Kurzweil Music Systems KSP8 Reference Manual

Kurzweil KSP8

Algorithm Reference

©2001 All rights reserved. Kurzweil is a product line of Young Chang Co. Kurzweil, KSP8, KDFX, LaserVerb , and Pitcher are trademarks of Young Chang Co. All other products and brand names are trademarks or registered trademarks of their respective companies. Product features and speciﬁcations are subject to change without notice.

October 1, 2001

You may legally print up to two (2) copies of this document for personal use. Commercial use of any copies of this document is prohibited. Young Chang Co. retains ownership of all intellectual property represented by this document.

Part Number: 910359 Rev. A

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.

The lightning flash/arrowhead symbol within  an equilateral triangle is intended to alert the  user to the presence of uninsulated "dangerous  voltage" within the product's enclosure, which  may be of sufficient magnitude to constitute a  risk of electric shock to persons.

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.

THIS PRODUCT IS INTENDED FOR INDOOR USE ONLY.

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. 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.

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

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

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

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

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

8. 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.

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

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

11. The product should be serviced by qualiﬁed service personnel when:

A. The power supply cord or the plug has been damaged; B. Objects have fallen onto, or liquid has been spilled into the

product; C. The product has been exposed to rain; D. The product does not appear to be operating normally or

exhibits a marked change in performance; E. The product has been dropped, or the enclosure damaged.

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

13. WARNING: Do not place objects on the product’s power supply cord, or place the product in a position where anyone could trip over, walk on, or roll anything over cords of any type. Do not allow the product to rest on or be installed over cords of any type. Improper installations of this type create the possibility of a ﬁre hazard and/or personal injury.

The symbol of a house with an arrow pointing inside is intended to alert the user that the product is to be used indoors only.

RADIO AND TELEVISION INTERFERENCE

WARNING: Changes or modiﬁcations to this instrument not expressly

approved by Young Chang could void your authority to operate the instrument.

IMPORTANT: When connecting this product to accessories and/or other

equipment use only high quality shielded cables.

NOTE: This instrument has been tested and found to comply with the

limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the instrument is used in a commercial environment. This instrument generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this instrument in a residential area is likely to cause harmful interference, in which case the user will be required to correct the interference at his or her own expense.

Changes and modiﬁcations not expressly approved b y the manuf acturer

SA VE THESE INSTRUCTIONS

or registrant of this instrument can void the user’s authority to operate this instrument under Federal Communications Commission rules.

In order to maintain compliance with FCC regulations, shielded cables must be used with this instrument. Operation with unapproved equipment or unshielded cables is likely to result in harmful interference to radio and television reception.

NOTICE

This apparatus does not exceed the Class A limits for radio noise emissions from digital apparatus set out in the Radio Interference Regulations of the Canadian Department of Communications.

AVIS

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

Young Chang Contacts

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

Young Chang America, Inc.

P.O. Box 99995 Lakewood, WA 98499-0995 Tel: 1-253-589-3200 Fax: 1-253-984-0245

Young Chang Co., Ltd.

178-55 Gajwa-Dong Seo-Ku, Inchon, Korea 404-714 Tel: 011-82-32-570-1380 Fax: 011-82-32-570-1218

Young Chang America, Inc. (Canadian Division)

3650 Victoria Park Ave. Suite 105 Toronto, Ontario Canada M2H 3P7 Tel: 1-416-492-9899 Fax: 1-416-492-9299

W orld Wide Web Home Page

http://www.kurzweilmusicsystems.com

•

KSP8 Algorithm Reference Contents

• KSP8 Algorithms Listed by ID . . . . . . . . . . . . . . . . . . . . 5

• KSP8 Algorithms Listed by Name . . . . . . . . . . . . . . . . . 9

• KSP8 Algorithm Speciﬁcations . . . . . . . . . . . . . . . . . . 12

MiniVerbs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Reverbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Combination Reverbs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Vocal Combination Algorithms . . . . . . . . . . . . . . . . . . . . . . . 50

More Reverbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Delays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Choruses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Flangers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Phasers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Comb Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Tremolo Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Panners and Stereo-Image Effects . . . . . . . . . . . . . . . . . . . 131

Guitar Cabinet Simulators . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Rotary Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Distortion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Guitar Combination Algorithms . . . . . . . . . . . . . . . . . . . . . 178

Compressors and Expanders . . . . . . . . . . . . . . . . . . . . . . . 195

Gates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

EQs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Miscellaneous Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Enhancers, Suppressors, and Modulators. . . . . . . . . . . . . 245

Combination Algorithms . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Conﬁgurable Combination Algorithms. . . . . . . . . . . . . . . . 295

More Combination Algorithms . . . . . . . . . . . . . . . . . . . . . . 305

Monaural (Mono) Algorithms. . . . . . . . . . . . . . . . . . . . . . . . 310

5.1 and Surround Algorithms . . . . . . . . . . . . . . . . . . . . . . . 311

KSP8 Algorithms Listed by ID

ID Name PAUs Page

Stereo Algorithms

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 50 Reverb+Compress 51 Reverb<>Compress 52 ClascVrb<>Comprs 53 Gate+Cmp[EQ]+Rvb 54 Gate+Cmp<>EQ+Rvb

100 LaserVerb 101 LaserVerb Lite 102 Mono LaserVerb 103 Revrse LaserVerb 104 Gated LaserVerb 105 LasrDly<>Reverb 106 LasrDly<>Rvrb ms 150 4-Tap Delay BPM 151 4-Tap Delay 152 8-Tap Delay BPM 153 8-Tap Delay 154 Spectral 4-Tap 155 Spectral 6-Tap 156 Complex Echo 170 Degen Regen BPM 171 Degen Regen 172 Switch Loops 173 3 Band Delay 174 Gated Delay 190 Moving Delay 191 Dual MovDelay 192 Dual MvDly+MvDly

