Kurzweil K2500 Mode d’emploi

urzweil is a product line ofYoung Chang Co. Kurzweil, K2500, and V.A.S.T. are

trademarks ofYoung Chang Co. All other trademarks and registered trademarks are the property of their respective

owners. Product features and speciﬁcations are subject to change without notice.

PartNo.910309

K2500 Operating SystemVersion 2.8

(Live Mode)

Release Notes

Introducing Live Mode

Live Mode lets you do more than ever with your K2500, by turning the instrument into a powerful effects

processor for both internal and external sounds. With Live Mode, you can use the K2500’s incredibleV.A.S.T.

capabilities to modify any signal in real-time through the sampling input. This means that you can plug

instruments, microphones, or even an audio device such as a CD player directly into your K2500, then work

magic with any of the V.A.S.T. algorithms. The modiﬁed signal will be available at the K2500’s audio outputs.

WhatYou’ll Need

First of all, you’ll need a K2500; Live Mode will not be available for the K2000. Since Live Mode takes

advantage of the way that the K2500 accesses its internal memory (which is different from the way that the

K2000 does it), this feature is only available for K2500 series instruments.

Secondly, your K2500 must have a sampling option, since Live Mode is actually a new sample mode.You’ll

use the digital or analog inputs of the sampling option to access Live Mode, and set input levels and parameters

on the Sample page. Contact your Kurzweil dealer if you need the Sampling upgrade.

Also, when you are using Live Mode you’ll need to have 1 MB of available sample RAM. This is all the

available sample RAM that Live Mode requires, by the way, so there is no advantage to allotting more memory

for this feature.

InstallingVersion 2.8

Important Note:

Back up your RAM objects before performing this installation. All RAM will be erased by

the Hard Reset at the end of the installation.

The complete procedure for installing the operating system and objects is included in Chapter 2 of the

K2500

Performance Guide

. For your convenience, here's a summary of the procedure:

1. Start the K2500

2. Press and release the Exit key while the "Please wait..." message is displayed. This brings up the K2500

Boot Loader.

3. Load the operating system ﬂoppy, then use "Install System" from the K2500 Boot Loader to install the new

operating system.

4. 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.

Using Live Mode

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Object ﬁle versions and K2500 ROM conﬁgurations for V2.8 are as follows:

OBJ350.K25 for Base ROM

OBJP360.K25 for Base + Piano option

OBJO370.K25 for Base + Piano + Orchestral option

OBJC380.K25 for Base + Piano + Contemporary option

OBJF390.K25 for Base + Piano + Orchestral + Contemporary option

The Object ﬁles that accompany Version 2.8 software add two new keymaps, "197 LiveInputL" and 198

"LiveInputR", to your K2500. If you have previously used these locations for your own keymaps, you must

move them before using Live Mode. (When you are using Live Mode, the K2500 also creates samples at

locations 197 and 198.)

5. When the installation is ﬁnished, choose "Hard Reset" followed by "Run System" from the Boot Loader.

While you won't normally need to reinstall the operating system or objects, you should still put the disks in

a safe place, just in case you may need them again.

Using Live Mode

The easiest way to use Live Mode is to use one of the programs provided with the objects for this release. Some

of the programs are optimized for certain applications (e.g., guitar cabinet simulations), while others are meant

to be used as templates. Complete descriptions of the Live Mode programs are at the end of this document.

Creating a Live Mode Program

1. Press the Sample soft button to bring up the SampleMode page.

2. Set the "Src" parameter for the source you are using.

For example, if you have plugged a microphone into the K2500’s HiZ sampling input,

choose "Ext". Be careful if you choose "Int", since you can inadvertently create a feedback

loop.

3. Set the "Mode" parameter to "LiveIn".

Two samples will automatically be created: "197 Live Input L-C 4" and "198 Live Input

R-C 4". The soft buttons on this page will be disabled when you set "Mode" to "LiveIn".

4. Edit a program to use one or both of the LiveInput keymaps (197 and 198).

For a stereo program (i.e., using both of the LiveInput keymaps) you must ﬁrst set

"Stereo" to "On" on the EditProg:KEYMAP page.

5. Edit the program’s parameters (e.g., algorithms) for the effect(s) you want to use.

6. Play C4, then input the audio source that you want to run through Live Mode.

Hint: Set "VelTrk" on the EditProg F4AMP page to 0 dB; otherwise the velocity with

which you strike C4 will affect your output. For alternative ways of triggering the sound

(e.g., with assignable controller buttons or pedals), edit the Control Setup.

You should now hear your V.A.S.T.ed audio source through the K2500 mix outputs.

Live Mode Programs

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Live Mode Programs

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.

