Kurzweil K2500 Bedienungsanleitung

lgorithmReference

are trademarks of Young Chang Co. Hammond and Leslie are trademarks of Hammond Suzuki USA. SRS is a trademark of SRS Labs,

Inc. All other products and brand names are trademarks or registered trademarks of their respective companies. Product features and

speciÞcations are subject to change without notice.

Part Number: 910319 Rev. A

FXAlg #1: MiniVerb ¥ FXAlg #2: Dual MiniVerb

Algorithm Reference-2

FXAlg #1: MiniVerb ¥

FXAlg #2: Dual MiniVerb

Versatile, small stereo and dual mono reverbs

Allocation Units:

1 for MiniVerb, 2 for Dual MiniVerb

MiniVerb is a versatile stereo reverb which is found in many combination algorithms, but is equally useful on its

own because of its small size. The main control for this effect is the Room Type parameter. Room Type changes the

structure of the algorithm to simulate many carefully crafted room types and sizes. Spaces characterized as booths,

small rooms, chambers, halls and large spaces can be selected.

Simplified block diagram of MiniVerb

Each Room Type incorporates different diffusion, room size and reverb density settings. The Room Types were

designed to sound best when Diff Scale, Size Scale and Density are set to the default values of 1.00x. If you want a

reverb to sound perfect immediately, set the Diff Scale, Size Scale and Density parameters to 1.00x, pick a Room

Type and youÕll be on the way to a great sounding reverb. But if you want to experiment with new reverb flavors,

changing the scaling parameters away from 1.00x can cause a subtle (or drastic!) coloring of the carefully crafted

Room Types.

Diffusion characterizes how the reverb spreads the early reflections out in time. At very low settings of Diff Scale,

the early reflections start to sound quite discrete, and at higher settings the early reflections are seamless. Density

controls how tightly the early reflections are packed in time. Low Density settings have the early reflections

grouped close together, and higher values spread the reflections for a smoother reverb.

L PreDelay

R PreDelay

Miniverb

Core

L Input

R Input

L Output

R Output

Wet Out Gain

Dry

FXAlg #1: MiniVerb ¥ FXAlg #2: Dual MiniVerb

Algorithm Reference-3

Simplified block diagram of Dual MiniVerb

Dual MiniVerb has a full MiniVerb, including Wet/Dry, Pre Delay and Out Gain controls, dedicated to each of the

left and right channels. The two blocks in the diagram above labeled ÒMiniVerbÓ contain a complete copy of the

MiniVerb on the previous page. Dual MiniVerb gives you independent reverbs on both channels which has obvious

benefits for mono material. With stereo material, any panning or image placement can be maintained, even in the

reverb tails. This is pretty unusual behavior for a reverb, since even real halls will rapidly delocalize acoustic images

in the reverberance. Since maintaining image placement in the reverberation is so unusual, you will have to

carefully consider whether it is appropriate for your particular situation. To use Dual MiniVerb to maintain stereo

signals in this manner, set the reverb parameters for both channels to the same values. The Dry Pan and Wet Bal

parameters should be fully left (-100%) for the left MiniVerb and fully right (100%) for the right MiniVerb.

Parameters (MiniVerb):

PAGE 1

PAGE 2

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

Rvrb Time 0.5 to 30.0 s, Inf HF Damping 16 to 25088 Hz

L Pre Dly 0 to 620 ms R Pre Dly 0 to 620 ms

Room Type Hall1 Diff Scale 0.00 to 2.00x

Size Scale 0.00 to 4.00x

Density 0.00 to 4.00x

Pan

MiniVerb Balance

Balance

L Input

R Input

L Output

R Output

MiniVerb

Dry

Wet

FXAlg #1: MiniVerb ¥ FXAlg #2: Dual MiniVerb

Algorithm Reference-4

Parameters (Dual MiniVerb):

PAGE 1

PAGE 2

PAGE 3

Wet/Dry A simple mix of the reverb sound with the dry sound.

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

Rvrb Time The reverb time displayed is accurate for normal settings of the other parameters (HF

Damping = 25088kHz, and Diff Scale, Room Scale and Density = 1.00x). Changing Rvrb

Time to Inf creates an inÞnitely sustaining reverb.

HF Damping Reduces high-frequency components of the reverb above the displayed cutoff frequency.

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

L/R Pre Dly The delay between the start of a sound and the output of the Þrst reverb reßections from

that sound. Longer pre-delays can help make larger spaces sound more realistic. Longer

times can also help improve the clarity of a mix by separating the reverb signal from the

dry signal, so the dry signal is not obscured. Likewise, the wet signal will be more

audible if delayed, and thus you can get by with a dryer mix while maintaining the same

subjective wet/dry level.