ID Name PAUs Page

200 Chorus 1

12 12 16 19 19 19 19 19 19 19 19 32 35 38 40 42 42 46 50 50

56 56 56 59 62 65 66 67 67 71 71 75 75 80 83 83 89 92 94 97 98 98

201 Chorus 2 202 Dual Chorus 1 203 Dual Chorus 2 225 Flanger 1 226 Flanger 2 250 LFO Phaser 251 LFO Phaser Twin 253 SingleLFO Phaser 254 VibratoPhaser 255 Manual Phaser 256 Allpass Phaser 3 257 Allpass Phaser 4 258 Barberpole Comb 270 Tremolo BPM 271 Tremolo 275 AutoPanner 276 Dual AutoPanner 280 Stereo Image 1 135 281 Mono -> Stereo 1 137 282 DynamicStereoize 2 139 284 Cabinet 3 143 290 VibChor+Rotor 2 2 144 291 Distort + Rotary 2 144 292 VC+Dist+HiLoRotr 2 144 293 VC+Dist+1Rotor 2 2 144 294 VC+Dist+HiLoRot2 2 144 295 Rotor 1 1 144 296 VC+Dist+Rotor 4 4 144 297 VC+Tube+Rotor 4 4 144 298 Big KB3 Effect 8 144

2 133

102 102 102 102 109 109 116 116 116 116 116 122 122 125 128 128 131

ID Name PAUs Page

300 Mono Distortion 1 158 301 MonoDistort+Cab 2 158 302 MonoDistort + EQ 2 158 303 PolyDistort + EQ 2 163 304 StereoDistort+EQ 3 158 305 Subtle Distort 1 167 306 Super Shaper 1 168 307 3 Band Shaper 2 169 308 Quantize+Alias 1 170 309 Quantize+Flange 1 174 310 Gate+TubeAmp 3 178 311 Gate+Tube+Reverb 4 178 312 Gt+Tube<>MD+Chor 4 178 313 Gt+Tube<>MD+Flan 4 178 314 Gt+Tube<>2MD 4 178 315 Gt+Cmp+Dst+EQ+Ch 4 178 316 Gt+Cmp+Dst+EQ+Fl 4 178 317 TubeAmp<>MD>Chor 3 188 318 TubeAmp<>MD>Flan 3 188 319 PolyAmp<>MD>Chor 3 188 320 PolyAmp<>MD>Flan 3 188 321 Flange<>Shaper 2 193 322 Shaper<>Reverb 2 194 330 HardKneeCompress 1 195 331 SoftKneeCompress 1 195 332 Compress w/SC EQ 2 198 333 Opto Compress 2 201 334 Opto Comprs SCEQ 3 201 335 Band Compress 3 205 336 3 Band Compress 4 209 340 Expander 1 213 341 Compress/Expand 2 216 342 Comp/Exp + EQ 3 216 343 Gate 1 221 342 Gate w/SC EQ 2 216 347 Dual SKCompress 2 195 348 Dual Comprs SCEQ 3 198 349 Dual 3 Band Comp 8 209

ID Name PAUs Page

350 3 Band EQ 1 226 351 5 Band EQ 3 226 352 Graphic EQ 3 229 353 Dual Graphic EQ 3 229 354 Dual 5 Band EQ 3 226 360 Env Follow Filt 2 232 361 TrigEnvelopeFilt 2 234 362 LFO Sweep Filter 2 237 363 Resonant Filter 1 240 364 Dual Res Filter 1 240 365 EQ Morpher 4 242 366 Mono EQ Morpher 2 242 370 2 Band Enhancer 1 245 371 3 Band Enhancer 2 247 372 HF Stimulate 1 1 249 373 HF Stimulate 3 3 249 374 HarmonicSuppress 2 251 375 Tone Suppressor 2 251 380 Ring Modulator 1 256 381 Pitcher 1 260 382 Poly Pitcher 2 264 383 Pitcher+MiniVerb 2 266 384 Flange<>Pitcher 2 269 385 Frequency Offset 2 270 386 MutualFreqOffset 2 270 387 WackedPitchLFO 3 274 390 Chaos! 2 276 391 ADSR Synth 4 279 392 Env Synth 3 279

ID Name PAUs Page

400 Chorus+Delay 1 285 401 Chorus+4Tap 1 285 402 Chorus<>4Tap 2 295 403 Chor+Dly+Reverb 2 285 404 Chorus<>Reverb 2 295 405 Chorus<>LasrDly 2 295 406 St Chorus+Delay 1 305 407 St Chorus+4Tap 1 305 408 St Chor+Dly+Rvrb 2 305 409 Pitcher+Chor+Dly 2 285 410 Pitch+StChor+Dly 2 305 411 MonoPitcher+Chor 2 291 412 MonoPitch+StChor 2 305 420 Chorus+Delay ms 1 305 421 Chorus+4Tap ms 1 305 422 Chorus<>4Tap ms 2 305 423 Chor+Dly+Rvrb ms 2 305 425 Chor<>LasrDly ms 2 305 426 St Chor+Delay ms 1 305 427 St Chor+4Tap ms 1 305 428 StCh+Dly+Rvrb ms 2 305 429 Ptch+Chor+Dly ms 2 305 430 Ptch+StCh+Dly ms 2 305 450 Flange+Delay 1 285 451 Flange+4Tap 1 285 452 Flange<>4Tap 2 295 453 Flan+Dly+Reverb 2 285 454 Flange<>Reverb 2 295 455 Flange<>LasrDly 2 295 456 St Flange+Delay 1 305 457 St Flange+4Tap 1 305 458 St Flan+Dly+Rvrb 2 305 459 Pitcher+Flan+Dly 2 285 460 Pitch+StFlan+Dly 2 305 461 MonoPitcher+Flan 2 291 470 Flange+Delay ms 1 305 471 Flange+4Tap ms 1 305 472 Flange<>4Tap ms 2 305 473 Flan+Dly+Rvrb ms 2 305 475 Flan<>LasrDly ms 2 305 476 St Flan+Delay ms 1 305 477 St Flan+4Tap ms 1 305 478 StFl+Dly+Rvrb ms 2 305 479 Ptch+Flan+Dly ms 2 305 480 Ptch+StFl+Dly ms 2 305 498 FXMod Diagnostic 1 307 499 Stereo Analyze 1 308

