Kurzweil Music Systems KSP8 Reference Manual

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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

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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.

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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

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•

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

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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

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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

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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

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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

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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

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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

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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

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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

Page 13

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

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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.)

Page 15

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.

Page 16

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

Page 17

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

Page 18

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.

Page 19

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

Page 20

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.

Page 21

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 22

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.

Page 23

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

Page 24

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

Page 25

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 26

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.

Page 27

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 28

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.

Page 29

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.

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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.

Page 31

E HF Damp The cutoff frequency of a 1 pole (6dB/oct) lowpass ﬁlter applied to the

early reﬂection feedback signal.

E PreDlyL, E PreDlyR The amount of delay in early reﬂections relative to the dry signal. These

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

E Dly L, E Dly R The left and right early reﬂection delays fed to the same output channels.

E Dly LX, E Dly RX The left and right early reﬂection delays fed to the opposite output

channels.

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

channels.

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

output channels.

E X Blend The balance between early reﬂection 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.

Page 32

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 ﬁrst pass through a shelving bass equalizer with a range of +/-15dB. To shorten the decay time of high frequencies relative to mid frequencies, lowpass ﬁlters 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

L Output

R Output

Figure 10 Simpliﬁed block diagram of Panaural Room

The duration and spacing of the early reﬂections are inﬂuenced by Room Size and Build Time, while the number and relative loudness of the individual reﬂections are inﬂuenced by Build Env. When Build Env is near 0% or 100%, fewer reﬂections are created. The maximum number of important early reﬂections, 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.

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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 8 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 lowpass ﬁlters 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 reﬂections 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 inﬂuence 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

Page 34

density reverberation, and for extension of the build up period, use a setting of 50%. For 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 ﬁrst, and then at increasing level until the end of the build time.

Page 35

13 Stereo Hall

A stereo hall reverberation algorithm.

PAUs: 3

The Stereo Hall reverberation is implemented using a special arrangement of allpass 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 lowpass ﬁlters, 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 11 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 beneﬁcial. 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 allpass 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

Page 36

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 8 to 25088 Hz

Page 2

Bass Gain -15 to 0 dB Build Time 0 to 500 ms Lowpass 8 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 lowpass ﬁlters 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 reﬂections 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.

Page 37

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 inﬂuence 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 ﬁrst, 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 beneﬁcial. 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 allpass 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.”

Page 38

14 Grand Plate

A plate reverberation algorithm.

PAUs: 3

This algorithm emulates an EMT 140 steel plate reverberator. Plate reverberators were manufactured during the 1950s, ‘60s, ‘70s, and perhaps into the ‘80s. By the end of the 1980s, they had been supplanted in the marketplace by digital reverberators, which ﬁrst 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 reﬂects from them. This results in a very rapid build up of the reverberation, essentially free of early reﬂections 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 ﬁnd 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 ﬁnd 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 reﬂections, and “brightness.” We also added some controls that were never present in real plates: size, pre delay of up to 500ms, LF damping, lowpass 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, lowpass (Lowpass), and bass shelf (Bass Gain) blocks. The right source is treated similarly.

There are lowpass ﬁlters (HF Damping) and highpass ﬁlters (LF Damping) embedded in the plate simulation network to modify the decay times. The reverb network also accommodates the Room Size and Decay Time controls.

An output mixer assembles dry and wet signals.

Page 39

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 8 to 25088 Hz LF Damping 1 to 294 Hz

Page 2

Lowpass 8 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 reﬂections 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 lowpass ﬁlters 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 5920 Hz.

LF Damping Adjusts highpass ﬁlters 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 3951 Hz.

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 -12 dB.

Page 40

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 coefﬁcients 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 lowpass ﬁlter (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 8 to 25088 Hz

Page 2

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

Page 41

Page 3

Early Bass -15 to 15 dB Early Damp 8 to 25088 Hz Mid Bass -15 to 15 dB Mid Damp 8 to 25088 Hz Late Bass -15 to 15 dB Late Damp 8 to 25088 Hz

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

consists 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 sound

source.

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 lowpass ﬁlter 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 ﬁnish, 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 ﬁnite 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 ﬁnite reverb sequence. Use them to tailor the way the reverb treble content changes with time.

Page 42

Combination Reverbs

50 Reverb+Compress 51 Reverb<>Compress

A reverb and compressor in series. PAUs: 3 for Reverb<>Compress; 2 for Reverb+Compress

Reverb<>Compress is conﬁgurable with the A->B cfg parameter as a reverb followed by a compressor Rvb->Cmp, or as a compressor followed by a reverb Cmp->Rvb. Reverb+Compress is conﬁgured only as

a reverb followed by a compressor. The reverbs used in Reverb<>Compress and Reverb+Compress are the same as Algorithm 1 MiniVerb. The compressor is a soft-knee compressor and can be conﬁgured as a feed-forward or feedback compressor.

L Input

Reverb Compress

R Input

Figure 12 Simpliﬁed block diagrams of Reverb<>Compress when set to

(i) Rvb->Cmp (ii) Cmp->Rvb

The main control for the reverbs is the Rv Type parameter. Rv Type changes the structure of the algorithms to simulate many carefully crafted room types and sizes. Spaces characterized as booths, small rooms, chambers, halls and large spaces can be selected. For a complete discussion on the reverbs see the sections on Algorithm 1 MiniVerb.

The compressor reduces the signal level when the signal exceeds a threshold. The amount of compression is expressed as a ratio. The compression ratio is the inverse of the slope of the compressor input/output characteristic. The amount of compression is based on the sum of the magnitudes of the left and right channels. A compression ratio of 1:1 will have no effect on the signal. An inﬁnite ratio, will compress all signal levels above the threshold level to the threshold level (zero slope). For ratios in between inﬁnite and 1:1, increasing the input will increase the output, but by less than it would if there was no compression. The threshold is expressed as a decibel level relative to digital full-scale (dBFS) where 0 dBFS is digital full-scale and all other available values are negative.

In the soft-knee compressor there is a gradual transition from compressed to unity gain.

L Output

R Output

Out

Amp

Threshold

In Amp

Figure 13 Soft-Knee compression characteristics

Page 43

To determine how much to compress the signal, the compressor must measure the signal level. Since musical signal levels will change over time, the compression amounts must change as well. You can control the rate at which compression changes in response to changing signal levels with the attack and release time controls. With the attack time, you set how fast the compressor responds to increased levels. At long attack times, the signal may overshoot the threshold level for some time before it becomes fully compressed, while at short attack times, the compressor will rapidly clamp down on the level. The release time controls how long it takes the compressor to respond to a reduction in signal levels. At long release times, the signal may stay compressed well after the signal falls below threshold. At short release times, the compressor will open up almost as soon as the signal drops.

For typical compressor behavior, the attack time is considerably shorter than the release time. At very short attack and release times, the compressor is almost able to keep up with the instantaneous signal levels and the algorithm will behave more like distortion than compression. In addition to the attack and release times, there is another time parameter: CompSmooth. The smoothing parameter will increase both the attack and release times, although the effect is signiﬁcant only when its time is longer than the attack or release time. Generally the smoothing time should be kept at or shorter than the attack time.

You have the choice of using the compressors conﬁgured as feed-forward or feedback compressors. For feed-forward, set the FdbkComprs parameter to Out; for feedback compression, set it to In. The feedforward conﬁguration uses the input signal as the side-chain source. The feedback compressor on the other hand uses the compressor output as the side-chain source. Feedback compression tends to be more subtle, but you cannot get an instant attack.

In the feedback conﬁguration, the signal being compressed may be delayed relative to the side chain compression processing. The delay allows the signal to start being compressed just before an attack transient arrives. Since the side chain processing “knows” what the input signal is going to be before the main signal path does, it can tame down an attack transient by compressing the attack before it actually happens. In the feed-forward conﬁguration, the delay affects both the main signal and the side chain, and so is of limited usefulness. In compressors which use more than 1 PAU, the delay affects the main signal only, regardless of the side chain conﬁguration.

The Reverb<>Compress algorithm also provides side chain equalization. Using side chain equalization allows you to compress your signal based on the spectral (frequency) content of your signal. For example, by boosting the treble shelf ﬁlter, you can compress the signal only when there is a lot of high frequencies present.

A meter displays the amount of gain reduction applied to the signal as a result of compression.

Parameters:

Page 1

In/Out In or Out ReverbGain Off, -79.0 to 24.0 dB Reverb W/D 0 to 100 %wet Rv Time 0.5 to 30.0 s, Inf Rv PreDlyL 0 to 620 ms Rv PreDlyR 0 to 620 ms Rv HFDamp 8 to 25088 Hz CompIn/Out In or Out

Page 2

A->B cfg Rvb->Cmp, Cmp->Rvb

Rv Type Hall1, etc. Rv DiffScl 0.00 to 2.00 x

Rv SizeScl 0.00 to 4.00 x Rv Density 0.00 to 4.00 x

Page 44

Page 3

Comp Atk 0.0 to 228.0 ms Comp Ratio 1.0:1 to 100.0:1, Inf:1 Comp Rel 0 to 3000 ms Comp Thres -79.0 to 0.0 dB CompSmooth 0.0 to 228.0 ms CompMakeUp Off, -79.0 to 24.0 dB CompSigDly 0.0 to 25.0 ms FdbkComprs In or Out

|||||||||||||||||||||||||||||| Reduction

-dB 40 20 12 8 6 4 2 0

Page 4 (Reverb<>Compress only)

SCBassGain -79.0 to 24.0 dB SCTrebGain -79.0 to 24.0 dB SCBassFreq 8 to 25088 Hz SCTrebFreq 8 to 25088 Hz

SCMidGain -79.0 to 24.0 dB SCEQIn/Out In or Out SCMidFreq 8 to 25088 Hz SCMidWidth 0.010 to 5.000 oct

In/Out When set to In the overall algorithm is active; when set to Out the algorithm is bypassed.

ReverbW/D This is a simple mix of the reverb input (dry) with the reverb output (wet) to produce the

ﬁnal reverb output.

ReverbGain An overall level control of the reverb’s output (applied after the reverb Wet/Dry mix).

Rv HFDamp Reduces high frequency components of the reverb above the displayed cutoff frequency.

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

Rv PreDlyL/R The delay between the start of a sound and the output of the ﬁrst reverb reﬂections from

CompIn/Out When set to In the compressor is active; when set to Out the compressor is bypassed.

A->B cfg For Reverb<>Compress only, a switch to conﬁgure the algorithm as reverb followed by

compressor Rvb->Cmp or as compressor followed by reverb Cmp->Rvb. Reverb+Compress is always conﬁgured as Rvb->Cmp.

Rv 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 Rv Types will sound best with shorter Rv Times, and vice versa. (Note that since this parameter changes the structure of the reverb algorithm, you may not modulate it.)

Comp Atk The time for the compressor to start to cut in when there is an increase in signal level

(attack) above the threshold.

Comp Rel The time for the compressor to stop compressing when there is a reduction in signal level

(release) from a signal level above the threshold.

Page 45

CompSmooth A lowpass ﬁlter in the control signal path. It is intended to smooth the output of the

expander’s envelope detector. Smoothing will affect the attack or release times when the smoothing time is longer than one of the other times.

CompSigDly The time in ms by which the input signal should be delayed with respect to compressor

side chain processing (i.e. side chain predelay). This allows the compression to appear to take effect just before the signal actually rises.

Comp Ratio The compression ratio. High ratios are highly compressed; low ratios are moderately

compressed.

Comp Thres The threshold level in dBFS (decibels relative to full scale) above which the signal begins

to be compressed.

CompMakeUp Provides an additional control of the output gain. The Out Gain and MakeUpGain

controls are additive (in decibels) and together may provide a maximum of 24 dB boost to offset gain reduction due to compression.

FdbkComprs A switch to set whether the compressor side chain is conﬁgured for feed-forward (Out) or

feedback (In).

The following apply only to the Reverb<>Compress algorithm:

SCEQIn/Out A switch to bypass the compressor side chain equalization.

SCBassGain The amount of boost or cut that the side chain bass shelving ﬁlter should apply to the low

frequency signals in dB. Every increase of 6 dB approximately doubles the amplitude of the signal. Positive values boost the bass signal below the speciﬁed frequency. Negative values cut the bass signal below the speciﬁed frequency.

SCBassFreq The center frequency of the side chain bass shelving ﬁlter in intervals of one semitone.

SCTrebGain The amount of boost or cut that the side chain treble shelving ﬁlter should apply to the

high frequency signals in dB. Every increase of 6 dB approximately doubles the amplitude of the signal. Positive values boost the treble signal above the speciﬁed frequency. Negative values cut the treble signal above the speciﬁed frequency.

SCTrebFreq The center frequency of the side chain treble shelving ﬁlters in intervals of one semitone.

SCMidGain The amount of boost or cut that the side chain parametric mid ﬁlter should apply in dB to

the speciﬁed frequency band. Every increase of 6 dB approximately doubles the amplitude of the signal. Positive values boost the signal at the speciﬁed frequency. Negative values cut the signal at the speciﬁed frequency.

SCMidFreq The center frequency of the side chain parametric mid ﬁlter in intervals of one semitone.

The boost or cut will be at a maximum at this frequency.

SCMidWidth The bandwidth of the side chain parametric mid ﬁlter may be adjusted. You specify the

bandwidth in octaves. Small values result in a very narrow ﬁlter response. Large values result in a very broad response.

Page 46

52 ClascVrb<>Comprs

A reverb and compressor in series.

PAUs: 3

ClascVrb<>Comprs is conﬁgurable with the “A->B cfg” parameter as a reverb followed by a compressor “Rvb->Cmp”, or as a compressor followed by a reverb “Cmp->Rvb”. It uses the same reverb as 5 Classic Verb.

L Input

R Input

MiniVerb

Linked

Compressor

L Output

R Output

(i)

L Input

R Input

Linked

Compressor

MiniVerb

L Output

R Output

(ii)

Figure 14 Simpliﬁed block diagrams of ClascVrb<>Comprs when set to

(i) Rvb->Cmp (ii) Cmp->Rvb

In the soft-knee compressor there is a gradual transition from compressed to unity gain.

Page 47

Out

Amp

Threshold

In Amp

Figure 15 Soft-Knee compression characteristics

To determine how much to compress the signal, the compressor must measure the signal level. Since musical signal levels will change over time, the compression amounts must change as well. You can control the rate at which compression changes in response to changing signal levels with the attack and release time controls. With the attack time, you set how fast the compressor responds to increased levels. At long attack times, the signal may over-shoot the threshold level for some time before it becomes fully compressed, while at short attack times, the compressor will rapidly clamp down on the level. The release time controls how long it takes the compressor to respond to a reduction in signal levels. At long release times, the signal may stay compressed well after the signal falls below threshold. At short release times, the compressor will open up almost as soon as the signal drops.

A meter is provided to display the amount of gain reduction that is applied to the signal as a result of compression.

Parameters:

Page 1

Reverb W/D 0 to 100%wet ReverbGain Off, -79.0 to 24.0 dB Rv Time 0.5 to 30.0s, Inf Rv HF Damp 8 to 25088 Hz Rv PreDlyL 0 to 620ms Rv PreDlyR 0 to 620ms A->B cfg Rvb->Cmp Rv ErefLvl -100 to 100%

Page 2

Rv Type Hall1, ... RvDfAmtScl 0.00 to 2.00x Rv SizeScl 0.01 to 2.00x RvDfLenScl 0.00 to 2.00x Rv LateLvl -100 to 100% RvLFORate 0.01 to 10.00 Hz RvInfDecay On or Off RvLFODepth 0.0 to 100.0 ct RvTrbShlfF 8 to 25088 Hz RvLFSplit 8 to 25088 Hz RvTrbShlfG -79.0 to 24.0 dB RvLFTime 0.50 to 1.50x

Page 48

Page 3

RvEDfDlySc 0.00 to 2.00x RvE X Blend 0 to 100 % RvEDiffAmt -100 to 100% RvEDly L 0.0 to 720.0 ms RvEDlyR 0.0 to 720.0 ms RvEDlyLX 0.0 to 720.0 ms RvEDlyRX 0.0 to 720.0 ms RvEDfDlyL 0.0 to 160.0 ms RvEDfDlyR 0.0 to 160.0 ms RvEDfDlyLX 0.0 to 230.0 ms RvEDfDlyRX 0.0 to 230.0 ms

Page 4

CompIn/Out In or Out Comp Ratio 1.0:1 to 100:1, Inf:1 Comp Atk 0.0 to 228.0 ms Comp Thres -79.0 to 0.0dB Comp Rel 0 to 3000 ms CompMakeUp Off, -79.0 to 24.0 dB CompSmooth 0.0 to 228.0 ms CompSigDly 0.0 to 25.0ms

|||||||||||||||||||||||||||||| Reduction

-dB 40 20 12 8 6 4 2 0

In/Out When set to In the overall algorithm is active; when set to Out the algorithm is bypassed.

ReverbW/D This is a simple mix of the reverb input (dry) with the reverb output (wet) to produce the

ﬁnal reverb output.

ReverbGain An overall level control of the reverb’s output (applied after the reverb Wet/Dry mix).

Rv HFDamp Reduces high frequency components of the reverb above the displayed cutoff frequency.

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

Rv PreDlyL/R The delay between the start of a sound and the output of the ﬁrst reverb reﬂections from

CompIn/Out When set to In the compressor is active; when set to Out the compressor is bypassed.

A->B cfg A switch to conﬁgure the algorithm as reverb followed by compressor Rvb->Cmp or as

compressor followed by reverb Cmp->Rvb.

Rv Type Changes the conﬁguration of the reverb algorithm to simulate a wide array of carefully

Comp Atk The time for the compressor to start to cut in when there is an increase in signal level

(attack) above the threshold.

Comp Rel The time for the compressor to stop compressing when there is a reduction in signal level

(release) from a signal level above the threshold.

Page 49

CompSmooth A lowpass ﬁlter in the control signal path. It is intended to smooth the output of the

expander’s envelope detector. Smoothing will affect the attack or release times when the smoothing time is longer than one of the other times.

CompSigDly The time in ms by which the input signal should be delayed with respect to compressor

side chain processing (i.e. side chain predelay). This allows the compression to appear to take effect just before the signal actually rises.

Comp Ratio The compression ratio. High ratios are highly compressed; low ratios are moderately

compressed.

Comp Thres The threshold level in dBFS (decibels relative to full scale) above which the signal begins

to be compressed.

CompMakeUp Provides an additional control of the output gain. The Out Gain and MakeUpGain

controls are additive (in decibels) and together may provide a maximum of 24 dB boost to offset gain reduction due to compression.

Page 50

Vocal Combination Algorithms

53 Gate+Cmp[EQ]+Rvb

54 Gate+Cmp<>EQ+Rvb 608 MnGt+Cmp[EQ]+Rvb 609 MnGt+Cmp<>EQ+Rvb

Combination algorithms designed for vocal processing.

PAUs: 4 each

Two combination algorithms are provided with vocal processing in mind. Both include a gate followed by a compressor and a reverb. In Gate+Cmp[EQ]+Rvb, equalization is included as part of the compressor’s side-chain processing. Side-chain equalization allows some interesting processing possibilities including “de-essing” (by boosting the treble in the side-chain). In Gate+Cmp<>EQ+Rvb, the equalization can be conﬁgured before or after the compressor. For each conﬁguration of compressor and EQ, the EQ includes bass, treble and mid controls (gain and frequency for each plus width for the mid EQ).

EQ SC

Compress

Input

Gate Reverb

Output

(i)

Compress

Input

Gate Reverb

E Q

(ii)

Compress

Input

Gate Reverb

(iii)

Figure 16 Simpliﬁed compressor and EQ conﬁgurations

(i) Gate+Cmp[EQ]+Rvb (ii) Gate+Cmp<>EQ+Rvb set to Cmp->EQ (iii) set to EQ->Cmp

Output

Page 51

The gate (same gate as Algorithm 343 Gate) allows you to cut out noise during vocal silence. You must decide whether to gate based on left or right channels or to gate based on both channels (average magnitude). Both the gate and compressor have their own side-chain processing paths. For both the gate and compressor, side-chain input may be taken from either the left or right channels, or the average signal magnitude of the left and right channels may be selected using the GateSCInp or CompSCInp parameters.

The reverb is the same as used in Algorithm 1 MiniVerb. You will ﬁnd all the same controls and room settings. In the FXPreset editor, you will have to scroll with the more> soft button to ﬁnd the PARAM5 soft button containing the reverb parameters.

Parameters:

Page 1 (for Gate+Cmp[EQ]+Rvb)

GateIn/Out In or Out Out Gain Off, -79.0 to 24.0 dB GateSCInp L, R, (L+R)/2 CompIn/Out In or Out

CompSCInp L, R, (L+R)/2 FdbkComprs In or Out

Page 1 (for Gate+Cmp<>EQ+Rvb)

GateIn/Out In or Out Out Gain Off, -79.0 to 24.0 dB GateSCInp L, R, (L+R)/2 CompIn/Out In or Out

CompSCInp L, R, (L+R)/2 A->B cfg Cmp->EQ

Page 2

Gate Thres -79.0 to 0.0 dB Gate Time 25 to 3000 ms Gate Duck On or Off 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

Page 52

Page 3

Comp Atk 0.0 to 228.0 ms Comp Ratio 1.0:1 to 100:1, Inf:1 Comp Rel 0 to 3000 ms Comp Thres -79.0 to 0.0dB CompSmooth 0.0 to 228.0 ms CompMakeUp Off, -79.0 to 24.0 dB CompSigDly 0.0 to 25.0ms

Page 4 (for Gate+Cmp[EQ]+Rvb)

CmpSCBassG -79.0 to 24.0 dB CmpSCTrebG -79.0 to 24.0 dB CmpSCBassF 8 to 25088 Hz CmpSCTrebF 8 to 25088 Hz

CmpSCMidG -79.0 to 24.0 dB Comp SC EQ In or Out CmpSCMidF 8 to 25088 Hz CmpSCMidW 0.010 to 5.000 oct

Page 4 (Gate+Cmp<>EQ+Rvb)

Bass Gain -79.0 to 24.0 dB Treb Gain -79.0 to 24.0 dB Bass Freq 8 to 25088 Hz Treb Freq 8 to 25088 Hz

Mid Gain -79.0 to 24.0 dB Mid Freq 8 to 25088 Hz Mid Width 0.010 to 5.000 oct

Page 5

Reverb W/D 0 to 100 %wet Rv T ype Hall1, etc. Rv Time 0.5 to 30.0 s, Inf Rv DiffScl 0.00 to 2.00x Rv Density 0.00 to 4.00x Rv SizeScl 0.00 to 4.00x Rv HF Damp 8 to 25088 Hz Rv PreDlyL 0 to 620 ms Rv PreDlyR 0 to 620 ms

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

GateIn/Out When set to In the gate is active; when set to Out the gate is bypassed.

GateSCInp Select the input source channel for gate side-chain processing—left, right or both. For both

(L+R)/2 the averaged magnitude is used.

CompIn/Out When set to In the compressor is active; when set to Out the compressor is bypassed.

CompSCInp Select the input source channel for compressor side-chain processing—Left, Right or

Both. For both (L+R)/2 the averaged magnitude is used.

Page 53

FdbkComprs A switch to set whether the compressor side-chain is conﬁgured for feed-forward (Out) or

feedback (In). Feedback compression is not available in the Gate+Cmp<>EQ+Rvb algorithm.

A->B cfg Controls the routing order of the compressor and EQ in Gate+Cmp<>EQ+Rvb. When set

to Cmp->EQ, the output of the compressor feeds into the EQ. When set to EQ->Cmp, the EQ feeds into the compressor. A compressor is a non-linear, time-variant effect, so the relative order can make a difference, particularly when the compression is extreme enough to behave as distortion.

Gate Thres The 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. If Retrigger is On, the gate timer is continually reset while the side chain signal is above the threshold.

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

gate timer has elapsed.

GateSigDly The delay in milliseconds (ms) of the signal to be gated relative to the side chain signal. By

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

Comp Atk The time for the compressor to start to cut in when there is an increase in signal level

(attack) above the threshold.

Comp Rel The time for the compressor to stop compressing when there is a reduction in signal level

(release) from a signal level above the threshold.

CompSmooth A lowpass ﬁlter in the compressor side-chain signal path. It is intended to smooth the

output of the compressor’s envelope detector. Smoothing will affect the attack or release times when the smoothing time is longer than one of the other times.

CompSigDly The time in ms by which the input signal should be delayed with respect to compressor

side-chain processing (i.e. side-chain predelay). This allows the compression to appear to take effect just before the signal actually rises.

Comp Ratio The compression ratio. High ratios are highly compressed; low ratios are moderately

compressed.

Comp Thres The compressor threshold level in dBFS (decibels relative to full scale) above which the

signal begins to be compressed.

CompMakeUp A gain or amplitude control provided to offset gain reduction due to

compression.

The EQ parameters with names starting with CmpSC refer to EQ ﬁlters in the side-chain processing path of Gate+Cmp[EQ]+Rvb. The preﬁx is not used in Gate+Cmp<>EQ+Rvb where the EQ is in the main signal path.

Page 54

CmpSCBassG, Bass Gain The amount of boost or cut that the bass shelving ﬁlter should apply to

the low frequency signals in dB. Every increase of 6 dB approximately doubles the amplitude of the signal. Positive values boost the bass signal below the speciﬁed frequency. Negative values cut the bass signal below the speciﬁed frequency.

CmpSCBassF, Bass Freq The center frequency of the bass shelving ﬁlter in intervals of one

semitone.

CmpSCTrebG, Treb Gain The amount of boost or cut that the treble shelving ﬁlter should apply to

the high frequency signals in dB. Every increase of 6 dB approximately doubles the amplitude of the signal. Positive values boost the treble signal above the speciﬁed frequency. Negative values cut the treble signal above the speciﬁed frequency.

CmpSCTrebF, Treb Freq The center frequency of the treble shelving ﬁlters in intervals of one

semitone.

CmpSCMidG, Mid Gain The amount of boost or cut that the parametric mid ﬁlter should apply in

dB to the speciﬁed frequency band. Every increase of 6 dB approximately doubles the amplitude of the signal. Positive values boost the signal at the speciﬁed frequency. Negative values cut the signal at the speciﬁed frequency.

CmpSCMidF, Mid Freq The center frequency of the parametric mid ﬁlter in intervals of one

semitone. The boost or cut will be at a maximum at this frequency.

CmpSCMidW, Mid Width The bandwidth of the side chain parametric mid ﬁlter may be adjusted.

You specify the bandwidth in octaves. Small values result in a very narrow ﬁlter response. Large values result in a very broad response.

Reverb W/D A simple mix of the reverb sound with the dry (compressed) sound.

Rv PreDlyL/R 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.

Rv Time The reverb time displayed is accurate for normal settings of the other

parameters (HF Damping = 25088 kHz, and Rv DiffScl, Rv SizeScl and Rv Density = 1.00x). Changing Rv Time to Inf creates an inﬁnitely sustaining reverb.

Rv 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 Rv Types will sound best with shorter Rv Times, and vice versa. (Note that since this parameter changes the structure of the reverb algorithm, you may not modulate it.)

Rv HF Damp Reduces high frequency components of the reverb above the displayed

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

Rv DiffScl A multiplier which affects the diffusion of the reverb. At 1.00x, the

diffusion will be the normal, carefully adjusted amount for the current

Page 55

Rv Type. Altering this parameter will change the diffusion from the preset amount.

Rv SizeScl A multiplier which changes the reverb size of the current room. At 1.00x,

the room will be the normal, carefully tweaked size of the current Rv 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).

Rv 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 Rv Type. Altering this parameter will change the density of the reverb, which may color the room slightly.

Page 56

More Reverbs

100 LaserVerb 101 LaserVerb Lite 102 Mono LaserVerb 605 Mn LaserVerb

A bizarre reverb with a falling buzz

PAUs: 1 for Mono LaserVerb

2 for LaserVerb Lite 3 for LaserVerb

LaserVerb has to be heard to be believed! Feed it an impulsive sound such as a snare drum, and LaserVerb plays the impulse back as a delayed train of closely spaced impulses, and as time passes, the spacing between the impulses gets wider. The close spacing of the impulses produces a discernible buzzy pitch which gets lower as the impulse spacing increases. The following ﬁgure is a simpliﬁed representation of the LaserVerb impulse response. (An impulse response of a system is what you would see if you had an oscilloscope on the system output and you gave the system an impulse or a spike for an input.)

t = 0 ti me

Figure 17 Simpliﬁed impulse response of LaserVerb

With appropriate parameter settings this effect produces a descending buzz or whine somewhat like a diving airplane or a siren being turned off. The descending buzz is most prominent when given an impulsive input such as a drum hit. When used as a reverb, it tends to be highly metallic and has high pitched tones at certain parameter settings. To get the descending buzz, start with about half a second of delay, set the Contour parameter to a high value (near 1), and set the HF Damping to a low value (at or near 0). The Contour parameter controls the overall shape of the LaserVerb impulse response. At high values the response builds up very quickly decays slowly. As the Contour value is reduced, the decay becomes shorter and the sound takes longer to build up. At a setting of 0, the response degenerates to a simple delay.

Page 57

The Spacing parameter controls the initial separation of impulses in the impulse response and the rate of their subsequent separation. Low values result in a high initial pitch (impulses are more closely spaced) and takes longer for the pitch to lower.

The output from LaserVerb can be fed back to the input. By turning up the feedback, the duration of the LaserVerb sound can be greatly extended. Cross-coupling may also be used to move the signal between left and right channels, producing a left/right ping-pong effect at the most extreme settings.

The two processing allocation unit (PAU) version is a sparser version than the three-PAU version. Its buzzing is somewhat coarser. The one-PAU version is like the two-PAU version except the two input channels are summed and run through a single mono LaserVerb. The one-PAU version does not have the cross-coupling control but does have output panning.

Dry

Feedback

Wet

LaserVerb

L OutputL Input

From Right Channel

To Right Channel

Figure 18 LaserVerb

Parameters for LaserVerb and LaserVerb Lite

Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0dB Fdbk Lvl 0 to 100% Xcouple 0 to 100% HF Damping 8 to 25088Hz

Parameters for Mono LaserVerb

Page 1

Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0dB Fdbk Lvl 0 to 100% Pan -100 to 100% HF Damping 8 to 25088Hz

Page 2

Dly Coarse 0 to 5000ms Contour 0.0 to 100.0% Dly Fine -20.0 to 20.0ms Spacing 0.0 to 40.0samp

Page 58

Wet/Dry The amount of reverbed (wet) signal relative to unaffected (dry) signal.

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

Fdbk Lvl The percentage of the reverb output to feed back or return to the reverb input. Turning up

the feedback is a way to stretch out the duration of the reverb, or, if the reverb is set to behave as a delay, to repeat the delay. The higher feedback is set, the longer the decay or echo will last.

Xcouple LaserVerb and LaserVerb Lite are stereo effects. The cross-coupling control lets you send

the sum of the input and feedback from one channel to its own LaserVerb effect (0% cross coupling) or to the other channel’s effect (100% cross coupling) or somewhere in between. This control is not available in Mono LaserVerb.

HF Damping The damping of high frequencies relative to low frequencies. When set to the highest

frequency (25088 Hz), there is no damping and all frequencies decay at the same rate. At lower frequency settings, high frequency signal components will decay faster than low frequency components. If set too low, everything will decay almost immediately.

Pan The Pan control is available in the Mono LaserVerb. The left and right inputs get summed

to mono, the mono signal passes through the LaserVerb, and the ﬁnal mono output is panned to the left and right outputs. Panning ranges from -100% (fully left), through 0% (centered), through to 100% (fully right).

Dly Coarse You can set the overall delay length from 0 to 2 seconds (three-PAU) or 0 to 1.3 seconds

(two-PAU). Lengthening the delay will increase the duration or decay time of the reverb. To reduce LaserVerb to a simple delay, set the Contour and Feedback controls to 0. Use a delay of about half a second as a starting point.

Dly Fine The delay ﬁne adjust is added to the delay coarse adjust to provide a delay resolution

down to 0.1 ms.

Spacing Determines the starting pitch of the descending buzz and how fast it descends. The

Spacing parameter sets the initial separation of impulses in the impulse response and subsequent rate of increasing impulse separation. The spacing between impulses is given in samples and may be a fraction of a sample. (A sample is the time between successive digital words which is 20.8 µs or 1/48000 seconds.) For low values, the buzz starts at high frequencies and drops slowly. At high values the buzz starts at a lower pitch and drops rapidly.

Contour Controls the overall envelope shape of the reverb. When set to a high value, sounds

passed through the reverb start at a high level and slowly decay. As the control value is reduced, it takes some time for the effect to build up before decaying. At a value of around 34, the reverb is behaving like a reverse reverb, building up to a hit. When the Contour is set to 0, LaserVerb is reduced to a simple delay.

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103 Revrse LaserVerb

A bizarre reverb which runs backwards in time (uh, yeah).

PAUs: 4

Revrse LaserVerb is a mono effect that simulates the effect of running the LaserVerb (Algorithms 100–102) in reverse. When you play a sound through the algorithm, it starts out relatively diffuse then builds to the ﬁnal “hit.” Since KDFX cannot break the universal rules of causality (sorry, KDFX doesn’t know what you are about to play!), there can be a signiﬁcant delay between what you play and when you hear it. In addition to the normal Wet/Dry control, with the Rvrs W/D, the dry signal is considered to be the delayed “hit” signal.

Revrse LaserVerb is LaserVerb in reverse, so when it is fed an impulsive sound such as a snare drum, it plays the impulse back as a delayed train of closely spaced impulses, and as time passes, the spacing between the impulses gets closer until they coalesce at the “hit.” The close spacing of the impulses produces a discernible buzzy pitch which gets higher as the impulse spacing decreases. The following ﬁgure is a simpliﬁed representation of the Revrse LaserVerb impulse response. (An impulse response of a system is what you would see if you had an oscilloscope on the system output and you gave the system an impulse or a spike for an input.)

t=0

"hit"

Figure 19 Simpliﬁed impulse response of Revrse LaserVerb

With appropriate parameter settings this effect produces an ascending buzz or whine. The ascending buzz is most prominent when given an impulsive input such as a drum hit. To get the ascending buzz, start with about half a second of delay and set the Contour parameter to a high value (near 100%). The Contour parameter controls the overall shape of the LaserVerb impulse response. At high values the response builds up slowly to the “hit.” As the Contour value is reduced, the response starts out lower and rises more rapidly to the “hit.”

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Wet

L Input

Contour

Delay

"Dry"

R Input

Figure 20 Revrse LaserVerb

Parameters:

Page 1

Wet/Dry 0 to 100 %wet Out Gain Off, -79.0 to 24.0 dB Rvrs W/D 0 to 100 %wet Pan -100 to 100 %

Page 2

Dly Coarse 0 to 5000 ms Contour 0.0 to 100.0 % Dly Fine -20.0 to 20.0 ms Spacing 0 to 200 samp

Out Gain

L Output

Pan

R Output

Wet/Dry The amount of reverbed (wet) signal relative to unaffected (dry) signal.

Rvrs W/D A special wet/dry control in which the “dry” signal is in fact delayed so that it is the last

sound to be sent to the output, as if the LaserVerb is being played in reverse.

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

Pan The left and right inputs get summed to mono, the mono signal passes through the Revrse

LaserVerb, and the ﬁnal mono output is panned to the left and right outputs. Panning ranges from -100% (fully left), through 0% (centered), through to 100% (fully right).

Dly Coarse You can set the overall delay length from 0 to 5 seconds. Lengthening the delay will

increase the duration or decay time of the reverb.

Dly Fine The delay ﬁne adjust is added to the delay coarse adjust to provide a delay resolution

down to 0.2 ms.

Spacing Determines the starting pitch of the ascending buzz and how fast it ascends. The Spacing

parameter sets the initial separation of impulses in the impulse response and subsequent rate of decreasing impulse separation. The spacing between impulses is given in samples and may be a fraction of a sample. (A sample is the time between successive digital words which is 20.8 µs or 1/48000 seconds.) For low values, the buzz builds to a higher frequency than for higher Spacing settings.

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Contour Controls the overall envelope shape of the reverb. When set to a high value, sounds start

at a high level and build slowly to the ﬁnal “hit.” As the control value is reduced, sounds start lower and build rapidly to the ﬁnal “hit.”

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104 Gated LaserVerb

The LaserVerb algorithm with a gate on the output.

PAUs: 3

Gated LaserVerb is Algorithm 101 LaserVerb Lite with a gate on the output. For a detailed explanation of LaserVerb see the section for Algorithm 101 LaserVerb Lite. The gate controls are covered under

Algorithm 343 Gate. Signal routings between the inputs, the LaserVerb, the gate, and the outputs are described here.

Dry

Gate

"Input"

Source

Select

L, R, or Sum

Side Chain

Processing

L Input

R Input

LaserVerb

"Output"

Gate

Wet

Gate

Dry

L Output

R Output

Figure 21 Signal ﬂow of Gated LaserVerb

LaserVerb is a stereo algorithm that produces interesting sounds in the reverb decay. However, the decay

often lasts longer than desired. The gate may be used to cut the output signal after the input signal drops below a threshold. You may select whether to gate the LaserVerb output based on the input signal level or the signal level at the output of the LaserVerb. In most cases the gate would be based on the input signal. When you gate on the output signal, you must wait for the LaserVerb tail to drop below the threshold before the gate will close. Whether you gate based on the input or the output signal strength, you can select which input or output channel to use as the gating side chain signal: left, right, or the average of the left and right magnitudes.

Parameters:

Page 1

Wet/Dry 0 to 100 %wet Out Gain Off, -79.0 to 24.0 dB Fdbk Lvl 0 to 100 % GateIn/Out In or Out Xcouple 0 to 100 % GateSCInp L, R, (L+R)/2 HF Damping 8 to 25088 Hz GateSCSrc Input or Output

Page 2

Delay Crs 0 to 5000 ms Contour 0.0 to 100.0 % Delay Fine -20.0 to 20.0 ms Spacing 0.0 to 40.0 samp

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Page 3

Gate Thres -79.0 to 0.0 dB Gate Time 25 to 3000 ms Gate Duck On or Off 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 The amount of reverbed and gated (wet) signal relative to unaffected (dry) signal. The

gate is on the wet signal path.

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

Fdbk Lvl The percentage of the reverb output to feed back or return to the reverb input. Turning up

Xcouple LaserVerb Lite is a stereo effect. The cross-coupling control lets you send the sum of the

input and feedback from one channel to its own LaserVerb effect (0% cross coupling) or to the other channel’s effect (100% cross coupling) or somewhere in between.

HF Damping The damping of high frequencies relative to low frequencies. When set to the highest

GateIn/Out Enables (On) or disables (Off) the gate. Not affected by Wet/Dry.

GateSCInp Select whether the gate side chain signal should use the left (L) channel, right (R) channel

or the average magnitude of left and right channels ((L+R)/2) to control the gate.

GateSCSrc Select whether the gate side chain signal should be taken from the algorithm input or from

the LaserVerb output.

Dly Coarse You can set the overall delay length from 0 to 5 seconds. Lengthening the delay will

increase the duration or decay time of the reverb. To reduce LaserVerb to a simple delay, set the Contour and Feedback controls to 0%. Use a delay of about half a second as a starting point.

Dly Fine The delay ﬁne adjust is added to the delay coarse adjust to provide a delay resolution

down to 0.1 ms.

Spacing Determines the starting pitch of the descending buzz and how fast it descends. The

Contour Controls the overall envelope shape of the reverb. When set to a high value, sounds

Page 64

Gate Thresh The signal level in dB required to open the gate (or close the gate if Ducking 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 time for the gate to ramp from closed to open (reverse if Ducking is on) after the

signal rises above threshold.

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

timer has elapsed.

GateSigDly The delay in milliseconds (ms) of the signal to be gated relative to the side chain signal. By

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

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105 LasrDly<>Reverb

A conﬁgurable combination algorithm

PAUs: 2

This algorithm is one of a group of conﬁgurable combination algorithms—that is, there’s more than one effect and you can change the sequence of those effects. With this algorithm, for example, you can have either a laser delay followed by a reverb, or vice versa.

The combination algorithms are organized in groups, with IDs predominantly in the 400s (there are a few exceptions, of course). For a description of Algorithm 105 and other combination algorithms, follow one of the links below:

Combination Algorithms on page 285

Conﬁgurable Combination Algorithms on page 295

More Combination Algorithms on page 305

Page 66

106 LasrDly<>Rvrb ms

A conﬁgurable combination algorithm with some parameters expressed in absolute units

PAUs: 2

This algorithm is almost identical to 105 LasrDly<>Reverb. The only difference is that Algorithm 106 uses absolute units for two features: milliseconds for delay line lengths, and Hz for LFO frequencies. Algorithm 105, on the other hand, uses the values of the Tempo parameters to determine delay line lengths and LFO rates.

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Delays

150 4-Tap Delay BPM 151 4-Tap Delay 610 Mn 6-TapDelayBPM 611 Mn 6-Tap Delay

A stereo four tap delay with feedback

PAUs: 1

These are simple stereo 4-tap delay algorithms with delay lengths deﬁned in tempo beats (150 4-Tap Delay BPM) or in milliseconds (ms) (151 4-Tap Delay). 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. The taps are summed and added to the dry input signal through a Wet/Dry control. The delayed signal from the “Loop” tap may be fed back to the delay input.

Feedback

Input

High Freq

Damping

Dry

Figure 22 Left channel of 4-Tap Delay

The delay length for non-BPM tap delays is the sum of the coarse and ﬁne parameters for the tap multiplied by the DelayScale parameter which is common to all non-BPM taps. The DelayScale parameter allows you to change the lengths of all the taps together.

Delay

Tap Levels & Balance

Wet

Output

Page 68

other taps to ﬁll in the measure with interesting rhythmical patterns. Setting tap levels allows some “beats” 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.

The feedback (Fdbk Level) controls how long a sound in the delay line takes to die out. At 100%, your sound will be repeated indeﬁnitely. 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 indeﬁnitely. 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. They have similar names, followed by the letters ms; they have IDs in the 400s.

Parameters for 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%

Dry Bal -100 to 100%

HF Damping 16 Hz to 25088 Hz Hold On or Off

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 ﬁnal 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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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.

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

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

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 ﬁner 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 ﬁne 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 ﬁner 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 ﬁne 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.

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 Delay BPM). When slow tempos and/or long lengths are speciﬁed, 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 ﬁnd the delays suddenly 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 ﬁll in the measure with interesting rhythmical patterns. Setting tap levels allows some “beats” to receive different emphasis than others.

Page 70

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

Dry Bal -100 to 100%

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

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 System, the tempo is locked to the internal sequencer tempo or to incoming MIDI clocks. In this case, FXMods (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 speciﬁed 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 speciﬁed

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.

Page 71

152 8-Tap Delay BPM 153 8-Tap Delay

A stereo eight-tap delay with cross-coupled feedback

PAUs: 2

These are simple stereo 8-tap delay algorithms with delay lengths deﬁned in tempo beats (152 8-Tap Delay BPM) or in milliseconds (ms) (153 8-Tap Delay). 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 through a Wet/Dry control. The delayed signal from the “Loop” 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 (crosscoupling). 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 23 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 ﬁll in the measure with interesting rhythmical patterns. Setting tap levels allows some “beats” 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.

Page 72

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

Parameters for 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 ﬁnal 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.

Page 73

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