Room Type Changes the conÞguration of the reverb algorithm to simulate a wide array of carefully

designed room types and sizes. This parameter effectively allows you to have several

different reverb algorithms only a parameter change away. Smaller Room Types will

sound best with shorter Rvrb Times, and vice versa. (Note that since this parameter

changes the structure of the reverb algorithm, you donÕt want to assign it a KDFX

Modulation that will change it in real time.)

Diff Scale A multiplier which affects the diffusion of the reverb. At 1.00x, the diffusion will be the

normal, carefully-adjusted amount for the current Room Type. Altering this parameter

will change the diffusion from the preset amount.

L Wet/Dry 0 to 100%wet R Wet/Dry 0 to 100%wet

L Out Gain Off, -79.0 to 24.0 dB R Out Gain Off, -79.0 to 24.0 dB

L Wet Bal -100 to 100% R Wet Bal -100 to 100%

L Dry Pan -100 to 100% R Dry Pan -100 to 100%

L RoomType Hall1

L RvrbTime 0.5 to 30.0 s, Inf

L Diff Scl 0.00 to 2.00x L Density 0.00 to 4.00x

L Size Scl 0.00 to 4.00x L HF Damp 16 to 25088 Hz

L PreDlyL 0 to 620 ms L PreDlyR 0 to 620 ms

R RoomType Hall1

R RvrbTime 0.5 to 30.0 s, Inf

R Diff Scl 0.00 to 2.00x R Density 0.00 to 4.00x

R Size Scl 0.00 to 4.00x R HF Damp 16 to 25088 Hz

R PreDlyL 0 to 620 ms R PreDlyR 0 to 620 ms

FXAlg #1: MiniVerb ¥ FXAlg #2: Dual MiniVerb

Algorithm Reference-5

Size Scale A multiplier which changes the size of the current room. At 1.00x, the room will be the

normal, carefully-tweaked size of the current Room Type. Altering this parameter will

change the size of the room, and thus will cause a subtle coloration of the reverb (since

the roomÕs dimensions are changing).

Density A multiplier which affects the density of the reverb. At 1.00x, the room density will be

the normal, carefully-set amount for the current Room Type. Altering this parameter will

change the density of the reverb, which may color the room slightly.

Wet Bal In Dual MiniVerb, two mono signals (left and right) are fed into two separate stereo

reverbs. If you center the wet balance (0%), the left and right outputs of the reverb will

be sent to the Þnal output in equal amounts. This will add a sense of spaciousness.

FXAlg #3: Gated MiniVerb

Algorithm Reference-6

FXAlg #3: Gated MiniVerb

A reverb and gate in series

Allocation Units:

This algorithm is a small reverb followed by a gate. The main control for the reverb is the Room Type parameter.

Room Type changes the structure of the algorithm to simulate many carefully crafted room types and sizes. Spaces

characterized as booths, small rooms, chambers, halls and large spaces can be selected. See the previous section

(FXAlg #1-2) for details on the reverb.

The gate turns the output of the reverb on and off based on the amplitude of the input signal. One or both input

channels is used to control whether the switch is on (gate is open) or off (gate is closed). This on/off control is called

Òside chainÓ processing. You select which of the two input channels or both is used for side chain processing. When

you select both channels, the sum of the left and right input amplitudes is used.

The gate is opened when the side chain amplitude rises above a level that you specify with the Threshold parameter.

The gate will stay open for as long as the side chain signal is above the threshold. When the signal drops below the

threshold, the gate will remain open for the time set by the Gate Time parameter. At the end of the Gate Time, the

gate closes. When the signal rises above threshold, it opens again. What is happening is that the gate timer is being

constantly retriggered while the signal is above threshold.

Gate Behavior

If Gate Duck is turned on, then the behavior of the gate is reversed. The gate is open while the side chain signal is

below threshold, and it closes when the signal rises above threshold.

If the gate opened and closed instantaneously, you would hear a large digital click, like a big knife switch was being

thrown. Obviously thatÕs not a good idea, so Gate Atk (attack) and Gate Rel (release) parameters are used to set the

times for the gate to open and close. More precisely, depending on whether Gate Duck is off or on, Gate Atk sets

how fast the gate opens or closes when the side chain signal rises above the threshold. The Gate Rel sets how fast

the gate closes or opens after the gate timer has elapsed.

The Signal Dly parameter delays the signal being gated, but does not delay the side chain signal. By delaying the

main signal relative to the side chain signal, you can open the gate just before the main signal rises above threshold.

ItÕs a little like being able to pick up the telephone before it rings!

attack

time gate

time

release

time

signal rises

above threshold signal falls

below threshold

FXAlg #3: Gated MiniVerb

Algorithm Reference-7

Parameters:

PAGE 1

PAGE 2

PAGE 3

Wet/Dry A simple mix of the reverb sound with the dry sound. When set fully dry (0%), the gate

is still active.

Out Gain An overall level control of the effectÕs output (applied after the gate).

Gate Thres The input signal level in dB required to open the gate (or close the gate if Gate Duck is

on).

Gate Duck When set to ÒOffÓ, the gate opens when the signal rises above threshold and closes when

the gate time expires. When set to ÒOnÓ, the gate closes when the signal rises above

threshold and opens when the gate time expires.

Gate Time The time in seconds that the gate will stay fully on after the signal envelope rises above

threshold. The gate timer is started or restarted whenever the signal envelope rises

above threshold.

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

after the signal rises above threshold.

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

after the gate timer has elapsed.

Signal Dly The delay in milliseconds (ms) of the reverb input signal relative to the side chain signal.

By delaying the reverb signal, the gate can be opened before the reverb signal rises

above the gating threshold.

For descriptions of the other parameters, see the previous section, FXAlgs #1-2.

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

Rvrb Time 0.5 to 30.0s, Inf HF Damping 16 to 25088 Hz

L Pre Dly 0 to 620ms R Pre Dly 0 to 620 ms

Room Type Hall1 Diff Scale 0.00 to 2.00x

Size Scale 0.00 to 4.00x

Density 0.00 to 4.00x

Gate Thres -79.0 to 0.0 dB Gate Time 0 to 3000 ms

Gate Duck In or Out Gate Atk 0.0 to 228.0 ms

Gate Rel 0 to 3000 ms

GateSigDly 0.0 to 25.0 ms

Reduction

-dB 60 40 * 16 * 8 4 0

FXAlgs #4-11: Classic ¥ TQ ¥ Diffuse ¥ Omni reverbs

Algorithm Reference-8

FXAlgs #4-11:

Classic ¥ TQ ¥ Diffuse ¥ Omni reverbs

FXAlg #4: Classic Place

FXAlg #5: Classic Verb

FXAlg #6: TQ Place

FXAlg #7: TQ Verb

FXAlg #8: Diffuse Place

FXAlg #9: Diffuse Verb

FXAlg #10: OmniPlace

FXAlg #11: OmniVerb

More Complex Reverb algorithms

Allocation Units:

ÒClassicÓ 2; others 3

This set of 2 and 3 PAU sized algorithms can be divided into 2 groups: Verb and Place. Verb effects allow user

friendly control over medium to large spaces. Their decay times are controlled by Rvrb Time or LateRvbTim

parameters, and Room Types range from rooms to large areas. Place algorithms on the other hand are optimized

for small spaces. Decay time is controlled by the Absorption parameter, and Room Types offers several booths.

Each of these reverb algorithms combines several components: a diffuser, an injector, predelay, an ambience

generator with feedback, and various filters. These components provide sonic building blocks for both the early

reflection portions and the body of the reverb.

The ambience generator is the heart of each reverb algorithm and creates most of the ÔlateÕ reverb in algorithms with

an Early Reflections circuit. It is comprised of a complex arrangement of delay lines to disperse the sound. By using

feedback in conjunction with the ambience generator, a reverb tail is produced. The length of this reverb tail is

controlled by the Rvrb Time parameter in the ÒVerbÓ algorithms, or the Absorption parameter in ÒPlaceÓ

algorithms.

In order to create reverbs that are smoother and richer, some of the delays in the ambience generator are moved by

LFOs. The LFOs are adjusted by using the LFO Rate and LFO Depth controls. When used subtly, unwanted artifacts

such as flutter and ringing that are inherent in digital reverbs can be reduced.

In the feedback loop of the ambience generator are filters that further enhance the sonic properties of each reverb.

A lowpass filter is controlled by HF Damping. Its action mimics high-frequency energy being absorbed as the sound

travels around a room. A low shelving filter is controlled by LF Split and LF Time, which are used to shorten or

lengthen the decay time of low frequency energy.

At the beginning of each algorithm are diffusers. A diffuser creates an initial ÒsmearingÓ quality on input signals

usually before the signal enters the ambience generating loop. The DiffAmtScl and DiffLenScl parameters

respectively change the amount and the length of time that the sound is smeared. The Diffuse reverbs, however,

implement diffusion a little differently. See the section on Diffuse Verb and Diffuse Place below for detailed

information.

FXAlgs #4-11: Classic ¥ TQ ¥ Diffuse ¥ Omni reverbs

Algorithm Reference-9

Some algorithms use injector mechanisms when feeding a signal into the ambience generator. An injector creates

copies of the input signal at different delay intervals and feeds each copy into the ambience generator at different

points. This results in finer control over the onset of the reverb. By tapering the amplitudes of early copies vs. late

copies, the initial build of the reverb can be controlled. Inj Build controls this taper. Negative values create a slower

build, while positive values create a faster build. Inj Spread scales the length of all the copies as a group. Inj Skew

(Omni reverbs) delays one channel relative to the other before injecting into the ambience generator. Negative

values delay the left side while positive values delay the right side. Inj LP controls the cutoff frequency of a 1 pole

(6dB/oct) lowpass filter associated with the injector.

Predelay can give the illusion that a space is more voluminous. Separate control over left and right predelay is

provided which can be used to de-correlate the center image, increasing reverb envelopment.

In addition to filters inside the ambience feedback loop, there also may be filters placed at the output of the reverb

including a low shelf, high shelf, and/or lowpass.

Algorithms that utilize Early Reflection circuits use a combination of delays, diffusers, and filters to create ambience

that is sparser than the late portion of the reverb. These early reflections model the initial near-discrete echoes

rebounding directly off of near field surfaces before the reverb has a chance to become diffuse. They add realism

when emulating real rooms and halls.

The starting point when creating a new reverb preset should be the Room Type parameter. This parameter selects

the basic type of reverb. Due to the inherent complexity of reverb algorithms and the sheer number of variables

responsible for their character, the Room Type parameter provides condensed preset collections of these variables.

Each Room Type collection has been painstakingly selected by Kurzweil engineers to provide the best-sounding

combination of mutually complementary variables modeling an assortment of reverb families. When a room type

is selected, an entire incorporated set of delay lengths and diffusion settings are established within the algorithm.

By using the Size Scale, DiffAmtScl, DiffLenScl, and Inj Spread parameters, you may scale individual elements away

from their pre-defined values. When set to 1.00x, each of these elements are accurately representing their preset

values determined by the current Room Type.

Room Types with similar names in different reverb algorithms do not sound the same. For example, Hall1 in Diffuse

Verb does not sound the same as Hall1 in TQ Verb.

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

the selected Room Type size, set this to 1.00x. Scaling the size below this will create smaller spaces, while larger scale

factors will create large spaces.

The InfinDecay switch is designed to override the Rvrb Time parameter and create a reverb tail with an infinite

decay time when ÔOnÕ. However, certain HF Damping settings may reduce this effect, and cause the tail to taper

away. This parameter is an excellent candidate for a KDFX Modulation, using a switch pedal as a source.

FXAlgs #4-11: Classic ¥ TQ ¥ Diffuse ¥ Omni reverbs

Algorithm Reference-10

Classic Verb and Classic Place:

Classic reverbs are 2-PAU algorithms with early reflections. The late portion consists of an input diffuser; ambience

generator with low shelving filters, lowpass filters, and LFO moving delays; and predelay.

The early reflection portion consists of one delay per channel sent to its own output channel controlled by E Dly L

and E Dly R, and one delay per channel sent to its opposite output channel controlled be E Dly LX and E Dly RX.

Each of these delays also use a Diffuser. Diffusion lengths are separately controlled by E DifDly L, E DifDly R, E

DifDly LX, and E DifDly RX while diffusion amounts are all adjusted with E DiffAmt.

The late reverb and early reflection portions are independently mixed together with the Late Lvl and EarRef Lvl

controls. The wet signal is passed through a final high-shelving filter before being mixed with the dry signal.

Signal flow of Classic Verb and Classic Place

Early reflection portion of Classic Verb and Classic Place

L Input Diffusor

Diffusor

R Input

Ambience

L Pre Dly

R Pre Dly

L ER Output

EarRef Lvl

R ER Output

EarRef Lvl

L Output

R Output

Out Gain

Rvrb Time

Absorption

Rvrb Time

Dry

Wet

Late

Lvl

Late

Lvl

DiffAmtScl

DiffLenScl

DiffAmtScl

DiffLenScl

LF Mult

HF Damping

Treble

E Dly L

E Dly LX

E Dly R

E Dly RX

Blend

E Blend X

L Input

R Input

L ER Output

R ER Output

Diffusor

E DifDlyL

E DifDlyLX

E DifDlyR

E DifDlyRX

E DfDlyScl

E DiffAmt

(Apply to all Diffusors)

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