Novation KS5 User Manual

Introduction........................................................... 2

Using this Manual.......................................................... 2

Main Features................................................................ 2

Conventions used in this Manual................................... 2

Quick Start Guide.................................................. 3

Connecting to audio and MIDI equipment...................... 3

Listening to the factory preset sounds........................... 3

Selecting Programs and Drum Maps............................. 3

Selecting Performances................................................. 4

Editing a sound............................................................... 5

Saving a sound............................................................... 6

Editing a Performance.................................................... 7

Saving a Performance.................................................... 8

Listening to the factory demonstration........................... 8

Synthesis Tutorial................................................. 9

Elements of a sound....................................................... 9

Oscillators and waveforms............................................. 9

The Mixer...................................................................... 11

The Filter....................................................................... 11

Envelopes and Amplifier............................................... 12

LFOs............................................................................. 13

Memories...................................................................... 14

Summary....................................................................... 14

MIDI Tutorial......................................................... 15

About MIDI.................................................................... 15

MIDI messages ........................................................... 15

MIDI and Sequencers.................................................. 17

Summary....................................................................... 17

Main Features and Operation............................ 18

Front Panel Layout....................................................... 18

Modes and Menus........................................................ 19

Oscillator Section.......................................................... 22

Mixer Section................................................................ 23

Filter Section................................................................. 24

LFOs Section................................................................ 25

Envelopes Section........................................................ 26

Volume and Keyboard Octave controls........................ 26

Effects / Arpeggiator / Hypersync Section.................... 27

Part Edit Section........................................................... 31

Display and Data Entry Section................................... 32

Mode and Keypad Section........................................... 33

Advanced Features............................................. 34

Oscillator Menu............................................................ 34

Mixer Menu.................................................................. 37

Filter Menu............................................................ .......37

LFOs Menu.................................................................. 38

Envelopes Menu.......................................................... 39

The Effects Menus...................................................... 41

Delay Menu................................................................ 41

Reverb Menu.............................................................. 42

Chorus Menu................................................................43

Distortion Menu............................................................44

EQ Menu..................................................................... 45

Panning Menu............................................................. 46

Vocoder Menu............................................................ 46

Other Menus..................................................................47

Wheels Menu............................................................... 47

Aftertouch and Breath Menu........................................ 48

Utilities Menu................................................................ 49

Global Menu................................................................. 50

Synchronisation Menu.................................................. 52

Arpeggiator Menu......................................................... 53

Part Edit Menu............................................................. 55

MIDI Specification........................................................ 56

MIDI Program Changes and Bank Select.................... 56

Appendix.............................................................. 57

MIDI Implementation Chart........................................... 57

KS 4 / KS 5 Factory Preset Program Listings.............. 58

KS 4 / KS 5 Factory Drum Bank Listings..................... 60

MIDI Controller List....................................................... 61

MIDI NRPN List............................................................ 63

Packed Controller / NRPN Details................................ 64

MIDI System Exclusive................................................. 65

Safety notice, CE and FCC Approvals ........................ 72

Technical Specification.................................................. 73

Index..................................................................... 74

CONTENTS

Contents

• 1 •

• 2 •

Thank you for purchasing the Novation KS4 or KS5 Synthesizer. This instruction manual applies equally to the Four Octave KS4, or Five Octave KS5 - the only difference being the number of keys.

This instrument is a multi-timbral, enhanced version of the popular KStation keyboard synthesizer. The design of the has evolved from the KStation, using the very latest award-winning Novation technology found in highly-acclaimed products such as Nova and Supernova II. The KS4 and KS5 are capable of producing an enormous range of high quality synthesized sounds and are ideal machines for a home studio set-up or for an experienced producer looking to add an extra dimension of sound power.

Using this Manual

This manual consists of six sections, Introduction, Quick Start Guide, Synthesis Tutorial, MIDI Tutorial, Main Features and Operation, and Advanced Features. For easy reference, the section name is printed at

the top of each page. An Appendix on the final pages lists all menu options and factory preset sounds list.

In order to become an expert user as quickly as possible, it is recommended that this manual is read in sequence chapter by chapter. If sound synthesis is an unfamiliar subject, then the chapter Synthesis Tutorial will provide a useful introduction to the techniques used to electronically simulate the sound of a musical instrument using an analogue music synthesizer.

Another chapter, MIDI Tutorial provides an useful introduction to the sub- ject of MIDI and how it is used for communication between instruments and / or sequencers. The chapter also describes how the KS4 / KS5 transmits and recognizes various types of MIDI messages.

If the general principles of Sound Synthesis and MIDI are already familiar, then the Quick Start Guide is the place to begin. Once familiar with the main features of the machine, the Advanced Features section covers the Effects, Arpeggiators, Synchronization, Triggering and the Utilities, and will provide all of the information needed to operate the KS4 / KS5 in the most creative, productive way. Have fun !

Main Features

Four hundred Program memories

Two hundred factory programmed sounds are included and a further two hundred user sound memory locations are provided (factory programmed sounds may be overwritten).

One hundred Performance memories

Fifty factory programmed multi-timbral Performances are included and a further fifty user Performance locations are provided (factory programmed Performances may be overwitten).

Each Performance can consist of up to four different Programs, each with its own unique effects settings, MIDI channel assignments and keyboard settings. Program data for each Performance Part are stored in the Performance memory location.

Four Drum Maps

Two factory programmed Drum Maps are included with a further two user Drum Maps available (factory programmed Drum Maps may be over-written).

Drum Maps allow a whole drum kit to be mapped across 49 notes of the keyboard with each drum sound available on a different key. Drum Maps consume only one unit of Multi-timbrality.

Powerful Oscillators

Three Oscillators provide the standard Sawtooth, Square, Variable Pulse, Triangle and Sine waves. Additional sampled waveforms are also available, each containing complex audio information not available in the standard waveforms.

The Sawtooth, Triangle and Sine waveforms may be duplicated within a single Oscillator to provide thicker sounding waveforms. Synchronization and FM between two Oscillators allow the generation of metallic or percussive timbres. A four section noise source completes the waveform engine.

External Audio Input

The Mixer allows an external audio signal to be combined with the Oscillators and processed through the Filter, Envelopes and Effects. Envelopes may also be auto-triggered by an external signal.

Vocoder

The 16 band Vocoder makes it easy to create Robot and Talky sound effects.

Four Arpeggiators

The arpeggiator features six different operational modes with adjustable gate time for staccato effects. Thirty two rhythmic patterns are available to introduce complex motion effects. In multi-timbral Performance Mode, up to four arpeggiators are available simultaneously, each with their own unique settings. All four arpeggiators can can be individually synchronised to MIDI Clock at different time signatures.

HyperSync

Sixteen ‘Hypersync’ templates provide fast,effective, musically synchronized settings with a simple twist of a control.

When selected, synchronisation settings to four Effects and four Program parameters are instantly applied. Settings for the Delay level, Chorus Level, Panning Depth and EQ Modulation Depth are also applied.

Using these tempo synchronized features can significantly enhance music production.

Comprehensive MIDI Control Specification

Adjustments of any controls transmit MIDI Controller numbers or NRPNs for real time recording by a sequencer or computer.

Powerful Effects

The effects processor includes Distortion, Stereo Chorus, Phaser, Reverb, Synchronized Delay and Synchronized Stereo Panning. Complex, dynamic timbres may be created using tempo synchronized effects settings. A final output EQ and Filter section complete with a tempo synchronized LFO allow for a performance to be automatically filtered and time locked from 32nd triplets through to several bars.

In multi-timbral Performance Mode, each of the four individual Parts can have its own unique Effects settings.

Data Compatibility

The KS4 and KS5 have been designed to allow the loading of Sysex data dumps from the Novation K-Station and A-Station. This ensures that existing sound libraries and global settings can easily be transferred from the older types of machine. Data is also fully compatible with the KS Rack.

Conventions Used In This Manual

The word ‘Program’ refers to a collection of knob and switch settings that define an individual ‘Sound’. These settings are then saved as a ‘Program’ which has a corresponding name and number in the machine’s non volatile memory.

Throughout this manual the two words, ‘Sound’ and ‘Program’ are frequently referred to and essentially have the same meaning.

The term ‘Drum Map’ refers to a whole kit of drum sounds which are mapped across the keyboard, with each keyboard note triggering a different drum sound.

The word ‘Performance’ refers to a multi-timbral setting where up to four Programs and/or Drum Maps are available for playing simultaneously. This entire arrangement is then saved as a ‘Performance’ which has a name and number assigned in the machine’s non-volatile memory.

Each of the four Programs / Drum Maps making up a Performance is referred to as a ‘Part’.

The word ‘Preset’ refers to a Program/Performance/Drum Map which was set up at the factory to showcase some of the KS4 / KS5’s powerful sound possibilities. Preset memories may actually be overwritten with new settings, but it is possible to restore them to the original factory set Programs, Drum Maps or Performances by loading in a MIDI file if they have been overwritten by mistake.

INTRODUCTION

Using this Manual - Main Features - Conventions used in this manual

• 3 •

Text in CAPITALS refer to a front panel control or legend (even though the name of the control may actually be in lower case on the front panel). It could be a knob or button. For example, FREQUENCY refers to the Filter frequency control knob. MENUS refers to the Menu Mode button.

The fastest way to become familiar with the product is to follow this quick start guide. It covers connecting up to audio equipment, listening to the factory preset sounds, selecting sounds, editing a sound and saving a sound into a memory location.

Connecting to Audio and MIDI equipment

Before connecting to other units in the system, ensure the power to all units is off. Connect an audio cable from the Left and Right master output sockets to a suitable amplifier or mixing desk stereo inputs. If MONO operation is required, either output may be used.

Connect the power cable to the socket ‘Power In’ and connect the cable to the AC mains. Switch on the power. The display will show the name of the last selected Program, Drum Map or Performance and its number.

Select Program Mode by pressing the PROG button.

Finally, switch on the other units in the Audio system (amplifier, mixer etc.).

Although the KS4 / KS5 has its own keyboard which would normally be used to trigger the internal sounds, it is still possible to play the internal sound engine by connecting an external master keyboard.

Listening to the factory preset sounds

Set the VOLUME control to a reasonably high output level. This will maintain a good signal to noise ratio. Make sure that the input volume setting on the system amplifier or mixer is initially set to zero.

On leaving the factory, the KS4 / KS5 is set to receive MIDI information on Channel 1, so, if using an external master keyboard or sequencer to trigger the sounds, ensure that it is set to transmit on this MIDI channel.

Playing its own keyboard, an master keyboard or sequencer will result in the currently selected factory preset sound being heard.

A full listing of the factory preset Programs, Drum Maps and Performances can be found on page 59. The first few locations of the user Programs in bank 3 (Program Number 300 onwards) contain initialisation examples. These are also described in the list.

Selecting Programs and Drum Maps

There are two main modes of operation - Program Mode where the machine is mono-timbral (only one type of sound is available for playing) and Performance Mode where the machine is four Part multi-timbral (up to four different sounds can be played simultaneously).

Program Mode is selected by pressing the PROG button. The LED above the button lights to confirm that Program Mode is selected. The standard Program Mode display will be shown.

Program’s name 1

Category Name

Program Mode is convenient for auditioning individual sounds.

Standard Programs are organised into four banks, each bank containing 100 sounds. These are referred to as banks 1, 2, 3 and 4.

