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1. 48 Warning me55a0es 5 EITOT MESSAGEE san SMP version 2 0 gt About your warranty The Sound Modeling Program warranty covers parts and labor for one year from date of purchase It is IMPORTANT that you send in your warranty card as soon as possible so that your warranty is activated and you are included in our mailing list for user information and notification of future products introduction The Kurzweil Sound Modeling Program SMP gives you the user the tools you need to sample sounds into the K250 modify them and play them from the keyboard The techniques used in the Sound Modeling Program are simplified versions of the Contoured Sound Modeling system used to create the K250 s factory preset sounds Do not confuse the Sound Modeling Program with its software subset the digitizer The Sound Modeling Program is the trademarked name for the option as a whole both hardware and software The operational software is more briefly termed the digitizer As used in this manual the terms are essentially synonymous This manual describes SMP version 2 As this is the second release of SMP some of you will be receiving it as an upgrade from SMP version If you are one of these users you will be pleased to see that SMP version 2 not only fixes bugs found in SMP version 1 but offers many new features as well However you MUST read the section on
2. Where mm ss is the estimated time remaining to process in minutes and seconds accurate to within a few seconds The time display will count down as processing continues The time to process a compressed sound is currently about 1 5 ms per Sample you can abort by hitting 4 5 SELECT Simultaneously which will reset the K250 Thus a 2 second sound at 25kHz 50000 samples would take about 75 seconds to process Just doing de emphasis takes about half this time When the processing is finished the display should read Preview root at C4 Hit SELECT to continue This message would have come up immediately after the DONE EVALUATING message if you had not selected compression or de emphasis What the digitizer has done here is place the sound you have just recorded onto a special keyboard called the DIG PREVIEW KBD This keyboard has a SMP version 2 0 TTS Tr U single root at C4 Thus you can now listen to the sound you have just recorded by playing C4 and you can play it polyphonically but remember you are not in PLAY mode so many effects won t work When satisfied or not as the case may be press the SELECT button RECORD now asks Save this sound Y N Here you must decide whether you want to keep this sound or not If you select NO don t save the sound you will lose this sound and free up the memory associated with the sound RECORD then asks Retake Y N If you select NO retake RECORD exits back to the digitizer menu
3. lime to record nn Here nn ts the maximum time in seconds available for recording The number is based on the amount of free memory in the sound RAM the sampling rate you chose and the sound type Compressed types require SMP version 2 0 additional space in sound RAM to store temporary data thus you will notice smaller estimates of time remaining when selecting the compressed types if you want to use up the remaining sound RAM press SELECT If you desire a different amount of time RECORD will not accept a larger number enter it using the numeric keypad and press SELECT twice RECORD only accepts integer number of seconds If there is no more sample memory available RECORD will display Out of sample space and return to the digitizer menu RECORD next asks for the trigger level Trigger level 0 6 24 dB 3 The trigger level refers to the level of input signal necessary before recording will start This is a useful feature that prevents the recording of unwanted silence at the beginning of sounds The various trigger levels have corresponding indices from 0 to 6 given in the table below Trigger level N TRIGGER 12 dB I8 dB 2406 308 36 08 42 dB N R As with the sampling rate these choices can be Selected using the left and right cursor keys and confirmed by pressing SELECT NO TRIGGER means that recording will start as soon as you hit the RECORD button The other choices refer to the number of bits that must b
4. 20 msec 30 msec 40 msec 90 msec sel R The default is not to do any pre trigger recording Use the left and right cursors to select the amount of pre trigger recording RECORD next asks whether you wish to check the input level using the software driven LCD level meter Check tevel Y N To respond press either the YES or NO button If you choose NO RECORD proceeds to HIT RECORD TO START described below Choosing YES pops you into the level check meter which looks like the following CONTINUOUS se PEAK HOLD se not clipped CONTINUOUS me PEAK HOLD clipped The top line of the display acts as a continous level meter and the bottom line holds peak values The leftmost asterisks are always present The meter bars can extend all the way to the right hand side of the display SMP version 2 0 a ee ee er De ae EE ge RE AA Fee ee SS TK 22 ST 2 which represents a clip Clips are represented by a in the meter bars A clip also causes the LED on the SPLIT KEYBOARD button to light The duration of time the LED stays lit after a clip is the same as the time the peak hold bar holds To use the level check meter to set a proper input gain do the following First make sure the master volume slider is turned all the way up The master volume control will control the input gain to the digitizer but doing so will also increase the distortion in the gain circuit so leave it up if you have NOT selected a compre
5. If you select YES retake RECORD asks Use same setup Y N If you select YES use same setup RECORD will record the next sound with the same parameters and will put you at the Check level Y N question selecting NO don t use same setup will put you back at the very beginning at the sound type question If you had selected YES save the sound RECORD asks you to name the sound Input sound file name A The ALPHA LED will light indicating that you should use the ALPHA slider and ALPHA button to enter characters to make the sound file name When satisfied hit SELECT to enter the name If you hit SELECT without forming a name with the ALPHA mechanism RECORD will assign a name to the sound file for you The format of the name is DIG SF nnn where nnn is the next available sound file number Users are urged to assign meaningful names to sounds recorded because you WILL get confused later when each sound has the same name and different numbers You can later rename sounds or keyboards with the RENAME OBJECT function After naming the sound file RECORD asks Assign to a KBD Y N SHP version 2 0 If you wish to assign the sound file to a digitizer keyboard selecting YES will pop you into the ASSIGN TO KEY digitizer function described later You can always assign any sound file to any keyboard with the ASSIGN TO KEY function so answering NO here does not restrict you in any way If you answer NO RECORD exits to
6. KBD REMOVE SF FROM KBD is a keyboard edit function which removes a sound from a keyboard without deleting the sound thus the sound can still be assigned to any keyboard REMOVE first asks for the sound file to remove and the keyboard to remove it from REMOVE next asks the user whether to extend the range of sounds adjacent to the sound that is being removed Extend the range of adjacent sounds YES The default is to extend adjacent Sounds new split points will be automatically calculated as in ASSIGN SOUND TO KBD The alternative is to replace the existing sound with dead silent keys An exception to this occurs when the sound you are removing is assigned to the soft or hard ao SMP version 2 0 fT a ee strike not both on a single key When the sound file is removed the hardness that is left will become assigned to both hardness levels regardiess of your answer to the extend question When removing a sound from a keyboard al occurrences of the sound will be removed from the keyboard a message to this effect will be displayed and REMOVE will return to the digitizer menu If the sound is not assigned to the keyboard a warning message will be displayed and REMOVE will return to the digitizer MENU SET KBD CROSSOVER LEVEL SET KBD CROSSOVER LEVEL allows the user to change the sensitivity of dual hardness keyboards The keyboard crossover level is the key strike level at which the keyboar
7. ZzZz zz E eS and it doesn t have one Not enough Space to compact memory The digitizer cannot reliably compact sample memory because there is not enough free space This means that the last operation which caused the digitizer to try to compact memory did not result in the memory being compacted Too many expansion segments clipping There are too many expansion seqments required to properly expand the compressed sound 250 segments is the maximum that can be used for expansion The digitizer is taking the easy way out and simply clipping off all extra seqments During playback the sound will be properly expanded for the first 250 segments and then end This should only happen when compressing lengthy sounds more than 20 seconds long SMP version 2 0 aS RS pS ee 2 Error Messages The following is a list of digitizer error messages These errors represent internal malfunctions in the digitizer Only one of these Not enough heap space should occur with normal usage Ail the rest indicate corrupted internal data hardware failure or unknown software bugs Contact Kurzweil if these errors occur so that we can discover the problem These errors are all displayed with ERROR on the top line of the LCD and the message on the bottom line The error message will not go away until the lit SELECT button is pressed Not enough heap space This error may occur if you have created a lar
8. allows the user to set the range manually ASSIGN will ask strike low key User strikes desired lowest key in range of sound strike high key User strikes desired highest key in range of sound Note that ASSIGN will not allow the range of one sound to extend over an adjacent root nor will it allow the range of a sound to extend beyond the transpose limit of the sound All sounds can transpose down 5 octaves regardiess of sampling rate However the amount a sound can be transposed up varies with the sampling rate After this limit is exceeded the sound will no longer play The following table gives the maximum amount a sound SMP version 2 0 nm ne m m mm can be transposed up for each sampling rate 50000 maj Zn 41667 4th 35714 min 6th 31250 min 7th 25000 octave and maj 2nd 22500 octave and maj 3d 20000 octave and tritone 17500 i octave and min 6th 15000 octave and maj 7th 12500 2 octaves and maj 2nd 10000 2 octaves and tritone 7500 2 octaves and maj 7th 6250 3 octaves and maj 2nd 5000 3 octaves and tritone A sound file may be assigned to more than one keyboard or may be assigned to different keys on the same keyboard without using up any sample memory The sound will play at root pitch at each assigned root position The SHOW ROOTS option allows the user to see which sound files are assigned to a keyboard After the assignment is made ASSIGN returns to the digitizer menu REMOVE SF FROM
9. failed and the memory is not working correctly Dg_init fatal error The digitizer failed to initialize This like the above error indicates Taully sound RAM Corrupted KBD The selected KBD has an inconsistent structure This keyboard should be deleted and rebuilt This is possibly the result of editing data created by SMP version 1 See the section on compatibility The following errors all indicate corrupted data Fatal collision find_hdr can t find hdr remsf can t find root Bad del_obj Bad sr_alloc Bad sI_pass 1 Bad s l_pass2 Bad si_pass3 sl_pass3 file request
10. it may cause your slider assignments to be lost NEVER abort REPLACING with 4 5 SELECT or you risk scrambling all your sounds A S SELECT can safely be used to abort PROCESSING SOUND which is the only reasonable appication of 4 5 SELECT in the digitizer If 4 5 SELECT is used to abort out of a function this will often leave partially built objects Thus the next function invoked may cause the freeing partially built objects warning message to appear SAP version 2 SS a u Bia L ere tg TEE Aare 01 A16 in The following is a description of the functions that appear in the digitizer menu RECORD This is the function used to record a sound onto the K250 RECORD first asks you for the sound type Sound type 1 6 QUICK TAKE The sound type refers to the mode of recording and processing that RECORD will use to digitize your sound There are currently 6 modes of operation index Sound type Comments 1 QUICK TAKE no processing bright 2 DE EMPHASIS de emphasis only 3 SLOW DECAY compression de emphasis 4 NORMAL DECAY compression de emphasis 5 FAST DECAY compression de emphasis 6 SPEECH compression de emphasis QUICK TAKE does what is says It lets you record a sound and listen to it immediately Recording sounds with the QUICK TAKE mode will result in overly bright sounds due to high frequency pre emphasis read on but this can be a useful feature DE EMPHASIS instructs the K250 to do a h
11. older software This will fully downgrade the new Keyboard setups Note that there will be no error message given by SMP version when it is editing SMP version 2 keyboards SMP version 2 0 Warning Messages The following is a list of digitizer warnings that are displayed when the user makes an error The messages are displayed for 1 6 seconds after which the digitizer will take the appropriate action usually returning to the main menu No user keyboards The user has attemped an operation that requires a digitizer keyboard setup and there are none ASSIGN SOUND TO KBD creates digitizer keyboard setups No user sound files The user has attempted an operation that requires a digitizer sound file and there are none RECORD SOUND creates digitizer sound files No more roots The user is attempting to assign too many root positions to an individual keyboard setup The maximum ts 30 No roots assigned The user is attempting to SHOW ROOTS of a keyboard that has no sounds assigned to It Not a user keyboard The user has selected a non digitizer keyboard for a digitizer operation Only digitizer created keyboards may be operated on by the digitizer Keyboard list full The user is attempting to create too many keyboards The maximum is 15 Sound file list full The user is attempting to create too many sound files The maximum is 63 SS SSS ee Se ee KH TH cm SMP ve rsion 2 0 Out of sample space There is no more free
12. software For instance SMP version 2 0 Sept 11 1985 SMP version 2 0 REVERSE SOUND REVERSE SOUND reverses the samples of a sound in place Thus when the sound is played it wil have the same effect as playing the sound backwards REVERSE first asks for the sound to reverse then it proceeds to reverse the sound REVERSE displays REVERSING while processing this takes about a second for every 10 000 samples in the Sound Compressed sounds can be reversed but looped sounds cannot be reversed without first deleting the looping section If a looped sound is selected REVERSE will display a warning message and return to the digitizer menu RENAME OBJECT The RENAME OBJECT function allows the user to rename any digitizer sound file or keyboard setup RENAME first asks for the type of object to rename Rename SF or KBD YES SF NO KBD Pressing YES will cause RENAME to rename a sound file NO will cause RENAME to rename a keyboard PLAY will abort RENAME RENAME will now ask for the object to rename of the selected type After selecting the object RENAME will ask for the new name Enter new SF name A The above display would occur if the user selected to rename a sound file The new name is entered by using the ALPHA slider If SELECT is pressed before any characters are entered the name wil be left unchanged otherwise the new name will replace the old one After entering the new name RENAME will return to th
13. sounds to the same key such that one sound plays when the key is struck softly and the other sound plays when the key is struck forcefully This is know as hardness mapping multiple hardness keyboards or timbre dynamic keyboards ASSIGN allows the user to construct both single and dual amplitude keyboards ASSIGN has no keyboard edit functions other than assigning a sound file to a hardness level of a key Thus ASSIGN is a keyboard creator and editor but performs wholly different functions than the K250 keyboard editor ASSIGN first asks for the sound file to assign If ASSIGN 1s being called by RECORD tt will use the sound that RECORD just recorded The format of the sound file selection is as described earlier ASSIGN next asks if you wish to assign the sound to an existing digitizer keyboard or if you wish to create a new keyboard Assign to existing KBD Y N If you answer YES ASSIGN will ask you for the keyboard to assign to The format for keyboard selection is as described earlier If you answer NO ASSIGN will create a new keyboard for you and will ask you to name it Input new KBD name A This name entry is identical to the naming of sound files in RECORD if you press SELECT ASSIGN will create a name for you of the format DIG KBD nnn where nnn is the next available keyboard number SMP version 2 0 ASSIGN is pretty smart about the number of keyboards that the digitizer has created f none have been created it wi
14. space in sample memory No more sounds can be recorded or duplicated until something is deleted DELETE SF DELETE LOOP TRIM and LOOP can alt free up sample memory Key not assigned The user is attempting to assign a sound file to multiple hardness levels and has specified a key which is not assigned To do this an already assigned Key must be specified Key already assigned The user is attempting to assign a sound file to a single hardness level and has specified a key which is already assigned To do this a unassigned key must be specified SF nnn not assigned to KBD mmm The user is attempting to remove de assign sound file number nnn from keyboard mmm and the sound file is not assigned to the keyboard Freeing partially built objects The digitizer has encountered objects which were not completely built This can occur if the user does a 4 S SELECT during some function to abort out of it in which case there may be data objects which are only partially built and cannot be used The digitizer will free all such objects akin to deletion and continue SF ann not assigned using DIG PREVIEW KBD The user has selected sound file nnn for processing and the sound file is not assigned to any keyboard The digitizer has automatically assigned the sound to the DIG PREVIEW KBD number 500 and has made this the current Playable keyboard This keyboard which is used for temporary previewing always contains a single amplitude r
15. the strike levels to the keyboard and you now have the other Note that ASSIGN will not ask you the above question unless the keyboard has at least one root already assigned to it If you answer YES assign to multiple hardness ASSIGN asks HARD YES SOFT NO SMP version 7 0 SSS i Se ee Se re re Tee This establishes the hardness level of the sound you are assigning ASSIGN now asks Strike key to assign If you are assigning to multiple hardness strike the previously assigned key you wish to make into dual hardness ASSIGN will only accept a key that has already been assigned displaying key not assigned if you err If you are NOT assigning to multiple hardness strike an unassigned key you wish to assign ASSIGN will only accept an unassigned key displaying key already assigned if you err Until this process is understood users get confused with these messages and want to abort Because ASSIGN is looking for a performance key strike it will not abort immediately if you hit PLAY To abort hit PLAY and then strike a key ASSIGN will return to the digitizer menu with no assignments made H you are assigning to multiple hardness ASSIGN will use the split points already established for the previously assigned sound If you are not assigning to multiple hardness ASSIGN asks Automatic split points YES Answering YES will cause the digitizer to create split points exactly between adjacent root positions Answering NO
16. use the same keyboard selection feature as the K250 uses The up and down arrows select global keyboards and the left and right arrows select user digitizer keyboards SELECT confirms the choice of keyboard The sound file selection is pretty much the same as keyboard selection except that the up and down arrows confine you to user sound files This is done to prevent users from travelling through our ROM based sound files Performance key selection is always indicated by the message strike key to This means that the K250 is waiting for you to hit a performance piano key from AO to C8 This is much the same as the keyboard editor The digitizer creates only three types of objects instruments sound files and keyboard setups Al of these are numbered starting from 500 The digitizer creates one special object of each type for its own use and each is number 500 The digitizer only creates one instrument definition which is totally generic no effects The user must use the instrument and keyboard editors to change instrument assignment to digitizer keyboards This instrument is number 500 and is called DIGITIZER INSTRUMENT Keyboard number 500 is called DIG PREVIEW KBD and is used for previewing sounds Sound file 500 is caled DIGITIZER SF and is used to hold the sounds played on the preview keyboard The user may create sound files and keyboards starting at number 501 The digitizer keeps track of the last SF and KBD t
17. will cause clicks when played Notice how the difference in the waveform slope at START and END creates a cusp in the waveform Applying a crossfade would smooth out the cusp somewhat but in general crossfades cannot fix a bad choice Choosing point A and then crossfading would result in a better loop ORIGINAL WAVEFORM START OF LOOP END OF LOOF PLAYED WAVEFORM A f j F 7 START OF LDOPING CLICKS CAUSED BY PHASE DISCONTINUITY FIG 3 SMP version 2 0 Figure 4 shows the looping process in more detail Notice how the crossfade occurs at the end of the looping section and how it causes the loop to blend into itself START OF LOOP EMD OF LOOP E CROSSF CROSSFADE ee M i GAIN sa Ts ee Sao mix CROSSFADE SECTION LOOPING SECTION REPEATS INDEFINITELY SPAM SECTION PLAYS ONCE DELAY OR o etniscisapanaaae ui ATTACK EXPANSION DECAY SEGMENT SEGMENTS SEGMENT FIG 4 31 SMP version 2 SSS ee ee ee es Se eS a a ee Operation of LOOP LOOP works by allowing the user to Select the start of loop end of loop and duration of crossfade These three values can be input by using the assignable sliders SLIDER mode or by single stepping the values STEP mode After the values have been input LOOP finds the proper zero crossings closest to your values creates the looping section and then allows the user to play the creation o
18. will let you preview the sounds by making them the current ones but to fiddle with chorusing and transpose for example you would have to exit the digitizer to PLAY mode When you enter the digitizer it turns off the following Sequencer SYNC Transpose Assignable sliders Chorus Vibrato Tremolo Brightness Bins The asterisk indicates those items that are NOT restored upon leaving the digitizer You must turn them back on yourself All the other items are fully restored to their previous state Getting into the digitizer Now that you understand these limitations to get into the digitizer press the INST button from PLAY mode If the digitizer software is not installed the unit will do nothing Otherwise you will enter the digitizer menu at the option RECORD SOUND The digitizer menu has the same format as the edit menus but it s worth describing again SMP version 2 0 Menu operation See the following diagram of the menu structure for the digitizer At the top level there are the functions RECORD TUNE TRIM and LOOP and five option sub menus While in a menu the LCD looks like A 24 CHARACTER PROMPT NAME 1 1 A 24 CHARACTER PROMPT is the name of the menu item you are currently at When you enter the digitizer you will find yourself at the RECORD SOUND menu ftem 2 NAME is a0 to 4 character name of the menu you are in For the digitizer the name is DIE 3 t is the number of the item in
19. 0th the length of the sound For more precision you can put either slider in fine mode by pressing the slider select button above the slider The LED on the button wili light indicating that the slider is in fine mode In this mode each tick represents 1 50th the length of a coarse tick or 1 10 000th the length of the sound When going into fine mode TRIM remembers the last coarse setting such that the fine adjustments are relative to the last coarse mode setting The fine mode adjustment is zero at the center of the slider negative on the lower half and positive on the upper half Thus when you pop into fine mode you must center the slider to get the original coarse setting To get out of fine mode back to coarse SMP version 27 0 SSS ee _ mode simply press the slider select button again The LED will go out indicating that the slider is in coarse mode Note that the slider postion will be interpreted as a coarse mode setting which may result in a large change from the previous fine mode setting In general the fine mode adjustments will only be necessary for long sounds TRIM can trim compressed sounds as well as non compressed Sounds When trimming compressed sounds the envelope of the trimmed section is normalized to O dB thus the trimmed section will play out at the maximum volume possible for that section While trimming the transpose buttons are operational and provide the OCTAVE PITCH SH
20. A Player s Guide To Sound Modeling The Kurzweil 250 Sound Modeling Program version 2 0 by Bill Gardner Copyright 1985 Kurzweil Music Systems Inc All rights reserved KMS P N 91001501 Rev B September 1985 ea SMP version 2 0 Contents About your warranty Introduction z SMP version 2 0 2 Setting up 3 Inputs for sample SOurtes ua i Operating the Eee ES Te RE TET Menu operation 6 Selection of objects Na E AERE AAEE ET Warnings about 4 5 SELECT E EAE A ETE 5 Digitizer functions De eee sedan VDE RECORD SOUND Se ten oe eee Ty KBD EDIT OPTIONS Seer ere ASSIGN SOUND To KBD nie FE REMOVE SOUND FROM KBD INNERES SET KBD CROSSOVER LEVEL 40 DELETE OPTIONS wis TERRA DELETE FIT EEE al DELETE KBD ERROR RESET DELETE LOOP RE AAE INITIALIZE MEMORY Ra 1 DUPLICATE CBN I sina cased ek 43 DUPLICATE KBD 45 DISPLAY OPTIONS NI HN ng Me SHOW FREE SAMPLES mm gt SHOW VERSION 4 MISCELLANEOUS OPTIONS 47 REVERSE SOURD 7 RENAME OBJECT oinen Using the K250 KBD and INST e itors 48 Using MacAttach and HacDuplex 4B Compatibility with SMP version 1 0
21. ASSIGN SOUND TO KBD REMOVE SOUND FROM KBD SHOW ROOTS and DELETE SOUND will not work If you use these functions the error message ERROR Corrupted KBD will show up Before these functions can be used the SMP version keyboards must be rebuilt using the SMP version 2 software This can be done by first deleting all the old keyboard setups with the DELETE KBD function and then rebuilding them using the ASSIGN SOUND TO KBD function This requires that you remember the root assignments to the old keyboards and that you name the new keyboards correctly This task will be easier if the names of the sounds contain the instrument pitch and hardness such as piano C 3 hard If they have not been named in this fashion you may have to do some detective work to figure out the old assignments Rebuilding will fully upgrade the oid keyboard setups so that all the functions may be rE ee a 40 SMP version 2 0 SS SS SSS ne used Using SMP version 2 disks with SMP version software If SMP version is used with data from SMP version 2 in the sound RAM this is an unlikely situation care must be taken not to edit TUNE TRIM or LOOP any sound that was recorded with a sampling rate greater than 25kHz SMP version simply doesn t Know about those sampling rates so you can expect unpredictable results In order to assign or de assign sounds to from the keyboard setups the SMP version 2 keyboards must be deleted and then rebuilt with the
22. EE SAMPLES function to see if these constraints are met if you currently have a set of sounds in digitizer memory and you wish to load a MacDuplex image to the top of digitizer memory there are certain things to keep in mind First the existing digitizer memory must have at least 262 145 free samples remaining If not some data will be destroyed when you load in the MacDuplex image to the top of digitizer memory Also after loading in the MacDupiex image you will not be able to freely use the digitizer without destroying the sounds that are loaded at the top of memory You may TUNE sounds and you may record new sounds provided that after recording there are still at least 262 145 samples free Compatibility All Macintosh disks created by SMP version or any other version for that matter wil ALWAYS be playable when loaded into the K250 Even disks that contain 50kHz sampies will be playable on K250s that do not have the SOkHz digitizer installed The compatibility issues concern whether or not the sounds and keyboard setups created by other versions of SMP can be edited using the current version of SMP Using SMP version I disks with SMP version 2 software Disks made with SMP version are almost compatible with SMP version 2 The difference lies in the keyboard setups If SMP version 2 is used with SMP version data in the sound RAM care must be taken not to assign or de assign sounds to from the keyboard setups The functions
23. IFT function This is useful for pitch shifting down several octaves to hear a slow version of the sound The allowed range of pitch shift is down five octaves to up one octave sounds recorded at sampling rates greater than 25kH2 will not transpose up an entire octave The only indicators of the transposition are the LEDs on the transpose buttons which work as they do in PLAY mode Also the transposition is only temporary and will not apply to the sound after leaving TRIM At any time during TRIM pressing the PLAY button will cause TRIM to return to the digitizer menu without making any changes to the original sound file If you are satisfied with your trimmed sound press the SELECT button TRIM will respond with Replace existing sound with trimmed sound Y N Pressing the YES button wili cause TRIM to replace the existing sound with your new trimmed sound This means that al keyboard setups that used the original sound will now use the new trimmed sound The name and number of the sound do not change TRIM will now return to the digitizer menu Note that the original sound is no longer available and that the number of free samples should increase Pressing NO will return you to the digitizer menu with no changes made to the original sound ir an SMP version 2 0 a ee ea _ LOOP SOUND LOOP allows the user to create a looping section for a sound file A looping section always occurs at the end of a sound file and repeat
24. If the mic should jiggle or fall on the floor the resulting transient can feed through the input electronics of the K250 and can result in a very loud popping sound Similar situations can occur if the mic is Hve while monitoring through speaker systems If problems occur you should disable the mic while monitoring your take Line input The K250 s line input is also a mono 1 4 phone jack The line input is suitable for sampling from line sources such as keyboards tape recorders or mixing boards A level check should always be done before sampling Based on the level check you may decide to sample using the other input For instance some guitars are too hot to go into mic input they can be sampled into line input instead SMP version 2 0 ay a oe WE ee ee PE EF Ts Operating the Digitizer Once you enter the digitizer you need to exit it to perform standard K250 operations When in the digitizer for instance you will not be able to access PLAY mode features edit instruments or keyboards record or play sequences or transfer files to from the Macintosh This is not a big limitation because it is easy to exit the digitizer by hitting PLAY and when you have left the digitizer any objects you have created will be accessable by the K250 While in the digitizer the keyboard is still active with the current keyboard and instrument but you are not in PLAY mode As you record sounds and create keyboards with the digitizer it
25. associated sound type index 1 6 A much easter way of entering the sound type is to use the left and right cursor buttons to step through the sound type choices When you are satisfied with your selection press SELECT to confirm your choice SMP version 2 0 2k Doha Do SSS Se Se Se eee SS SS RECORD next asks for the sampling rate Sampling rate 1 14 25000 10 There are fourteen sampling rates provided and they can be chosen by entering the corresponding sampling rate index 1 14 The sampling rates and their indices are given in the table below Index Sampling rate Hz Lime ser Corner frequency HZ Iranspose range 5 1 S000 100 2000 47 2 6250 BO 2500 38 3 7500 66 3000 35 4 10000 30 4000 30 5 12500 40 2000 20 6 15000 33 6000 23 7 17500 z8 7000 Zi 8 20000 25 B000 B g 27500 22 9000 16 i0 25000 20 10000 E I 31250 16 12500 10 2 35714 I4 14286 8 I3 41667 i 16667 5 I4 50000 l 20000 2 No compression Also given in the table is the amount of recording time available in the QUICK TAKE mode the filter corner frequency by the 2 Sths sampling rate rule and the transpose up limit in semitones If you have selected a compression mode you will not be able to use a sampling rate greater than 31250 Hz As with the sound type you may use the left and right cursor buttons to move you through the sampling rate choices Press SELECT to confirm your choice RECORD next asks for the length of sound you wish to record
26. compatibility before using SMP version 2 to modify sound disks made with SMP version 1 You will not lose your sounds made with SMP version but in some cases the keyboard setups must be rebuilt using SMP version 2 SMP version 2 0 This is a brief list of some of the new features available with SMP version 2 Sampling rates up to 50kH2z Four new sampling rates 31250 35714 41667 and 50000 Hz have been added Compression modes are available at 31250 Hz only Multiple sound file assignment Sounds may now be assigned to different root positions on the same keyboard setup or different keyboard setups with no transposition side effects 2 SMP version 2 0 EO O eo O o ooe en ee a A ee Set high and low split points The user may now manually select the split points of an assigned sound Transpose range fimiting The transpose range of sounds 1s now limited to the playable range of the sound which depends on sampting rate Pre trigger recording Up to 50 milliseconds of sound may be recorded prior to the trigger level being exceeded Octave pitch shift in TRIM Octave pitch shift is usable in the TRIM function SHOW ROOTS function This function allows the user to see root assignments to keyboards DUPLICATE KBD function Allows the user to duplicate keyboards Mew menu structure The digitizer menu now has option submenus The button mapping has been changed slightly Setting up Hooking up a Kurzweil 250 with SMP instal
27. d sound is trimmed other sounds that may happen to be on the same keyboard are unaffected Each slider spans the duration of the sound the lowest position of the slider means the start of the sound 0 000 seconds and the highest position of the slider means the end of the sound There is a smal deadband at each end of each slider to ensure that the start and end are achievable by pegging the sliders to their rails Thus the above display would occur if the sound was 2 seconds long and slider was at its lowest position and slider 2 was at its highest position This would result in the original sound being avaliable i e no trimming Until the user decides to replace the original sound with the trimmed sound the effects of trimming are totally non destructive The original sound is still intact within the machine Thus the philosophy of trimming is to adjust the sliders and play the sound adjust and play again etc until the desired final sound is achieved or the user decides to abort with no changes made If the sliders are set such that the start is greater than or equal to the end the display will read SMP version 2 0 START END NO SPAN In the above situation TRIM wil create a NULL sound that contains no samples except for those samples in the looping section if there is one The K250 can potentially play extremely short sounds However in heavy performance situations with all channels steaming LFOs on and the seque
28. d will play the hard strike sound instead of the soft strike sound SET KBD CROSSOVER LEVEL first asks for the keyboard to edit If the selected keyboard is not a dual amplitude keyboard SET KBD CROSSOVER LEVEL will display a warning and return to the digitizer menu After selecting a dual hardness keyboard SET KBD CROSSOVER LEVEL asks for the crossover level KBD crossover level 235 The range is from 0 to 255 and 235 is the defauit amount Selecting 255 will cause the soft strike sound to always play Selecting O will cause the hard strike sound to always play You will notice that the useful range of the crossover amount is over 200 As you change the value with the VALUE slider play the keyboard until you are comfortable with the transition point When satisfied hit SELECT SET KBD CROSSOVER LEVEL will now return to the digitizer menu SMP version 2 0 TEI ne a DT RS DELETE SOUND DELETE SOUND deletes a sound file from the digitizer DELETE SOUND first asks for a sound file to delete Then DELETE SOUND asks whether to extend the range of sounds adjacent to the sound that is being deleted every occurrence of this sound must be removed from all keyboards that use it and the digitizer needs to know how to remove it see the section on REMOVE SOUND FROM KBD The sound file is removed from all keyboards that use it the sound file is deleted and the memory is reshuffled to free up fragmented space caused by the deletion if the me
29. de length tends to make the loop sound chorused However this long loop technique works best when looping sustained chorused sounds such as a car skid 4 tires each with little treadlets all making a skidding noise a bowed string section rain applause etc The short cycle loop refers to a short looping section consisting of a small number of cycles of the fundamental frequency of the sound The purpose of cycle looping is to extend the timbre of a tonal sound In order to properly select the cycles to loop the loop must start and end on a zero crossing Figure 1 shows negative to positive zero crossings of a waveform these are all candidates for start and end points of a loop SMP version 2 0 ZERO CROSSINGS FIG 1 i i 99 wer ar SMP version 2 0 Cycle loops are only successful when applied to strongly pitched sounds If there is no clear fundamental looping a few cycles may result in a bizarre sound not well connected with the previous timbre Also the loop points must be carefully chosen with repeated listening to get a good loop Figure 2 shows how looping between START and END wil result in a big pitch jump Choosing point A for the start point would result in a better toop ORIGINAL WAVEFORM a A Noi A START END OF LOOP OF LOOP PLAYED WAVEFORM ea START OF LOOPING met DRAMATIC TIMBRE CHANGE FIG 2 SS A Ts A Figure 3 shows a loop that
30. e changing in the digitized input signal 6 dB per bit Thus the dB s do not really correspond to the actual power in the input signal but they re close The best trigger level to use depends a lot on the level of sound you want to catch and the background noise level you want to avoid Larger triggers must be used with the microphone input because it is inherently noisier than the line input In general 18 24 dB for quiet line input and 30 36 dB for noisy mic input will catch the first event without recording the background noise If you select a trigger RECORD will ask if you want any pre trigger recording Pre trigger recording NONE 14 This feature allows sound to be saved prior to the record trigger level being exceeded The use of a large trigger level to initiate recording normally resuits in the loss of the very start of the sound that part of the attack below the trigger level Invoking this feature wili cause the digitizer to save samples in a FIFO buffer analogous to a continuous tape loop until the trigger level is exceeded at which point recording resumes as usual The FIFO buffer will then contain the sound prior to the trigger level being exceeded The amount of pre trigger recording is selectable from 0 to 50 milliseconds This feature works with all recording modes at all sampling rates provided the user has selected a trigger level The possible selections are given below Pre trigger recording NONE 10 msec
31. e digitizer menu SMP version 2 0 a ere ae Using the K250 INST and KBD editors After you have created an interesting digitizer keyboard you may want to edit the instrument voicing to add special effects such as vibrato tremolo chorusing etc The DIGITIZER INST number 500 and digitizer keyboards numbers 501 through 564 are not directly editable with the K250 editors but they can be copied to the user INST and KBD area numbers 250 on up and then edited A simple example of how to do this follows For this example let s assume that the digitizer keyboard you have created is number 501 From PLAY mode get into the instrument editor by entering EDIT INST You want to edit the DIGITIZER INST so enter NO YES 500 SELECT SELECT Now the DIGITIZER INST has been copied to the INST EDIT BUFFER and you will find yourself at the VOICING OPTIONS menu At this point you may use the instrument editor to create whatever effects you wish see the K250 user s manual There are two important things to remember you MUST set the current keyboard to be the digitizer keyboard in this case 501 and you MUST set the effects flags to use the local effects you have set up When satisfied save the instrument by entering SAVE NO SELECT SELECT Exit the instrument editor by entering PLAY Now you must create a new keyboard and layer this instrument on top of it To do this enter EDIT KBD NO NO YES INST Now you must select the instrument that yo
32. e with ON or 1 and filter anti tracking is selectable with OFF or 0 After selecting filter tracking mode TUNE exits to the digitizer menu SMP version 2 0 TRIM SOUND The trimming option allows the user to trim sound files resulting in a new sound file with fewer samples The most common use for trimming is to eliminate unwanted silence at the beginning and or end of the sound but this is only one of many possible uses Sound may be trimmed from the beginning and end of an existing sound by using the assignable sliders to set the start and end point of the sound while playing the sound on the keyboard If the sound has already been looped sound may only be removed from the start This can be used to remove all sound but the looping section TRIM first asks for the sound file and keyboard in the same manner as other digitizer functions The keyboard selected becomes the current playable keyboard and the display will look something like START END 0 000 2 000 The display always shows the selected start and end points of the sound in seconds Assignable slider sets the start of sound and assignable slider 2 sets the end of sound As the start and end sliders are moved TRIM creates the proper sound file header to play the sound for the specified range The user must play the sound on the keyboard to hear the effects of trimming The sound may be played polyphonically with itself or other sounds on the same keyboard Only the selecte
33. ecay rate of the sound expressed in decibels per second Because the decay rate only applies to the looping section of a sound TUNE will not ask this question if the sound has not been looped After setting the decay rate TUNE asks for the release rate RELEASE RATE dB sec nnn nnn is the current release rate of the sound expressed in decibels per second The release rate is the rate at which the sound decays after you have physically released the performance key After digitizing this number defaults to 1000 dB sec The release rate is currently adjustable from 1 dB sec to 2000 dB sec After setting the release rate TUNE asks Filter tracking ON ON TUNE is looking for 1 meaning ON or O meaning OFF It is also possible to use the left and right cursor keys or the yes and no buttons to respond What DI et IN E ee oe OO ee BE 22 iP version 2 0 SS SS m ha ED does filter tracking mean Filter tracking is simply the fact that the anti alias filter tracks the sound as you play it higher or lower in pitch That is if you sampled a sound at 25kHz and played it at root position you will hear the original sound The anti alias filter will be set to cutoff at IOkHz 2 5 ths the sampling rate If you play the sound up an octave the filter will be at 20kHz and if you play down an octave the filter will be at SkHz This ts filter tracking The alternative to filter tracking is called filter anti tracking This is just like f
34. ed for use by the digittzer SHOW ROOTS This function allows the user to ist each sound ftle assigned to a particular keyboard After selecting the keyboard SHOW ROOTS will display each root assigned to the keyboard in the order low keys to high keys and soft strikes to hard strikes An example display follows A 3 HARD AO C4 501 CRASH CYMBAL The root position is given in ASA notation C4 middle C octaves are between C s thus the above root is A sharp below middle C HARD TI ee m I 45 SMP version 20 EEE TED nn ee ce ET mee oe ee oe Ze indicates that the root is assigned to the hard strike of a dual amplitude keyboard SOFT indicates soft strike BOTH indicates both hard and soft strikes and no specifier is given if the keyboard is a single amplitude keyboard The notes given in parentheses specify the range of the sound In the example AO C4 indicates the range of the sound is from AO to C4 inclusive lowest piano note through middle C The sound file number is given on the far right in this case 501 The sound file name appears on the lower line Use the left and right cursor buttons to scan through the list of roots Pressing SELECT PLAY or the up cursor will cause SHOW ROOTS to return to the digitizer menu If no roots are assigned to the keyboard SHOW ROOTS will display No roots assigned and exit SHOW VERSION This function tells the user the version number and date of release of the current
35. ge number of sound files and Keyboards and you are engaged in processing TRIM or LOOP The heap space is where the digitizer saves sound file headers keyboard setups and lots of other internal data that is largely invisible to the user Under certain circumstances the heap may run out of space before the maximum number of objects 15 KDBs 63 SFs has been exceeded TRIM and LOOP both require a lot of temporary space in the heap to perform their functions To free up heap space delete keyboards and or sound files All the remaining errors are pretty fatal and should be reported to Kurzweil or your authorized Kurzweil Service Center Bad free attempt An attempt was made to free heap memory which was never allocated Bad allocation attempt An attempt was made to allocate aridiculous amount of heap memory SRA range SRA bad tag SRA size SRA eol These Tour errors indicate an inconsistent heap structure ie corrupted memory Continued use of the digitizer after one of these errors will result in more and more severe errors If you are plagued with these errors it may indicate a faulty CGP memory board SMP version 2 0 Pr RAM memory fails test Upon initialization the digitizer performs a quick write read test of each memory chip in the sound RAM This is NOT a robust test but should detect the majority of gross installation mistakes i e chip put in backwards or chip missing This error indicates that this simple test
36. hat the user has modified and will always default the SF and KBD selection to the object last used When the user attempts to process a sound i e TRIM LOOP TUNE the digitizer asks for the sound to process and a keyboard setup to use while processing This is because the user will need to play the sound while processing it and may desire that a certain keyboard setup be used The digitizer will first ask for the sound to process If the sound is not assigned to any keyboard the digitizer will automatically assign it to the DIG PREVIEW KBD and use that If the sound is assigned to a keyboard the digitizer will ask for the keyboard If the user picks a keyboard that does not use the sound the digitizer will use the lowest numbered Keyboard that does use the sound In all cases where the digitizer is thinking for the user it will display descriptive messages see Warning messages SMP version 2 0 Warnings about 4 5 SELECT The 4 5 SELECT feature of the 250 enables the user to restart the machine at any time without losing any presets 4 5 SELECT can usually be used safely but there is no guarantee that everything will be back to normal and some data may get corrupted as aresult The digitizer is particularly good about 4 5 SELECT although PLAY should ALWAYS be tried first 4 5 SELECT should not be used in the TUNE SOUND or the SET KBD CROSSOVER LEVEL function PLAY works fine and if used in TRIM LOOP or during the level check meter
37. ifferent performance Keys of a keyboard setup DUPLICATE KBD DUPLICATE KBD makes an exact duplicate of any existing digitizer keyboard The duplicate keyboard will be assigned a new name and number the number will be the lowest currently available keyboard number but the name may be entered by the user DUPLICATE KBD asks for the keyboard to dupticate and then DUPLICATE KBD copies the keyboard and asks you to name it As with all names you can use the ALPHA slider to spel the name or hit SELECT to get a default name DUPLICATE KBD will then return to the digitizer menu if there is no more space to create another keyboard DUPLICATE KBD will give a warning message and return to the digttizer menu An example of how this option Is useful follows Let s say that you have an electric bass keyboard with a lot of dual amplitude roots You have just recorded a second Al soft root and you are not sure whether it is better a a a a SE SS ees 43 SMP version 2 0 e ee TE een 2 ESE SS nn than the original Al soft root recorded You can duplicate the electric bass keyboard remove the Al soft root and replace it with the new Al soft root use DUPLICATE KBD REMOVE SOUND FROM KBD and ASSIGN SOUND TO KBD Now you have two keyboards each with a different Al soft root Exit the digitizer into play mode and assign these two keyboards to the keypad bins Now you may play and freely switch between the two different keyboards until you ha
38. igh frequency de emphasis filter on the sound after it has been recorded As the sound enters the K250 the high frequencies in the sound are boosted In order to get the original balance of frequencies in the sound the K250 must de emphasize the high frequencies By doing this the K250 actually obtains a better quality sound Any high frequency noise picked up in the circuitry of the digitizer wilt also be de emphasized and thus reduced whereas the sound itself is simply being restored to its original equalization Because of the pre emphasis recording sounds with the QUICK TAKE mode wil result in overly bright sounds but this is a useful feature The DE EMPHASIS mode is great for recording sustained sounds Note that the processing time required for DE EMPHASIS is only half the processing time required for compression processing described below SLOW DECAY instructs the K250 to extract the natural amplitude envelope from the sound as ft is being recorded thus compressing the dynamic range of the sound For this reason SLOW DECAY is called a compression mode The K250 digitizer calculates the proper amplitude envelope segments to expand the compressed sound back to its original dynamic range This results in an improved signal to noise ratio overall There are currently four compression modes and each is optimized to accomodate a different type of envelope The SLOW DECAY mode is optimized to compress a sound with a slow decay such as low
39. ill not affect the input level to the digitizer or the level check meter Note that the monitor signal comes out brighter because of the pre emphasis circuitry WARNING when using sensitive microphones beware of feedback when monitoring is turned on Always turn down the input level or pan the monitor to an unused channel if this is your setup before turning on monitoring To leave the level check meter press the SELECT button The monitoring of the input signal will end SMP version 2 0 Now RECORD displays HIT RECORD TO START The RECORD LED on the RECORD button will start to blink When you are ready to go hit the RECORD button The RECORD LED will turn on and the display will read RECORDING Now the K250 is waiting for the trigger level to be exceeded by the input signal at which point it will begin saving samples if a pre trigger recording amount was selected the K250 is continuously recording There is no need to panic if you set a decent trigger level the K250 will patiently wait for the sound to arrive If you selected NO TRIGGER the K250 will immediately start saving samples Note that there is no indication as to when the digitizer actually sees the trigger and starts recording Also if you have selected a large trigger and no signal is coming in to the digitizer the K250 will sit there indefinitely and there is no way to abort it If you think you are stuck like this just blast something into the input that wi
40. ill now return to the digitizer menu Note that the original sound is no longer available and that the number of free samples may increase as a result of looping Pressing NO will return you to the digitizer menu with no changes made to the original sound SMP version 2 0 A decay rate can be applied to the looping section with the TUNE function LOOP always uses a decay rate of zero no decay when playing loops After a sound has been looped it cannot be looped again until the loop is deleted with DELETE LOOP Also the TRIM function can be used to isolate just the looping section by setting the start slider to its highest position SMP version 2 0 ee ES SSS EEE ASSIGN SOUND TO KBD The ASSIGN SOUND TO KBD function allows the user to bulid keyboards that contain sounds recorded by the digitizer This is done by assigning a sound file to a performance key of a keyboard When the key 15 struck the original sound is played back Playing higher or tower keys will affect the pitch of the sound correspondingly When sounds are assigned to different keys there are points on the keyboard between the assigned keys where one sound ends and another begins these are called split points ASSIGN can automatically caiculate split points or allow the user to enter them manually ASSIGN will allow sound files to be assigned to more than one keyboard at a time and will allow multiple assignments to the same keyboard It is also possible to assign two
41. ilter tracking except that as you play up from a root position the filter moves DOWN rather than up Playing up an octave will cause the filter to behave as if you were playing down an octave This doesn t seem useful at first but it is Consider the following situation You have sampled two piano notes C4 and C6 at 25kHz and you have assigned these to the C4 and C6 keys of a keyboard Playing at C5 will cause the C4 root to be played up one octave With filter tracking enabled the anti alias filter will be at 20kHz As you move from C5 to C 5 you will now be hearing the C6 root being played down almost one octave causing the anti atias filter to cutoff at about SkHz Thus moving up one semitone has caused the frequency response of the K250 to change from 20kHz to 5kHz and this is clearly audible With anti tracking enabled both roots would have a cutoff of SkHz about C5 and thus the transition between adjacent roots would be smoother Anti tracking is thus useful when creating musical instrument keyboards as opposed to random sounds keyboards You may want every root sound file to anti track except for the top root of such a keyboard When creating random sounds keyboards you may want to select normal tracking The user is urged to think about the sampling rates used and the spacing between roots and to experiment with filter tracking modes i e LISTEN to the keyboard as you switch between modes Normal filter tracking is selectabi
42. ime sec 50000 1 31 41667 1 57 35714 1 84 31250 2 10 25000 2 62 27500 291 20000 3 28 17500 3 74 15000 436 12500 5 24 10000 6 55 7500 8 74 6250 10 49 5000 13 10 As with TRIM once you start to play a sound the sliders no longer have an effect on the sound playing Also all sounds must release fully before LOOP will compute a new sound Because of this LOOP will temporarily replace the release rate of the sound with a 1000 dB sec release while you are looping LOOP will put back the original release rate when done If the sliders are set such that the loop start is greater than the loop end the display will show START END XFADE 1 400 NO LOOP SMP version 2 0 in this case LOOP will act very much like TRIM playing only the first 1 4 seconds of sound STEP mode STEP mode is extremely useful for creating cycle loops STEP mode is entered at any time by pressing the SPLIT KBD button The LED on the button will light indicating that LOOP is in STEP mode In STEP mode it is possible to single step start and end to achieve far better accuracy when creating a cycle loop The two buttons over slider control the start of loop point the ASSIGN I button retreats the start point to the previous zero crossing the ALPHA button advances the start point to the next zero crossing Similarly the two buttons over slider 2 control the end of loop point the ASSIGN 2 button retreats the end point to the previous zero cr
43. led is exactly the same as the procedure for hooking up a standard K250 base unit except that if you wish to save your sound files via MacAttach the Macintosh computer should be hooked up before you begin sampling For information on hookup procedures for the K250 and Macintosh consult A Player s Guide to the Kurzweil 250 and Welcome to MacAttach The first time you use your K250 with SMP installed it is a good idea to power the unit up while simultaneously holding down the READ SEND and LIST buttons in the Media section of the K250 front panel This is a hard reset which initializes all K250 internal memory Your service center should have done this already but it s better to be sure When the K250 is powered up the LCD display should read KURZWEIL GRAND PIANO PLAY MODE just as usual If you release the READ button a little late when doing a hard reset the display will show LOAD FILE FROM COMPUTER Simply hit NO or PLAY and you will return to PLAY mode SMP version 2 0 Inputs for sample sources Mic input The K250 Mic input is a 1 4 mono phone jack designed to accept high level high impedance dynamic microphones If you are using a low level mic you will need a line transformer female XLR to mono phone connector Use the mic input with great care and watch out for situations where feedback loops could occur If you ve just sampled a sound it is not a good idea to leave the open mic lying on top of the K250
44. ll get the trigger to occur This will NEVER happen if you have done a level check When the selected time has been recorded RECORD displays DONE COMPUTING MAX RECORD scans through the samples and finds the maximum value in the sound If the sound clipped the number of clipped samples are counted It then displays on the upper line CLIPS 0 MAX mmm CLIPS nnn if the sound clipped The number of clips is nnn the absolute maximum value is mmm A large number of clips gt 50 or a smal maximum lt 200 ts indicative of a bad take A table below shows the ideal maximum for each of the sound types SMP version 2 0 Sound type QUICK TAKE 400 511 DE EMPHASIS 400 511 SLOW DECAY 350 450 NORMAL DECAY 250 350 FAST DECAY 300 450 SPEECH 150 350 If you have selected a compression mode it is not desirable to get as high a maximum as possible Trying to force the maximum out of the ranges given above will not necessarily result in a better quality sound If you have selected compression or de emphasis RECORD will ask you if you wish to continue with the processing based on your knowledge of the maximum and number of clips It displays on the lower line Continue Y N If you answer NO RECORD will assume you want to re record and will ask you if you want to use the same setup See the setup question described below if you answer YES RECORD will go off and process the sound It will display PROCESSING SOUND mm ss
45. ll not ask you if you wish to assign to an existing keyboard remember that you can only assign to digitizer RAM based keyboards instead it will create a new keyboard for you and ask you to name it Conversely if you have created the maximum number of digitizer keyboards this fs 15 ASSIGN will not allow you to create a new keyboard if you have selected an old keyboard ASSIGN will let you review it before you assign the new sound file to it Review the keyboard Hit SELECT to continue Now it is time to actually make the assignment There are two things you can do when assigning a sound file to a keyboard 1 Assign the new sound file to a previously unassigned key ASSIGN figures out the split points based on adjacent roots or will ask you to enter them manually If the keyboard happens to be a dual amplitude keyboard the assignment will be made to both the hard and soft strikes 2 Assign the new sound file to a hardness level of a previously assigned key If the assignment is made to the soft strike the previously assigned sound becomes the hard strike and if the assignment is made to the hard strike the previously assigned sound becomes the soft strike If the keyboard is a single amplitude keyboard it will automatically be converted to a dual amplitude keyboard ASSIGN will ask Assign to mult hardness Y N No means do 1 YES means do 2 The tricky part is to avoid selecting 2 until you have already assigned one of
46. mory is very full the reshuffling can take a while possibly ten seconds During this Interim DELETE displays DELETING DELETE KBD DELETE KBD deletes a keyboard setup from the digitizer without affecting any sound files DELETE KBD asks for a keyboard to delete deletes the keyboard and returns to the digitizer menu DELETE LOOP DELETE LOOP deletes the looping section of a sound Several functions cannot be performed on looped sounds these are t looping a sound 2 trimming the end of a sound and 3 reversing a sound By deleting the existing looping section these functions can be used on the sound For instance if you have looped a sound and you decide you don t tike it you can delete the loop and loop the sound again Keep In mind that the sound in the looping section will not be available after it Is deleted DELETE LOOP first asks for the sound file then it deletes the looping section and compacts the memory DELETE LOOP displays DELETING white this processing ts taking place If the sound you select has no looping section DELETE LOOP will display an error and return to the digitizer menu INITIALIZE MEMORY INITIALIZE MEMORY does just what 5 says CAUTION Initialize digitizer memory Y N 4 SAF version 2 0 ee ee Br HE Se ee ee ee En a _ Answering YES wipes out the sound RAM all digitizer sound files and keyboards will be deleted and can NOT be recovered This i
47. n the keyboard The type of loop created depends only upon the values selected by the user if you want a long loop select the loop values such that start and end are far apart for a short loop select start and end such that they are close together In essence LOOP always does the same processing regardless of the slider postions but the results categorize themselves into the two groups mentioned above The operation of LOOP from a user perspective is similar to TRIM you should read about TRIM before continuing LOOP first asks the user for the sound file to loop and the keyboard setup to use for review If the sound selected has already been looped LOOP will display an error message and return to the digitizer menu After the user has selected these the display will look something like the following START END XF ADE 1 400 2 350 0 950 The display always shows the current start end and crossfade times in seconds LOOP always starts up in SLIDER mode meaning the start end and crossfade values are input using the sliders SLIDER mode Assignable slider 1 controls the start of loop slider 2 the end of loop Slider 3 the duration of crossfade The length of the loop created is always the difference between end and start The sliders work the same as with TRIM including the fine precision capabilities However the display may not seem to respond as wel to movements of the sliders as with TRIM One reason for this is that LOOP use
48. ncer running with MIDI sounds less than 0 05 seconds must be avoided or the CPU won t be able to keep up For this reason the digitizer prevents the creation of sound segments with a duration of 0 05 seconds or less if the sound you are trimming has already been looped with LOOP TRIM will peg the end postion to the end of the sound and only let you adjust the starting position In general you should trim a sound before looping it but this feature allows the user to eliminate all sound except for the looping section Although TRIM is pretty interactive there are some limitations Once you play a sound the sliders wil have no effect on that sound Also you must wait for all sounds to fully release to silence before re adjusting the Sliders will have any effect This seems easy to do but most players can t keep their hands off the keyboard Remember that the display always reflects the actual sound you are going to hear if you play The sliders each have a range of two hundred ticks the smallest possible slider change This means that the resolution of your trimming is only 1 200th the total length of the sound For a 100 second sound each slider tick will result in a 1 2 second endpoint change which is clearly unacceptable for precision trimming To get more precision out of the sliders there is a multiple precision scheme which works as follows Each slider is normally in coarse mode as described above Each tick represents 1 20
49. ons can be aborted back to the digitizer menu by pressing PLAY Digitizer FH button e H NL mapping FEN Enter Digitizer Reverse sound rn g he 32 Record sound Edit KBD crossover Oe Or Delete KED Delete sound Show free samples Pe mere 1 SF from keo i Ok 6 Delete loop Duplicate sound N Initialize memory Duplicate KBD IE SMP version 2 0 EE rrr re eg RECORD SOUND 1 RECORD TUNE SOUND 2 DETUNE TRIM SOUND 3 SET POINTER LOOP SOUND 4 LOOP KBD EDIT OPTIONS 5 ASSIGN SOUND TO KBD 6 ASSIGN TO KEY REMOVE SOUND FROM KBD 7 MODE SET KBD CROSSOVER LEVEL 8 EDIT DELETE OPTIONS 9 DELETE SOUND 10 ERASE DELETE KBD 11 INSERT DELETE LOOP 12 MODE2 INITIALIZE MEMORY 13 LIST REMOVE SOUND FROM KBD 14 MODE DUPLICATE OPTIONS 15 DUPLICATE SOUND 16 READ DUPLICATE KBD 17 SEND DISPLAY OPTIONS 18 SHOW FREE SAMPLES 19 SEARCH SHOW ROOTS 20 TEMPO UP SHOW VERSION 21 VALUE MISCELLANEOUS OPTIONS 22 REVERSE SOUND 23 TEMPO DOWN RENAME OBJECT 24 ALPHA B8 Selection of objects Many of the digitizer functions require you to select a particular sound file or keyboard or performance key In this manual sound files are referred to as SFs and sounds and keyboard setups are referred to as KBDs and keyboards When the digitizer wants you to select a keyboard it will
50. oot sound file at middle C The sound will be removed de assigned from this keyboard whenever the keyboard is SMP version 2 0 gt EEE ESSE SST needed to preview another sound SF nnn not assigned to KBD mmm using KBD xxx The user has selected a sound file for processing and has selected a KBD that the sound is not assigned to The digitizer has automatically chosen the lowest numbered KBD that the sound IS assigned to and is using that instead This is a two screen message sound already looped The user is attempting to loop a sound that already has a looping section if anew loop is desired the old one must first be deleted with DELETE LOOP Not a loopable sound 7 The user is attempting to loop a sound which miraculously enough has no zero crossings This will probably never occur Not enough free sample space The user is attempting an operation which requires free sample space and there is not enough available The LOOP and DUPLICATE SOUND functions both need free sample space to operate Not a dual amplitude KBD The user is attempting to edit the keyboard hardness crossover level and has selected a single amplitude keyboard setup Can t reverse a looped sound The user is attempting to reverse a sound which has been looped The loop must be deleted before the sound can be reversed SF nnn has no loop The user is attempting to delete the looping section from sound file nnn SMP version 2 0 m
51. ossing the VALUE button advances the end point to the next zero crossing The crossfade amount is still read from slider 3 as before Because the display resolution is in milliseconds it is possible that changing a zero crossing will not result in a display change if there is more than one zero crossing during that millisecond of sound Note also that the same limiting applied to slider input values applies here Thus it is possible that you will get stuck advancing the end point because you are attempting to create a loop larger than the available free space When in STEP mode the start and end sliders are de activated although the LEDS on the assignment buttons which indicate the sliders are in FINE mode do not change Pressing the SPLIT KBD button again will return you to SLIDER mode the SPLIT KBD LED will extinguish and the start and end points will be read from the sliders Note that this will probably result in the values changing Regardiess of the input mode pressing PLAY will abort LOOP and return you to the digitizer menu with no changes made If you like the loop you have made press the SELECT button LOOP will respond with Replace existing sound with looped sound Y N Pressing the YES button will cause LOOP to replace the existing sound with your new looped sound This means that ail keyboard setups that used the original sound wili now use the new looped sound The name and number of the sound do not change LOOP w
52. piano notes vibes etc Each of the compression modes requires processing in addition to the de emphasis processing and thus they are more time consuming The processing time is about 1 5 milliseconds per sample thus a 2 second sound at 25kHz will take 75 seconds to process Note that all the compression modes automatically do the de emphasis filter NORMAL DECAY is a compression mode that is optimized to compress sounds that decay similar to a mid to upper piano note Other examples include synth swept filter sounds acoustic bass marimba etc NORMAL DECAY will work better than SLOW DECAY for sounds that have a pulsating decay FAST DECAY is a compression mode that is optimized for pretty fast decays such as quick percussive sounds Examples are high piano notes snare drum wood block etc SPEECH is a compression mode optimized for sounds with square wave envelopes such as speech Put another way SPEECH is useful on sounds that have silent sections in them On playback the quiet sections will be made quieter to avoid noise problems associated with quantization of the sound samples SPEECH mode is jess robust than the others so if you have excessive problems using it try another mode Remember that the first three compressed modes work best on sounds that decay There is nothing to gain by using them on sustained sounds Sustained sounds should be recorded with QUICK TAKE or DE EMPHASIS The sound type can be chosen by entering the
53. s a quick and effective way of starting over from scratch SHP version 2 0 ee m T DUPLICATE SOUND DUPLICATE SOUND makes an exact duplicate of any existing digitizer sound The duplicate sound will be assigned a new name and number the number will be the lowest currently available sound file number but the name may be entered by the user DUPLICATE SOUND first asks for the sound to duplicate and then DUPLICATE SOUND attempts to copy the sound into free sound space If there is not sufficient space to make a copy DUPLICATE SOUND will give a warning message and return to the digitizer menu Otherwise DUPLICATE SOUND will display DUPLICATING and copy the sound DUPLICATE SOUND then asks for the new sound file name This ts implemented as in the RECORD functton use the ALPHA slider to spell out the name or hit SELECT to get a default name DUPLICATE SOUND will then return to the digitizer menu Consider the following example of how DUPLICATE SOUND is useful Let s say you have just recorded the sound One for the money two for the show and you want to split the sound up into two parts and assign them to different keys You can first duplicate the sound creating two identical sounds which you might cali SOUND and SOUND2 Using TRIM you trim SOUND 1 so that it becomes One for the money and you trim SOUND2 so that it becomes Two for the show You can now use ASSIGN SOUND TO KBD to assign these to d
54. s itself indefinitely until the sound ends The sound may end because 1 the key that caused the sound to play is released 2 the mute pedal is depressed 3 the decay section of the envelope causes the sound output to decay to silence 4 the channel the sound is playing out on is stolen by another sound There are many uses for looping but they all result in an artificial extension of the sound without using up extra memory Loops can be separated into two categories the long natural loop and the short cycle loop Both of these can be created with the LOOP function The tong natural loop refers to a looping section of sufficient length that the sound changes noticably during the course of the loop if one was to digitize the spoken alphabet ABCDEF G and loop the DE F part the final sound would be ABCDEF DEF DEF This is somewhat like a record skip A different example would be looping the sound of a terrifying car skid The original SCREEECHf could be turned into SCREEEEEE by looping the intermediate part of the sound To do this kind of sound properly the loop has to be long enough so that the repetition rate of the loop is not extremely noticable To help with this it is possible to do a crossfade at the end of the loop with the sound that immediately preceeds the start of the loop In the alphabet example the F would get blended with the C to make the transition to D smoother Note that a long crossfa
55. s the start and end sliders as initial search points in its quest for zero crossings After it finds the start zero crossing it limits the end of loop point based on the start of loop point This is necessary because there is a maximum loop length of 64K samples The table below gives the maximum loop time available for each sampling rate given that there is at least 64K free samples at the time of looping If there are fewer free samples than this the maximum loop time SMP version 2 0 pi a i Be De Fi Sm Br rn Fre er available will be smaller After the end zero crossing is determined LOOP limits the crossfade length based on start and end Of course the length of the crossfade cannot be greater than start see figure 4 and cannot be greater than the loop length LOOP now constructs the looping section based on these final values While LOOP is calculating a new looping section the SELECT LED will extinguish and the keyboard will not respond to attacks BE PATIENT If the crossfade is of an appreciable length it will take some time for LOOP to compute the crossfade several seconds Finally the new values are displayed the SELECT LED lights and the new sound is playable on the keyboard A good idea is to leave the crossfade siider on zero until you have chosen start and end then raise the crossfade to the desired amount This will decrease the turnaround time from slider Input to playability Sampling rate Hz Maximum loop t
56. ssion mode either QUICK TAKE or DE EMPHASIS do the following to set the input level When in non compression mode the rightmost slider slider 3 serves as a gain adjust At its lowest position the gain boost is O dB at the highest position it is 30 dB With the slider at halfway produce an input signal that you consider typical and watch the meter Using the slider adjust the input gain until the meter readings are very full but do not quite clip This is the best setting If this is not possible using the range of the slider than you must affect the signal strength with some externa means also check that you are plugged into the proper input either mic level or line level If you do not enter the meter function slider 3 will not affect the gain and the gain will be defaulted to 6 dB boost If you HAVE selected compression the rightmost assignable slider has no effect on the input gain and it will default to 6 dB boost Thus you must use some external means to adjust the gain until you get a level reading just below clipping While checking the level pressing the CHORUS button will cause the digitizer to send the input signal through to the K250 s output While in this monitor mode the CHORUS LED will be lit Pressing the CHORUS button again turns off monitoring and extinguishes the CHORUS LED The monitor output is assigned to group A so the monitor can be panned to either left or right as desired by using the group A slider This w
57. the digitizer menu If you answer YES then after you have assigned the sound to a keyboard RECORD will exit back to the digitizer menu SMP version 2 0 TUNE SOUND The TUNE function allows the user to set various performance parameters associated with a sound These are the volume pitch decay and release rate of the sound and whether the anti alias filter tracks the sound as it is played or anti tracks the sound explained below The TUNE function allows the user to adjust these parameters while the sound is being played The TUNE function first asks for the sound file to tune and then the keyboard to make into the performance keyboard for tuning It really doesn t Make sense to tune a sound file without being able to hear it by playing a keyboard that the sound is assigned to Once the sound file and keyboard are chosen TUNE asks for the volume adjustment VOLUME adjust dB nn nn is the current volume adjust in decibels After recording this will always be 0 The format of this input is found throughout the K250 The user may enter a number with the keypad and SELECT or the user may use the VALUE slider to input the adjustment Using the VALUE slider is the preferred method Press the VALUE button and then move the VALUE slider as you play the sound The number of dB s volume adjustment will appear in the display and will be applied to the sound as you play you must re attack the note to hear each change The amount of vol
58. the menu you are currently at Every ttem in the menu has a unique number which can range from 0 to 99 The menu item displayed refers to a function of the digitizer To execute a digitizer function you must get to the function you desire and select ft by pressing SELECT or DOWN ARROW To move to a different item you can navigate to it using the cursor buttons these are UP ARROW DOWN ARROW LEFT ARROW RIGHT ARROW If the function desired is on the same level as you are you can simply use the left and right cursor buttons to get there if the function is located in an option sub menu you must get to the desired option sub menu and select it with SELECT or DOWN ARROW This will put you in the option sub menu where you can use the left and right cursors to get to the desired function To get out of a sub menu press the UP ARROW cursor button Because each menu item has a unique identification number you can get to any item by entering the number of the item and pressing SELECT Also all of the functions are mapped to buttons on the front panel For instance pressing the ASSIGN TO KEY button will take you to the ASSIGN SOUND TO KBD menu item See the following diagram of button mappings for the digitizer Thus there are three different ways of getting to a function navigation with the cursor buttons item number entry and front panel button mapping To exit the digitizer menu back to PLAY mode press the PLAY button AN digitizer functi
59. u just created with the instrument editor After doing this strike key AO low key and C8 high key Save the new keyboard by entering SAVE YES SELECT SELECT Now you have created a keyboard that is a copy of keyboard 501 except that it uses the new instrument with effects that you created Using MacAttach and MacDuplex In order to save your digitized sounds for future use you must save them on the Macintosh with the MacAttach utility You should read the MacAttach user s manual this section ts only intended as a reinforcement of key concepts For use saving sounds the MacAttach utility is best set up as follows The MacAttach program should reside on a disk that includes a sytem folder if this is not already so MacAttach should be copied to a Macintosh system disk this disk now becomes your MacAttach disk Boot MacAttach in the external disk drive by powering up the Macintosh and placing the MacAttach disk in the external drive The internal disk drive should now be used for all your data disks There are two important numbers to remember when creating your own library of sounds In order to save the digitizer memory on one disk there eee m wi Ben au gt nie Fi aee Em De zer Wi e m u nn Zn nn mn C 4 SMP version 2 0 must be at least 205 500 free samples remaining in order to create a Single disk file that can properly be renumbered with MacDuplex there must be at least 262 145 free samples remaining Use the SHOW FR
60. ume adjustment possible is from 42 dB to 42 dB however if a large number is used here it will reduce your keyboard dynamics dramatically possibly resulting in the loss of touch sensitivity altogether so be very conservative 10 dB When satisfied with the adjustment hit SELECT TUNE now asks for the pitch adjustment step size PITCH step size 0 2 cents The three c oices here are 0 No PITCH adjust 1 cents 2 semitones This input works just like all the other enumerated input Selecting No PITCH adjust will bypass the pitch tuning altogether Selecting cents causes the pitch adjustment to have a range of 100 to 100 cents in one FS u En u re 21 cent increments Selecting semitones causes the pitch adjustment to have a range of 48 semitones 4 octaves down to 12 semitones one octave up in one semitone steps If semitones were selected TUNE would ask for the pitch adjustment in semitones PITCH adj semitones nnn nnn is the current pitch adjustment in semitones After digitizing this number will be O After inputing the semitone adjustment TUNE automatically asks for adjustment in cents PITCH adj cents nan nnn is the current pitch adjustment in cents hundredths of a semitone TUNE would have jumped directly to the above question if cents adjustment was originally selected After selecting the pitch adjustment TUNE asks for the decay rate DECAY RATE dB sec nnn nnn is the current d
61. ve decided which one is better SMP version 2 0 DIOR 7 0P SHOW FREE SAMPLES SHOW FREE SAMPLES shows how many samples of memory are available for recording and also shows the number of sound files and keyboards currently used by the digitizer If SHOW FREE SAMPLES was selected immediately after initialization the display would look like free 500000 samples used 0 SFs 0 KBDs To determine how much time is available the user must divide the number of samples by the desired sampling rate For instance 500 000 samples at SOkHz would yield 10 seconds of recording time in QUICK TAKE or DE EMPHASIS mode The amount of time available depends on the mode of digitizing If compression is used there will be slightly less time available The best way to determine the time remaining is to enter the RECORD function answer the questions about sound type and sampling rate and then see how much time RECORD offers to record At this point the user can simply abort out of RECORD by pressing PLAY Some space in the digitizer is Known as fragmented space and is not available for recording The digitizer tries to keep the memory compacted optimally at atl times so that the maximum amount of space is available for recording Every time any old samples are discarded the digitizer will repack the memory The number of used sound files and keyboards does not include the DIG PREVIEW KBD 500 and the DIGITIZER SF 500 which are always present and reserv

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