Prg. # Program Name Controller Assignments

750 LM Notched Pan PWheel>Reverse FX, Data>Pan LFO Rate, B> Notch Freq, C>Width

751 LM Talking MW Data>Dist, MW>Filter Freq, B> Tremolo Rate

752 LM Synth Sliders 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

753 LM Hi Resonance Data> Filter Freq., B>LFO Rate, C>Resonance

754 LM Amp Mod Osc Data>Amp Mod Depth, B>Osc Pitch, C>Wrap LFO Rate,

MW>Reverse FX, G>Flange Level

755 LM Notch/Shaper Data> Filter, Shaper, MW>LFO Rate

756 LM Twin Peaks Data, MW>Filter Freq., B>Width, C>Separation

757 LM Air Filter Data> Filter Freq., MW>Resonance, B>Separation LFO Rate

758 LM Parametric Data> Filter Freq., MW>EQ Peak Width, B>Para EQ Amp

759 LiveMode Default Stereo Default, Slider H controls the Digitech Effect Wet/Dry Mix

Some ideas for using Live Mode

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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. Again, some of the audio disappears.

Changing the pitch upwards is perhaps even more interesting. 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. HereÕs an example.

•

Start with Program

759 LiveMode Default

•

Go to the

PITCH

page.

•

Assign

LFO1

Src1

, with a depth of

-200c

•

In order to keep the playback from constantly crossing above unity, set the

Coarse

parameter to

-2ST

Or try these settings:

•

Src1

MWheel

•

Depth

-1200c

•

Src2

LFO1

•

On the

LFO

page, set

MnRate

50Hz

MxRate

.00, and

RateCt

Data

•

DptCtl

MWheel

•

MinDpt

0ct

•

MaxDpt

1200ct

Some ideas for using Live Mode

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Sometimes you can hear the snaps back and forth when the LFOs and the buffers get out of

sync. You might be able to smooth out the rough spots by making another layer with no pitch

alterations, and crossfading between the layers:

•

Duplicate the layer

•

Clear all the settings on the

PITCH

page

•

Go to the

OUTPUT

page and assign

Crossfade

Mwheel

on both layers.

•

On layer 1, set

XFadeSense

Rvrs

; on layer 2, set

XFadeSense

Norm

Now at the Mod Wheel extremes, you will hear only one layer or the other, while in the middle,

you will hear a combination of the pitch-modulated signal and the unmodulated signal. By

experimenting with FUNs, you can get more precise crossfades.

The program

752 LM Synth Sliders

includes this kind of crossfade, tied to the Pitch Wheel, to

implement a 3-layer crossfade. Moving the Pitch Wheel up fades to a layer which is bending

the pitch up. The surprise is that moving the Pitch Wheel down bends the pitch down, then up

again, crossfading to a layer that is playing back in reverse! Yes, reverse playback works with

Live Mode: on the

KEYMAP

page, set

PlayBackMode

Reverse

Arpeggiator

You can also do controlled pitch shifting on incoming audio using the arpeggiator. By

constantly sending new note starts, it is possible to bend the pitch without losing the tempo of

the incoming signal.

It can work in both directions, although when you are shifting signals up in pitch, youÕre

ÒborrowingÓ the audio from a few seconds previous.

•

Go to

Setup

Mode and select

97 Control Setup

•

Press

Edit

, and on the

CH/PRG

page, set the program to

759 LiveMode Default

•

With the Program highlighted, press

Edit

and go to the

AMPENV

page.

•

To make the crossfading less choppy, you want short attack and release segments: set

Att1

0.0

100%

and

Rel1

0.10

•

Press

Exit

and save the Program to some new location.

•

Now go to the

ARPEG

page and set

Active

•

Set the

Duration

to, say,

•

For this example, set

Order

Simultaneous

and

Beats

1/32

•

Tempo should already be 120BPM.

Now play C4 and you will hear the live signal at the correct pitch. Play G3 and you will hear

the signal pitched down a fourth. You can use the ribbon or similar controller to bend the pitch

smoothly. Going above unity pitch will cause a jump back into the past.

Experiment with the Tempo, the Beats setting, the Duration value, and the AMPENV

parameters to get useful variations on the program. Remember that because we set the Order to

Simultaneous, you can play several notes at once. And Þnally, try setting

Glissando

Some ideas for using Live Mode

6910309

Sustained Notes and Loops

If the incoming signal is a single, sustained pitch, like a saxophone note, then you can consider

the Live Mode keymap to be playing a normal, looped sound. 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. Keep in mind that, unless your incoming signal is a C, notes and chords played

on the K2500 keyboard will be transposed relative to the incoming pitch. Also remember that a

rhythm pitched an octave down will play at half the speed, while one pitched an octave up will

play twice as fast. Fifths produce a 3-against-2 pattern. To keep some sort of relative sync with

the live signal, you may want to experiment with re-triggering the notes, perhaps using the

arpeggiator, at some appropriate tempo.

If the passage you want to play is long, and the input signal isnÕt so longÑsay, the sax player

needs to take a breathