to 0% is the reverberator driven in pure stereo by the pure dry signal. For settings of Build Env greater than 0%, the reverberator is fed multiple times. Build Env controls the injector so that the reverberation begins abruptly (0%), builds immediately to a sustained level (50%), or builds gradually to a maximum (100%). Build Time

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varies the injection length over a range of 0 to 500ms. At a Build Time of 0ms, there is no extension of the build time. In this case, the Build Env control adjusts the density of the reverberation, with maximum density at a setting of 50%. In addition to the two build controls, there is an overall Pre Dly control that can delay the entire reverberation process by up to 500ms.

Parameters

Page 1

Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB Room Size 2.0 to 15.0 m Diffusion 0 to 100% Pre Dly 0 to 500 ms Decay Time 0.5 to 100.0 ms HF Damping 16 to 25088 Hz

Page 2

Bass Gain -15 to 0 dB Build Time 0 to 500 ms Lowpass 16 to 25088 Hz Build Env 0 to 100% LFO Rate 0.00 to 5.10 Hz LFO Depth 0.00 to 10.20 ct

Wet/Dry The amount of the stereo reverberator (wet) signal relative to the original input

(dry) signal to be output. The dry signal is not affected by the HF Roll control. The wet signal is affected by the HF Roll control and by all the other reverberator controls. The balance between wet and dry signals is an extremely important factor in achieving a good mix. Emphasizing the wet signal gives the effect of more reverberation and of greater distance from the source.

Out Gain The overall output level for the reverberation effect, and controls the level for

both the wet and dry signal paths.

Decay Time The reverberation decay time (mid-band "RT60"), the time required before the

reverberation has died away to 60dB below its "running" level. Adjust decay time according to the tempo and articulation of the music and to taste.

HF Damping Adjusts low pass Þlters in the reverberator so that high frequencies die away

more quickly than mid and low frequencies. This shapes the reverberation for a more natural, more acoustically accurate sound.

Bass Gain Adjusts bass equalizers in the reverberator so that low frequencies die away

more quickly than mid and high frequencies. This can be used to make the reverberation less muddy.

Lowpass Used to shape the overall reverberation signal's treble content, but does not

modify the decay time. Reduce the treble for a softer, more acoustic sound.

Room Size Choosing an appropriate room size is very important in getting a good

reverberation effect. For impulsive sources, such as percussion instruments or plucked strings, increase the size setting until discrete early reßections become audible, and then back it off slightly. For slower, softer music, use the largest size possible. At lower settings, RoomSize leads to coloration, especially if the DecayTime is set too high.

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Pre Dly Introducing predelay creates a gap of silence between that allows the dry signal

to stand out with greater clarity and intelligibility against the reverberant background. This is especially helpful with vocal or classical music.

Build Time Similar to predelay, but more complex, larger values of BuildTime slow down

the building up of reverberation and can extend the build up process. Experiment with BuildTime and BuildEnv and use them to optimize the early details of reverberation. A BuildTime of 0ms and a BuildEnv of 0% is a good default setting that yields fast arriving, natural reverberation.

Build Env When BuildTime has been set to greater than about 80ms, BuildEnv begins to

have an audible inßuence on the early unfolding of the reverberation process. For lower density reverberation that starts cleanly and impulsively, use a setting of 0%. For the highest density reverberation, and for extension of the build up period, use a setting of 50%. For an almost reverse reverberation, set BuildEnv to 100%. You can think of BuildEnv as setting the position of a seesaw. The left end of the see-saw represents the driving of the reverberation at the earliest time, the pivot point as driving the reverberation at mid-point in the time sequence, and the right end as the last signal to drive the reverberator. At settings near 0%, the see-saw is tilted down on the right: the reverberation starts abruptly and the drive drops with time. Near 50%, the see-saw is level and the reverberation is repetitively fed during the entire build time. At settings near 100%, the see-saw is tilted down on the left, so that the reverberation is hit softly at Þrst, and then at increasing level until the end of the build time.

LFO Rate and Depth Within the reverberator, the certain delay values can be put into a time varying

motion to break up patterns and to increase density in the reverb tail. Using the LFO Rate and Depth controls carefully with longer decay times can be beneÞcial. But beware of the pitch shifting artifacts which can accompany randomization when it is used in greater amounts.

Diffusion Within the reverberator, the Diffusion control can reduce the diffusion provided

some of the all pass networks. While the reverb will eventually reach full diffusion regardless of the Diffusion setting, the early reverb diffusion can be reduced, which sometimes is useful to help keep the dry signal "in the clear."

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14 Grand Plate

A plate reverberation algorithm.

PAUs: 3

This algorithm emulates an EMT 140 steel plate reverberator. Plate reverberators were manufactured during the 1950's, 1960's, 1970's, and perhaps into the 1980's. By the end of the 1980's, they had been supplanted in the marketplace by digital reverbertors, which Þrst appeared in 1976. While a handful of companies made plate reverberators, EMT (Germany) was the best known and most popular.

A plate reverberator is generally quite heavy and large, perhaps 4 feet high by 7 feet long and a foot thick. They were only slightly adjustable, with controls for high frequency damping and decay time. Some were stereo in, stereo out, others mono in, mono out.

A plate reverb begins with a sheet of plate steel suspended by its edges, leaving the plate free to vibrate. At one (or two) points on the plate, an electromagnetic driver (sort of a small loudspeaker without a cone) is arranged to couple the dry signal into the plate, sending out sound vibrations into the plate in all directions. At one or two other locations, a pickup is placed, sort of like a dynamic microphone whose diaphragm is the plate itself, to pick up the reverberation.

Since the sound waves travel very rapidly in steel (faster than they do in air), and since the dimensions of the plate are not large, the sound quickly reaches the plate edges and reßects from them. This results in a very rapid build up of the reverberation, essentially free of early reßections and with no distinguishable gap before the onset of reverb.

Plates offered a wonderful sound of their own, easily distinguished from other reverberators in the predigital reverb era, such as springs or actual "echo" chambers. Plates were bright and diffused (built up echo density) rapidly. Curiously, when we listen to a vintage plate today, we Þnd that the much vaunted brightness is nothing like what we can accomplish digitally; we actually have to deliberately reduce the brightness of a plate emulation to match the sound of a real plate. Similarly, we Þnd that we must throttle back on the low frequency content as well.

The algorithm developed for Grand Plate was carefully crafted for rapid diffusion, low coloration, freedom from discrete early reßections, and "brightness." We also added some controls that were never present in real plates: size, pre delay of up to 500ms, LF damping, low pass roll off, and bass roll off. Furthermore, we allow a wider range of decay time adjustment than a conventional plate. Once the algorithm was complete, we tuned it by presenting the original EMT reverb on one channel and the Grand Plate emulation on the other. A lengthy and careful tuning of Grand Plate (tuning at the micro detail level of each delay and gain in the algorithm) was carried out until the stereo spread of this reverb was matched in all the time periods--early, middle, and late.

The heart of this reverb is the plate simulation network, with its two inputs and two outputs. It is a full stereo reverberation network, which means that the left and right inputs get slightly different treatment in the reverberator. This yields a richer, more natural stereo image from stereo sources. If you have a mono source, assign it to both inputs for best results.

The incoming left source is passed through predelay, low pass (Lowpass), and bass shelf (Bass Gain) blocks. The right source is treated similarly.

There are low pass Þlters (HF Damping) and high pass Þlters (LF Damping) embedded in the plate simulation network to modify the decay times. The reverb network also accomodates the Room Size and Decay Time controls.

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An output mixer assembles dry and wet signals.

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Parameters

Page 1

Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB Room Size 1.00 to 4.00 m Pre Dly 0 to 500 ms Decay Time 0.2 to 5.0 s HF Damping 16 to 25088 Hz LF Damping 1 to 294 Hz

Page 2

Lowpass 16 to 25088 Hz Bass Gain -15 to 0 dB

Wet/Dry The amount of the stereo reverberator (wet) signal relative to the original input (dry)

signal sent to the output. The dry signal is not affected by the Lowpass or Bass Gain controls. The wet signal is affected by the Lowpass and Bass Gain controls and by all the other reverberator controls. The balance between wet and dry signals is an extremely important factor in achieving a good mix. Emphasizing the wet signal gives the effect of more reverberation and of greater distance from the source.

Out Gain The overall output level for the reverberation effect and controls the level for both the wet

and dry signal paths.

Room Size Choosing an appropriate room size is very important in getting a good reverberation

effect. For impulsive sources, such as percussion instruments or plucked strings, increase the size setting until discrete reßections become audible, and then back it off slightly. For slower, softer music, use the largest size possible. At lower settings, Room Size leads to coloration, especially if the Decay Time is set too high. To emulate a plate reverb, this control is typically set to 1.9m.

Pre Dly Introducing predelay creates a gap of silence between the dry sound and the

reverberation, allowing the dry signal to stand out with greater clarity and intelligibility against the reverberant background. Especially helpful with vocals or classical music.

Decay Time The reverberation decay time (mid-band "RT60"), the time required before the

reverberation has died away to 60dB below its "running" level. Adjust decay time according to the tempo and articulation of the music. To emulate a plate reverb, this control is typically set in the range of 1 to 5 seconds.

HF Damping Adjusts low pass Þlters in the reverberator so that high frequencies die away more quickly

than mid and low frequencies. This shapes the reverberation for a more natural, more acoustically accurate sound. To emulate a plate reverb, a typical value is 5920Hz.

LF Damping Adjusts high pass Þlters in the reverberator so that low frequencies die away more quickly

than mid and high frequencies. This shapes the reverberation for a more natural, more acoustically accurate sound. To emulate a plate reverb, this control is typically set to 52 Hz.

Lowpass Shapes the overall reverberation signal's treble content, but does not modify the decay

time. Reduce the treble for a duller, more natural acoustic effect. To emulate a plate reverb, this control is typically set to 3951Hz.

Bass Gain Shapes the overall reverberation signal's bass content, but does not modify the decay time.

Reduce the bass for a less muddy sound. To emulate a plate reverb, this control is typically set to -12dB.

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KDFX Reference

KDFX Algorithm Speciﬁcations

15 Finite V erb

Reverse reverberation algorithm.

PAUs: 3

The left and right sources are summed before being fed into a tapped delay line which directly simulates the impulse response of a reverberator. The taps are placed in sequence from zero delay to a maximum delay value, at quasi-regular spacings. By varying the coefÞcients with which these taps are summed, one can create the effect of a normal rapidly building/slowly decaying reverb or a reverse reverb which builds slowly then stops abruptly.

A special tap is picked off the tapped delay line and its length is controlled by Dly Length. It can be summed into the output wet mix (Dly Lvl) to serve as the simulated dry source that occurs after the reverse reverb sequence has built up and ended. It can also be fed back for special effects. Fdbk Lvl and HF Damping tailor the gain and spectrum of the feedback signal. Despite the complex reverb-like sound of the tapped delay line, the Feedback tap is a pure delay. Feeding it back is like reapplying the source, as in a simple tape echo.

Dly Length and Rvb Length range from 300 to 3000 milliseconds. With the R1 Rvb Env variants, Rvb Length corresponds to a decay time (RT60).

To make things a little more interesting, the tapped delay line mixer is actually broken into three mixers, an early, middle, and late mixer. Each mixes its share of taps and then applies the submix to a low pass Þlter (cut only) and a simple bass control (boost and cut). Finally, the three equalized sub mixes are mixed into one signal. The Bass and Damp controls allow special effects such as a reverb that begins dull and increases in two steps to a brighter sound.

The Rvb Env control selects 27 cases of envelope gains for the taps. Nine cases emulate a normal forward evolving reverb, but with some special twists. Cases FWD R1xx have a single reverb peak, with a fast attack and slower decay. The sub cases FWD R1Sx vary the sharpness of the envelope, from dullest (S1) to sharpest (S3). The sub cases FWD R2xx have two peaks; that is, the reverb builds, decays, builds again, and decays again. The sub cases FWD R3xx have three peaks.

The sub cases SYM have a symmetrical build and decay time. The cases R1 build to a single peak, while R2 and R3 have two and three peaks, respectively.

The sub cases REV simulate a reverse reverb effect. REV R1xx imitates a backward running reverb, with a long rising "tail" ending abruptly (followed, optionally, by the "dry" source mixed by Dly Lvl). Once again, the number of peaks and the sharpness are variable.

The usual Wet/Dry and Output Gain controls are provided.

Parameters

Page 1

Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB Fdbk Lvl 0 to 100% HF Damping 16 to 25088 Hz

Page 2

10-26

Dly Lvl 0 to 100% Rvb Env REV R1S1 Dly Length 300 to 3000 ms Rvb Length 300 to 3000 ms

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KDFX Reference

KDFX Algorithm Speciﬁcations

Page 3

Early Bass -15 to 15 dB Early Damp 16 to 25088 Hz Mid Bass -15 to 15 dB Mid Damp 16 to 25088 Hz Late Bass -15 to 15 dB Late Damp 16 to 25088 Hz

Wet/Dry Wet/Dry sets the relative amount of wet signal and dry signal. The wet signal

consistts of the reverb itself (stereo) and the delayed mono signal arriving after the reverb has ended (simulating the dry source in the reverse reverb sequence). The amount of the delayed signal mixed to the Wet signal is separately adjustable with the Dly Lvl control. The Dry signal is the stereo input signal.

Out Gain This controls the level of the output mix, wet and dry, sent back into the K2600.

Fdbk Lvl This controls the feedback gain of the separate, (mono) delay tap. A high value

contributes a long repeating echo character to the reverb sound.

HF Damping HF Damping adjusts a low pass Þlter in the late delay tap feedback path so that

high frequencies die away more quickly than mid and low frequencies.

Dly Lvl This adjusts the level of the separate, (mono) delay tap used to simulate the dry

source of a reverse reverb effect. This same tap is used for feedback.

Dly Length Sets the length (in milliseconds), of the separate, (mono) delay tap used to

simulate the dry source of a reverse reverb effect. This same tap is used for feedback.

Rvb Env The Rvb Env control selects 27 cases of envelope gains for the taps. Nine cases

emulate a normal forward evolving reverb, another nine emulate a reverb building symmetrically to a peak at the mid point, while the last nine cases emulate a reverse building reverb. For each major shape, there are three variants of one, two, and three repetitions and three variants of envelope sharpness.

Rvb Length Sets the length (in milliseconds), from start to Þnish, of the reverberation

process. This parameter is essentially the decay time or RT60 for the Rvb Env cases ..R1.. where there is only one repetition.

Bass Early, Mid, and Late. These bass controls shape the frequency response (boost

or cut) of the three periods of the Þnite reverb sequence. Use them to tailor the way the reverb bass content changes with time.

Damp Early, Mid, and Late. These treble controls shape the frequency response (cut

only) of the three periods of the Þnite reverb sequence. Use them to tailor the way the reverb treble content changes with time.

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KDFX Reference

KDFX Algorithm Speciﬁcations

130 Complex Echo

Multitap delay line effect consisting of 6 independent output taps and 4 independent feedback taps

PAUs: 1

Complex Echo is an elaborate delay line with 3 independent output taps per channel, 2 independent feedback taps per channel, equal power output tap panning, feedback diffuser, and high frequency damping. Each channel has three ouptut taps which can each be delayed up to 2600ms (2.6 sec) then panned at the output. Feedback taps can also be delayed up to 2600ms, but both feedback channels do slightly different things. Feedback line 1 feeds the signal back to the delay input of the same channel, while feedback line 2 feeds the signal back to the opposite channel. Feedback line 2 may also be referred to as a Òping-pongÓ feedback. Relative levels for each feedback line can be set with the ÒFB2/FB1>FBÓ control where 0% only allows FB1 to be used, and 100% only allows FB2 to be used.

The diffuser sits at the beginning of the delay line, and consists of three controls. Separate left and right Diff Dly parameters control the length that a signal is smeared from 0 to 100ms as it passes through these diffusers. Diff Amt adjusts the smearing intensity. Short diffuser delays can diffuse the sound while large delays can drastically alter the spectral ßavor. Setting all three diffuser parameters to 0 disables the diffuser.

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KDFX Reference

KDFX Algorithm Speciﬁcations

Also at the input to the delays are 1 pole (6dB/oct) lopass Þlters controlled by the HF Damping parameter.

L Tap Levels

Pan

L Input

Pan

Diffuser

Blend

Feedback FB2/FB1 > FB

Blend

Diffuser

Delay

FB1 FB2

Delay

R Input

Figure 10-6 Signal ﬂow of Complex Echo

L Output

Out Gains

R Output

FB2FB1

Pan

R Tap Levels

Parameters

Page 1

Wet/Dry 0 to 100 %wet Out Gain Off, -79.0 to 24.0 dB Feedback 0 to 100 % L Diff Dly 0 to 100 ms FB2/FB1>FB 0 to 100 % R Diff Dly 0 to 100 ms HF Damping 16 to 25088 Hz Diff Amt 0 to 100 %

Page 2

L Fdbk1 Dly 0 to 2600 ms R Fdbk1 Dly 0 to 2600 ms L Fdbk2 Dly 0 to 2600 ms R Fdbk2 Dly 0 to 2600 ms

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KDFX Reference

KDFX Algorithm Speciﬁcations

L Tap1 Dly 0 to 2600 ms R Tap1 Dly 0 to 2600 ms L Tap2 Dly 0 to 2600 ms R Tap2 Dly 0 to 2600 ms L Tap3 Dly 0 to 2600 ms R Tap3 Dly 0 to 2600 ms

Page 3

L Tap1 Lvl 0 to 100 % R Tap1 Lvl 0 to 100 % L Tap2 Lvl 0 to 100 % R Tap2 Lvl 0 to 100 % L Tap3 Lvl 0 to 100 % R Tap3 Lvl 0 to 100 %

Page 4

L Tap1 Pan -100 to 100 % R Tap1 Pan -100 to 100 % L Tap2 Pan -100 to 100 % R Tap2 Pan -100 to 100 % L Tap3 Pan -100 to 100 % R Tap3 Pan -100 to 100 %

Wet/Dry The relative amount of input signal and effected signal that is to appear in the Þnal effect

output mix. When set to 0%, the output is taken only from the input (dry). When set to 100%, the output is all wet.

Out Gain The overall gain or amplitude at the output of the effect.

Feedback The amplitude of the feedback tap(s) fed back to the beginning of the delay.

FB2 / FB1>FB Balance control between feedback line 1 and line 2. 0% turns off feedback line 2 only

allowing use of feedback line 1. 50% is an even mix of both lines, and 100% turns off line 1.

HF Damping The amount of high frequency content of the signal to the input of the delay. This control

determines the cutoff frequency of the one-pole (-6dB/octave) lowpass Þlters.

Diff Dly Left and Right. Adjusts delay length of the diffusers.

Diff Amt Adjusts the diffuser intensity.

L Fdbk1 Dly Adjusts the delay length of the left channelÕs feedback tap fed back to the left channelÕs

delay input.

L Fdbk2 Dly Adjusts the delay length of the left channelÕs feedback tap fed back to the right channelÕs

delay input.

R Fdbk1 Dly Adjusts the delay length of the right channelÕs feedback tap fed back to the right channelÕs

delay input.

R Fdbk2 Dly Adjusts the delay length of the right channelÕs feedback tap fed back to the left channelÕs

delay input.

Ta p n Dly Left and Right. Adjusts the delay length of the left and right channelÕs three output taps.

Ta p n Lvl Left and Right. Adjusts the listening level of the left and right channelÕs three output taps.

10-30

Ta p n Pan Left and Right. Adjusts the equal power pan position of the left and right channelÕs three

output taps. 0% is center pan, negative values pan to left, and positive values pan to the right.

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KDFX Reference

KDFX Algorithm Speciﬁcations

131 4-Tap Delay 132 4-Tap Delay BPM

A stereo four tap delay with feedback

PAUs: 1

This is a simple stereo 4 tap delay algorithm with delay lengths deÞned in milliseconds (ms). The left and right channels are fully symetric (all controls affect both channels). The duration of each stereo delay tap (length of the delay) and the signal level from each stereo tap may be set. Prior to output each delay tap passes through a level and left-right balance control. The taps are summed and added to the dry input signal through a Wet/Dry control. The delayed signal from the ÒLoopÓ tap may be fed back to the delay input.

Feedback

Input

High Freq

Damping

Dry

Figure 10-7 Left Channel of 4-Tap Delay

The delay length for any given tap is the sum of the coarse and Þne parameters for the tap multiplied by the DelayScale parameter which is common to all taps. The DelayScale parameter allows you to change the lengths of all the taps together.

Delay

Tap Levels & Balance

Wet

Output

A repetitive loop delay is created by turning up the Fdbk Level parameter. Only the Loop tap is fed back to the input of the delay, so this is the tap which controls the loop rate. Usually you will want the Loop delay length to be longer than the other tap lengths. Set the Loop delay length to the desired length then set the other taps to Þll in the measure with interesting rhythmical patterns. Setting tap levels allows some ÒbeatsÓ to receive different emphasis than others. The delay lengths for 4-Tap Delay are in units of milliseconds (ms). If you want to base delay lengths on tempo, then the 4-Tap Delay BPM algorithm may be more convenient.

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KDFX Reference

KDFX Algorithm Speciﬁcations

The feedback (Fdbk Level) controls how long a sound in the delay line takes to die out. At 100% feedback, your sound will be repeated indeÞnitely. HF Damping selectively removes high frequency content from your delayed signal and will also cause your sound to eventually disappear.

The Hold parameter is a switch which controls signal routing. When turned on, Hold will play whatever signal is in the delay line indeÞnitely. Hold overrides the feedback parameter and prevents any incoming signal from entering the delay. You may have to practice using the Hold parameter. Each time your sound goes through the delay, it is reduced by the feedback amount. If feedback is fairly low and you turn on Hold at the wrong moment, you can get a disconcerting jump in level at some point in the loop. The Hold parameter has no effect on the Wet/Dry or HF Damping parameters, which continue to work as usual, so if there is some HF Damping, the delay will eventually die out.

See also the versions of these algorithms which specify delay lengths in terms of tempo and beats.

Parameters for Algorithm 131 4-Tap Delay

Page 1

Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB Fdbk Level 0 to 100%

HF Damping 16 Hz to 25088 Hz Hold On or Off

Dry Bal -100 to 100%

Page 2

Loop Crs 0 to 2540 ms DelayScale 0.00x to 10.00x Loop Fine -20 to 20 ms Tap1 Crs 0 to 2540 ms Tap3 Crs 0 to 2540 ms Tap1 Fine -20 to 20 ms Tap3 Fine -20 to 20 ms Tap2 Crs 0 to 2540 ms Tap4 Crs 0 to 2540 ms Tap2 Fine -20 to 20 ms Tap4 Fine -20 to 20 ms

Page 3

Loop Level 0 to 100 % Loop Bal -100 to 100 % Tap2 Level 0 to 100 % Tap2 Bal -100 to 100 % Tap3 Level 0 to 100 % Tap3 Bal -100 to 100 % Tap4 Level 0 to 100 % Tap4 Bal -100 to 100 %

Wet/Dry The relative amount of input signal and delay signal that is to appear in the Þnal effect

output mix. When set to 0%, the output is taken only from the input (dry). When set to 100%, the output is all wet.

Out Gain The overall gain or amplitude at the output of the effect.

Fdbk Level The percentage of the delayed signal to feed back or return to the delay input. Turning up

the feedback will cause the effect to repeatedly echo or act as a crude reverb.

10-32

HF Damping The -3 dB frequency in Hz of a one pole lowpass Þlter (-6 dB/octave) placed in front of the

delay line. The Þlter is speciÞed for a signal passing through the Þlter once. Multiple passes through the feedback will cause the signal to become more and more dull.

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KDFX Reference

KDFX Algorithm Speciﬁcations

Dry Bal The left-right balance of the dry signal. A setting of -100% allows only the left dry signal to

pass to the left output, while a setting of 100% lets only the right dry signal pass to the right output. At 0%, equal amounts of the left and right dry signals pass to their respective outputs.

Hold A switch which when turned on, locks any signal currently in the delay to play until Hold

is turned off. When Hold is on, no signal can enter the delay and Feedback is set to 100% behind the scenes. Hold does not affect the HF Damping or Wet/Dry mix.

Loop Crs The coarse delay length of the Loop tap. If the feedback is turned up, this parameter sets

the repeating delay loop length. The resolution of the coarse adjust is 20 milliseconds, but Þner resolution can be obtained using the Loop Fine parameter. The maximum delay length is 2.55 seconds (2550ms) for the 4-Tap Delay.

Loop Fine A Þne adjustment to the Loop tap delay length. The delay resolution is 0.2 milliseconds

(ms). Loop Fine is added to Loop Crs (coarse) to get the actual delay length.

Tapn Crs The coarse delay lengths of the output taps (n = 1...4). The resolution of the coarse adjust

is 20 milliseconds, but Þner resolution can be obtained using the Tapn Fine parameters. The maximum delay length is 2.55 seconds (2550ms) for the 4-Tap Delay.

Ta p n Fine A Þne adjustment to the output tap delay lengths (n = 1...4). The delay resolution is 0.2

milliseconds (ms). Tapn Fine is added to Tapn Crs (coarse) to get actual delay lengths.

Ta p n Level The amount of signal from each of the taps (n = 1...4) which get sent to the output. With

the Loop Lvl control, you can give different amounts of emphasis to various taps in the loop.

Ta p n Bal The left-right balance of each of the stereo taps (n = 1...4). A setting of -100% allows only

the left tap to pass to the left output, while a setting of 100% lets only the right tap pass to the right output. At 0%, equal amounts of the left and right taps pass to their respective outputs.

Algorithm 132 4-Tap Delay BPM

In this Algorithm, the delay length for any given tap is determined by the tempo, expressed in beats per minute (BPM), and the delay length of the tap expressed in beats (bts). The tempo alters all tap lengths together. With the tempo in beats per minute and delay lengths in beats, you can calculate the length of a delay in seconds as beats/tempo * 60 (sec/min). IMPORTANT NOTE: KDFX has a limited amount of delay memory available (over 2.5 seconds for 4-Tap BPM). When slow tempos and/or long lengths are speciÞed, you may run out of delay memory, at which point the delay length will be cut in half. When you slow down the tempo, you may Þnd the delays suddently getting shorter.

A repetitive loop delay is created by turning up the feedback parameter (Fdbk Level). Only the Loop tap is fed back to the input of the delay, so this is the tap which controls the loop rate. Usually you will want the Loop tap (LoopLength parameter) to be longer than the other tap lengths. To repeat a pattern on a 4/4 measure (4 beats per measure) simply set LoopLength to 4 bts. The output taps can then be used to Þll in the measure with interesting rhythmical patterns. Setting tap levels allows some ÒbeatsÓ to receive different emphasis than others.

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KDFX Reference

KDFX Algorithm Speciﬁcations

Parameters

Page 1

Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB Fdbk Level 0 to 100% Tempo System, 1 to 255 BPM

HF Damping 16 Hz to 25088 Hz Hold On or Off

Page 2

LoopLength 0 to 32 bts Tap1 Delay 0 to 32 bts Tap2 Delay 0 to 32 bts Tap3 Delay 0 to 32 bts Tap4 Delay 0 to 32 bts

Dry Bal -100 to 100%

Page 3

Tap1 Level 0 to 100 % Tap1 Bal -100 to 100 % Tap2 Level 0 to 100 % Tap2 Bal -100 to 100 % Tap3 Level 0 to 100 % Tap3 Bal -100 to 100 % Tap4 Level 0 to 100 % Tap4 Bal -100 to 100 %

Tempo Basis for the delay lengths, as referenced to a musical tempo in bpm (beats per minute).

When this parameter is set to ÒSystemÓ, the tempo is locked to the internal sequencer tempo or to incoming MIDI clocks. When it is set to ÒSystemÓ, sources (FUNs, LFOs, ASRs etc.) will have no effect on the Tempo parameter.

LoopLength The delay length of the Loop tap. If the feedback is turned up, this parameter sets the

repeating delay loop length. LoopLength sets the loop delay length as a tempo beat duration. The tempo is speciÞed with the Tempo parameter and the delay length is given in beats (bts). The delay length in seconds is calculated as beats/tempo * 60 (sec/min).

Ta p n Delay The delay lengths of the taps (n = 1...4) as tempo beat durations. The tempo is speciÞed

with the Tempo parameter and the delay length is given in beats (bts). The delay length in seconds is calculated as beats/tempo * 60 (sec/min). Use the output taps to create interesting rhythmic patterns within the repeating loop.

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KDFX Reference

KDFX Algorithm Speciﬁcations

133 8-Tap Delay 134 8-Tap Delay BPM

A stereo eight tap delay with cross-coupled feedback

PAUs: 2

This is a simple stereo 8 tap delay algorithm with delay lengths deÞned in milliseconds (ms). The left and right channels are fully symmetric (all controls affect both channels). The duration of each stereo delay tap (length of the delay) and the signal level from each stereo tap may be set. Prior to output each delay tap passes through a level and left-right balance control. Pairs of stereo taps are tied together with balance controls acting with opposite left-right sense. The taps are summed and added to the dry input signal throught a Wet/Dry control. The delayed signal from the ÒLoopÓ tap may be fed back to the delay input. The sum of the input signal and the feedback signal may be mixed or swapped with the input/feedback signal from the other channel (cross-coupling). When used with feedback, cross-coupling can achieve a ping-pong effect between the left and right channels.

Feedback

Delay

L Input

From Right

Channel

To Right

Channel

High Freq

Damping

Top Levels & Balance

Wet

L Output

Dry

Figure 10-8 Left Channel of 8-Tap Delay

A repetitive loop delay is created by turning up the Fdbk Level parameter. Only the Loop tap is fed back to the input of the delay, so this is the tap which controls the loop rate. Usually you will want the Loop delay length to be longer than the other tap lengths. Set the Loop delay length to the desired length then set the other taps to Þll in the measure with interesting rhythmical patterns. Setting tap levels allows some ÒbeatsÓ to receive different emphasis than others. The delay lengths for 8-Tap Delay are in units of milliseconds (ms). If you want to base delay lengths on tempo, then the 8-Tap Delay BPM algorithm may be more convenient.

10-35

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KDFX Reference

KDFX Algorithm Speciﬁcations

signal from entering the delay. You may have to practice using the Hold parameter. Each time your sound goes through the delay, it is reduced by the feedback amount. If feedback is fairly low and you turn on Hold at the wrong moment, you can get a disconcerting jump in level at some point in the loop. The Hold parameter has no effect on the Wet/Dry or HF Damping parameters, which continue to work as usual, so if there is some HF Damping, the delay will eventually die out.

See also the versions of these algorithms which specify delay lengths in terms of tempo and beats.

Parameters for Algorithm 133 8-Tap Delay

Page 1

Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB Fdbk Level 0 to 100% Xcouple 0 to 100% Dry Bal -100 to 100% HF Damping 16 Hz to 25088 Hz Hold On or Off

Page 2

Loop Crs 0 to 5100 ms DelayScale 0.00x to 10.00x Loop Fine -20 to 20 ms Tap1 Crs 0 to 5100 ms Tap3 Crs 0 to 5100 ms Tap1 Fine -20 to 20 ms Tap3 Fine -20 to 20 ms Tap2 Crs 0 to 5100 ms Tap4 Crs 0 to 5100 ms Tap2 Fine -20 to 20 ms Tap4 Fine -20 to 20 ms

Page 3

Tap5 Crs 0 to 5100 ms Tap7 Crs 0 to 5100 ms Tap5 Fine -20 to 20 ms Tap7 Fine -20 to 20 ms Tap6 Crs 0 to 5100 ms Tap8 Crs 0 to 5100 ms Tap6 Fine -20 to 20 ms Tap8 Fine -20 to 20 ms

Page 4

Tap1 Level 0 to 100 % Tap5 Level 0 to 100 % Tap2 Level 0 to 100 % Tap6 Level 0 to 100 % Tap3 Level 0 to 100 % Tap7 Level 0 to 100 % Tap4 Level 0 to 100 % Tap8 Level 0 to 100 % Tap1/-5Bal -100 to 100 % Tap3/-7Bal -100 to 100 % Tap2/-6Bal -100 to 100 % Tap4/-8Bal -100 to 100 %

Wet/Dry The relative amount of input signal and delay signal that is to appear in the Þnal effect

output mix. When set to 0%, the output is taken only from the input (dry). When set to 100%, the output is all wet.

Out Gain The overall gain or amplitude at the output of the effect.

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KDFX Reference

KDFX Algorithm Speciﬁcations

Fdbk Level The percentage of the delayed signal to feed back or return to the delay input. Turning up

the feedback will cause the effect to repeatedly echo or act as a crude reverb.

Xcouple 8 Tap Delay is a stereo effect. The cross coupling control lets you send the feedback from a

channel to its own input (0% cross coupling) or to the other channelÕs input (100% cross coupling) or somewhere in between. This control has no effect if the Fdbk Level control is set to 0%.