ID Name PAUs Page

Monaural Algorithms

600 Mn MiniVerb 1 12 605 Mn LaserVerb 2 56 608 MnGt+Cmp[EQ]+Rvb 3 50 609 MnGt+Cmp<>EQ+Rvb 3 50 610 Mn 6-TapDelayBPM 1 67 611 Mn 6-Tap Delay 1 67 612 Mn Spectral 4Tap 1 75 613 Mn Complex Echo 1 80 614 Mn DegenRegenBPM 4 83 615 Mn Degen Regen 4 83 616 Mn 3 Band Delay 1 92 617 Mn Gated Delay 2 94 620 Mn Chorus 1 1 102 625 Mn Flanger 1 1 109 630 Mn LFO Phaser 1 116 631 Mn LFOPhaserTwin 1 116 632 Mn SingleLFOPhsr 1 116 633 Mn VibratoPhaser 1 116 634 Mn Manual Phaser 1 116 635 Mn AP Phaser 3 2 122 636 Mn AP Phaser 4 2 122 637 Mn Barberpole 2 125 640 Mn Tremolo BPM 1 128 641 Mn Tremolo 1 128 645 Mn Cabinet 2 143 646 Mn VC+Dist+Rotor 2 144 650 Mn Distortion 1 158 651 Mn Distort+Cab 2 158 652 Mn Distort + EQ 2 158 653 Mn Super Shaper 1 168 654 Mn 3 Band Shaper 1 169 655 MnQuantize+Alias 1 170 656 Mn Gate+TubeAmp 3 178 660 Mn HK Compress 1 195

ID Name PAUs Page

661 Mn SK Compress 1 195 662 Mn Expander 1 213 663 Mn Gate 1 221 664 Mn Comprs/Expand 2 216 665 Mn 3 Band Comprs 3 209 670 Mn Graphic EQ 2 229 671 Mn 6 Band EQ 2 226 672 Mn 3BandEnhancer 1 247 673 Mn HF Stimulate1 1 249 674 Mn HF Stimulate2 2 249 675 Mn Env Filter 2 232 676 Mn Trig Env Filt 2 234 677 Mn LFOSweepFilt 1 237 678 Mn Res Filter 1 240 679 Mn EQ Morpher 2 242 680 Mn Ring Modulate 1 256 681 Mn Pitcher 1 260 682 Mn Freq Offset 2 270 690 Mn Chaos! 2 276 691 Mn ADSR Synth 4 279 692 Mn Env Synth 3 279 699 Mn Analyze 1 308

5.1 Surround Algorithms:

700 OmniPlace 5.1 12 311 701 OmniVerb 5.1 12 311 702 TQ Place 5.1 12 311 703 TQ Verb 5.1 12 311 704 Surround 321 720 Compress 5.1 8 326

KSP8 Algorithms Listed by Name

Name ID PAUs Page

2 Band Enhancer 370 1 245 3 Band Compress 336 4 209 3 Band Delay 173 2 92 3 Band Enhancer 371 2 247 3 Band EQ 350 1 226 3 Band Shaper 307 2 169 4-Tap Delay 151 1 67 4-Tap Delay BPM 150 1 67 5 Band EQ 351 3 226 8-Tap Delay 153 2 71 8-Tap Delay BPM 152 2 71 ADSR Synth 391 4 279 Allpass Phaser 3 256 3 122 Allpass Phaser 4 257 4 122 AutoPanner 275 1 131 Band Compress 335 3 205 Barberpole Comb 258 4 125 Big KB3 Effect 298 8 144 Cabinet 284 3 143 Chaos! 390 2 276 Chor+Dly+Reverb 403 2 285 Chor+Dly+Rvrb ms 423 2 305 Chor<>LasrDly ms 425 2 305 Chorus 1 200 1 102 Chorus 2 201 2 102 Chorus+4Tap 401 1 285 Chorus+4Tap ms 421 1 305 Chorus+Delay 400 1 285 Chorus+Delay ms 420 1 305 Chorus<>4Tap 402 2 295 Chorus<>4Tap ms 422 2 305 Chorus<>LasrDly 405 2 295 Chorus<>Reverb 404 2 295 ClascVrb<>Comprs 52 3 46 Classic Place 4 2 19 Classic Verb 5 2 19 Comp/Exp + EQ 342 3 216 Complex Echo 156 1 80 Compress 5.1 720 8 326 Compress w/SC EQ 332 2 198 Compress/Expand 341 2 216 Degen Regen 171 4 83 Degen Regen BPM 170 4 83 Diffuse Place 8 3 19 Diffuse Verb 9 3 19 Distort + Rotary 291 2 144 Dual 3 Band Comp 349 8 209 Dual 5 Band EQ 354 3 226

Name ID PAUs Page

Dual AutoPanner 276 2 133 Dual Chorus 1 202 1 102 Dual Chorus 2 203 2 102 Dual Comprs SCEQ 348 3 198 Dual Graphic EQ 353 3 229 Dual MiniVerb 2 2 12 Dual MovDelay 191 1 98 Dual MvDly+MvDly 192 2 98 Dual Res Filter 364 1 240 Dual SKCompress 347 2 195 DynamicStereoize 282 2 139 Env Follow Filt 360 2 232 Env Synth 392 3 279 EQ Morpher 365 4 242 Expander 340 1 213 Finite Verb 15 3 40 Flan+Dly+Reverb 453 2 285 Flan+Dly+Rvrb ms 473 2 305 Flan<>LasrDly ms 475 2 305 Flange+4Tap 451 1 285 Flange+4Tap ms 471 1 305 Flange+Delay 450 1 285 Flange+Delay ms 470 1 305 Flange<>4Tap 452 2 295 Flange<>4Tap ms 472 2 305 Flange<>LasrDly 455 2 295 Flange<>Pitcher 384 2 269 Flange<>Reverb 454 2 295 Flange<>Shaper 321 2 193 Flanger 1 225 1 109 Flanger 2 226 2 109 Frequency Offset 385 2 270 FXMod Diagnostic 498 1 307 Gate 343 1 221 Gate w/SC EQ 342 2 216 Gate+Cmp<>EQ+Rvb 54 4 50 Gate+Cmp[EQ]+Rvb 53 4 50 Gate+Tube+Reverb 311 4 178 Gate+TubeAmp 310 3 178 Gated Delay 174 2 94 Gated LaserVerb 104 3 62 Gated MiniVerb 3 2 16 Grand Plate 14 3 38 Graphic EQ 352 3 229 Gt+Cmp+Dst+EQ+Ch 315 4 178 Gt+Cmp+Dst+EQ+Fl 316 4 178 Gt+Tube<>2MD 314 4 178 Gt+Tube<>MD+Chor 312 4 178

Name ID PAUs Page

Gt+Tube<>MD+Flan 313 4 178 HardKneeCompress 330 1 195 HarmonicSuppress 374 2 251 HF Stimulate 1 372 1 249 HF Stimulate 3 373 3 249 LaserVerb 100 3 56 LaserVerb Lite 101 2 56 LasrDly<>Reverb 105 2 65 LasrDly<>Rvrb ms 106 2 66 LFO Phaser 250 1 116 LFO Phaser Twin 251 1 116 LFO Sweep Filter 362 2 237 Manual Phaser 255 1 116 MiniVerb 1 1 12 Mn 3 Band Comprs 665 3 209 Mn 3 Band Delay 616 1 92 Mn 3 Band Shaper 654 1 169 Mn 3BandEnhancer 672 1 247 Mn 6 Band EQ 671 2 226 Mn 6-Tap Delay 611 1 67 Mn 6-TapDelayBPM 610 1 67 Mn ADSR Synth 691 4 279 Mn Analyze 699 1 308 Mn AP Phaser 3 635 2 122 Mn AP Phaser 4 636 2 122 Mn Barberpole 637 2 125 Mn Cabinet 645 2 143 Mn Chaos! 690 2 276 Mn Chorus 1 620 1 102 Mn Complex Echo 613 1 80 Mn Comprs/Expand 664 2 216 Mn Degen Regen 615 4 83 Mn DegenRegenBPM 614 4 83 Mn Distort + EQ 652 2 158 Mn Distort+Cab 651 2 158 Mn Distortion 650 1 158 Mn Env Filter 675 2 232 Mn Env Synth 692 3 279 Mn EQ Morpher 679 2 242 Mn Expander 662 1 213 Mn Flanger 1 625 1 109 Mn Freq Offset 682 2 270 Mn Gate 663 1 221 Mn Gate+TubeAmp 656 3 178 Mn Gated Delay 617 2 94 Mn Graphic EQ 670 2 229 Mn HF Stimulate1 673 1 249 Mn HF Stimulate2 674 2 249 Mn HK Compress 660 1 195 Mn LaserVerb 605 2 56 Mn LFO Phaser 630 1 116 Mn LFOPhaserTwin 631 1 116 Mn LFOSweepFilt 677 1 237

Name ID PAUs Page

Mn Manual Phaser 634 1 116 Mn MiniVerb 600 1 12 Mn Pitcher 681 1 260 Mn Res Filter 678 1 240 Mn Ring Modulate 680 1 256 Mn SingleLFOPhsr 632 1 116 Mn SK Compress 661 1 195 Mn Spectral 4Tap 612 1 75 Mn Super Shaper 653 1 168 Mn Tremolo 641 1 128 Mn Tremolo BPM 640 1 128 Mn Trig Env Filt 676 2 234 Mn VC+Dist+Rotor 646 2 144 Mn VibratoPhaser 633 1 116 MnGt+Cmp<>EQ+Rvb 609 3 50 MnGt+Cmp[EQ]+Rvb 608 3 50 MnQuantize+Alias 655 1 170 Mono -> Stereo 281 1 137 Mono Distortion 300 1 158 Mono EQ Morpher 366 2 242 Mono LaserVerb 102 1 56 MonoDistort + EQ 302 2 158 MonoDistort+Cab 301 2 158 MonoPitch+StChor 412 2 305 MonoPitcher+Chor 411 2 291 MonoPitcher+Flan 461 2 291 Moving Delay 190 1 97 MutualFreqOffset 386 2 270 OmniPlace 10 3 19 OmniPlace 5.1 700 12 311 OmniVerb 11 3 19 OmniVerb 5.1 701 12 311 Opto Compress 333 2 201 Opto Comprs SCEQ 334 3 201 Panaural Room 12 3 32 Pitch+StChor+Dly 410 2 305 Pitch+StFlan+Dly 460 2 305 Pitcher 381 1 260 Pitcher+Chor+Dly 409 2 285 Pitcher+Flan+Dly 459 2 285 Pitcher+MiniVerb 383 2 266 Poly Pitcher 382 2 264 PolyAmp<>MD>Chor 319 3 188 PolyAmp<>MD>Flan 320 3 188 PolyDistort + EQ 303 2 163 Ptch+Chor+Dly ms 429 2 305 Ptch+Flan+Dly ms 479 2 305 Ptch+StCh+Dly ms 430 2 305 Ptch+StFl+Dly ms 480 2 305 Quantize+Alias 308 1 170 Quantize+Flange 309 1 174 Resonant Filter 363 1 240 Reverb+Compress 50 2 42

Name ID PAUs Page

Reverb<>Compress 51 3 42 Revrse LaserVerb 103 4 59 Ring Modulator 380 1 256 Rotor 1 295 1 144 Shaper<>Reverb 322 2 194 SingleLFO Phaser 253 1 116 SoftKneeCompress 331 1 195 Spectral 4-Tap 154 2 75 Spectral 6-Tap 155 3 75 St Chor+4Tap ms 427 1 305 St Chor+Delay ms 426 1 305 St Chor+Dly+Rvrb 408 2 305 St Chorus+4Tap 407 1 305 St Chorus+Delay 406 1 305 St Flan+4Tap ms 477 1 305 St Flan+Delay ms 476 1 305 St Flan+Dly+Rvrb 458 2 305 St Flange+4Tap 457 1 305 St Flange+Delay 456 1 305 StCh+Dly+Rvrb ms 428 2 305 Stereo Analyze 499 1 308 Stereo Hall 13 3 35 Stereo Image 280 1 135 StereoDistort+EQ 304 3 158 StFl+Dly+Rvrb ms 478 2 305 Subtle Distort 305 1 167 Super Shaper 306 1 168 Surround 704 321 Switch Loops 172 2 89 Tone Suppressor 375 2 251 TQ Place 6 3 19 TQ Place 5.1 702 12 311 TQ Verb 7 3 19 TQ Verb 5.1 703 12 311 Tremolo 271 1 128 Tremolo BPM 270 1 128 TrigEnvelopeFilt 361 2 234 TubeAmp<>MD>Chor 317 3 188 TubeAmp<>MD>Flan 318 3 188 VC+Dist+1Rotor 2 293 2 144 VC+Dist+HiLoRot2 294 2 144 VC+Dist+HiLoRotr 292 2 144 VC+Dist+Rotor 4 296 4 144 VC+Tube+Rotor 4 297 4 144 VibChor+Rotor 2 290 2 144 VibratoPhaser 254 1 116 WackedPitchLFO 387 3 274

KSP8 Algorithm Speciﬁcations

MiniVerbs

1 MiniVerb 2 Dual MiniVerb

600 Mn MiniVerb

Versatile, small stereo and dual mono reverbs

PAUs: 1 for MiniVerb

2 for Dual MiniVerb

MiniVerb is a versatile stereo reverb 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 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 you’ll be on the way to a great sounding reverb. But if you want to experiment with new reverb ﬂavors, 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 reﬂections out in time. At very low settings of Diff Scale, the early reﬂections start to sound quite discrete, and at higher settings the early reﬂections are seamless. Density controls how tightly the early reﬂections are packed in time. Low Density settings have the early reﬂections grouped close together, and higher values spread the reﬂections for a smoother reverb.

L PreDelay

R PreDelay

Miniverb

Dry

Core

Wet Out Gain

L Output

R Output

L Input

Dry

MiniVerb Balance

Pan

Wet

L Output

R Input

MiniVerb

Dry

Wet

Balance

Pan

Figure 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 2, the two blocks labeled MiniVerb contain a complete copy of the contents of Figure 1. Dual MiniVerb gives you independent reverbs on both channels which has obvious beneﬁts for mono material. With stereo material, any panning or image placement can be maintained, even in the reverb tails! This is pretty unusual behavior for a reverb, since even real halls will rapidly delocalize acoustic images in the reverberation. 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 8 to 25088 Hz L Pre Dly 0 to 620 ms R Pre Dly 0 to 620 ms

R Output

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

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 8 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 8 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 The overall gain or amplitude at the output of the effect.

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 inﬁnitely 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 ﬁrst reverb reﬂections from

that sound. Longer predelays 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 conﬁguration 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 don’t want to 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 room’s 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.

Wet Bal 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 ﬁnal output in equal amounts. This will add a sense of spaciousness.

3 Gated MiniVerb

A reverb and gate 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. 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.

1.00x, pick a Room Type and you’ll be on the way to a great sounding reverb. But if you want experiment with new reverb ﬂavors, 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 reﬂection out in time. At very low settings of Diff Scale, the early reﬂections start to sound quite discrete, and at higher settings the early reﬂections are seamless. Density controls how tightly the early reﬂections are packed in time. Low Density settings have the early reﬂections grouped close together, and higher values spread the reﬂections 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 “side chain” 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.

attack

time

signal rises

above threshold

signal falls below threshold

gate time

release

time

Figure 3 Gate Behavior

If Gate Duck is turned on, then the behavior 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 threshold.

If the gate opened and closed instantaneously, you would hear a large digital click, like a big knife switch was being thrown. Obviously that’s 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. It’s 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 8 to 25088 Hz L Pre Dly 0 to 620ms 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

Page 3

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 effect’s output (applied after the gate).

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 inﬁnitely 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 ﬁrst reverb reﬂections from

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

Room Type The conﬁguration 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

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 Off, the gate opens when the signal rises above threshold and closes when

the gate time expires. When set to On, 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.

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.

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

Reverb algorithms

PAUs: 2 (Classic) or 3 (others)

This set of 2- and 3-PAU algorithms can be divided into 2 groups: Verb and Place. Verb effects allow userfriendly control over medium to large spaces. Their decay times are controlled by Rvrb Time or LateRvbTim parameters, and Room Types range from rooms to large areas. Place algorithms on the other hand are optimized for small spaces. Decay time is controlled by the Absorption parameter, and Room Types offers several booths.

Each reverb algorithm consists of a several components: a diffuser, an injector, predelay, an ambience generator with feedback, and various ﬁlters. These components provide sonic building blocks for both the body of the reverb and the early reﬂection portions.

The ambience generator is the heart of each reverb algorithm and creates most of the “late” reverb in algorithms with an Early Reﬂections circuit. It consists of a complex arrangement of delay lines to disperse the sound. By using feedback in conjunction with the ambience generator, a reverb tail is produced. The length of this reverb tail is controlled by the Rvrb Time parameter in the Verb algorithms, or the Absorption parameter in Place algorithms.

In order to create reverbs that are smoother and richer, some of the delays in the ambience generator are moved by LFOs. The LFOs are adjusted by using the LFO Rate and LFO Depth controls. When used subtly, unwanted artifacts such as ﬂutteriness and ringiness that are inherent in digital reverbs can be reduced.

In the feedback loop of the ambience generator are ﬁlters that further enhance the sonic properties of each reverb. A lowpass ﬁlter is controlled by HF Damping and mimics high frequency energy that is absorbed as the sound travels around a room. A low shelving ﬁlter is controlled by LF Split and LF Time, which are used to shorten or lengthen the decay time of low frequency energy.

At the beginning of each algorithm are diffusers. A diffuser creates an initial “smearing” quality on input signals usually before the signal enters the ambience generating loop. The DiffAmtScl and DiffLenScl parameters change the amount and the length of time that the sound is smeared. The Diffuse reverbs, however, implement diffusion a little differently. See the sections on Diffuse Verb and Diffuse Place on

page 25 for detailed information.

Some algorithms use injector mechanisms when feeding a signal into the ambience generator. An injector creates copies of the input signal at different delay intervals and feeds each copy into the ambience generator at different points. This results in ﬁner control over the onset of the reverb. By tapering the amplitudes of early copies vs. late copies, the initial build of the reverb can be controlled. Inj Build controls this taper. Negative values create a slower build, while positive values create a faster build. Inj Spread scales the time intervals that the copies are made. Inj Skew (Omni reverbs) delays one channel relative to the other before injecting into the ambience generator. Negative values delay the left side while positive

values delay the right side. Inj LP controls the cutoff frequency of a 1-pole (6dB/oct) lowpass ﬁlter associated with the injector.

Predelay can give the illusion that a space is more voluminous. Separate control over left and right predelay is provided that can be used to de-correlate the center image, increasing reverb envelopment.

In addition to ﬁlters inside the ambience feedback loop, there also may be ﬁlters placed at the output of the reverb including a low shelf, high shelf, and/or lowpass.

Algorithms that use Early Reﬂection circuits employ a combination of delays, diffusers, and ﬁlters to create ambience that is sparser than the late portion of the reverb. These early reﬂections model the initial near-discrete echoes rebounding directly off of near ﬁeld surfaces before the reverb has a chance to become diffuse. They add realism when emulating real rooms and halls.

Your starting point when creating a new reverb preset should be the Room Type parameter. This parameter selects the basic type of reverb being. 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 collection has been painstakingly selected by Kurzweil engineers to provide the best sounding combination of mutually complementary variables modeling an assortment of reverb families.

When you select a room type, 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 pre-deﬁned value. When set to 1.00x, each of these elements is equivalent to its preset value as 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.

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

The InﬁnDecay switch is designed to override the Rvrb Time parameter and create a reverb tail with an inﬁnite decay time when On. However, certain HF Damping settings may reduce this effect, and cause the tail to taper away.

Classic Verb and Classic Place

Classic reverbs are 2-PAU algorithms with early reﬂections. The late portion consists of an input diffuser, ambience generator with low shelving ﬁlters, lopass ﬁlters, and LFO moving delays, and predelay.

The early reﬂection portion consists of one delay per channel sent to its own output channel controlled by E Dly L and E Dly R, and one delay per channel sent to its opposite output channel controlled be E Dly LX and E Dly RX. Each of these delays also use a Diffuser. Diffusion lengths are separately controlled by E DifDly L, E DifDly R, E DifDly LX, and E DifDly RX while diffusion amounts are all adjusted with E DiffAmt.

The late reverb and early reﬂection portions are independently mixed together with the Late Lvl and EarRef Lvl controls. The wet signal is passed through a ﬁnal high shelving ﬁlter before being mixed with the dry signal.

L Input

DiffAmtScl DiffLenScl

Diffusor

LF Mult

HF Damping

Rvrb Time

Absorption

L ER Output

L Pre Dly

EarRef Lvl

Late

Lvl

Treble

Dry

Wet

L Output

Ambience

Rvrb Time Absorption

R Pre Dly

R ER Output

R Input

DiffAmtScl DiffLenScl

Diffusor

HF Damping

LF Mult

Figure 4 Signal ﬂow of Classic Verb and Classic Place

E DfDlyScl E DiffAmt

(Apply to all Diffusors) E DifDlyL

E Dly L

L Input

E Dly LX

Diffusor

E DifDlyLX

Diffusor

E DifDlyR

Late

Lvl

EarRef Lvl

Treble

Blend

E Blend X

Out Gain

R Output

Wet

Dry

L ER Output

E Dly RX

R Input

E Dly R

Diffusor

E DifDlyRX

Diffusor

E Blend X

Blend

Figure 5 Early reﬂection portion of Classic Verb and Classic Place

Parameters for Classic Verb and Classic Place:

Page 1 (Classic Verb)

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB Rvrb Time 0.00 to 60.00 s EarRef Lvl -100 to 100% HF Damping 0 to 25088 Hz Late Lvl -100 to 100% L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

R ER Output

Page 1 (Classic Place)

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB Absorption 0 to 100 % EarRef Lvl -100 to 100% HF Damping 0 to 25088 Hz Late Lvl -100 to 100% L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

Page 2 (Classic Verb)

Room Type Hall1, ... DiffAmtScl 0.00 to 2.00 x Size Scale 0.01 to 2.00x DiffLenScl 0.00 to 2.00 x InﬁnDecay On or Off LFO Rate 0.01 to 10.00 Hz

LFO Depth 0.0 to 100.0 ct TrebShlf F 8 to 25088 Hz LF Split 8 to 25088 Hz TrebShlf G -79.0 to 24.0 dB LF Time 0.50 to 1.50 x

Page 2 (Classic Place)

Room Type Hall1, ... DiffAmtScl 0.00 to 2.00 x Size Scale 0.01 to 2.00x DiffLenScl 0.00 to 2.00 x

LFO Rate 0.01 to 10.00 Hz

LFO Depth 0.0 to 100.0 ct TrebShlf F 8 to 25088 Hz LF Split 8 to 25088 Hz TrebShlf G -79.0 to 24.0 dB LF Time 0.50 to 1.50 x

Page 3

E DfDlyScl 0.00 to 2.00 x E X Blend 0 to 100 % E DiffAmt -100 to 100 % E Dly L 0.0 to 720.0 ms E Dly R 0.0 to 720.0 ms E Dly LX 0.0 to 720.0 ms E Dly RX 0.0 to 720.0 ms E DifDlyL 0.0 to 160.0 ms E DifDlyR 0.0 to 160.0 ms E DifDlyLX 0.0 to 230.0 ms E DifDlyRX 0.0 to 230.0 ms

TQ Verb and TQ Place:

TQ reverbs are 3-PAU algorithms with early reﬂections. The late portion consists of an input diffuser, injector, ambience generator with a lopass ﬁlter, low shelving ﬁlter, and LFO moving delays, and predelay.

The early reﬂection portion combines a combination of delays, diffusers, and feedback outlined by

Figure 7. The relative delay lengths are all ﬁxed but are scalable with the E Dly Scl parameter. Relative

diffusion lengths are also ﬁxed, and are scalable with the E DfLenScl parameter. Diffusion amount are adjusted with E DiffAmt. The E Build parameter ramps the gains associated with each delay line in a way that changes the characteristic of the onset of the early reﬂections. Negative amounts create a slower onset while positive amount create a faster onset.

L Input

Reverb Time

Absorption

DiffAmtScl DiffLenScl

Diffuser

DiffAmtScl DiffLenScl

Diffuser

Inj LP

L Pre Dly

Inj LP

R Pre Dly

InjBuild InjSpread

Injector

InjBuild InjSpread

LF Mult

Reverb Time

HF Damping

Ambience

HF Damping

Absorption

R Input

Figure 6 Signal ﬂow of TQ Verb and TQ Place

E Dly Scl (Applies to All Delays)

Delay

Diffusor

L ER Output

R ER Output

EarRef Lvl

Late Lvl

EarRef Lvl

Treble

Wet

Dry

Out

Gain

Out

Gain

Dry

L Output

R Output

L Input

E PreDly L

E Fdbk Amt

Delay

Diffusor

Delay Delay

Diffusor

R Input

E PreDly R

Delay

Figure 7 Early reﬂection portion of TQ Verb and TQ Place

L ER Output

E Build

R ER Output

Parameters for TQ Verb and TQ Place:

Page 1 (TQ Verb)

Page 1 (TQ Place)

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB Absorption 0 to 100 % EarRef Lvl -100 to 100% HF Damping 0 to 25088 Hz Late Lvl -100 to 100% L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

Page 2 (TQ Verb)

Room Type Hall1, ... TrebShlf F 8 to 25088 Hz Size Scale 0.00 to 2.50x TrebShlf G -79.0 to 24.0 dB InﬁnDecay On or Off DiffAmtScl 0.00 to 2.00 x

DiffLenScl 0.00 to 2.50 x LF Split 8 to 25088 Hz LFO Rate 0.01 to 10.00 Hz LF Time 0.50 to 1.50 x LFO Depth 0.0 to 100.0 ct

Page 2 (TQ Place)

Room Type Hall1, ... TrebShlf F 8 to 25088 Hz Size Scale 0.00 to 2.50x TrebShlf G -79.0 to 24.0 dB

DiffAmtScl 0.00 to 2.00 x

DiffLenScl 0.00 to 2.50 x LF Split 8 to 25088 Hz LFO Rate 0.01 to 10.00 Hz LF Time 0.50 to 1.50 x LFO Depth 0.0 to 100.0 ct

Page 3

Inj Build -100 to 100 % Inj LP 8 to 25088 Hz Inj Spread 0.00 to 2.50 x E DiffAmt -100 to 100 % E Build -100 to 100 % E DfLenScl 0.00 to 2.50 x E Fdbk Amt -100 to 100 % E DlyScl 0.00 to 2.50 x E HF Damp 8 to 25088 Hz E PreDlyL 0.0 to 150.0 ms E PreDlyR 0.0 to 150.0 ms

Diffuse Verb and Diffuse Place

Diffuse reverbs are 3-PAU algorithms and are characterized as such because of the initial burst of diffusion inherent in the onset of the reverb. The diffusion consists of an input diffuser, ambience generator with a lopass ﬁlter, low shelving ﬁlter, and LFO moving delays, and predelay.

In the diffuse reverbs, the diffuser is implemented a little differently. The diffuser is just inside the ambience generation loop, so changes in diffusion create changes the reverb decay. The diffuse reverbs also offer DiffExtent and Diff Cross parameters. DiffExtent selects one of seven arbitrary gate time lengths of the initial diffusion burst, while Diff Cross adjusts the combination of left and right channels that are diffused.

LateRvbTim Absorption

HF Damping

L Pre Dly

R Pre Dly

Lopass

Wet

L Input

R Input

LF Mult

DiffExtent

Diff Cross

Diffusor Ambience

DiffAmtScl

DiffLenScl

LF Mult

Figure 8 Signal ﬂow of Diffuse Verb and Diffuse Place

Parameters for Diffuse Verb and Diffuse Place:

Page 1 (Diffuse Verb)

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB LateRvbTim 0.00 to 60.00 s HF Damping 0 to 25088 Hz Lopass 8 to 25088 Hz L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

Dry

L Output

Out Gain

R Output

Dry

Page 1 (Diffuse Place)

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB Absorption 0 to 100 % HF Damping 0 to 25088 Hz Lopass 8 to 25088 Hz L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

Page 2 (Diffuse Verb)

Room Type Hall1, ... DiffExtent 1 to 7 x Size Scale 0.01 to 2.50x Diff Cross -100 to 100 % InﬁnDecay On or Off DiffAmtScl 0.00 to 2.00 x

DiffLenScl 0.01 to 2.50 x LF Split 8 to 25088 Hz LFO Rate 0.01 to 10.00 Hz LF Time 0.50 to 1.50 x LFO Depth 0.0 to 100.0 ct

Page 2 (Diffuse Place)

Room Type Hall1, ... DiffExtent 1 to 7 x Size Scale 0.01 to 2.50x Diff Cross -100 to 100 %

DiffAmtScl 0.00 to 2.00 x

DiffLenScl 0.01 to 2.50 x LF Split 8 to 25088 Hz LFO Rate 0.01 to 10.00 Hz LF Time 0.50 to 1.50 x LFO Depth 0.0 to 100.0 ct

OmniVerb and OmniPlace:

Omni reverbs are 3-PAU algorithms that consists of an input diffuser, injector, ambience generator with a lopass ﬁlter, low shelving ﬁlter, and LFO moving delays, and predelay.

The Expanse parameter adjusts the amount of reverb energy that is fed to the edges of the stereo image. A value of 0% concentrates energy in the center of the image, while non-zero values spread it out. Positive and negative values impose different characteristics on the reverb image.

At the output of the reverb are a pair each of low shelving and high shelving ﬁlters.

L Input

DiffAmtScl DiffLenScl

Diffuser

Lopass

Inj Build Inj Spread Inj Skew

Injector

LF Mult

Reverb Time

Absorption

Ambience

HF Damping

L Pre Dly

Treble

Bass

Wet

Dry

Out

Gain

L Output

DiffAmtScl DiffLenScl

Diffuser

Lopass

Injector R Pre Dly

Inj Build Inj Spread Inj Skew

LF Mult

Reverb Time

Absorption

HF Damping

Treble

Bass

Wet

R Input

Figure 9 Signal ﬂow of OmniVerb and OmniPlace

Parameters for OmniVerb and OmniPlace:

Page 1 (OmniVerb)

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB Rvrb Time 0.00 to 60.00 s HF Damping 0 to 25088 Hz Lopass 8 to 25088 Hz L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

Page 1 (OmniPlace)

Out

Gain

Dry

R Output

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB Absorption 0 to 100 % HF Damping 0 to 25088 Hz Lopass 8 to 25088 Hz L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

Page 2 (OmniVerb)

Room Type Hall1, ... Expanse -100 to 100 % Size Scale 0.00 to 2.50x InﬁnDecay On or Off DiffAmtScl 0.00 to 2.00 x

DiffLenScl 0.00 to 4.50 x LF Split 8 to 25088 Hz LFO Rate 0.01 to 10.00 Hz LF Time 0.50 to 1.50 x LFO Depth 0.0 to 100.0 ct

Page 2 (OmniPlace)

Room Type Hall1, ... Expanse -100 to 100 % Size Scale 0.00 to 2.50x

DiffAmtScl 0.00 to 2.00 x

DiffLenScl 0.00 to 4.50 x LF Split 8 to 25088 Hz LFO Rate 0.01 to 10.00 Hz LF Time 0.50 to 1.50 x LFO Depth 0.0 to 100.0 ct

Page 3

TrebShlf F 8 to 25088 Hz Inj Build -100 to 100 % TrebShlf G -79.0 to 24.0 dB Inj Spread 0.00 to 4.50 x BassShlf F 8 to 25088 Hz Inj Skew -200 to 200 ms BassShlf G -79.0 to 24.0 dB

Parameters

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

emulated, much like an acoustical absorption coefﬁcient. The lower the setting, the longer it will take for the sound to die away. A setting of 0% will cause an inﬁnite 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) lowpass ﬁlter 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 reﬂections.

Lopass Controls the cutoff frequency of a 1 pole (6dB/oct) lowpass ﬁlter at the

output of the reverb. This only affects the late reverb in algorithms that have early reﬂections.

EarRef Lvl The mix level of the early reﬂection portion of algorithms offering early

reﬂections.

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

reﬂections.

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 modeling 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 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.

Size Scale Scales the inherent size of the reverb chosen by Room Type. For 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.

InﬁnDecay Found in “Verb” algorithms. When turned On, the reverb tail will decay

indeﬁnitely. When turned Off, the decay time is determined by the Rvrb Time or LateRvbTim parameters.

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

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

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

energy 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 The frequency of a high shelving ﬁlter at the output of the late reverb.

TrebShlf G The gain of a high shelving ﬁlter at the output of the late reverb.

BassShlf F The frequency of a low shelving ﬁlter at the output of the late reverb.

BassShlf G The gain of a low shelving ﬁlter at the output of the late reverb.

DiffAmtScl The amount of diffusion at the onset of the reverb. For true representation

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

DiffLenScl The length of the diffusion at the onset of the reverb. For true

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

DiffExtent The onset diffusion duration. Higher values create longer diffuse bursts

at the onset of the reverb.

Diff Cross 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 The rate at which certain reverb delay lines move. See LFO Depth for

more information.

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

line. Moving delay lines can imitate voluminous ﬂowing air currents and reduce unwanted artifacts like ringing and ﬂutter when used properly. Depth settings under 1.5ct with LFO Rate settings under 1.00Hz are recommended for modeling real spaces. High depth settings can create chorusing qualities, which won’t be unsuitable for real acoustic spaces, but can nonetheless create interesting effects. Instruments that have little if no inherent pitch ﬂuctuation (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. Speciﬁcally, 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 The cutoff frequency of a 1 pole (6dB/oct) lowpass ﬁlter applied to the

signal being injected into the body of the reverb.

Inj Skew 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 The amount of diffusion applied to the early reﬂection network.

E DfLenScl The length of diffusion applied to the early reﬂection network. This is

inﬂuenced by E PreDlyL and E PreDlyR.

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

E Build The envelope of the onset of the early reﬂections. Values above 0% will

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

E Fdbk Amt The amount of the output of an early reﬂection portion that is fed back

into the input of the opposite channel in front of the early predelays. Overall, it lengthens the decay rate of the early reﬂection network. Negative values polarity invert the feedback signal.

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