Bank 1 100 - 199 - First bank of factory preset sounds Bank 2 200 - 299 - Second bank of factory preset sounds Bank 3 300 - 399 - First bank of user sounds Bank 4 400 - 499 - Second bank of user sounds

The next four banks contain four Drum Maps. Drum Maps are whole kits of percussion sounds, each sound corresponding to an individual note on the keyboard. A Drum Map is a ‘batch’ of 49 Programs. Each of these sounds has been programmed to closely immitate the sound of a real or electronic type of percussion sound, be it a Bass Drum, Snare Drum etc.

Following the 49th Drum Map Program is an extra Program containing the Effects settings used by the Drum Map as a whole.

A Drum Map may be selected at any time by pressing the DRUM EDIT button. The last selected drum bank will then be available on the keyboard to audition.

When any Program in a Drum Map is selected, all other Programs located in the same Drum Map are also available for playing on the keyboard.

To return to a normal Program, select a program between 100 and 499

The Drum Maps available are :

Bank 5 500 - 549 - First factory preset Drum Map Bank 6 600 - 649 - Second factory preset Drum Map Bank 7 700 - 749 - First user Drum Map Bank 8 800 - 849 - Second user Drum Map

There are four methods of selecting Programs, Drum Maps or Performances. Before using any of the methods, Ensure that a Menu is not active (the LED above the MENUS button must not be lit). If a Menu is selected, press the PROG button to select Program Mode.

1 - Using the 0 - 9 Keypad buttons

There must always be a three digit entry on the numeric keypad, for example : To select Bank 1 sound 8, press the 1, 0 and 8 buttons. The display will now show the name of the newly selected sound and indicate that sound 108 has been selected.

2 - Using the PAGE buttons

The PAGE buttons may be used to move up or down to the next Program. Pressing and holding either button for a short period will cause the Program / Performance number to advance / decrease by a further 9.

3 - Using the PERF / PROG / DATA knob

The DATA knob may be used to move up or down to the next Program. Turning the knob slowly will advance the selection by one by one. Turning the knob more quickly will increase the rate of selection.

If the the end of a Program bank has been reached, the first Program of the next bank will be selected, for example Program 199 moves to Program 200.

QUICK START GUIDE

Connecting audio equipment - Listening to preset sounds - Selecting Programs

• 4 •

Each Program is assigned to a category. Categories are used to classify a Program that belongs to a sound group such as Bass sounds, String sounds, Lead sounds etc.

It is possible to use the DATA knob to search for sounds within a specific category. This is a convenient way of audioning all sounds that belong to a specific category.

To search for a Program within a category, press the BY CATEGORY button. The LED above the button is lit while category searching is enabled.

Program’s name 101 Bass

Using the DATA knob selects the next Program assigned to the same category. In the above example the next Bass type of Program will be selected.

When category searching is enabled, the default category is whatever category was assigned to the Program when it was originally saved (see Page 6). To search under a different category, use the SELECT left and right buttons.

After pressing one of the SELECT buttons, a new category is displayed

Program’s name 101 Strings

The first Strings Program will not be located until the DATA knob is used to search for the first Strings Program. If no Programs exist using the current category, ‘NO PROGRAMS’ will be displayed as the Program’s name, but the previously selected Program will still be available.

Category searching is cancelled by pressing the BY CATEGORY button again, whereby the LED above it will extinguish.

4 - Using MIDI Program Change commands

A MIDI Program change message sent from an external sequencer or controller keyboard will select the appropriate Program or Performance within the currently selected bank.

A MIDI Bank Change message (CC32) received along with a Program change message will select the appropriate Program or Performance within the bank specifed by the Bank Change message.

If Bank Change messages are used, it is recommended that the Bank Change message is sent immediately before the Program Change message. In Program Mode, A Bank Change value of 1 is used to select Bank 1, a value of 2 is used to select Bank 2 etc.

A full table of the bank values used is found on page 56 along with details on how they should be used.

Whenever a new Program or Performance is selected from front panel, both Bank Change and Program Change are transmitted via MIDI Out. It is sometimes convenient to record these messages into a sequencer in real-time.

Selecting Performances

Performances are multi-timbral arrangements where up to four seperate Programs or Drum Maps are available for playing simultaneously.

A bank of 100 Performances is available. The first 50 performances have been preset at the factory and showcase the various layering, keyboard splits and multi-timbral arrangements available. The remaining 50 performances are blank user locations.

Performance Mode is selected by pressing the PERF button. The LED above the PERF button lights to confirm selection. The standard Performance Mode screen is displayed.

Performance name 1

123 234 345 456

The cursor is positioned at the Performance number adjacent to the Performance’s name. (Performances are numbered 100 to 199). At this position, selection of Performances is achieved in a similar manner to selecting Programs by means of the Keypad buttons, the PAGE buttons, or the DATA knob.

The BY

CATEGORY button cannot be used to select Performances.

The four sets of numbers beneath the Performance name refer to the Program numbers that are allocated to each of the parts within the Performance. The illustration below shows the relationship between

Performances, Parts and Programs. Up to 100 Performances may be saved in the KS4 / KS5. The first 2 are shown in the above illustration - Number 100 and 101. Held in the Performance are up to 4 part ‘slots’ that may have any one of the 400 single Programs selected for each one. For versatility, other information such as MIDI channel, note range etc. is also held in each part along with the program number.

Selecting / Changing the Programs on a Part in a Performance

The SELECT left and right buttons are use to select the Part where the Program is held. Once selected it may be changed or edited.

Press the SELECT left button. The cursor will move to the Program number assigned to Part 1 of the Performance. Subsequent presses of the SELECT left and right buttons will move to the next Program number across the bottom line of the display.

Performance name 101

123 234 345 456

The KEYPAD buttons, PAGE up / down buttons and DATA knob may also be used to select a new Program number on the selected Part.

The BY CATEGORY button may be used to select a Program in the same way as previously described. T

o return to selecting a Performance, press

the PERF

button.

Any changes made are temporary until the Performance is written into memory.Using and Editing Performances is covered in more detail on page 7.

QUICK START GUIDE

Selecting Programs - Selecting Performances

Electric Drums 600

Strings 345

Electric Piano 234

PERFORMANCE 100

PERFORMANCE 101

Bass Guitar 123

Part 1

MIDI Channel 1 Outputs 1 & 2 Volume 99 Semitone offset +12 Cents offset -06

Part 2

Part 3

Part 4

Editing a Single Program (sound)

Editing Programs

Once familiar with the sounds that are available, select Program Mode (selected by pressing the PROG button), to select Program number 499. This is a very basic synthesizer sound which can be used as a starting point to create a new, more interesting sound for your own use.

When this sound is played from the keyboard, it will be noticed that the volume of the sound instantly reaches its maximum level when a key is pressed, and dies away instantaneously as soon as the key is released. The most useful editing controls on the KS4 / KS5 are found on the front panel and some of these will be now be used to modify (edit) this basic program.

While playing the keyboard, adjust the Amplifier Envelope SUSTAIN control. Notice how that the sound level when holding a key down changes. Set this control to just over half. Now adjust the RELEASE control. Notice how, when a key on the keyboard is released the sound will now gradually die away.

How quickly the sound dies away depends on the setting of this control. The sound is still a little too bright. Adjust the FREQUENCY control in the filter area. Notice how the sound becomes softer as the control is rotated anticlockwise. Continue to make adjustments until a desired sound is heard. The first small edit is now complete!

The edited Program must now be saved into a memory location if it is to be needed for the future.

Editing Drum Maps

Editing Drum Maps sounds is similar to editing Standard Programs. It is sometimes convenient to think of Drum Maps as whole batch of special Programs (the four Drum Maps available are numbered as Program Banks 5, 6, 7, & 8). However, there are some important differences to bear in mind when editing Drum Maps.

1) Whenever a sound is selected from a Drum Map, all other sounds located within the same Drum Map are immediately available for playing on the keyboard. Each keyboard note triggers a different percussion sound within the same Drum Map.

The keyboard notes used to trigger a sound depend on the Program’s program number within the Drum Map. For example, Drum Map Program 500 is always triggered by the lowest note, (C) Drum Map program 501 by the next note upwards and so on.

Note : If using a KS5 - When a Drum Map is selected, the range of Drum sounds available on the keyboard only covers four octaves (49 notes).

2) It is the sound selected within the Drum Map which determines which sound within the Drum Map is available for editing on the front panel. Only one Drum Map Program can be edited at a given time. See the following paragraphs.

3) In a Drum Map, there is only one set of Effects available. All sounds in the Drum Map share the same single set of Effects settings. Therefore, altering any Effect while a Drum Map sound is selected will simultaneous-

ly affect all other sounds within the same Drum Map. To edit a Drum Map sound, press the DRUM EDIT button.

The Drum bank previsouly selected (bank 500 when shipped from the factory) will now be available to play across the keyboard.

To edit a specific sound in the Drum Map, hold down the DRUM EDIT button and press the key that corresponds to the sound to be edited.

It is only possible to select a single Drum sound in a Drum Map for editing at any one time. If another Drum Program is selected before the previously selected one is written to memory, any edits previously made will be immediately lost.

Once a drum sound has been selected, it can be edited in the same way as a standard Program. This flexibility means that a great many new Drum or Precussion type sounds may easliy be created.

Any edits made will only become apparrent when the currently selected Drum Program is triggered from the keyboard. All other drum sounds will remain unaffected. The exception is a change to any Effects settings (Chorus, Delay, Pan etc). These are applied to all sounds within the Drum Map.

When the standard Program Mode display is shown (available at any time by pressing the PROG button), an asterisk before the Program’s location number indicates whether the Program / Drum Map has been edited in some way. For example :

Program’s name *101 Drums

QUICK START GUIDE

Editing a sound

• 5 •

SUSTAIN control

RELEASE control

Saving a sound

Single sounds (standard Programs or Drum Map Programs) may be saved in any memory location from 100 to 849.

It is recommended that the user locations are used early on for saving new sound creations. These are Banks 3 & 4 (locations 300 to 499) for standard Programs or Banks 7 & 8 (locations 700 to 899) for Drum Map Programs.

The factory preset sounds in Banks 1, 2, 5 and 6 may also be overwritten if desired. Once these factory presets are overwritten, they may only be retrieved by loading in a Sysex dump. (See page 49 for saving a sysex backup of the factory preset or user programs onto an external MIDI sequencer).

It is possible to write a standard Program to a location within a Drum Map or to write a Drum Map Program to a location within a standard Program bank.

When a standard Program is imported into a Drum Map, the Program will only be available by playing a single key on the keyboard (determined by the destination Program number within the Drum Map). Effects settings of the original Program are not copied across.

If a Drum Map Program is written to a standard Program location, the drum sound in question will now be available for playing across the entire keyboard. (the audible results however may not be that satisfying). Effects settings of the original Drum Map are copied across.

NOTE: When shipped from the factory, the global memory protect switch is set to on. The memory protect switch is a safety feature designed to prevent memories from being overwritten by accident. In order to save a sound, the global memory protect must be switched off.

If an attempt is made to save to a memory while the global memory protect is still switched on, a brief warning message will be displayed.

Memory Protect On !

No data will have been written to memory.

Switching off Global Memory Protect

Press the MENUS button. The LED above the MENUS button will now light, indicating that Menu Mode is selected. Select the Global Menu by pressing the ‘0’ button on the 0 - 9 numeric keypad. If necessary, use the PAGE buttons (immediately to the left of the display window) to scroll up and down the pages within the menu until the display shows Mem Protect and its current setting (ON or OFF). Use the DATA knob to turn memory protect OFF.

Exit Menu Mode either by pressing the MENUS button again or by pressing the PROG button. (the LED above the MENUS button extinguishes, indicating that Menu Mode is no longer active).

To save a Program to a memory location

Press the WRITE button.

Write Program to DestProgName 499

The display will now show the destination memory number where the Program is about to be saved to. In this example, Write to 499. Notice that the destination memory is always initially set to the currently selected Program’s number.

It is possible to save a Program to a different memory location. Use the PERF / PROG / DATA knob or Keypad buttons to select a different destination memory if required. Any location within the Standard Program banks or Drum Maps can be selected.

Shown on the bottom line of the display is the name of the Program currently located in the destination memory.

Press the WRITE button again.

Name Program ‘DestProgName’

On this display it is possible to edit the Program’s name. Use the Left and Right SELECT buttons to move the cursor within the Program’s name text. Use the PERF / PROG / DATA knob to edit the character located at the cursor.

Press the WRITE button again.

Set Program Category Bass

On this display, the category of the Program can be set. Setting a category allows the category search feature (see pages 4 & 32) to easily find specific types of sounds easily. There are 17 different categories available.

To complete the saving procedure, press the WRITE button again (display flashes PROGRAM SAVED). This saves the edited Program to memory and once the sound has been written Program Mode will be selected.

At any point in the saving procedure, the COMPARE button can be used to audition the Program located at the destination memory. This feature can be useful in helping to avoid over-writing a Program memory containing wanted data.

While the COMPARE button is held, the currently edited Program buffer is replaced with the Program located at the saving destination memory. This destination Program can be played from the keyboard. As soon as the COMPARE button is released, the Program buffer is restored complete with any edits previously made.

QUICK START GUIDE

Saving a sound

• 6 •

Categories

No. Description

0Bass 1 Arpeggio 2Motion 3 Dance 4Pad 5 EP/Clav 6 Strings 7Brass 8 Organ 9 Sweeps 10 Soft Lead 11 Hard Lead 12 Bells 13 SFX 14 Vocoder 15 Ex Aud Trig 16 Drums

Editing a Performance

Performance Mode is equivalent to using four KS 4 / KS 5 machines, each playing in Program Mode. Performance Mode enables the machine to be used multi-timbrally. Up to four different Parts (slots that contain programs) can be used and played simultaneously. Performances can be configured in a number of different, interesting ways.

Performance Mode is selected by pressing the PERF button. The LED above the PERF button lights to confirm selection. The standard Performance Mode screen is displayed.

Performance name 1

123 234 345 456

Editing Parts

To edit a single part in the performance, press the Part EDIT button corresponding to the Part (that contains the Program) to be edited or press the SELECT left and right buttons until the cursor is beneath Program number to be edited. The LED above the Part’s EDIT button lights.

At all times, one of these EDIT buttons will be selected. When the MIDI channel is different on each Part (In multi-timbral configuration), the EDIT buttons determine which Part(s) will be heard when the keyboard is played.

The bottom row of buttons indicate which of the four Parts is used by the Performance. Any combination of the four available Parts is possible. A green LED above the button indicates whether the Part is ‘active’ (used by the Performance).

When a Performance is written to a memory location, the status of these eight buttons are stored.

Part Layering

Two or more Parts may be played simultaneously on the keyboard. Layering Parts enables even richer sound textures to be easily created.

To create a layer, Press the MENU button under the Part Level knob. Use the PERF/PROG/PAGE up or down keys to select the MIDI channel page in the Menu. Use the PERF/PROG/DATA to set the MIDI channel to the same number for each part used for the layer.

While Parts are layered together, it is possible to dynamically switch between them while playing, determining which Part(s) are heard by using the keyboard’s note velocity (ie how hard the keyboard note was played). Velocity cross fades are possible. See page 55 for more details on this.

Keyboard Splits

Each Part may have its own area of the keyboard assigned to it. It is possible to assign the whole keyboard range to a part, just a single note or any range in between. The keyboard ranges of different Parts are allowed to overlap by any amount, so many interesting arrangements are possible.

To create a split, Press the MENU button under the PART LEVEL knob. Use the PERF/PROG/PAGE up or down keys to select the PART Low Note or PART High Note page.in the Menu. Use the PERF/PROG/DATA to set the high or low note. While in each part Menu ensure the MIDI channel is set to the same number.

When Keyboard-split Parts share the same MIDI channel, they can all be accessed at once by playing the keyboard.

Multi-timbral

The term multi-timbral means ‘more than one sound type’. It is possible to configure the machine such that ‘more than one sound type’ can be played at the same time.

In this configuration, each Part has its own unique MIDI channel setting. This is the ideal arrangement for use with an external sequencer, where each Part can be controlled and played individually.

To create a multi-timbral configuration, it is only necessary to have a different Program (sound) allocated to each of the parts and for it to have a different MIDI channel number.

Combinations of the above arrangements are also possible. For example, it is possible to have two Parts layered together, while another Part is assigned to different area of the keyboard and a fourth Part is set to use a different MIDI channel altogether.

The Part Edit section on the front panel is used to determine which Part(s) are used by the Performance and which Part(s) can be edited using the front panel controls.

QUICK START GUIDE

Editing a Performance

• 7 •

Saving a Performance

Once a Performance has been edited, it must be saved into a Performance memory if it is be recalled for future use.

Saved along with the Performance data are the complete Program data contained in each of the four Performance Parts. When a Performance is saved, the original versions of the Part Programs in the Program

Mode memory locations are NOT over-written.

If a Part contains a Drum Map, only the effects settings for that Drum Map are saved in the Performance.

Performances may be saved in any Performance memory location from 100 to 199. It is recommended that the user locations are used early on for saving newly created Performances. These are locations 150 to 199.

The factory preset Performances in locations 100 to 149 may be overwritten if desired. Once these factory presets are overwritten, they may only be retrieved by loading in a Sysex dump. (See Page 49 for saving a sysex backup of the Performances to an external MIDI sequencer).

NOTE: When shipped from the factory, the global memory protect switch is set to on. The memory protect switch is a safety feature designed to prevent memories from being overwritten by accident. Therefore, in order to save a Performance, the global memory protect must be switched off. See page 6 for details on how to do this.

If an attempt is made to save to a memory while the global memory protect is still switched on, a brief warning message will be displayed.

Memory Protect On !

No data will have been written to memory.

To save a Performance to a memory location

Press the WRITE button.

Write Performance to DestPerfName 199

The display will show the destination memory number where the Performance is about to be saved to. In this example, Write to 199.

Notice that the destination memory is always initially set to the currently selected Performance’s number. It is possible to save a Performance to a different memory location. Use the PERF / PROG / DATA knob or Keypad buttons to select a different destination memory if required.

Shown on the bottom line of the display is the name of the Performance currently located in the destination memory.

Press the WRITE button again.

Name Performance ‘DestPerfName’

On this display it is possible to edit the Performance’s name. Use the SELECT Left and Right buttons to move the cursor within the Performance’s name text. Use the DATA knob to edit the character located at the cursor.

To complete the saving procedure, press the WRITE button again. This saves the edited Performance to memory (display flashes PERFORMANCE SAVED) and once it has been written, Performance Mode will be selected

To save (Export) an individual Program on a Part in a Performance back to an ordinary Program

In Performance Mode it is possible to save (export) any of the Programs contained within the Performance’s four Parts back to an ordinary Program bank memory location from 100 to 849.

One of the outstanding features of the KS4 / KS5 is that a complete new set of programs are held in each part in performance mode IN ADDITION TO THOSE HELD IN THE SINGLE PROGRAM MEMORIES 100 - 849. Therefore any modifications of programs held in a part in a performance WILL NOT alter any of the programs in the normal single program memories 100 - 849.

When tweaking a performance it is useful to be able to export a program out of a performance back to a single memory location. This can then be used in another performance if necessary.

Select Performance Mode by pressing the PERF button.

Performance name 1

123 234 345 456

Press the WRITE button to start the saving procedure.

Write Performance to DestPerfName 101

Press the EDIT button in the Parts section that corresponds to the part that the program is to be exported from. In this example the desired program is being used on Part 2, so press the Part 2 EDIT button. The display changes to :

Export PART to Prog This Program 234

The program destination ( 234 in this example ) can kept or changed using the DATA knob, PAGE UP/DOWN buttons or 0 - 9 keypad.

A press of the write button then prompts for a new program name to be entered if required.

A further press of the write key prompts for a category and a final press saves the exported program.

Listening to the factory demonstration

To complete this Quick Start Guide section, some time spent listening to the sounds that the KS4 / KS5 is capable of producing will be of benefit when it comes to creating new sounds.

Press the MENUS button - the LED above the button will light. Now simultaneously press the both the keypad 1(osc’s) and 2(filter) buttons. The Factory demonstration will begin to play. Once the demonstration has finished, the previously selected mode will be active.

It is possible to stop the demonstration at any time while it is playing by pressing the PROG or PERF button to return immediately to Program Mode or Performance Mode.

QUICK START GUIDE

Saving a Performance - Listening to the factory demonstration

• 8 •

It is recommended that this chapter is read carefully if Analogue sound synthesis is an unfamiliar subject. Users familiar with this subject can skip this chapter and move on to the chapter - MIDI Tutorial on Page 15.

Elements of a sound

To gain an understanding of how a Synthesizer generates sound it is helpful to have an understanding of the components that make up a sound, be it musical or non musical.

The only way that a sound may be detected is by air vibrating the eardrum in a regular, periodic manner. The brain interprets these vibrations (very accurately) into one of an infinite number of different types of sound.

Remarkably, any sound may be described by just three terms, and all sounds always* have them. They are :

* Volume * Pitch * Tone

What makes one sound different to another is the proportion of these three qualities initially present in the sound and how these three terms change throughout the duration of the sound.

With a musical synthesizer, we deliberately set out to have precise control over these three terms and, in particular, how they can be changed throughout the duration of the sound. These terms are often given different names, Volume is referred to as Amplitude, Pitch as Frequency and Tone as Timbre.

Pitch

Taking the example of air vibrating the ear drum, the pitch is determined by how fast the vibrations are. For an adult human, the lowest vibration perceived as sound is about twenty times a second, which the brain interprets as a bass type sound, and the highest is many thousands of times a second, which the brain interprets as an extreme treble type sound.

If the number of peaks in the two waveforms (vibrations) are counted, it will be seen that there are exactly twice as many peaks in Wave B as in Wave A. (Wave B is actually an octave higher in pitch than Wave A). It is the number of vibrations in a given period that determines the pitch of a sound. This is the reason that pitch is sometimes referred to as frequency. It is the frequency of the waveform peaks which are counted during a given period of time.

Tone

Musical sounds consist of several different related pitches occurring simultaneously. The loudest is referred to as the ‘Fundamental’ pitch and corresponds to the perceived note of the sound. Pitches related to the fundamental are called harmonics. The relative loudness of these harmonics compared to the loudness of all the other harmonics (including the fundamental) determines the tone or ‘Timbre’ of the sound.

Consider two instruments such as a harpsichord and a piano playing the same note on the keyboard and at equal volume. Despite having the same volume and pitch, the instruments would still sound distinctly different. This is because the harmonics present in a piano sound are different to those found in a harpsichord sound.

Volume

Volume, which is referred to as the amplitude or loudness of the sound is determined by how large the vibrations are. Very simply, listening to a piano from a metre away would sound louder than if it were fifty metres away.

Having shown that just three elements make up any sound, these elements now have to be related to a Musical synthesizer. It is logical that a different section of the Synthesizer ‘Synthesizes’ (or creates) these different elements.

One section of the synthesizer, the Oscillators provide raw waveforms which provide the pitch of the sound along with its raw harmonic content (tone). These signals are then mixed together into a section called the

Mixer and the mixed oscillator signal is then fed into a section named the Filter which is responsible for further altering the tone of the sound. It

does this by removing (filtering) certain undesired harmonic frequencies. Lastly, the filtered signal is fed into a final section, the Amplifier which determines the final volume of the sound.

Additional synthesizer sections; LFOs and Envelopes provide ways of altering the pitch, tone and volume of a sound by interacting with the Oscillators, Filter and Amplifier, providing changes in the character of the sound which can evolve over time. Because LFOs and Envelopes only purpose is to control (modulate) the other synthesizer sections, they are commonly known as ‘modulators’.

These various synthesizer sections will now be covered in more detail.

Oscillators and waveforms

The Oscillator is really the heartbeat of the Synthesizer. It generates an electronic wave (which creates the vibrations). This Waveform is produced at a controllable musical pitch, initially determined by the note played on the keyboard or contained in a received MIDI note message. The initial distinctive tone or timbre of the waveform is actually determined by the wave’s shape.

Many years ago, pioneers of musical synthesis discovered that just a few distinctive waves contained many of the most useful harmonics for musical synthesis. The names of these waves reflect their actual shape when viewed on an instrument known as an Oscilloscope, and are known as, Sine waves, Square waves, Sawtooth waves, Triangle waves and Noise Waves.

Each one has a specific fixed amount of musically related harmonics (except noise waves) which can be manipulated by further sections of the Synthesizer.

SYNTHESIS TUTORIAL

Elements of a sound - Oscillators and waveforms

• 9 •

Wave B

Wave A

Wave B is twice the pitch of Wave A

Time

Wave BWave A

Volume

Wave A is louder than Wave B but is the same pitch

Oscillators

Mixer Filter

Amplifier

Audio path of the main Synthesizer blocks

The diagrams below show how these waveforms look on an Oscilloscope and illustrate the relative levels of their harmonics. Remember, it is the relative levels of the various harmonics present in a waveform which determine the tone of the final sound.

Sine waves

These have just a single frequency. This waveform produces the purest sound because it only has this single pitch (frequency).

Triangle waves

These contain only odd harmonics. The volume of each is the square of its position in the harmonic series. For example, the 5th harmonic has a volume of 1/25th of the fundamental.

Sawtooth waves

These have a rich proportion of harmonics, containing all the harmonics of the fundamental frequency. The volume of each harmonic is proportional to its position in the harmonic series.

Square waves

These only have only the odd harmonics present. These are at the same volume as the odd harmonics in a sawtooth wave.

It will be noticed that the square waveform spends an equal emount of time in its ‘high’ state and its ‘low’ state. The way in which this defined is known as the ‘duty cycle’. A square wave always has a duty cycle of 50% which means it is ‘high’ for 50% of the waveform cycle and ‘low’ for the remaining 50% of the waveform cycle.

On the KS 4 / KS 5 it is possible to adjust the duty cycle of the basic square waveform to produce a waveform which is more ‘rectangular’ in shape. These are often known as Pulse waveforms. As the waveform becomes more and more rectangular, more even harmonics are introduced and the waveform changes its character, becoming more ‘nasal’ sounding.

The width of the pulse waveform (often known as ‘Pulse Width’) can be altered dynamically by a modulator which results in the harmonic content of the waveform constantly changing. This can result in the waveform having a very ‘fat’ quality when the pulse width is altered at a moderate speed.

When listening to a pulse wave, it does not make any difference to the percieved sound whether the duty cycle is 40% or 60% since the waveform has just been inverted and the harmonic content between the two is exactly the same.

Noise waves

These have no fundamental frequency (and therefore no pitched element). All frequencies are at the same volume. Because they have no perceivable pitch, noise waves are often useful for creating sound effects and percussion type sounds.

Digital waveforms

In addition to the traditional types of Oscillator waveforms detailed above, the KS 4 / KS 5 also offers carefully selected digitally sampled preset waveforms containing useful harmonic elements normally difficult to produce using traditional Oscillator waveforms.

SYNTHESIS TUTORIAL

Oscillators and waveforms

• 10 •

Volume

Harmonic

Sine Wave

Harmonic

Volume

Harmonic

1357

Triaangle Wave

Triangle Wave

Harmonic

Volume

Sawtooth Wave

Volume

Harmonic

1234 5

Sawtooth Wave

Harmonic

Volume

Square Wave

Volume

Harmonic

1234 5

Square Wave

Harmonic

Volume

50%

40%

10%

60%

Various duty cycles of rectangular (pulse) waves

Noise

Volume

Harmonic

1234 5

Noise Harmonic

Volume

The Mixer

To extend the range of sounds that may be reproduced, a typical Analogue synthesizer often has more than one Oscillator. By using more than one Oscillator when creating a sound, it possible to achieve very interesting harmonic mixes. It is also possible to slightly detune individual Oscillators against each other which creates a very warm ‘fat’ sound. There are has three independent Oscillators and a separate Noise Oscillator.

The mixer section is included so that the amplitude (volume level) of each of these Oscillators and Noise sources may be independently adjusted and mixed together to form a new more harmonically complex waveform.

As well as mixing together the individual Oscillators as shown in the diagram above, the mixer section allows the relative volume levels of the Noise Oscillator and any external sound source to be set.

The Filter

The KS 4 / KS 5 is an Analogue subtractive type of music synthesizer. Subtractive implies that part of the sound is subtracted somewhere in the

synthesis process.

The Oscillators provide the raw waveforms with plenty of harmonic content and it is the Filter that subtracts unwanted harmonics in a controllable manner.

Three types of Filter are available. The type of Filter most commonly found on synthesizers is the Low Pass type. With a Low Pass Filter, a cutoff point is chosen and any frequencies below that point are passed. Any frequencies above are filtered out. The setting of the FREQUENCY knob on the front panel dictates the point below which frequencies are removed. This process of removing harmonics from the waveforms has the effect of changing the sound’s character or timbre. When the FREQUENCY knob is set fully clockwise, the filter is set completely open and no frequencies are removed from the raw Oscillator waveforms. In practice, there is a gradual reduction in the volume of the harmonics above the cut-off point. How quickly these harmonics are reduced in vol-

ume above the cut-off frequency is determined by the Filter’s slope. This slope is measured in ‘volume units per octave’. Since Volume is measured in decibels, this slope is quoted in number of decibels per octave (dB). Typical values are 12dB or 24dB per Octave. The higher the number, the faster the harmonics are cut and the more pronounced the filtering effect.

The button on the sectionl marked SLOPE allows either the 12dB or 24dB type filter slope to be selected.

A further important feature of the Filter is the RESONANCE control. Frequencies at the cut-off point may be increased in volume by this control. This is useful for emphasizing certain harmonics of the sound.

As the RESONANCE is increased, a whistling like quality will be introduced to the sound passing through the filter. When set to very high levels, RESONANCE actually causes the filter to self - oscillate whenever a signal is being passed through it. The resulting whistling tone being produced is actually a pure sine wave, the pitch of which depends on the setting of the FREQUENCY knob (the filter’s cut-off point). This resonanceproduced sine wave can actually be used for some sounds as an additional sound source if desired.

The diagram below shows the response of a typical low pass filter. Frequencies above the cut off point are reduced in volume.

SYNTHESIS TUTORIAL

The Mixer - The Filter

• 11 •

OSC 1

OSC 1 VOLUME

OSC 2 VOLUME

OSC 3 VOLUME

COMPLEX WAVEFORM MIX OF OSC1, 2 AND 3

MIXER

INPUT TO FILTER

OSC 2

OSC 3

OSC 1

OSC 2

OSC 3

OSC 1 VOLUME

OSC 2 VOLUME

OSC 3 VOLUME

MIXER

INPUT TO

FILTER

COMPLEX

WAVEFORM

MIX OF

OSC1, 2 & 3

Frequency

Volume

Cutoff

Frequency

Volume

Frequency

Cut off frequency

When resonance is added, frequencies at the cut off point are boosted in volume.

In addition to the traditional Low Pass Filter type, there is also a High Pass and Band Pass Filter. The type of Filter used is selected by using the front panel Filter TYPE button.

The High Pass Filter is similar to the Low Pass Filter except that frequencies below the cutoff frequency point are removed. Frequencies above that point are passed. When the FREQUENCY knob is set fully anti-clockwise, the filter is set completely open and no frequencies are removed from the raw Oscillator waveforms.

When the Band Pass Filter is used, only a narrow band of frequencies centered on the cutoff frequency point are removed. It is not possible to fully open this type of Filter, allowing all frequencies to pass through.

Envelopes and Amplifier

In earlier paragraphs, it was determined how the pitch and timbre of a sound are synthesized. This final part of the Synthesis Tutorial describes how the volume of sound is controlled. The volume throughout the duration of a sound created by a musical instrument often varies greatly according to the type of instrument.

An Organ sound quickly attains full volume when a key on the keyboard is pressed. It stays at full volume until the key is released, at which point the volume level falls instantly to zero.

A Piano

quickly attains

full volume when a key is pressed and gradually

falls back down to zero after several seconds, even if a key is held.

A String Section emulation

attains

full volume gradually when a key is pressed. It remains at full volume while the key is held down, but once the key is released, the volume level gradually falls to zero.

On an Analogue synthesizer, changes which occur throughout the duration of a note are controlled by a section known as an Envelope Generator. The KS 4 / KS 5 has two Envelope Generators. The circuit of one of these is always connected to an Amplifier, which controls the Volume of the sound when a note is played.

Note that there are no controls in a section on the front panel which deal with the Amplifier directly. The only way to hear and control an audio signal passing through the Amplifier is to modulate it by using Amp Envelope controls.

Each envelope generator has four controls which are used to adjust the shape of the envelope. The Envelope controlling the Amplifier uses sliders.

Volume

Frequency

Cutoff

Frequency

SYNTHESIS TUTORIAL

The Filter - Envelopes and Amplifier

• 12 •

Volume

Frequency

Volume

Cutoff

Frequency

Cut off frequency

Frequency

Volume

Cutoff

Frequency

Key "On" Key "Off"

Volume

Key “On”

Key “Off”

Volume

Time

Key "On" Key "Off"

Volume

Key “On”

Key “Off”

Volume

Time

Key "On" Key "Off"

Volume

Key “On”

Key “Off”

Volume

Time

When controlling Volume, these controls adjust the following phases of the Envelope as shown in the illustration.

A = Attack Time

Adjusts the time it takes when a key is pressed for the envelope to climb from zero to full volume. It can be used to create a sound with a slow fade in.

D = Decay Time

Adjusts the time it takes for the envelope to decay from full volume to the level set by the Sustain control while a key is held down.

S = Sustain Level

Sets the volume level that the envelope remains at while the key is held down, after the Decay time has expired.

R = Release Time

Adjusts the time it takes when key is released from the Sustain level to zero. It can be used to create sounds that slowly fade away in volume.

A typical synthesizer will have one or more envelopes. One envelope is always applied to the amplifier to shape the volume of each note played. Additional envelopes can be used to dynamically alter other sections of the synthesizer during the lifetime of each note.

The KS 4 / KS 5 has a second Envelope Generator which may be applied in various interesting ways. For example, it may typically be used to modify the filter cut off frequency or change an oscillators pitch during the lifetime of a note.

