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
Download
* (Remember, you will have to hit 'Reload' to see any updates on these
web pages.)
Re: Strings
Wednesday, 21-Oct-98 11:29:00
192.28.2.16 writes:
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
194.172.230.108 writes:
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
the K5000
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clipping from CC list
Friday, 21-Nov-97 14:51:19
Message:
192.86.155.91 writes:
I'm reposting this message from:
[email protected] (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.
Kenji
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PWM and the Knob Box
Monday, 24-Nov-97 13:06:03
Message:
128.8.10.142 writes:
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
appreciated.
- Ilya
Or
that it's
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Re: PWM and the Knob Box
Monday, 24-Nov-97 19:01:04
199.86.47.47 writes:
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.
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PWM again
Friday, 28-Nov-97 08:22:03
Message:
193.96.226.61 writes:
Hi all!
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!
Jens.
Jens Groh
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Re: PWM again
Sunday, 30-Nov-97 22:27:05
199.86.47.106 writes:
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.
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Re: PWM again
Wednesday, 03-Dec-97 10:35:55
193.96.226.61 writes:
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
it's correct.
Check out my pseudo-PWM example patch 'PSDOFLNG.KA1'
on Kenji's patches page.
Jens Groh
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PWM again again
Monday, 01-Dec-97 01:37:57
Message:
199.86.47.113 writes:
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.)
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Re: PWM again again
Monday, 01-Dec-97 04:41:18
193.96.226.61 writes:
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.
Jens Groh
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Re: Actual K5000 Waveforms
Wednesday, 08-Jul-98 04:04:24
194.172.230.108 writes:
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.
Jens Groh
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Re: Re: Actual K5000 Waveforms
Thursday, 09-Jul-98 10:35:05
192.28.2.16 writes:
It works! In fact, it makes a similar
effect with many PCM and ADD waveforms
other than Saw 2.
leiter
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To load large numbers
of patches...
Wednesday, 21-Oct-98 12:08:52
192.86.155.95 writes:
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
K5000.
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
162.117.162.75 writes:
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.
Reprobus
From: Adam Schabtach <[email protected]>
> 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
Adam Schabtach
[email protected]
Subject:
[K5000] Re:
K5000 resynthesis
From: [email protected] (Jens Groh)
Adam Schabtach <[email protected]> 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 protected]> 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
problems begin.
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!)
Happy resynthesizing!
Jens Groh
String Pad patch
Friday, 23-Oct-98 00:32:59
199.86.33.8 writes:
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.
leiter
Re: Whats
a good way to program if you stink at math?
Friday, 23-Oct-98 12:05:04
192.28.2.16 writes:
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.
leiter
bug report
Monday, 12-Oct-98 07:23:20
194.172.230.108 writes:
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
displayed correctly.
Jens Groh
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.
Kenji
----------BUGS----------
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
the patch.
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
control?
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
delay.
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.
----------USEABILITY ISSUES----------
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
mentioned).
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
annoying.
----------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.
Kenji
Re: Version 4 features/fixes?
Monday, 30-Nov-98 04:56:59
194.172.230.108 writes:
*** 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 )
Jens Groh
Re: Version 4 features/fixes?
Tuesday, 01-Dec-98 01:46:11
209.214.60.40 writes:
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!
Terry
New 'link' patch bank?
Monday, 30-Nov-98 23:47:06
208.254.224.166 writes:
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?
Kenj
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!
Terry
Ver 4 Change
Monday, 14-Dec-98 07:43:59
210.162.136.246 writes:
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
program,press F7.
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.
Shogo
System 4.00 Sounds
Saturday, 28-Nov-98 19:16:47
205.188.193.46 writes:
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.
TechnoGOD
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.
Terry
Re: K5000 knob #'s
Saturday, 21-Nov-98 20:23:28
199.199.157.21 writes:
16 18 74 73
17 19 77 78
71 75 76 72
80 81 82 83
leiter
Other Units
that Receive K5k CC Knob Messages
Wednesday, 18-Nov-98 22:18:31
199.199.157.47 writes:
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!
leiter
Can I shut off the sustain for half
the keyboard?
Monday, 16-Nov-98 16:12:24
152.163.197.84 writes:
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?
Yitz2net @aol.com
An Idea
Monday, 23-Nov-98 12:10:42
192.86.155.104 writes:
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?
Kenji
Re: An Idea
Wednesday, 25-Nov-98 13:36:39
152.163.197.46 writes:
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
209.214.60.40 writes:
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.
Terry
Download Version
4 using Internet Explorer
Tuesday, 01-Dec-98 17:42:44
198.190.223.98 writes:
Format floppy on K5000
go to:
http://www.kawai.co.jp/emi/k5000_download.html
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:
K5000SR.SYS
click on "save"
GRXC
Kludge to make a "crappy"
compressor
From: moron <[email protected]>
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
using
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,
turn
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
use.
damon
[email protected]
Some ideas - any ideas on how to ADD the fat?
Thursday, 03-Dec-98 17:25:45
192.86.155.104 writes:
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???
