This is an informal archiving of what I considered to be the most interesting and useful tips gleaned from posts at the very cool Eat At Joe's K5000 message board archives put together by Jens Groh.
There is also a Kawai K5000 "Links" page at my site here: Kawai K5000 Page
This site will be added to as I find new things. To download this to
read it offline, click on this link: K5000 Tips
* (Remember, you will have to hit 'Reload' to see any updates on these web pages.)
Wednesday, 21-Oct-98 11:29:00
I've only done string pads, so I don't know about the attack, but the waveform is generally a saw. It typically has some extra "saw motions" within each saw cycle; a jagged saw. Try something like A(n)=(1/n)(cos(Pi*n*31%)).
>BTW, I remember seeing someone mention that the K5000 has saw waves that are out of phase with each other. Has anyone used them to create PWM?
It's a PCM wave, I think it's "Saw 3",
and its an inverted Saw 2. I think it's in the digest, under examining
waveform traces. I think Jens picked it out of Kenji's
traces. That's a nice undocumented feature.
Re: Re: Strings
Thursday, 22-Oct-98 05:36:08
Well, the two PCM sawwaves are only approximately
inverse to each other. They don't cancel out completely, but still good
enough to obtain a good PWM effect.
The rest of our PWM discussions can be found following:
Pulse Width Modulation on
clipping from CC list
Friday, 21-Nov-97 14:51:19
I'm reposting this message from:
firstname.lastname@example.org (PhReEkY dEeK)
It was sent on a cc email list that was going around before I set up this message
board and I thought that it's useful for additive synthesis reference. It seems
like you could almost simulate pulse width modulation with harmonic envelopes.
A square wave is basically made up of
a sine fundamental and odd numbered
harmonics at a fixed ratio. The harmonic content is signified by a lack of the
nth harmonics when the pulse width is 1/n. So, a 1/3 (33%) pulse wave would have
every 3rd harmonic missing; a 10% would have close to every 10th harmonic missing.
PWM and the Knob Box
Monday, 24-Nov-97 13:06:03
Wow, I check out this list for the first
time ever and the first thing I see is
someone quoting me... I'm flattered! :)
The idea of simulating PWM with harmonic
envelopes is interesting. I mean, my Juno-60
does it, but only with VCF envelopes.On a synth like this... :) Does it seem
feasible to modulate harmonics with other sources besides an envelope or LFO?
I don't have SoundDiver and haven't really gotten too deep into this end of the
programming, but if it is possible to control some aspect of harmonic content
(besides filter cutoff) with something like a MIDI CC, then we don't even have to
settle for plain old oscillator-modulated PWM. We can instead modulate
with something like pitch bend, or aftertouch, which sounds like a neat prospect....
Question about the k5kr knob box: someone
told me that it's a MIDI CC box, but
aren't the parms that it controls sysex-based? Any info would be
Re: PWM and the Knob Box
Monday, 24-Nov-97 19:01:04
How would that work? How do you modulate between
a 33% pulse and a 20% pulse
(passing through 25%)?
The knob box is definately CC's.
Friday, 28-Nov-97 08:22:03
I found an appoximate solution to the PWM problem.
Imagine a pulse width modulated square wave as the following thing: Take a
sawtooth wave and subtract a time-shifted version of it. That's all. Try it, draw
the curves on a piece of paper! Adjust and modulate the time shift parameter
according to the pulse width needed. Now take a look at what happens with
the spectrum: It results from the spectrum of a sawtooth wave multiplied with
the frequency response of a delay-and-subtract filter. This filter is nothing else
than a flanger. Why not simply use the flanger in the effects unit? Because you
might want to modulate the pulse width with an envelope, not with an LFO.
And this is where it's getting exciting: The K5000 formant filter can do it! You
have to program it as a so-called comb filter which has zeroes at odd
multiples of a low frequency. Unfortunately, the formant filter has a logarithmic
frequency scale and an unknown (or does anyone know???) amplitude scale,
so I could not set it to precise values. Particularly, the high-frequency resolution
is bad. But it turned out to be sufficient to get a flanger-like sound, though
not as clean as 'original' PWM. But maybe some day someone calls this sound
'better-than-PWM', who knows? By the way - no one says that you have to
use a sawtooth wave...
I plan to provide an example patch, hopefully downloadable soon from Kenji's website.
Greetings from Munich, Germany!
Re: PWM again
Sunday, 30-Nov-97 22:27:05
Yes! Good point. I'm trying a couple of ways to use that, nothing that works yet.
One thing that brings up, to use on the analog:
If you combine a saw with the
same saw 180 degrees out of phase you get a saw one octave up, whereas if you
invert the second saw you get a square. So, going the other way, if you combine
a square with a saw one octave up they should add up to saw. What's the use?
All the odd harmonics are in the square and all the evens are in the octave
saw, so you can change the odd/even balance of a saw using an analog synth.
Re: PWM again
Wednesday, 03-Dec-97 10:35:55
Oops! My delay-and-subtract filter accidentally
became a delay-and-add filter
when I wrote:
"...comb filter which has zeroes at odd multiples of a low frequency...".
Please, don't be confused if you did not understand
it: Omit the word "odd" and
Check out my pseudo-PWM example patch 'PSDOFLNG.KA1' on Kenji's patches page.
PWM again again
Monday, 01-Dec-97 01:37:57
I'm sending in a patch called PWMtail1,
which does a limited emulation of PWM.
The attack portion fades in as a square wave (rounded off a bit), then it tails
off as an emulation of PWM going 50%->0%. I left it dry of effects.
As Jens pointed out, a square is like
a saw minus another saw offset 180 degrees.
As you decrease the offset to 0 degrees, the difference between the two
saws is a pulse that decreases in width from 50% to 0%. As the two saws move
relative to each other, harmonics are alternately cancelled and reinforced.
What happens to the harmonics is this:
In the square, all of the odd harmonics
are at full amplitude and all of the evens are at zero. As the pulse width falls to
zero, the amplitude of the fudamental falls to zero as well. The amplitude of the
third harmonic falls to zero three times as fast, then rises to full again, then
falls to zero. Each odd harmonic goes through n/2 cycles of falling and rising. The
even harmonics go through n/2 cycles of rising and falling; the 2d harmonic is at
full amplitude at 25% and back to zero at 0%. I would say it simpler if I knew how.
This patch uses the loop1 function on
the envelope for each harmonic up to sixteen.
The timing can't be set fine enough for this application, so you can't really
go above 16 harmonics and even at that they don't stay in time for very long. Also,
they increase and decrease linearly instead of sinusoidally.
Also, the phase of the harmonics should
change as you sweep from 50%->0%, but
that's beyond the K5k (or anything else out there.)
Bottom line is, for playing, keep an
analog around for this kind of thing. (I
still like the Waldorf Pulse with the K5k, great combination.)
Re: PWM again again
Monday, 01-Dec-97 04:41:18
You don't have to worry much about the phases
of the harmonics. The more steady
a sound is, the less audible the phases are. Thus, for reproducing attack
sounds phases may be important, for PWM rather not. My 'pseudo-PWM' approach
has completely wrong phases, too.
Re: Actual K5000 Waveforms
Wednesday, 08-Jul-98 04:04:24
Hey - the Saw3 PCM wave is almost a negative
Saw2 PCM wave! Know what you can
do with that? Pulse width modulation! Just mix them together. All
other settings must be identical, except the fine pitch parameter.
Re: Re: Actual K5000 Waveforms
Thursday, 09-Jul-98 10:35:05
It works! In fact, it makes a similar
effect with many PCM and ADD waveforms
other than Saw 2.
To load large numbers
Wednesday, 21-Oct-98 12:08:52
This would be useful via a drag a drop type utility, but right now that doesn't exist. The best you can do is the following:
1. Download the ka1tosyx utility from the "patch" archive.
2. Put as many patches in a directory as you think will fit in memory (usually a little over 60).
3. Put ka1tosyx.exe in the same directory and from a command line prompt, run ka1tosyx *.* (or ka1tosyx *.* D1). If you are using a Mac you may need to do this from a DOS/Windows emulator.
4. Load the resulting sysex files in either a MIDI program or Sound Diver.
5. Transmit the sysex patch data to the
Still not the best, but much quicker
than loading them all one by one from the LCD screen.
Re: uses for
the wav import function (sound diver)
Thursday, 22-Oct-98 09:31:33
When it comes to wav import I've found that the best wavs to use are 1 secound wav that have no frequency mod.
For example, I use a program called WavGen to create an original 1 secound wav, by blending together squares, pulses, sin/cos, etc. Sometimes its a good idea to get a good balance of frequencies in this raw wav. You can always filter the ones you don't want out later. Once I'm happy with the wav I save it and import the buggar in. This has helded some great starting points for sound generation.
As far as the differnt types of import I try out each one, and pick the one that best suits my taste.
This aplication doesn't work well if you try and import an acoustic violin or guitar, etc. SO i stick to raw synth wavs.
From: Adam Schabtach <email@example.com>
> I havn't tried it yet, but would it be possible to resynth a vocal
> sample or phrase? I guess that might sound kinda like a vocoder, but
> probably not as clear.
Maybe a sampled choir or voice singing "ahhh" or something like that,
but not a phrase. The problem is that there isn't enough control of
the amplitude of the harmonics over time. Each phoneme (bit of speech
sound) in a word potentially has a different harmonic content, so you
potentially need a separate envelope stage for each phoneme. And
there are more phonemes than syllables, e.g. "cat" has three
phonemes. The name "K5000" has 11 phonemes: two for "kay", three for
"five", two for "thou", and four for "sand". And then there's the
pause in between. So you need a minimum of 12 distinct spectra to
synthesize that phrase, and hence you'd need 12-stage envelope
generators. I suspect that some phonemes would need more than one
stage each, too.
(Vocoders actually have good amplitude tracking--it's all done almost
instantly with analog electronics--but poor frequency resolution,
which gives them their distinctive timbral characteristics. The
frequency resolution is determined by the number of filters in the
analysis/synthesis filter banks; typically around 10 for most
"classic" analog vocoders and up to 20 or so for the really expensive
Syntons and Sennheisers. The K5000 with its 64/128 harmonics would be
able to do a rather good job of resynthesis, except that it has poor
control of the amplitude of the harmonics over time. Does it show that I
just spent a couple of weeks building a vocoder in software?)
Adam Schabtach firstname.lastname@example.org
[K5000] Re: K5000 resynthesis
From: email@example.com (Jens Groh)
Adam Schabtach <firstname.lastname@example.org> wrote:
>[...] The K5000 with its 64/128 harmonics would be
>able to do a rather good job of resynthesis, except that it has poor
>control of the amplitude of the harmonics over time. [...]
I agree. (See below.)
kent christopher <email@example.com> wrote:
>[...] i remember reading somewhere that the import function in SoundDiver works by processing the first
>128 samples, or some small number like that. if i'm not mistaken, this translates to 128/44,100, or
>about .003 seconds of sound that it's actually looking at and attempting to resynthesize. this
>would explain why it's not very useful for trying to convert samples that change over even the
>slightest period of time. [...]
There is a brief explanation of the audio import method in SoundDiver's
on-line help. (At least in the German version
that I own.) Look for the topic "resynthesis": There they state that they do a harmonic analysis which is synchronized to
the fundamental frequency. (That's pitch tracking + resampling + fast fourier transform. One could call it a synchronous
spectrogram.) It is done for the whole imported sample, not only for one 0.003 second transform frame. Thus they get one
amplitude _curve_ per harmonic. Finally they try to find the best segmentation for each curve, and here the actual
I consider having just three segments - the release phase not considered - for resynthesis a serious restriction. For
"out there" sounds it's ok. (And that's what I love!)
String Pad patch
Friday, 23-Oct-98 00:32:59
I sent in a new patch:
SolinaPd: An analog string-synth style pad.
The waveforms come from:
A(n)=1/n + (1/n)(cos(Pi*n*X%)^21)
where X is 34% for one and 25.5% for another.
This came out of trial and error, looking for waveforms with the right "sawteeth".
Also, some information from Future Music. They've been printing some great articles lately by Matt Thomas about analog patches.
a good way to program if you stink at math?
Friday, 23-Oct-98 12:05:04
I stink at math. So I either import WAV's or go buy ear. Does any one have any programming tips for those of us who are bad at math. I already have a good understanding of additive synthisis it's just a matter of applying it without having to drown in equations.
Anything that will reduce 64 choices
to fewer choices will help. The higher harmonics are not so important to
real and analog sounds, so concentrate on the first
16. Some ideas:
+Start with a full template like the saw and eliminate different sets of harmonics. ("Additive Subtractive"?)
+Start with a thin template like the triangle and add different sets of harmonics.
+Pick individual harmonics. (Results in a lot of bells and drawbar organ sounds, though. Some kinds of chimes use the series of squares: 1, 4, 9, 16, 25, 36, 49,
64, 81, 100, 121. Some use just the odd members of that set.)
+Find harmonic spectra of real instruments (like the Sharc database) and copy what you see by hand.
+Max all the harmonics, or a group of them, or use a template, and then use the envelopes, FF, filter and effects to shape the sound. You can get a nice "sting" by maxing some higher (>8) harmonics, sweeping the FF across, and adding heavy distortion or overdrive.
Hope that helps.
Monday, 12-Oct-98 07:23:20
There is a bug in version 3.01 which
has not yet been mentioned: On the DHE Multiview screen, the loop parameter
is not displayed correctly. The value being displayed is the one belonging
to harmonic #1, regardless which harmonic you have selected. Editing the
loop parameters works, even if you don't see it on the display when you
re-select the same harmonic again after some editing! You can verify that
on the DHE (single) View screen. There, the individual loop settings are
LETTER TO KAWAI BEGIN QUOTE:
Here is the list of wishes and bugs that
has been compiled during the past year that the message board has been
running. They are divided into three categories, bugs, useability issues,
and new features. Several of them would require changes in the way patches
are saved in memory and so would probably not be possible, but many of
them could be implemented without any problems in backward compatibility.
There is a bug in version 3.01: On the
DHE Multiview screen, the loop parameter is not displayed correctly. The
value being displayed is the one belonging to harmonic #1, regardless which
harmonic you have selected. Editing
the loop parameters works, even if you don't see it on the display when you re-select the same harmonic again after some editing! You can verify that on the DHE (single) View screen. There, the individual loop settings are displayed correctly.
When there is only one patch in a memory
bank, and you delete this last one, then the memory organisation for this
bank seems to get corrupted completely. A strange noise appears when patches
are changed. (When will we hear that sound in a tekkno production?) Saving
patches is no more possible. The only way to recover the bank's memory
structure is to reload the entire bank from a *.KAA file.
I use the K5000S, and after installing
the new 3.0 operating system, I've noticed that sometimes when playing
an arpeggiator, a note will drone (even after the arpeggiator is turned
off) until I find the note that is stuck and press it, or until I switch
Stretch tuning - specify exact cents
between notes & also stretch greater than 100 cents per note. The manual
does state that you can do this but it is not possible.
I observed that both the DCA_Key_Scale_To_Envelope_Level
and the ADD_DHL_Key_Scale_To_Gain parameter seemingly do not function (at
least in some cases). I have also noticed that some of the Key Scale parameters
apparently do not function or have a function different from what is intended.
Experimenting with a piano sound, I just
could not understand why the tone was so mellow. After careful comparison
with other sources I finally found the culprit: KS to Gain in the DHL Common
screen was set to +45. Reducing it to 0 or some negative value cleared
up the sound and brought back the high harmonics. Is there anything in
the words "KS to Gain" to tell any of you that this is really a brightness
Some of you may have downloaded and tried
Kenji's Hammond patch. If I play this patch, there is a curious variation
in the amount or amplitude of the low harmonics. Play e.g. the note C5
(i.e. two-line C) over and over again. What I hear is not a constant tone,
but a random fluctuation between C5 and C6. That is, the low harmonics
seem to drop out once in a while. This phenomenon appears to occur only
if at least two of the three voices in Hammond are active. I cannot make
it happen with one voice only. It seems like the dynamic voice (or "source")
assignment of the synthesis software starts the 2 sources with a little
This delay is not constant, so the phase relations between the sources vary from note to note. In this case, the sources 1 and 2 are identical, so some harmonics may easily be cancelled by the phase shift, each time different ones. Maybe even the fundamental.
But there appear to be some bugs in the
MORF function. In particular, the Harmonics Levels of the MORFing source
are sometimes set correctly, sometimes not.
choice of continuous tracking of params
like filter res (currently you must retrigger the envelope for res changes
to take place. This is useful in some instances but a pain in others. Panning
is another such parameter that needs to be tracked (as a previous poster
The "Disk Write" function in EDIT mode
should check if the file name already exists. (It does not - only the "Save"
function in the DISK menu does.)
When loading a patch from disk into memory,
the patch that is already in the selected program slot should be displayed
at the top of the DISK LOAD screen as it is displayed when you use the
Write function to save a patch to memory.
When loading a patch from disk into memory,
the program number selection always is set initially to A1. It should be
set to the program number that you were last using when you first went
into the disk menu.
i would like the volume setting in mulit
mode to show changes (with both numbers and slider graphics)when they are
made by an external sequencer. when i first tried it, i thought that it
wasnt working because nothing on my screen changed. i wasnt sure untill
i dropped the levels way down and heard a drastic change.
Fix voice stealing bugs. There are times
when voices are stolen when polyphony cleary has not been exceeded (such
as a two mono-voice split in multi-mode. You would never expect one of
the voices to be stolen, but it happens if you sustain one for long enough
while playing rapidly on the other. Greater flexibility on choosing stealing
criteria, e.g. oldest, softest, etc would be ideal. In general, I would
much prefer that a more recent voice that has been released would be the
one to get stolen rather than an older voice whose key is still down.
And it's a hassle that you have to save
the sources before you execute the MORF. I wish the K5000 would read the
sources being edited rather than the old version in flash memory.
you can press F4 to turn the FX off but
how about letting us press it again to turn it back on! is it just me or
does it seem strange that this was not implimented?
We have a relatively large display. Why
are e.g. envelope levels displayed as 0-127? Why not %, and time in seconds?
The copy (that is, parameter import)
operations within the ADD menues should not be restricted to the same bank
as the patch being edited. This applies to the MORF source selection, too.
Velocity curve selection by graphic "icons"
rather than numbers that I have to look up in the manual! (My brain's programming
language is not MIDI!)
I'd like to have a pre-listen feature
for all copy operations, or at least the possibility to see the other patch's
name on the display. Again, the Kawai engineers don't seem to realize that
the user has sounds in his/her mind, not numbers! Generally, I'd prefer
import (copy-from) functions to export (copy-to) functions.
I'd like to keep the LOCAL setting OFF,
but it resets to ON every time I power down. Are you guys manually turning
it OFF for every sequence session? Even the K4 retained the LOCAL setting
on power down.
The Formant Filter is transposed together
with the played note if you play 'legato' and the POLY mode is set to SOLO2.
Even though this pitch tracking may be useful in a few cases, it is mostly
----------DESIRED NEW FEATURES----------
LFO sync to MIDI
batch loading of *.ka1 files. just highlight
a number of patches (as you would in windows explorer.) then specify where
you want them to go. (bank A/D , patch numbers xxx through xxx.)
If you could reassign the Macro Knobs
to send out the continuous controller messages of your choosing, the K5000S
would also be a very, very nice controller keyboard. Even though you can
program the K5000's patch parameters to respond to different CC's, which
alleviates the lack of macro knob assignability while working with the
K5000, this doesn't help when using the knobs to control parameters via
MIDI on other synths. The Macro knobs are a very useful addition and I
hate to see their potential diminished in any way. I don't think that this
addition would be hard to implement either. You could set up the user assignability
function to be active only when MIDI control is set to "Local Off" and
avoid interfering with whatever goes on when the K5000S is in "Local On"
mode. With this feature you could use the knobs as controllers for whatever
other equipment you have also. While you're at it controller reassignability
would be useful for the mod wheel, switches and foot pedals also.
A copy function for the effects block
settings: From Single to Single and from Single to Multi.
More (and more advanced) edit macros
for ADD sources:
1. Shifting the DHL and FF spectra up/down and left/right.
2. Stretching/compressing the DHL and FF curves in horizontal or vertical direction.
3. Tilting the spectrum - this is the same as combining the edit macros "dark" and "bright" that we know from the K5k user interface.
4. Cross-fading (interpolation) between two spectra (DHL or FF). And extrapolation beyond! (It's the same formula.)
5. Smoothing/enhancing the spectra. It's a sort of "filtering the filter".
6. Translating the DHL spectrum into a FF spectrum and vice versa. This could be done gradually - think of a sort of DHL/FF crossfade.
Edit buffer dump via MIDI.
Plain and simple I would like a compressor
in the effects section. Since I'm using a "sequencer studio", I didn't
need a compressor until I got the K5k. If you start turning knobs and get
the filters screaming it's a necessity. (Which is a good thing--it brought
in some real world texture and unpredictability.)
I've been trying to put together a patch where the FF is keyscaled 1:1 to the keyboard, so that going up a half step on the keyboard raises the FF a half step. (I want to do this while fixing the pitch of the ADD). The KS for FF depth doesn't seem to stretch far enough.
Re: Version 4 features/fixes?
Monday, 30-Nov-98 04:56:59
*** In the Harmonic Envelope Multiview menu, the harmonic select buttons (L3,L4) now have an auto-repeat function.
*** In Multi edit, you can set the key zones of the sections by holding a button and playing a note.
( g r o h @ i r t . d e )
Re: Version 4 features/fixes?
Tuesday, 01-Dec-98 01:46:11
Just found another added feature in the 'Write' section: now when you go through the patches to select a destination to write to, you are given the names of the patches already in existence there. How handy!
New 'link' patch bank?
Monday, 30-Nov-98 23:47:06
I probably shouldn't put it on my site
without permission from Kawai. I noticed another difference. Press the
'Single' bank select button a couple of times and you enter the 'link'
bank. Not sure what it's for but I think you can re-arrange patches from
various banks into one location somehow. Anyone figure this one out?
Yeah, cool!!! That 'Link' function, when activated by pressing the Single button a couple times, presents a new active button, R2, that turns on and off an 'edit' mode for the link. In edit mode, you select what sound/patch you want to go with the displayed link # up top. Turn off edit, and now the patches will sequence according to the link progressive settings. How very nice!
Ver 4 Change
Monday, 14-Dec-98 07:43:59
Following the bad translation of the
explanation of Ver4.0 change on Kawai JP web.
Is might be useful to folks.
1.Withe ME1, you can select E bank and
F bank pushing "single" several times. (Midi bank
e msb103/lsb=0, fbank msb104/lsb=0)
2. Effect copy: you can copy single effect on multi ,comb mode. Push "EDIT" while select
3.For K5KS,W only, LINK: next to bank F, link display appears. Select 00-12,0-9 with
dial L3, L4. 00-12 is for lists and 0-9 for tone. After selecting link No. push R1 for
K5KW,push R2 forK5KS, (make sure edit mode) ,select tone. you dont need write.
4.For S,R only:(1) you can assigng PGM UP/DOWN to SW1,2 F SW 1,2. Push "system"
select F SW. (2)Now you can load each arpegio patern. When you load, select L1 to L4.
5.For S only,one toch effect cansel and undo:on play mode you can cansel effect with L4.
Push again undo.
K5K serises are now shipped with ME-1
in Japan,so Kawai say ver4 for the memory
expantion K5Ks, adding new sound programs.
Sorry for bad english.
System 4.00 Sounds
Saturday, 28-Nov-98 19:16:47
I am a fairly new user to the k5000s and I LOVE the machine. I just wanted to say that the presets I heard from version 3.00 american version were pretty good, but I just downloaded the japanese version 4.00 and the sounds are MUCH better. I just ordered the wizoo book, so hopefully I'll be making my own sounds too.
I think the new sounds (from the new system installation) are more "headphone-y" than the V3 sounds. I wouldn't give up those V3 sounds, though! ;-)
Also, I downloaded the Version-4 'Supplemental' disk, and it has aa bunch of other sounds on it, plus re-cuts of the three demos. (Switch on K5000 with disk in drive while holding down F1 key). Also, the Phrase Sampler presents these new sounds (using the same phrases as on V3, it seems) -- with 'Supplemtal' disk in drive, press and hold down the two up & down 'Section' buttons to the lower left of the display (on an 'S'). I don't know if they added any more functionality to those buttons, though.
Re: K5000 knob #'s
Saturday, 21-Nov-98 20:23:28
16 18 74 73
17 19 77 78
71 75 76 72
80 81 82 83
that Receive K5k CC Knob Messages
Wednesday, 18-Nov-98 22:18:31
I just found out by accident that my GM module (a Roland M-GS64) responds to K5k CC knob messages for "Even/Odd" (71), Release (72), Attack (73), and Cutoff (74). This isn't documented anywhere. The last three do what you'd expect; the first seems to increase the attack sample and some very high harmonics.
These seem to be standard CC assignments.
My Yamaha VL70 responds to these, too. (71 is "Harmonic Content", 72-74
are the same.) Check all your units!
Can I shut off the sustain for half
Monday, 16-Nov-98 16:12:24
This keyboards really awesom! The only
thing I can't figure out is how (in single or in multi) to shut off the
sustain so the the Hold pedal doesn't hold down the notes.
I mostly use the board w/ a split Bass on the left & Pads on the right & I like playing the bass rhythmically while holding down the pad (using the pedal). Can anybody help me figure out how to do this before my next gig?
Monday, 23-Nov-98 12:10:42
Here's one way to do it that I just thought
of. Make two different patches that are identical. For only one of them,
assign the pedal to increase the release time.
Now make a multi patch that uses keyboard split between the two. Now there will be one patch sound that only sustains on one half of the keyboard.
Will this work?
Re: An Idea
Wednesday, 25-Nov-98 13:36:39
I think you got an idea there ken. The
question is if I want a single patch to sustain ( lets say A#23) I can
assign the pedal to increase the release time and split it in multi with
a Bass sound,lets say, & use the pedal in the FSW input?
Do I need a new kind of pedal to do that b/c my regular sustain pedal doesn't seem to work in the FSW inputs?
Re: Re: An Idea
Tuesday, 01-Dec-98 02:11:41
A footswitch that doesn't work in the FSW inputs? Maybe the polarity is set wrong. You can change polarity in the first screen of the 'System' section (second item). Change it to 'RVRS' and see if that fixes things.
4 using Internet Explorer
Tuesday, 01-Dec-98 17:42:44
Format floppy on K5000
with pointer on the file you want to download
click RIGHT mouse button
select "save target as"
select "A" drive
backspace over the file name, then re-enter the file name, include caps, ie:
click on "save"
Kludge to make a "crappy"
From: moron <firstname.lastname@example.org>
I am somewhat surprised that Kawai did not include a compressor in the
effects session, especially considering the quiet/loud tendency of the
additive section and the resonant filters. You can get a "crappy"
compressor by turning the drive down to 1 which acts sorta like a
compressor set to infinity.
Has anyone found any other ways to create a "missing" or new effect
what is available? As another example, the auto-wah can be used as a patch
level resonant filter if the sensitivity is set to zero.
ways to generate guaranteed aliasing / decimated bit rate type effects?
i got one that kinda works for that. take two distortions in a row,
the drive down low if you don't want distortion in addition to this. Set
the high and low eq's on the first to -12 and on the second set them to
+12. you end up turning the level down real low (so it's not using the full
range of bits) and then boost it back up real high. you can also play with
the level settings too (set the first real low and the second real high to
boost it back up to where it was in the first place, but a lot grittier
than before). you can prolly do this using any two effects that have level
adjust ments. distortions are fun since they can boost the level more (you
can set the eq to +12, not just adjust level back up to 100%). might be of
Some ideas - any ideas on how to ADD the fat?
Thursday, 03-Dec-98 17:25:45
The easiest way to start making patches is to take a sound that already exists and edit it from there. If you start with something basic like my ADDSaw patch or Leiter's L7 patch, you shouldn't wind up with problems like not being able to hear anything very easily. I think one of the prime candidates for eliminating your sound is the Formant Filter. If you want to be sure you can max the whole thing out and then make sure it's not offset and has no envelope.
Here are some ideas to fatten the sound up:
Detuning: Try making two sources that are identical and then make one of them out of tune by around 5-15 cents.
Octaving: Try making two sources and then transpose one of them up or down a whole octave. Decrease the volume on the source you transposed.
Decay: Give the sound a subtle decay. This will emphasize the attack and make the sound hit harder.
Effects: Many of the effects settings can make the sound bigger, here are the obvious ones to get started: Chorus, EQ (crank the low end), Enhancer, Exciter, also a subtle Distortion or Overdrive can help.
Of course I think the best candidate
for making the PHATTEST sound around is to custom create an ADD harmonic
profile that does what you need. We haven't really discussed what makes
a sound fat yet though in terms of additive synthesis - anyone???
Re: sounddiver problems
Sunday, 06-Dec-98 17:02:47
1. Set the automatic backup to maximum time, so it never backs up.
2. Avoid cutting and pasting between patches. If you do, unhighlight and close the first patch before you open the second, and afterwards close the whole program and reopen it.
It's a bit buggy but it's a huge help when it comes to programing patches.
Re: sounddiver problems
Monday, 07-Dec-98 06:58:32
Disable your screen-saver as well. If
that kicks in SoundDiver may lock up as well. It depends on what MIDI interface
and subsequent driver you are using.
Re: Re: sounddiver problems
Monday, 07-Dec-98 10:01:24
>Disable your screen-saver as well. If
that kicks in SoundDiver may lock up as well. It depends on what MIDI
>interface and subsequent driver you are using.
I think the screen saver is part of the backup problem--it freezes if it tries to backup while the screen saver is on. It also freezes if it tries to backup while minimized.
SoundDiver and System 4.0
Tuesday, 15-Dec-98 07:57:53
I'm still having trouble requesting certain
patches from the K5k. I can usually request
patches one at a time (and ONLY one at a time--what a pain that is), but for certain slots I
can't even request one at a time, e.g. A031 always gives me a check sum error if I request
Try setting MIDI timeout to 750ms. I'm using SoundDiver (full version)
and the default
MIDI timeout value of 500ms gave me some problems. But after I changed it to 750ms, I've
been able to send & request a maximum of 40 patches at a time.
Re: Deleting all patches
Wednesday, 09-Dec-98 10:02:33
There is a bug in the K5000 system software.
(3.01 for the 'R) The memory organization is corrupted as soon as you delete
the last patch of a bank. No more editing, saving, copying possible in
the appropriate memory bank! Probably not with SoundDiver either. My K5000R
did only recover from this state when I loaded an entire bank from a diskette.
A solution: Delete all but one! It may be a good idea to save that almost empty bank for the case you want to delete "all" patches again: Just reload it.
( g r o h @ i r t . d e )
Here's a zipfile containing 'empty' bank (load
into any bank) like Jens describes
and an empty Multi also.
SoundDiver Number Keys
Saturday, 12-Dec-98 13:05:51
Here's a problem with the OEM SoundDiver, and I'm wondering if it's the same with the full version.
The keyboard number buttons (above "QWERTY") work as function buttons, for moving around. The keypad number buttons actually work as number buttons, for entering numbers. But, if you happen to touch the NumLock button, the keypad buttons start acting like the keyboard numbers and there's no way to enter numbers. Worse, to get the keypad back seems to take multiple reboots of the computer!
This seems to me like a crappy way to do it in the first place, even without the "lockup" problem. Does the full version do this?
(I'd trade a new OS for a de-bugged SoundDiver
anyday! It's too bad that it's so useful and so buggy at the same time.)
Re: SoundDiver Number Keys
Saturday, 12-Dec-98 15:55:49
Found something; under File|Preferences|Global there's a place to check "NumLock" to enable the keypad.
Man, this thing gives me that Bill Gates feeling sometimes.
Saturday, 12-Dec-98 17:02:27
the noise K5000 produces once running comes from the display. if the backlight is turned off the noise ends (well, 10% come from the power supply). it is quite easy to build in a switch. once opened the K5000 one will find two white cables that lead from the power supply curcuit to the left side of the display. one just has to build in a switch in one of those.
If that switch is used when the K5000 is running, the screen will get blank.
does anybody know what computer / what harddisk is best for SILENT harddisk recording ?
ps: thanks to Kenji, this is a brilliant site !!!
My guess as
to the constant MIDI messages
Thursday, 10-Dec-98 12:24:59
Here is a quote from the MIDI Technical
Fanatic's Brainwashing Center:
Category: System Realtime
A device sends out an Active Sense message
(at least once) every 300 milliseconds if there has been no other activity
on the MIDI
buss, to let other devices know that there is still a good MIDI connection between the devices.