LFOs

Like the Envelope Generators, the LFO section on a synthesizer is a Modulator. That is to say, instead of forming a part of the sound synthesis process, it is used instead to change (modulate) other synthesizer sections. For example, altering the Oscillator pitch or Filter cutoff frequency.

Most musical instruments produce sounds that vary not just in volume but also in pitch and timbre. Sometimes this variation can be quite subtle, but still contribute greatly towards shaping the final sound.

Where an Envelope is used to control a one-off modulation which occurs during the lifetime of a single note, LFOs modulate by using a cyclic repeating wave pattern. As discussed earlier, Oscillators produce a constant waveform which can take the shape of a repeating sine wave, triangle wave etc. LFOs produce waveforms in a similar way, but at a frequency normally too low to produce an audible pitched vibration that the human ear can perceive. In fact, LFO actually stands for Low Frequency Oscillator.

As with an Envelope, the waveforms generated by the LFOs may be fed to other parts of the synthesizer to create the desired movements in the sound.

There are two independent LFOs available which may be used to modulate different synthesizer sections and run at different speeds.

A typical waveshape for an LFO would be a Triangle wave.

Imagine this slow moving wave being applied to an Oscillator’s pitch. The result would be that the pitch of the Oscillator slowly rises and falls above and below its original pitch.

This would simulate, for example, a violinist moving a finger up and down the string of the instrument whilst it is being bowed. This subtle up and down movement of pitch is referred to as the ‘Vibrato’ effect.

Similarly, if the same LFO were applied to the Filter Cutoff frequency instead of the Oscillator pitch, a similar wobbling effect known as ‘wowwow’ would be heard.

As well as LFOs being available to modify (or more commonly known as Modulate) different sections of the synthesizer, additional Envelopes may also be used simultaneously.

Clearly, the more Oscillators, Filters, Envelopes and LFOs there are in a Synthesizer, the more powerful it becomes.

SYNTHESIS TUTORIAL

Envelopes and Amplifier - LFOs

• 13 •

Attack

Decay Release

Sustain

Key "On" Key "Off"

Time

Volume

Key “On”

Key “Off”

Volume

Attack Decay

Release

Sustain Level

Time

Pitch

Memories

The first generation of synthesizers, produced many years ago were large modular machines where each part of the synthesizer was housed in a separate unit (block). These blocks could only be physically connected together by combinations of cables known as patch leads. A typical sound produced by this method would often involve connecting dozens of patch leads.

Every time a new sound was required, the leads would have to be physically disconnected and reconnected. The positions and connections of the leads would have to be noted down on paper if there was to be any hope of creating that particular sound ever again ! If not reconnected in exactly the same way, the sound would be lost forever.

Modern machines such as the KS 4 / KS 5 have all the blocks in one compact unit and the sound generating or modifying blocks are arranged in a sensible fashion. Front panel switches and knobs determine how each block functions and where the sound modifying blocks such as the LFOs and Envelopes are routed, instead of having to physically connect them externally with cables.

Additionally, The settings of these front panel controls (which of course determine the current sound or ‘patch’) may then be stored in memory locations in the machine which can be recalled at any time.

Summary

An Analogue synthesizer can be broken down into five main sound generating or sound modifying (modulating) blocks.

1 Oscillators that generate Waveforms at a certain

pitches.

2 A Mixer that mixes the outputs from the Oscillators

together.

3 A Filter that removes certain harmonics, which changes

the characteristic or timbre of the sound.

4 An Amplifier that is controlled by an Envelope

generator. This alters the volume of a sound over time when a note is played.

5 LFOs and Envelopes that can be used to modulate

any of the above.

Much of the enjoyment to be had with a Synthesizer is with experimenting with the factory preset sounds and creating new ones. There is no substitute for ‘hands on‘ experience. Experiments with altering knobs and switches will eventually lead to a fuller understanding of how the various controls alter and help shape new sounds.

Armed with the knowledge in this chapter, and an understanding of what is actually happening in the machine when tweaks to the knobs and switches are made, the process of creating new and exciting sounds will become easy - Have fun.

SYNTHESIS TUTORIAL

Memories - Summary

• 14 •

It is recommended that this chapter is read carefully if you are unfamiliar with how MIDI works. Experienced users can skip this chapter and move on to the next chapter Main Features and Operation on page 18.

About MIDI

MIDI is an acronym for Musical Instrument Digital Interface. The MIDI standard was devised in the early 80’s as a means for allowing musical instruments to communicate with each other as well as with other devices such as sequencers and computers. Before the advent of MIDI, it was often very difficult (if not impossible) for instruments to effectively communicate with each other, especially if they had been made by different manufacturers. Nowadays, most types of electronic musical equipment are equipped with a MIDI interface fitted as standard, including synthesizers, drum machines, samplers, sequencers, computers and even some effects units.

The MIDI standard allows many different instruments to be controlled at once (say from a sequencer) using the same network of MIDI cables. Each instrument in the MIDI chain is usually assigned its own unique MIDI channel and will only respond to information that it may receive on that particular channel. The MIDI standard allows for sixteen different channels to be assigned to the various instruments in a MIDI network, which of course means that it is possible to have up to sixteen instruments playing simultaneously within a MIDI system.

Some people may feel that being restricted to just sixteen MIDI channels might be a little limiting, especially if they are composing very complex pieces of music. However, some sequencers and MIDI ports for computers offer a neat way around this problem. They can offer several different MIDI outputs, each of which is treated as a separate MIDI system in its own right with its own set of sixteen MIDI channels.

There are three MIDI sockets fitted at the rear, labeled ‘In’, ‘Out’ and ‘Thru’. Each one of these sockets has a specific purpose :

The MIDI IN Port

This is used to receive MIDI information to the KS 4 / KS 5, such as telling it which notes to play from a sequencer for example.

The MIDI OUT Port

This transmits any MIDI information which might be generated by the KS 4 / KS 5. For example, if a note was played on the keyboard or one of the knobs were moved on the front panel.

The MIDI THRU Port

This simply re-transmits any MIDI information that has been received at the MIDI In socket. This socket is useful for connecting other instruments into the same MIDI network. By connecting a cable from the MIDI Thru to another instrument’s MIDI In socket, both the KS 4 / KS 5 and the second instrument could be controlled simultaneously from a sequencer.

As seen in the diagram, if desired, the process can be repeated; a third

instrument could be added to the same MIDI network, simply by connecting a cable from the second instrument’s MIDI Thru to the third instrument’s MIDI In, and so on.

Some non-Novation instruments may not have a MIDI Thru socket fitted. In these cases, the instrument should be placed at the end of the MIDI chain or a Thru box should be incorporated into the MIDI system.

A Thru Box simply provides a number of identical MIDI Thru sockets from a single MIDI In.

It is important to realise that MIDI information flows in one direction only along the cable. It is not possible to have a MIDI In socket connected to another MIDI In socket for example. If this were done, the MIDI network would simply not work ! In fact, the only routings allowed are MIDI Out to MIDI In or MIDI Thru to MIDI In.

Some devices known as controllers are equipped with only a single MIDI Out socket and are used exclusively to generate MIDI data for controlling other instruments. Examples of common MIDI controllers are controller keyboards (these are simply keyboards with no synthesizer attached), drum percussion pads or footswitch controllers.

MIDI messages

The KS 4 / KS 5 is capable of transmitting and responding to various types of MIDI events. These are as follows :

NOTE MESSAGES

A note message is transmitted every time a key on the keyboard is pressed down or released. When a keyboard note is pressed down, the MIDI message also includes velocity information. The velocity value in the MIDI message represents how hard the key was pressed down. This velocity value can be used to add dynamics to the sound, depending on how hard the note was played.

CONTROL CHANGE MESSAGES

These messages are transmitted whenever one of the knobs or sliders are moved on the front panel. Most parameters within a menu will also transmit MIDI control change messages when the parameter is altered with the DATA knob. The MIDI specification allows for 128 different types of controller message. These are often referred to as Continuous Controllers (CC0 to CC127).

Some controllers are rigidly defined by the MIDI standard for specific purposes. For example, CC1 is always used for the modulation wheel.

Whenever the modulation wheel is moved, it will transmit MIDI control change information using CC1. All other makes of synthesizers will also use CC1 for modulation wheel data.

Certain other control change numbers have no set purpose within the MIDI specification. For example, whenever the Filter FREQUENCY knob is moved, it will transmit using CC105. There is no guarantee however that other makes of synthesizer will use this control change number for the same purpose.

MIDI TUTORIAL

About MIDI - MIDI messages used by the KS 4 / KS 5

• 15 •

Out

Thru

InThru

Sequencer

Synth [1] Synth [2]

Synth [3]

‘Chain’ method of connecting three MIDI

devices to a sequencer

Out

Thru Thru Thru

Sequencer

Synth [1]

Synth [2]

Synth [3]

‘Star’ method of connecting three MIDI

devices to a sequencer

MIDI Thru Box

There are more than 128 different parameters that can be transmitted by MIDI, but because the number of different types of control change message is limited to just 128, a a more complicated arrangement had to be employed for additional parameters.

This method uses what is known as NRPNs. (NRPN stands for Non Registered Parameter Number). NRPNs consist of three MIDI control change messages grouped together, rather than a single MIDI control change message which is used normally.

PITCH BEND MESSAGES

These messages are transmitted whenever the pitch bend wheel is moved.

AFTERTOUCH MESSAGES

These messages are transmitted by some keyboards whenever alreadyheld down keyboard notes are pressed further. Aftertouch messages can be used to add extra expressiveness to a sound, for example introducing an extra vibrato effect.

The MIDI specification defines two different types of aftertouch message; mono and poly. The type used by the KS 4 / KS 5 is mono. Poly aftertouch includes information in the MIDI message about which keyboard note was used to trigger the aftertouch effect. Poly aftertouch is very rarely used and only a very few synthesizers ever implemented the system.

PROGRAM CHANGE MESSAGES

These messages are transmitted whenever a new sound is selected from the front panel. The MIDI Specification allows a MIDI program change message to select one of 128 different sounds. When the MIDI specification was originally designed, this was not a problem since synthesizers in rarely had more than 128 memories.

Modern synthesizers such as the KS 4 / KS 5 offer many more memories, so it is necessary to send a MIDI program change preceded by an additional MIDI message which specifies which ‘bank’ of sounds the program change message will select from.

The bank select MIDI message used for this purpose is a MIDI control change message (CC32 is the control change number used). Whenever a new sound is selected, the bank select MIDI message is transmitted, followed closely by the appropriate MIDI program change message.

If these messages are then layed back to the KS 4 / KS 5 from a sequencer, the appropriate sound will be selected.

It is not necessary to send a bank select message before the program change message (though recommended). It is permitted to omit the bank select, but if so, the program change message will select the sound from whatever bank of sounds is currently selected.

Channel Messages

All of these different types of MIDI message detailed above include information detailing which MIDI channel was used when the message was transmitted. MIDI channel messages only affect receiving devices using the same MIDI channel. For example, a pitch bend message sent using MIDI channel 1 would have no effect if it were received on a synthesizer set to respond on MIDI channel 2.

Some MIDI messages do not include any MIDI channel information defined in them. Some examples of these are :

MIDI CLOCK MESSAGES

These are synchronization messages sent from a sequencer. When received, they enable tempo-locked features such as the arpeggiator and various effects parameters (such as Panning and Delay sync) to follow the current tempo of the sequencer.

The KS 4 / KS 5 itself does not transmit MIDI clock messages, so it can only be synchronized to follow the tempo of other devices and not vice versa.

