User manual KURZWEIL K2500 V2.8 LIVEMODE RELEASE NOTES

[. . . ] The complete procedure for installing the operating system and objects is included in Chapter 2 of the K2500 Performance Guide. Press and release the Exit key while the "Please wait. . . " message is displayed. Load the operating system floppy, then use "Install System" from the K2500 Boot Loader to install the new operating system. Replace the operating system disk (after you've installed it) with the factory objects disk, then use the Boot Loader's "Install Objects" option to install the correct objects for your configuration. ã 1998, All Rights Reserved. [. . . ] You should now hear your V. A. S. T. ed audio source through the K2500 mix outputs. 2 910309 Live Mode Programs Live Mode Programs Prg. # 750 751 752 Program Name LM Notched Pan LM Talking MW LM Synth Sliders Controller Assignments PWheel>Reverse FX, Data>Pan LFO Rate, B> Notch Freq, C>Width Data>Dist, MW>Filter Freq, B> Tremolo Rate PWheel>Reverse FX, MW>LFO Depth, Data>Attk Rate, B>Release Rate, C> LFO Rate, D+Keytracking>Filter Freq. , E> Resonance, F>Flange Level, G>Delay Feedback, H>Flange Delay Wet/Dry Data> Filter Freq. , B>LFO Rate, C>Resonance Data>Amp Mod Depth, B>Osc Pitch, C>Wrap LFO Rate, MW>Reverse FX, G>Flange Level Data> Filter, Shaper, MW>LFO Rate Data, MW>Filter Freq. , B>Width, C>Separation Data> Filter Freq. , MW>Resonance, B>Separation LFO Rate Data> Filter Freq. , MW>EQ Peak Width, B>Para EQ Amp Stereo Default, Slider H controls the Digitech Effect Wet/Dry Mix 753 754 755 756 757 758 759 LM Hi Resonance LM Amp Mod Osc LM Notch/Shaper LM Twin Peaks LM Air Filter LM Parametric LiveMode Default Live Mode also includes two Live Mode Keymaps at 197 and 198 (Left and Right respectively). Usage Notes To use the programs, you must hold down a key (C4, unless you're going for a special effect) for the inputs to run through V. A. S. T. An alternative way to trigger the sound is to edit the Control Setup found in the MIDI XMIT page. For example, using Panel Switch 2 (PSw 2), changing the switch type to Note Toggle, and using C4 as the destination. This allows you to turn the program on/off via a button press and also keeps sound sustaining while the button is on. This obviously only works for owners of the keyboards, not racks, but the idea transfers to any MIDI controller. Keep in mind, that if you change the live mode program, you need to restrike a key (or Button) for the signal to go through that program. You can also edit the live mode keymap to ignore release if you only want to use the keyboard to activate Live Mode. You cannot sample and use live mode together, the two functions use the same components. 910309 3 Some ideas for using Live Mode Some ideas for using Live Mode If youÕve ever used an old-fashioned mono analog synthesizer with an audio input (anything from a Moog Rogue to an ARP 2500 or Serge Modular), you know how much fun it can be to pass a musical signal through the synth and modify it in real time with the Þlters, envelopes, modulators, etc. Live Mode brings that concept to digital synthesis, and lets you use all of the power of the K2500 on any kind of input signal. For starters, you can simply hook up a CD player to the K2500Õs sampling input, get a bunch of your favorite CDs, and start fooling around. (A turntable works well too. ) Here are some ideas for going further: Pitch changing Unlike an analog synthesizer, the K2500 makes it possible to alter the pitch of the incoming signal in real time. But the K2500 is not a conventional pitch shifter, so if you are used to working with such a device you will have to alter your thinking a little. For example, when you bend the pitch down from the unity pitch (C4), using a V. A. S. T. function, it slows the playback of the incoming signal, but it doesnÕt change the rate at which the signal is coming inÑyour CD is still spinning, and putting out a constant audio signal. So as you lower the pitch, the playback lags behind, and when you return the pitch to normal, the playback snaps back to the presentÑwhich means some of your audio literally disappears into the ether. If you bend the pitch down and hold it there for a while, eventually the buffer Þlls up and updates itself, and you will hear it snap forward in time, although the data playing will continue to be slowed down. As you raise the pitch, the K2500 tries to play data that hasnÕt arrived yet. Instead, in the current version, playback begins from a few seconds back (the data is held in the buffer), playing sped-up audio from the past. As with lowered pitch, when the raised pitch returns to unity, playback snaps back to the present. Again, when holding a note above unity pitch, you will eventually hear a repeat of a few seconds of time, as the sample buffer loops before being able to update itself. These details aside, all kinds of wonderful pitch effects are achievable. [. . . ] In this case, the fact that an upward bend jumps back a few seconds is no big deal because the sound hasnÕt changed much during that time. With this technique, melodies or chords can be played based on a segment of a live performance. YouÕll have a better time controlling the feedback loop if you have a healthy delay, with no dry path around it, in the loop. Perhaps add a little modulation of the loop to provide some pitch shifting, a big reverb, and a compressor to keep from blowing your ears out. 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