Kenji
Re: sounddiver problems
Sunday, 06-Dec-98 17:02:47
192.28.2.16 writes:
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.
leiter
Re: sounddiver problems
Monday, 07-Dec-98 06:58:32
12.78.196.151 writes:
Hello,
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.
Pete
Re: Re: sounddiver problems
Monday, 07-Dec-98 10:01:24
192.28.2.16 writes:
>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.
leiter
SoundDiver and System 4.0
Tuesday, 15-Dec-98 07:57:53
164.107.171.53 writes:
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
it. Hmmm...
Bob
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.
HM Kim
Re: Deleting all patches
won't help
Wednesday, 09-Dec-98 10:02:33
194.172.230.108 writes:
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 )
Jens Groh
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
199.199.157.1 writes:
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.)
leiter
Re: SoundDiver Number Keys
Saturday, 12-Dec-98 15:55:49
199.199.157.46 writes:
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.
leiter
Noisy Display
Saturday, 12-Dec-98 17:02:27
131.130.1.12 writes:
Hi there,
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 ?
Cai
ps: thanks to Kenji, this is a brilliant site !!!
Cai Mosich
My guess as
to the constant MIDI messages
Thursday, 10-Dec-98 12:24:59
192.86.155.91 writes:
Here is a quote from the MIDI Technical
Fanatic's Brainwashing Center:
Active Sense
Category: System Realtime
Purpose
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.
Status
0xFE
Data
None
Errata
When a device receives an Active Sense
message (from some other device), it should expect to receive additional
Active Sense
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
"safety" feature.
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
an
Active Sense message from another device,
and therefore expects to receive further Active Sense messages.
The logic for active sense detection
Kenji
2 questions
about using K5k multitimbrally
Thursday, 17-Dec-98 18:21:05
140.254.112.78 writes:
> .... 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
209.214.60.39 writes:
>How do you change a from one MULTI to another remotely during playback of an external sequencer?
Ohhh... Patch-change style, eh?
Multi-bank:
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)
A-bank:
Send a Control 0, value 100
followed by a Control 32, value 0
followed by the patch number as above
D-bank:
Send a Control 0, value 102
followed by a Control 32, value 0
followed by the patch number as above
Re: Is
it dumb to buy a Wavestation after just buying a K5000s?
Monday, 21-Dec-98 23:30:48
153.35.140.78 writes:
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!
Terry
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! :-)
Terry
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
209.214.60.52 writes:
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!
Terry
Wizoo Book,
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
the K5000
> > 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
as
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
sources
except the one you are importing into? Also - and this is more
likely - there
is>
Kenji
Muted Sources, removing sources,
and Polyphony
From: [email protected] (Jens Groh)
"ugo" <[email protected]> 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!
Have fun!
Jens
i have a workaround too, much more clumsy than Jens' one. just take
the
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.
damon baker
[email protected]
From: Warren Bones <[email protected]>
Thanks for all the help with my source reduction problem. As it happens,
I
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
be much
>nicer if you could just get the products (i.e. plus and difference
>frequencies) instead of the original plus the products.
Have fun!
Jens
From: Warren Bones <[email protected]>
SPHEARA
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 protected]>
In the K5000R
you can edit via the "virtual sliders" and save the results by simply pressing
WRITE
and saving the patch. I have done it dozens of times without a hitch.
Getting Fatter Basses from the K5K
From: "Jamey Wright" <[email protected]>
This message is in response to an email I received, I thought everyone
could
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
some
tips:
-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
and
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
the
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
music
-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
PCM
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....
Thanks,
Jamey Wright
Dj Seven
www.tastyfresh.com
Subject:
[K5000] How to get
to OS version 4.
From: Nefarium <[email protected]>
Ok, finally figured it out from talking to Troy at tech support.
You
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,
to
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
to floppy.
Thanx!
-Chris
Re: Misc K5000W and
S & R questions
Date:
Fri, 18 Dec
1998 09:44:19 +1100
From:
[email protected]
Reply-To:
[email protected]
To:
[email protected]
From: [email protected]
Hi all,
This is in response to a range of questions/opinions expressed on the
list.
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
in
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
Q80EX.
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
Chord
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
is
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
the FX
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
agree
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
& R,
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
loudest/softest parts)
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
it in
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
with
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
sounds
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.
Dave Bellingham
PR & Website Manager / Author
WIZOO - midi, music & audio technology
Website: http://www.wizoo.com
Footswitch 1&2, SW 1&2, Arpeggiator and Portamento CC numbers
> From: "Rhen, Kris" <[email protected]>
>
> 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.
Sure!
(The left side has the values in decimal, the right the values in hexadecimal.)
Portamento:
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
SW2:
CC 99 = 32
CC 63h = 20h
CC 98 = 65
CC 62h=41h
CC 6 = 0 or 127
CC 6h= 0 or 7Fh
FS1:
CC 99 = 32
CC63h=20h
CC 98 = 66
CC62h=42h
CC 6 = 0 or 127
CC6h= 0 or 7Fh
FS2:
CC 99 = 32
CC63h=20h
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.
Arpeggiator ON:
F0 40 08 10 00 0A 60 00 00 00 00 00 7F F7
Arpeggiator OFF:
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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