Whenever an external sequencer is started, a Start Song MIDI message is usually transmitted. Certain features can be set to reset their synchronisation when a Start Song message is received.

SYSTEM EXCLUSIVE MESSAGES

This is special type of MIDI message which can contain any type of data, depending what the synthesizer manufacturer decides to put in it! The only constraint with system exclusive messages is that they always contain certain header information which is exclusively used by the manufacturer (and usually the relevant synth model as well).

This means that a KS 4 / KS 5 will only accept a system exclusive message designed especially for it. If it receives a system exclusive message transmitted by a different make of synthesizer, the message would simply be ignored. Similarly, other makes of synthesizer will ignore any system exclusive messages originally sent by a KS 4 / KS 5.

System exclusive messages have employed for two distinct purposes. They can be used to back up all of the Program, Drum Map and Performance memories and global data. This feature is extremely useful in building up a sound library on a computer or for making a safety copy of data in case the worst should happen.

Data backup is discussed in detail on Page 49 in the Advanced Features chapter.

System exclusive messages also enable an entire new operating system to be received via MIDI. The latest operating system is always available free of charge at the Novation web site. From there, it can be downloaded as an SMF (Standard MIDI File).

Because the operating system update consists purely of MIDI system exclusive messages, it can then be transferred by playing the file on a sequencer directly into the machine. However, as a safety feature, the KS 4 / 5 must be set to a special mode where it is able to accept an operating system update. Full details on how to do this are supplied along with the downloaded OS update.

For a list of the latest operating system updates, please visit the Novation website :

http://www.novationmusic.com

A MIDI Implementation Chart provides a concise way of telling at a glance which MIDI messages an instrument will transmit and respond to. A MIDI Implementation Chart for the KS 4 / KS 5 can be found on page 57. How it transmits and responds to MIDI in the different playing modes is also described in detail on page 56.

MIDI TUTORIAL

MIDI messages

• 16 •

MIDI and Sequencers

A sequencer is simply a device which is capable of recording, storing and playing back MIDI information. Using a sequencer, it is possible to construct very complex musical arrangements which would normally be impossible to play ‘live’. It is also very easy to edit the MIDI data and remove any unintended mistakes or make changes in the playing style. Many people nowadays use software sequencing packages on computers, but there are also dedicated hardware sequencers available which perform in a similar way.

All sequencers can record MIDI information exactly as played on the synthesizer’s keyboard. To do this, simply make sure the MIDI Out is connected to the sequencer’s MIDI In and start the sequencer recording. Any keys played on the keyboard or knob / wheel movements made will be faithfully recorded. This is known as ‘real time’ recording. As long as the sequencer’s MIDI Out is connected to the KS4 / KS5’s MIDI In, this MIDI information can then be played back into the KS4 / KS5, exactly reproducing all the actions made and notes played while recording the sequence.

On most sequencers, it is also possible to enter new MIDI events in ‘step time’ by explicitly defining each MIDI event without having to supply the relevant MIDI data to the sequencer’s MIDI In socket. Obviously, some knowledge of MIDI is needed in order to do this.

Nearly all sequencers offer multiple recording tracks. These tracks behave in a similar fashion to multi-track tape recorders, except that instead of holding audio recordings, they hold their own record of MIDI data. Usually, each sequencer track will contain MIDI data associated with a distinct MIDI channel. By using sequencer tracks in this way, it would typically be possible to build up a complex song arrangement with one track being used to control the drums, another the bass line, another the lead sound and so on.

When using a sequencer, some careful thought should be given as to the way the MIDI information is routed through the sequencer. With most sequencers, any MIDI information that appears at the sequencer’s MIDI In socket is immediately re-transmitted again from the sequencer’s MIDI Out socket. If desired, it is sometimes possible to turn this feature off. It usually called ‘echo back’ or ‘soft thru’. Consult your sequencer manual for details.

It is very important to realise that if ‘soft thru’ is enabled on a sequencer, the MIDI information re-transmitted by the MIDI Out socket is always converted to the MIDI channel used by the currently selected sequencer track. This means that if a track is selected on a sequencer which uses MIDI channel 2, and the sequencer then receives some MIDI information from a KS 4 / KS 5 sent on MIDI channel 1, it will be re-transmitted by the sequencer not on MIDI channel 1, but MIDI channel 2. This would be quite useful for programming parts into the sequencer for other MIDI devices or Parts, but can lead to some quite unexpected results if careful note is not kept of exactly what is happening !

Because many sequencers re-channelise MIDI information in this way, it

is quite possible to use the KS4 / KS5 as a master keyboard to supply MIDI information and notes that the sequencer will use to control other Parts in a Performance or other external MIDI equipment such as a sampler.

In Performance Mode, each of the four Parts can be played simultane- ously with each Part responding on its own unique MIDI channel. To reflect this, four tracks should be configured on the sequencer with each track’s MIDI channel setting reflecting the channel used on each of the four KS4 / KS5 Parts. When the KS4 / KS5 is being used multi-timbrally in this manner, when recording MIDI data from the KS4 / KS5, make it a rule-of-thumb to always select the appropriate sequencer track before

selecting the Part on the KS4 / KS5’s front panel.

When controlling external MIDI equipment (in this example a sampler), the sequencer track must be selected which corresponds to the same MIDI channel that the sampler is using. However, it would be noticed that as soon as notes are played into the sequencer from the KS 4 / KS 5 keyboard, the KS 4 / KS 5 would play as well as the sampler. To overcome this problem, there is a feature available called Local Control.

Local Control

Local Control is a parameter found in the Global Menu (see page 50 for

details) which in effect, disconnects the keyboard and panel controls from the synthesis engine.

When the keyboard is played or the front panel controls are moved, they still transmit the usual MIDI information but they have no direct control of the internal sound engine. When Local Control is set to OFF, the only way that the keyboard or controls can be used to play the sound engine is when the MIDI information sent from the keyboard is routed through the sequencer (with the correct sequencer track selected), back to the MIDI In socket.

When not connected correctly to a sequencer, having Local Control set to OFF is a common cause of mistakenly assuming that the machine is faulty. When the KS 4 / KS 5 appears to ignore its keyboard and front panel controls, setting Local Control to ON or selecting the correct sequencer track will usually rectify the ‘problem’.

See page 50 for altering the Local Control setting.

Summary

MIDI information is transmitted whenever the keyboard is played, front panel controls are moved or when a new Program is selected.

MIDI information is split into 16 channels. The KS 4 / KS 5 can be set to receive / transmit on any one of these channels at any one time in Program Mode. When used in Performance Mode, up to four Parts can be individually set to receive on different MIDI channels.

MIDI information travels in one direction along a MIDI cable. The only permitted connections are MIDI Out to MIDI In, or MIDI Thru to MIDI In.

MIDI messages can be recorded into a sequencer and later replayed back into the KS 4 / KS 5, replicating whatever actions occurred when the MIDI messages were originally transmitted.

Sequencers usually re-transmit any MIDI information they receive immediately, converting the message’s channel information into whatever MIDI channel the currently selected sequencer track is using.

Because of this, the KS 4 / KS 5 may be used as a ‘Master Keyboard’ to control all MIDI devices in a MIDI network.

An option called Local Control disables the keyboard and controls from the synthesizer engine. When set to OFF, playing the keyboard or moving the front panel controls only results in MIDI information being transmitted.

Setting Local Control to OFF allows the KS 4 / KS 5 to control other MIDI instruments without triggering notes or altering settings on the KS 4 / KS 5 directly.

MIDI TUTORIAL

MIDI and Sequencers - Summary

• 17 •

Sequencer KS 4 / KS 5

Synth [2]... etc

Out

Thru

Typical example of using the KS 4 / KS 5

as a Master Keyboard in a MIDI system

‘Soft Thru’ set to On

1 - Oscillator Section

Contains the controls associated with the Oscillators. These include the PORTAMENTO, WAVEFORM, SEMITONE tune, DETUNE, PWM DEPTH / PW POSITION, MOD ENV DEPTH and LFO 1 DEPTH knobs and the OSCILLATOR select, OCTAVE and PW SELECT buttons.

2 - Mixer Section

Contains the controls associated with the Mixer. These include the OSC 1 / LFO 1, OSC 2 / LFO2, OSC 3 / AD and NOISE / RING / EXT / LFO 1 knobs and the MODULATION and NOISE / RING / EXT buttons.

3 - Filter Section

Contains the controls associated with the Filter. These include the FREQUENCY, RESONANCE, OVERDRIVE, MOD ENV DEPTH and LFO 2 DEPTH knobs and the SLOPE and TYPE buttons.

4 - LFO Section

Contains the controls associated with the two LFOs. These include the SPEED, WAVEFORM and DELAY knobs and the LFO and ONE SHOT buttons.

5 - Envelopes Section

Contains controls associated with the two Envelopes. These are two sets of ATTACK, DECAY, SUSTAIN and RELEASE controls. Knobs are used for the MOD Envelope and Sliders are used for the AMP Envelope.

6 - Performance Controls Section

Pitch and Modulation wheels

7 - Master Volume and Keyboard Octave buttons

Contains the PITCH bend and MODulation wheels.

8 - Effects / Arpeggiator / Hypersync Section

Contains controls associated with the Effects, Arpeggiator and Hypersync feature.

For the Effects, these include the EFFECTS LEVEL knob and SELECT buttons.

For the Arpeggiator, these include the TEMPO knob and the ARP ON, ARP LATCH and ARP MENU buttons.

For the Hypersync feature, these include the HYPERSYNC knob and the SAVE HYPER and SYNC MENU buttons.

9 - Part Section

Contains controls associated with editing and selecting Parts. These include the PART LEVEL knob, the four Part EDIT buttons, the four Part Activate buttons and the Part MENU button.

10 - Display and Data Entry Section

Contains the display, the PERF / PROG / DATA knob and the PERF / PROG / PAGE, BY CATEGORY, SELECT, DRUM EDIT and COMPARE buttons.

11 - Keyboard

Four octaves are available on the KS 4, five octaves on the KS 5.

12 - Mode and Keypad Section

Contains the WRITE, MENUS, PERF, PROG buttons and the numeric keypad / Menu select buttons.

MAIN FEATURES AND OPERATION

Front Panel Layout

• 18 •

osc's

save hyper

Front Panel Layout

2 3 4 5

6 7 8 9

10 11

Modes and Menus

As described in the Quick Start Guide, in Program Mode, the machine operates in a mono-timbral (just one sound available) mode and responds to, and sends information on just one MIDI channel. This mode should be used when only one sound is required for playing, or when individual sounds are to be auditioned.

In Performance Mode, additional information is added to each sound (Program) such as MIDI channel and note range and this complete set of information is stored in what is known as a Part. Up to four of these Parts can then be used simultaneously in a Performance.

The LEDs located above the PROG and PERF buttons indicate which playing mode is selected.

Program and Peformance Modes

This mode enables a new single Program (sound) to be selected from the front panel controls. Program Mode is selected by pressing the PROG button. Selecting Program Mode cancels Performance mode.

Program’s name 101

In Program Mode, the display will show the currently selected Program’s name and number. Performance Mode is selected by pressing the PERF button. Performance Mode is cancelled when Program mode is selected.

Performance name 101

123 234 345 456

In Performance Mode, the display shows the selected Performance’s name and number on the top line of the display. The four sets of numbers on the bottom line are the Program number references that are asigned to each of the four Parts.

If the cursor is located at the Performance number, a new Performance can be selected by using either the data knob, up/down buttons or the keypad.

Performance name 101

123 234 345 456

Moving the cursor to any of the Part numbers allows a new Program or Drum Map to be selected for a Part.

The cursor is moved using the SELECT left and right buttons.

Pressing the SELECT LEFT button will position the cursor at the first program at the bottom left of the display. Pressing the SELECT RIGHT button will position the cursor at the fourth program at the bottom right of the display. Subsequenct presses of either button will move the cursor one step left or right to select the next Program.

Once the cursor is positioned over a Program number it is possible to select a new Program to be used in the Performance by any of the methods described in the following text. T

o return to selecting a new

Performance the PERF button must be pressed.

A new Program or Performance may be selected by one of three methods.

i) The PERF / PROG / DATA knob may be used. Turning the knob quickly increases the intervals jumped between Programs / Performances.

When selecting Programs, the BY CATEGORY button may be used to search only for Programs within a specific category.

When pressed, the LED above the BY CATEGORY button lights to indicate that category searching is active. The display shows the category assigned to the currently selected Program.

Program’s name 101 Bass

It is possible to select a different category for searching by using the SELECT left and right buttons.

While category searching is active, the PERF / PROG / DATA knob will only select Programs saved with the currently selected category.

To cancel category searching, press the BY CATEGORY button again (the BY CATEGORY LED goes out) or the PROG or PERF buttons.

Note : Category searching is only available for selecting Programs. It cannot be used to select Performances.

ii) The PERF / PROG / PAGE buttons may also be used to step forwards or backwards from the currently selected Program or Performance. If a PERF / PROG / PAGE PAGE button is held down, the Programs or Performances will jump in intervals of ten.

iii) Programs or Performances may also be selected by typing a three digit sequence on the numeric buttons. The Program or Performance will not actually be selected until the third digit has been entered.

Note that Program Mode does not have to be selected in order to select a new Program via MIDI (from a sequencer for example) nor in Performance Mode in order to select a new Performance via MIDI.

A new Program or Performance may be selected via MIDI at any time in any mode. At this time, the relevant playing mode is also selected..

MAIN FEATURES AND OPERATION

Modes and Menus

• 19 •

Making an Edit with the front panel Controls in Program Mode

If any of the front panel controls are adjusted, the display will show the new value of the appropriate control.

If for example, the Filter FREQUENCY knob was adjusted to 100, the display would show :

Filter frequency 127

The number on the bottom line is the current value of the Filter Frequency. This is the value that is stored in the Program before any tweaks or edits have taken place.

The number at the top right is the new edited or tweaked value. This feature make is very easy to see how any control or switch was set in the original program.

‘Pinging’ to new Values

Suppose the Filter FREQUENCY knob is fully clockwise (physically point ing to the 5 o’clock position) indicating a fully open setting (127).

If the Filter setting of the Program being listened to is actually set to the 2 o’clock position (say 101), a slight movement of the FREQUENCY knob will result in the sound ‘pinging’ instantly to a brighter sound. This is because the Filter frequency will jump to a maximum value of 127 represented by the knob’s current physical 5 o’clock position.

The number appearing on the bottom line makes it easy to ‘home in’ on the original value stored with the Program or Performance.

Making an Edit with the front panel Controls in Performance Mode

Performance Mode is selected by pressing the PERF button. The LED

above the PERF button lights to confirm selection. The standard Performance Mode screen is displayed.

Performance name 101

123 234 345 456

The BY

CATEGORY button cannot be used to select Performances.

The four sets of numbers beneath the Performance name refer to the Program numbers that are held in each of the parts within the Performance. The illustration below shows the relationship between Performances, Parts and Programs.

Held in the Performance are 4 part ‘slots’ that may in turn hold any one of 400 single Programs. For versatility, other information such as MIDI channel, note range etc. is also held in each part along with the program number.

This additional information may be edited by pressing the Menu button under the part level knob - See page 54 for more information on these parameters.

The SELECT left and right buttons are use to select the Part (where the Program is held) for editing.

Press the SELECT left button. The cursor will move to the Program number held in Part 1 of the Performance. Subsequent presses of the SELECT left and right buttons will move to the next Program number across the bottom line of the display.

Performance name 101

123 234 345 456

The program number underlined is reflected on the front panel by the red LED being lit. Moving the cursor with the SELECT buttons will also cause the red LED to move in simpathy. Similarly, pressing a different edit button in the parts section will cause the cursor to move.

At this time, the KEYPAD buttons, PAGE up / down buttons and DATA knob may be used to select a new Program number on the selected Part

The BY CATEGORY button may be used to select a Program in the same way as previously described. T

o return to selecting a Performance, press

the PERF button.

Any control that is moved moved on the front panel is now editing the program that is held in the part of the currently selected performance.

The display will behave in the same way as when editing a single program - See above left.

NOTE: Edits made to Programs that are held in a performance DO NOT affect the programs that are held in the single program memory areas 100

- 399. There is a complete additional copy of the program held in the part of the performance.

This powerful feature allows changes to be made to sounds within a performance without having to worry that, if the program is used elsewhere it will be affected.

If, for example the program on part 1 was edited, the display would look similar to the following illustration

Performance name*101

23 234 345 456

An asterisk will appear to inform that this program held in this perform- ance is different is some way to the program in the single program area numbered 123. Also notice that a further asterisk appears next to the performance number indicating that, it too has changed from the orginal.

MAIN FEATURES AND OPERATION

Modes and Menus

• 20 •

Electric Drums 600

Strings 345

Electric Piano 234

PERFORMANCE 100

PERFORMANCE 101

Bass Guitar 123

Part 1

MIDI Channel 1 Outputs 1 & 2 Volume 99 Semitone offset +12 Cents offset -06

Part 2

Part 3

Part 4

Exporting the edited program out of the performance

Pressing the write button when the cursor is under the program number will just save the program number to a desired located. The saving prodcedure is detailed on page 8 of the quick start guide section.

This provides a convenient method to EXPORT edited programs out of a performance back to a single program memory location.

Saving the edited performance

Press the PERF button and the cursor will position itself under the performance number. Press the write button to initiate the saving of the performance. See Page 8.

After saving the performance, the display would appear as below.

Performance name 101 *123 234 345 456

Notice that the asterisk has dissappered from the Performance number since both the saved performance and the one being listened to are the same. Alos notice that the asterisk before the program number 123 is still visible

since the program held is this performance is different in some way

to that held in the single program memort area.

Is possible to make the editing displays permanent (for example when the Filter knob is adjusted the values will stay on the display permanently until another conrol is used). It is also possible to vary the time that the displays are shown for. These options are in the Global Menu. See page 51 in the Advanced Features chapter for more details.

Menus

Many of the advanced features and utilities are available from menus. There are thirteen separate menus, each of which consists of several pages linked together. Menu pages are accessed by pressing any of the relevant MENUS button.

When any of the MENUS are activated the LED situated above the MENUS button is lit. As soon as a Menu is entered, the display will show the first page of whichever menu was accessed the previous time the Menu was used.

For example, if the Filter Menu had been previously selected, the display would show one of the pages of the Filter Menu.

Filter Q norm 13 <<MENU>> 49

Once any of the Menus have been selected, the PERF / PROG / PAGE buttons to the left of the display are be used to navigate forwards and backwards between the menu’s pages. Once the desired menu page has been reached, the values are altered by using the PERF / PROG / DATA knob. The display behaves in the same way as when a front panel control is adjusted. The current value being shown on the botton line and the new value being shown on the top line. MENU text in capitals is at the left of the display to inform that a MENU is selected.

When the Main Menus button is selected, as in the following illustration, different menu may be activated by pressing any of the 0 - 9 keypad buttons.

The ten menus available here are associated with the Oscillators, Mixer, Filter, LFOs, Envelopes, Effects, Wheels, Aftertouch / Breath Control, Utilities and the Global parameters.

The Part, Sync and Arpeggiator menus are always selected directly by pressing the dedicated menu buttons within the appropriate section on the front panel.

When any menu is selected, the page that first appears may be set using one of the options in the Global Menu. See page 51 for information on how to do this.

Once in a Menu it is possible to alter any of the front panel controls as in Program Mode, but it will be noticed that when a knob is moved, the display text for the knob just moved will only be shown on the screen for a short period of time. (This time is set using the Function Display time parameter in the Global Menu - see page 51). After a short time, the display will revert back to showing the current menu page.

It is possible to exit a Menu by pressing the current Menu button again, or to move to another menu by pressing a different menu button.

If Program Mode, was selected before pressing a menu button, then Program mode will be selected on exit.

If Performance Mode was selected before presing a menu button, then Performance Mode will be selected.

It is possible to exit any menus by pressing the PROG or PERF buttons.

MAIN FEATURES AND OPERATION

Modes and Menus

• 21 •

osc's

Oscillator Section

The Oscillators generate pitched waveforms (as described in the Synthesis Tutorial chapter) and these are fed into the Mixer. Most of the controls which determine the pitch and waveform of the Oscillators, and how they react to modulation are in this area of the front panel.

OSCILLATOR Select Button

There are three independent Oscillators. Each one can be independently controlled by the buttons and knobs in the Oscillator area. To make make the controls active and to see waveform and octave settings for Oscillator 1, press the OSCILLATOR button once or more until LED 1 lights. For Oscillator 2, press until LED 2 lights and for Oscillator 3 press until LED 3 lights.

OCTAVE Button

Sets the basic pitch of Oscillator 1, 2 or 3 in Octave jumps. To change the basic pitch of the selected Oscillator to +1 octave for example, repeatedly press the OCTAVE button until the +1 LED lights.

NOTE: The 0 position corresponds to the pitch of 440Hz when note A above middle C is played.

PW SELECT Button and PWM DEPTH / PW POSITION Knob

The function of the PWM DEPTH / PW POSITION knob is dependent on the selection of the PW SELECT button. With the POSITION setting selected, the PWM DEPTH / PW POSITION knob will manually control the pulse width of a square waveform (the selected waveform for the Oscillator must be Square wave for this to happen). In order to understand how the Pulse Width knob affects various waveforms, examples, using factory presets are used. See the following paragraphs titled:

Obtaining a classic Square/Pulse PWM sound and Obtaining a Double Saw ‘thick’ detuned sound.

With the PW POSITION knob in the central position, the Pulse Width wave becomes a square wave. As the knob is adjusted clockwise, or anticlockwise, the Pulse Width becomes narrower producing what is termed as a Pulse Wave.

With the LFO 2 position selected by the PW SELECT button, the width of the Pulse Wave may be modulated by LFO 2. The intensity of this modulation is determined by the PWM DEPTH knob. With the Pulse Width knob at central position there is no effect. Turning clockwise or anticlockwise introduces the effect. Continuous variation in the width of a pulse waveform (which is what is happening when LFO 2 is modulating it) changes the harmonic content. This is pleasing to the ear, especially at lower pitches where all the associated harmonics fall within the audio range. This creates the classic PWM sound, as described below.

When modulated by the MOD ENV, the effect is most apparent when using fairly long Mod Env Attack and Decay times.

Obtaining a classic Square / PWM sound

The PWM sound is one of the classsic analogue synthesizer sounds. Select one of the factory initialisation sounds ( 311 - 499) All of these initial sounds use only use Oscillator 1 as the source waveform. Select a square waveform using the WAVEFORM button in the Oscillators section. Notice how the timbre changes to a more ‘woody’ sound. Select POSITION using the PW SELECT button.