When a device receives an Active Sense
message (from some other device), it should expect to receive additional
messages at a rate of one approximately every 300 milliseconds, whenever there is no activity on the MIDI buss during that time. (Of
course, if there are other MIDI messages happening at least once every 300 mSec, then Active Sense won't ever be sent. An Active
Sense only gets sent if there is a 300 mSec "moment of silence" on the MIDI buss. You could say that a device that sends out Active
Sense "gets nervous" if it has nothing to do for over 300 mSec, and so sends an Active Sense just for the sake of reassuring other
devices that this device still exists). If a message is missed (ie, 0xFE nor any other MIDI message is received for over 300 mSec), then a device assumes that the MIDI connection is broken, and turns off all of its playing notes (which were turned on by incoming Note On messages, versus ones played on the local keyboard by a musician). Of course, if a device never receives an Active Sense message to
begin with, it should not expect them at all. So, it takes one "nervous" device to start the process by initially sending out an Active Sense message to the other connected devices during a 300 mSec moment of silence on the MIDI bus.
This is an optional feature that only
a few devices implement (ie, notably Roland gear). Many devices don't ever
initiate this minimal
Here's a flowchart for implementing Active
Sense. It assumes that the device has a hardware timer that ticks once
every millisecond. A variable named Timeout is used to count the passing
milliseconds. Another variable named Flag is set when the device receives
Active Sense message from another device, and therefore expects to receive further Active Sense messages.
The logic for active sense detection
about using K5k multitimbrally
Thursday, 17-Dec-98 18:21:05
> .... is it possible to send messages from
an external sequencer (I'm using Cakewalk v3.0) to switch MULTI patches
in the middle of a song. If so, how?
(Oops... I guess I should look at the digest first)
Absolutely. Just set each multi part to receive on a different MIDI channel. You can mix those up how you like (ie., three of them could be all layered on the same MIDI channel, and one could be controlled over a separate MIDI channel.)
> Now the perplexing one. When I close out of a MULTI-edit window in SoundDiver, one (sometimes more) of the four sections in the MULTI on the K5k
ALWAYS reverts back to the original factory sound for that slot, while the rest of the sections retain the changes I made. I can shut the K5k off and turn it
back on to get my original changes back, but if I then start SD again OR Cakewalk I get the same problem. What gives?
I don't know, but I'll bet the changes DID get made, but the screen didn't show your changes till you restarted. If you just change windows forward and back to the one that should have the change, that also might make the edits appear. It is a screen-display thing in the K5000, not a problem in Sound Diver. (I've encountered this before!)
> I love the interface, but I've noticed some real problems with SD. Sometimes changes don't save. Sometimes I turn the write protect back on during editing
after getting a good sound so as not to destroy it with further tweaking, but the changes in SD get written to the K5k anyway. I'm extremely frustrated.
Perform a backup after editing remotely (as from Sound Diver) on the System screen, the F4 button. That transfers all your changes from the temporary editing buffers to the permanent memory. That's why Sound Diver has that Automatic Backup after so-many seconds feature (though many hate it, and prefer to do it manually when they are all done editing from the F4. You can retrieve your originals if you really mess things up by doing a reset, which copies back all the patches you backed up.)
> BTW (I know this has turned into more than 2 questions), what must one do to update the OEM version with the "module update" DL from the Emagic
URL (it's "K5000.dll")? All help appreciated.
Download the new modules if you haven't already, and then rename the Diver folder (diver.safety), make a COPY of your that folder, and rename the new one back to just Diver. Place the fresh K5000.dll into that new Diver folder (when it asks you whether you want to replace an existing file, say yes, as this is only a copy of your original.) Start Sound Diver, and if all works with the new Module, you'll be peachy. If not, trash the Diver folder you made, and rename your Diver.safety folder back to just Diver, and your back to normal.
Today's secret word seems to be 'backup!' :-)
Re: Re: Re: 2 questions about using K5k multitimbrally
Friday, 18-Dec-98 15:51:56
>How do you change a from one MULTI to another remotely during playback of an external sequencer?
Ohhh... Patch-change style, eh?
Send a Control 0, value 101
followed by a Control 32, value 0
followed by the multi patch number (the number you want minus 1, so if you want patch 1 on the screen, send a midi patch # 0)
Send a Control 0, value 100
followed by a Control 32, value 0
followed by the patch number as above
Send a Control 0, value 102
followed by a Control 32, value 0
followed by the patch number as above
it dumb to buy a Wavestation after just buying a K5000s?
Monday, 21-Dec-98 23:30:48
It's very dumb, don't do it! What's your friend's number?
Seriously, unless you are really attached to your Juno, I would do it(assuming the WS is in good shape, works, etc...). Trendyness aside, the WS is one of the best synths ever produced and is something that you will never tire of. I don't really think that it sounds at all like the K5000.
The similarity is that both instruments are good examples of a digital synthesis implementation that is capable of producing complex, detailed and unique sounds. The number of directions that you can go while programming these instruments is mindboggling(the downside of this is that it takes some hard time to learn the ropes). Both instruments are in the niche of complex digital programmable synths, but within that class they are very different(much more different than say any two synths in the rompler class). The WS is definitely worth checking out!
One other thing to think about is the type of WS, the keyboard comes in two flavors the original and the EX. The EX has more internal waveforms to work with, try for one of these.
Jon, I concur.
Laura and I own three Wavestations (WS, EX, & SR), and the K5000 is the hottest addition to our studio for providing new sounds -- and the depth of programming and sound sculpting we've been spoiled with by the Wavestations. Since I can't really get any or all of the Wavestations to sound like the K5000, we bought a K5000S (and the reverse is also true). You can't go wrong with the combination of WS (especially EX keyboard or SR and AD racks) and the K5000. Those machines are the heart of our studio!
I'm jealous, for two reasons. I only have one WS (SR), I'd love to have two more. Assuming that Laura is your significant other, you're lucky that you don't have to argue over the allocation of funds for WS purchases. Lucky, lucky dude!
The WS is my favorite synth (The K5k is a close second). It's almost perfect. If it had internal sample RAM it would be perfect. What was Korg thinking when they stopped making these? I figured that they would incorporate wavesequencing/vector synthesis into their newer instruments (I think that they intended to with the OASYS, which never made it into production), but as far as I know they havn't. Oh well....
Yes, Laura is my Significant Other -- we met discovered that we both owned Wavestations - me a WS original, her an EX - and it was a relationship blessed from the start, eh what? She recently bought the SR so she wouldn't be lugging the EX around to gigs (she uses an EPS 16+ as a master keyboard).
I should write a thank you note to Korg! :-)
Some guys have all the luck!
What kind of music do you and Laura do with the Wavestation and K5k? I'm really curious to know what you all do with all that power, versatility, etc...
Very long reply to jon's query...
Saturday, 26-Dec-98 09:24:14
Currently, Laura is working primarily with a setup consisting of an Esynth, WS-SR and Ensoniq ESP16+, and a bunch of fancy controllers (Peavey 1600x, Oberheim Systemizer, and Fatar bass pedal board, and tons of footswitches). This is a very powerful arrangement and yet is easy to set-up and break-down, which she needs because this Winter and Spring she will be performing a bunch of solo concerts (a couple a week!) - very synthy, heady and often quite dramatic electronic music. So, I get the K5K! :-)
I am regaining my health and returning to school to learn multimedia design (CD's and Websites and such -- secretly I'm preparing for next year's performances...) When I'm available again, Laura and I will be doing some fairly extreme things together in concert, and for that all the stops are pulled out. We've been putting this together for some time, but right now my focus has to be on recovering stamina (and recruiting roadies!)
I generally layer -- believe it or not
-- all my stuff into a single massive and quite active sound, thinking
along the lines of this rig being merely a very hyped-up harpsicord. This
and some swift programming make for a pretty complete sound for just MY
parts. Zoning, layering and velocity-switching are my friends. I only very
occasionally use a discreetly split keyboard arrangement, as there are
few instances that the right hand does not venture into the traditionally
left-hand's domain during lead solos, so I make the EX a second keyboard
controller when I need a completely different sound in the left hand.
The K5K is my master keyboard. Any one of these synths is powerful enough to give a very impressive performance on its own, and the combination is quite juicy. I also add support from two detuned TX81Z's I've collected from pawn shops over the last couple years, and when I need piano sounds, an Emu Proformance+ (which was thrown in with the Wavestation when I bought that!) works fine and cuts through in a mix if I need that, or blends well for bass-y chunk support. The K5K is my featured performance instrument, for reasons most owners of these synths are beginning to understand! ;-)
We're not dance-music performers, but it was they who inspired us to get the heck out of the studio and in front of audiences to provide a very good program of electronic sounds! By Summer '99 I should be back into that scene with Laura, and if I can find enough people to help get the equipment to the gigs and set it up and break it down and return it home, I'll be doing some solo things a little sooner. Till then, I'm 'practicing.' (ie., having a ball!)
Now all we need is some nice lighting-stuff!
SD Autobackup, SD Resynthesis
> ugo wrote:
> > hi,thanks for the welcome.i have a few questions for you. first...has
> > anyone here know if the K5000 book
> > from www.wizoo.com is any good?
I've heard elsewhere that it was worth the money.
> > second....how can i delay/turn off theconstant auto backup
> > does whilein sound diver?
In the Parameters box, set in milliseconds (1000=1 second). Set to 0 and it will only backup when you hit !
> > third.....here is my big question.could someone please
give me a
> > walk throughof the process they use to re-synth .wav files?it would
> > seem that i cant figure this out to save my life.i would really
> > apreciate something of a step-by-stepthat will show me how to get to
> > the pointwhere i can hear a re-synthesised sound through my K5K.im not
> > looking for any huge instructionson how to perfect the
> > "sample."[although i will gladly accept any info/tips offered! :-) ] i
> > just hope that the re-synth process (just getting the sampleinto the
> > K5K) can at least give me a soundthat remotely resembles the
> > original.
Mainly, keep the sample you are analyzing as short as possible, and
simple as possible. It should be pure enough to make a clean loop from
itself. Remember, this isn't really resampling in the strict sense as
the term is used in samplers. It is, rather, a Fourier Analysis that
converts the waveform information into harmonic levels -- that is, it
lays out how loud each harmonic in the waveform is and makes the
information in a format your K5000 can apply to a sound. For
percussive sounds, where you use the harmonics above 64, you may need
to create two Fourier series: I don't remember offhand. Harmonic
envelopes, and what you do with the Fourier Filter and its own
envelope structure, are still up to you to add to the sound to give it
some "motion." If you have several such simple sounds, an easy way to
give motion to the lot is through that Morphing capability, where up
to four of these 'resampled' waveforms can be made to segue from one
to the next and back and forth using a couple of envelope algorithms.
Did you try checking the volume of each source and also disabling all
except the one you are importing into? Also - and this is more likely - there
Muted Sources, removing sources,
From: email@example.com (Jens Groh)
"ugo" <firstname.lastname@example.org> wrote:
>>But muted sources still eat polyphony, don't they?
>yeah they do.
AFAIK, they don't. They just eat memory space. Meanwhile, we all know how
limited memory is.
Anyway, here is a workaround: If you want to delete an arbitrary source,
which is not the last one, copy the last one to the one that is to be
deleted, then reduce the number of sources by one. The source copy menu item
is, stangely, in the LFO menu!
i have a workaround too, much more clumsy than Jens' one. just take
extra source and set it so that it only triggered by like note number 1 or
128 or something (i.e. move it out of your way) it's still there in case
you decide that you wanted it back but it shouldn't eat polyphony. i hadn't
noticed muted sources eating polyphony, which just goes to show how
observant i am. but i had just been moving extra sources down to the far
end anyways just to keep track of them.I pull the sounds that i wanna play
with into the five octaves that the k5k's keyboard covers and keep the rest
off to the sides. if i wanna see how they sound in with the sounds i'm
working on i can trigger them via my drum machine's pads (it's an ry-20
from yamaha and i use it more as a midi controller than i do as a drum
machine:)and then reassemble them together into a coherent patch when i am
done (for the moment) tuning the sounds to each other and stuff.
hope this helps some.
From: Warren Bones <email@example.com>
Thanks for all the help with my source reduction problem. As it happens,
did re-install version 3.0 the other night and the problem went away.
>Has anyone found a way to remove both original sources? It would
>nicer if you could just get the products (i.e. plus and difference
>frequencies) instead of the original plus the products.
From: Warren Bones <firstname.lastname@example.org>
is even better with a big, fat, juicy DISTORTION effect on it [but
then, so are most things]. If you arpeggiate it it is like listening to a
COCTEAU TWINS instrumental.
From: BONESwarrenR <email@example.com>
In the K5000R
you can edit via the "virtual sliders" and save the results by simply pressing
and saving the patch. I have done it dozens of times without a hitch.
Getting Fatter Basses from the K5K
From: "Jamey Wright" <firstname.lastname@example.org>
This message is in response to an email I received, I thought everyone
benefit from the question...
>I just read your posting on the K5k mailing list. I just got my K5k
>a couple days ago, so you can figure out I am kind lost, specially with
>additive synthesis. One thing I noticed though, is the K5k seems very
>thin when it comes to its sound, overall; but you said on your posting
>that you use it mainly for 'bass', pads and leads. How do you do it ? You
>pump it up with something external (eq, compressor or something else ?)
I have been experimenting with making fatter basses lately... here are
-use the "enhancer" effect and kick up the bass to taste
-the eq can be bumped up to fatten bass (obvious one there)
-use two or more sources in your patch, set one to -12 and one to -12
detune it about 5-15 cents... and then maybe put a third source on if you
like at -24... this normally pushes the sound to be fatter
-if you are using a lowpass filter (almost any bassline does) run down
cutoff and you should be booming
-since additive synthesis only uses sine waves to re-create sound, try
making an additive waveform with only 1 harmonic set to 127 at the low end.
this gives you a nice sine type bass that is frequently heard in drum n bass
-if you like muddy basses, try putting a chorus on the bass to fatten it up
-additive waveforms sound "warmer" and more "analogue" to me than the
waves... try replacing any PCM waves with their ADD counterparts
That is all I can think of right now but I hope it helps people out....
[K5000] How to get to OS version 4.
From: Nefarium <Nefarium@pcez.com>
Ok, finally figured it out from talking to Troy at tech support.
have to download the zip file, and unzip it DIRECTLY to a freshly
formatted K5000 floppy. You can't let the unzipped file touch a win95
hardrive, or FAT32 will screw it up.
Dave, ya may wanna change the wording a tiny bit on the K5000 page,
avoid the confusion I went through the other night. The DOS Exit/shell
copy thing should not be necessary. You can unzip directly from win95
Re: Misc K5000W and
S & R questions
Fri, 18 Dec 1998 09:44:19 +1100
This is in response to a range of questions/opinions expressed on the
My apologies in advance for the length of the post and - if it offends
anyone - my apologies again. That isn't my intention.
*The K5KW uses some of the GMEGA sample library and some new samples
it's GM patches.
*ALL of the ADD samples are NEW and unique to the K5K.
*There was a suggestion about getting an external sequencer with the
This is the same sequencer found in the K5KW. The software from the Q80 was
taken directly and modified slightly for the W to deal with the different
display and a couple of other changes.
*Re: extra sequencer facilities, like APG (Auto Phrase Generator) and
Advice. These are "interesting" inclusions on a pro synth....
For anyone who knows nothing about music and/or can't play keyboards too
well, these features may be just the ticket.
Again, Kawai "borrowed" these from another device they make - the Z1000.
*Re: the GM or "standard" sounds and comparisons to other synths....some
stuff you should know which have a bearing on things.
- many of the synth manufacturers have a hardware output stage which
bridged with a so-called "smiley" EQ. This essentially pumps the bottom and
top end of the overall sound giving the instrument a particular tonal quality.
-Kawai do not do this, and before you say "but the K5K has an EQ in
section"...this EQ is NOT hardwired into the output stage of the signal
path and is adjustable by you.
The "smiley EQ" mentioned above allows NO user interaction.
This is NOT to say that the K5KW doesn't have it's own unique "quality" to
it's overall sound.
-when sequencing, the overall "mix" is what's important and while I
that some of the K5KW's GM sounds are uninspiring in isolation...in the
context of a mix, they blend well.....
For those of you who are not in the know, all manufacturers map their
sounds and match them for a "sweetness" when used multitimbrally...pitch,
detune rates, frequency ranges etc etc etc. are all taken into account so
that when playing Beethoven's 9th or Barbie Girl midifiles, the synth
sounds work together.
-the K5KW has a SNR (Signal to Noise Ratio) of 106dB. This makes it
"clean", "punchy" etc. Many of the other synths mentioned have far lower
SNR and this accounts for the "The K5KW is pro-sounding" comments.
*polyphony, processing & headroom issues....
-The W has two DISCRETE synths. One is an ADD synth, just like the S
the other is the GM synth. Each synth has 32-note polyphony and no, you
can't steal voices from one to use in the other area.
-Without mentioning synths by name, there are a couple of high profile
modules which are being overworked when playing back multitimbrally. These
devices start to have problems at the 8 to 10 channel mark, not the 16 that
they're supposedly capable of and this results in a loss of headroom.
(headroom is also known as dynamic range and is the difference between the
In these units, the loss can be as significant as 15dB.
The K5000 does not have this problem and retains it's full dynamic range
regardless of how hard it's being pushed.
Given the K5KW's current bargain price, it's an excellent choice.
Subjectively, you may or may not like it's GM sounds and may find that a
Roland, Alesis, Ensoniq, Korg or Yamaha synth may fit your sensibilities
better....you should use your ears and go for what sounds best to you.
The problem is that to REALLY listen to any synth, you need to have
YOUR recording/sequencing situation through YOUR mixer/amp/speakers...and,
you should use it as you would normally. i.e. sequencing classical, jazz,
dance stuff or just playing it....
Only then can you make an informed choice about what to buy...check
your dealer...they may let you borrow/hire a synth so you can try it out.
Regarding "warmth" to balance the sound of the K5K or something that
more "analogue"......I can only say that ANY digital synth - and this
includes the DX, PPG and Wavestation, all known for their "hardness &
coldness" - can produce "warm, fat, analogue" sounds.
The K5K can as well!!!!
I'll hop off the soapbox now....I hope some of you found this of use.
PR & Website Manager / Author
WIZOO - midi, music & audio technology
Footswitch 1&2, SW 1&2, Arpeggiator and Portamento CC numbers
> From: "Rhen, Kris" <email@example.com>
> Can anyone tell me the MIDI CC numbers that are transmitted/received (if
> any) by the two switches and two foot switches on the K5ks? Are the both
> transmitted and received? How about the Expression Pedal? Thanks all.
(The left side has the values in decimal, the right the values in hexadecimal.)
CC 65= 0 or 127 CC 41h = 0 or 7Fh
The following are NRPN changes:
SW1 (normally the "octave down" button):
CC 99 = 32 CC 63h=20h
CC 98 = 64 CC 62h=40h
CC 6 = 0 or 127 CC 6h= 0 or 7Fh
CC 99 = 32 CC 63h = 20h
CC 98 = 65 CC 62h=41h
CC 6 = 0 or 127 CC 6h= 0 or 7Fh
CC 99 = 32
CC 98 = 66 CC62h=42h
CC 6 = 0 or 127 CC6h= 0 or 7Fh
CC 99 = 32
CC 98 = 67 CC62h=43h
CC 6 = 0 or 127 CC6h= 0 or 7Fh
Arpeggiator button is different.
It is not a CC number, but a short Sysex message.
F0 40 08 10 00 0A 60 00 00 00 00 00 7F F7
F0 40 08 10 00 0A 60 00 00 00 00 00 00 F7
The Footpedal is assignable in the SYSTEM/MIDI page on the right (R1)
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