Rotate the PWM DEPTH / PW POSITION knob and notice how the sound changes to a very thin nasal sound when the knob is towards the clockwise or anticlockwise end stop positions. (If fact the sound will extinguish completely at maximum settings). Leave the knob at the 12 o’clock position.

Select LFO 2 using the PW SELECT button. Slowly rotate the PWM DEPTH / PW POSITION knob. Notice that there will now be some movement in the sound. Select LFO 2 in the LFO’s section using the LFO button. Rotate the SPEED knob in this section and notice how the speed of the movement will change. Experiment with the above controls until the desired sound is achieved.

Obtaining a Double Saw ‘thick’ detuned sound

A thick ‘Double Saw’ detuned sound using just a single Oscillator may be created easily. If necessary, this sound can be stacked using additional Oscillators to product a ‘huge’ sound. Select one of the factory initialisation sounds ( 311 - 499). All of these initial sounds use only use Oscillator 1 set to a sawtooth as the source waveform. Select POSITION using the PW SELECT button.

Rotate the PWM DEPTH / PW POSITION knob fully clockwise. As the control is rotated, a double sawtooth wave is generated. At this fully clockwise position the pitch will appear to double.

Select LFO 2 using the PW SELECT button. Slowly rotate the PWM DEPTH / PW POSITION knob. Notice that there will be some movement in the sound. Select a sawtooth LFO wave using the WAVEFORM button in the LFOs section. Press the LFO button to select LFO 2. Rotate the SPEED knob in this section and notice how the speed of the movement will change. Experiment with the above controls until the desired sound is achieved.

PORTAMENTO Knob

This knob adjusts the Portamento effect. With this control set to zero, when the keyboard is played, the pitches of notes change instantly from one pitch to another as different keyboard notes are played. Turning the knob clockwise introduces the Portamento effect. Notes will glide smoothly from one pitch to the next. Increasing the amount will slow the time taken for the pitch of the first note to reach that of the second note played.

WAVEFORM Knob

This knob sets the currently selected Oscillator’s waveform. As the knob is turned, the WAVEFORM LEDs indicate which waveform is currently selected. There are 32 waveforms available. The first 4 of these are the traditional waveform shapes found on classic analogue synthesizers. The next 4 are special noise types. The remaining 24 are digitally sampled waveforms that provide useful sources fro emulating more tradional instruments and percussion sounds..

When this knob is at the fully anti-clockwise position, the Sine waveform is selected. As the knob is turned clockwise, the other traditional waveforms are selected. After these, the more complex harmonic waveforms are available. Whenever one of these is selected, the MORE LED will be lit on the front panel.

On the following page is a table of all the Oscillator waveforms available.

MAIN FEATURES AND OPERATION

Oscillator Section

• 22 •

SEMITONE Knob

Raises or lowers the selected Oscillator’s pitch in semitone increments up to a full octave. Setting the pitch of Oscillator 1 to zero and adjusting the pitch of Oscillator 2 and 3 by differing amounts results in some musically pleasing intervals. Settings 5 (a perfect 4th), 7 (a perfect 5th), 3 (minor 3rd), 4 (major 3rd), 8 (minor 6th) and 9 (major 6th) offer the best results. Use other settings for intentionally discordant sounds.

DETUNE Knob

Sets the detune amount in Cents for the selected Oscillator 1,2 or 3. If it is set fully clockwise, the Oscillator’s pitch will be 50 cents sharper than its basic pitch. Fully anticlockwise and it will be 50 cents flat.

Slight detuning between each Oscillator will enrich the sound by introducing a beating between the Oscillators (in the same way a 12-string guitar sounds richer than a 6-string). Bass and lead sounds can be fattened up using a small amount of detune. Large amounts of detuning will lead to more extreme effects.

MOD ENV DEPTH Knob

Controls the amount of pitch modulation to the currently selected Oscillator from the Mod Envelope. In the centre position there is no effect on the oscillator's pitch. Anticlockwise the effect is negative (i.e. the pitch drops and then rises) and clockwise, positive (the pitch rises and then falls).

See Envelopes Section, on Page 26 for the setting of the rise and fall times.

LFO 1 DEPTH Knob

Controls the amount of pitch modulation to an Oscillator from LFO 1. It controls how much above and below the basic pitch the Oscillator regularly rises and falls. If the LFO 1 is set to a Triangle wave and the LFO’s speed knob is above the centre of its range, this will produce a vibrato effect. Other effects like a siren or sea gull cry are possible with more extreme settings.

Other functions associated with the Oscillators can be found in the Oscillators Menu. See Page 34.

Mixer Section

The Mixer makes it it possible to combine the outputs of Oscillators 1,2 and 3, the Noise source, the Ring modulator and the external Audio Input. The ability to mix together any or all of these sound sources makes it easy to create complex timbres.

OSC 1, OSC 2 & OSC 3 Knobs

Normally controls the volumes of the three Oscillators. Fully anticlockwise results in no signal. In this position and with all the other Mixer levels turned down, there will be no audio output. Fully clockwise results in full volume for the appropriate Oscillator.

When the MODULATION LED is lit (see below) these knobs control the amount of modulation applied to the mixer. In the central position, no modulation is applied. Turning the knobs clockwise introduces positive modulation (the mixer levels become louder). Turning the knobs anticlockwise introduces negative modulation (the mixer levels become quieter).

MODULATION Button

This determines how the various knobs in the Mixer Section are used. When this button is pressed, the LED above the MODULATION button is lit and each of the Mixer Section knobs control the amount of modulation applied from the source specified by the knob. The level of Oscillator 1 is modulated by LFO 1. The level of Oscillator 2 by LFO 2, the level of Oscillator 3 by the AD Envelope (see page 39 for setting the AD Envelope parameters) and the level of the Noise / Ring Modulator / External input also by LFO 1. These modulation assignments are fixed and cannot be redefined.

Note : The AD Envelope is a special, dedicated Envelope used for FM synthesis or to control the level of OSC 3 in the Mixer. It should not be confused with the AMP or MOD Envelopes found on the KS 4 / KS 5 front panel.

When the MODULATION button LED is not lit, the Mixer section knobs control the levels of the various signals fed through the Mixer.

NOISE / RING / EXT Button and Knob

The NOISE / RING / EXT button selects which sound source the NOISE / RING / EXT knob will control.

With the NOISE position selected, it controls volume of the White Noise Generator. White Noise is useful for creating sound effects such as Wind.

With the RING 1 * 2 position selected, it controls the volume of the Ring Modulator. Ring Modulation is useful for creating harder Metallic tones.

With the EXT position selected, it controls the volume of an external audio signal connected to the INPUT socket on the KS 4 / KS 5’s rear panel. This signal can be processed by the filter, envelopes and effects. An external audio signal may be a microphone, CD player, guitar etc. With a little experimentation, quite effective and dramatic changes to the sound can be produced : Filtering, wah-wah, gating, using the Effects Section for adding reverb, chorus etc. Experiment !

Note: All three of these sound sources may be used simultaneously and if so, it may become necessary to reduce the Program Level dB in order to avoid signal distortion (see page 39).

MAIN FEATURES AND OPERATION

Oscillator Section - Mixer Section

• 23 •

Oscillator Waveforms

No. Description

0 Sine 1 Tri-Angle 2 Sawtooth 3 Square (Pulse) 4 White Noise 5 Hi-Pass Noise 6 Band Pass Noise 7 Hi / Band Pass Noise 8Organ 9 Harpiscord 10 Electric Piano 11 Slap Bass 12 Rhodes Piano 13 Rhodes Tine 14 Whirly EP 15 Clavinet 16 Analogue Bass

Rhythm Sounds

17 Kick 1 18 Kick 2 19 Kick 3 20 Snare 1 21 Snare 2 22 Snare 3 23 Tom Tom (Front) 24 Rimshot 25 Stick 26 Closed Hi-Hat 27 Open Hi-Hat 28 Tamborine 29 Conga 30 Cow Bell 31 Cymbal

Filter Section

The Filter can be used as a Low Pass, High Pass or Band Pass type.

FREQUENCY Knob

This controls the basic Cut off frequency of the Filter. The Low Pass type of Filter is the most common type of Filter found on classic analogue synthesizers and is musically the most useful, especially for bass sounds. As the FREQUENCY knob is adjusted anticlockwise, harmonics are gradually removed from the sound. When almost closed, only the fundamental frequency remains. Fully closed and no sound at all passes.

With the High Pass Filter type, as the FREQUENCY knob is adjusted clockwise, harmonics are gradually removed from the sound. When almost fully anticlockwise, only the fundamental frequency remains. When Fully clockwise and no sound at all passes.

With the Band Pass Filter type, a narrow band of frequencies are passed, centered on the position of the FREQUENCY knob. This kind of Filter is useful when it is desired to pass only a specific frequency present in a sound.

RESONANCE Knob

This knob controls the Resonance of the Filter. The control will boost frequencies at the Cut off frequency. On on some synthesizers, this control is known as Emphasis since it will emphasize certain frequencies. At the zero position there is no effect. Turning clockwise slowly introduces the emphasis.

Set fully clockwise, the Filter will begin to self - oscillate, producing a new pitched element (similar to feedback on an electric guitar).

Note : At least a small signal must be fed into the Filter in order for the resonance to take effect. It is not possible for the filter to self - oscillate if no signal at all is fed into it.

If the KS 4 / KS 5 produces a high pitched whistling sound, it is probably due to this knob is being adjusted too far clockwise. If this self-oscillating effect is not desired, keep the Resonance control away from the extreme clockwise setting. Increasing the Resonance is very good for bringing out modulation (movement or change) in the filter Cut off frequency, such as in Acid bass lines and other very edgy sounds.

OVERDRIVE Knob

This knob controls how much the filter is overdriven. When used in large amounts it will have the effect of making the sound richer and slightly distorted.

MOD ENV DEPTH Knob

Controls the amount of change to the filter Cut off (set by the FREQUENCY knob) by the Modulation Envelope. In its central position there is no change to the filter Cut off frequency. Adjusting the knob anticlockwise from centre will introduce an increasing amount of negative modulation.

The filter will close as the MOD ENV runs through its cycle. Adjusting the knob clockwise from centre will introduce an increasing amount of posi

tive

modulation. The filter will be opened by the MOD ENV.

SLOPE Button

Controls how drastically the frequencies above (Low Pass), below (High Pass) or around (Band Pass) the Cut off point are removed from the sound. When the 12dB position is selected, the Cut off slope is gentle so higher harmonics are not attenuated (reduced in volume) as sharply as they are when the 24dB position is selected.

TYPE Button

Determines whether the Filter is acting as a Low Pass, High Pass or Band Pass type.

LFO 2 DEPTH Knob

Controls the amount of change to the filter Cut off (set by the FREQUENCY knob) by LFO 2. In its central position there is no change to the filter Cut off frequency. Adjusting the knob anticlockwise from centre will introduce an increasing amount of negative modulation. The Filter will close and open in time with LFO2 (this creates the popular wow wow effect of LFO2 wavefrom is set to Triangle).

Adjusting the knob clockwise from centre will introduce an increasing amount of positive modulation. The filter will open and close in time with LFO 2.

NOTE : An external audio signal such as a microphone, guitar or CD player may be processed by the filter and effects. Refer to Page 51 in the Advanced Features Chapter for more details on setting up this feature.

More functions associated with the Filter can be found in the Filter Menu. See Page 37.

MAIN FEATURES AND OPERATION

Filter Section

• 24 •

+ 53 hidden pages

Novation KS5 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual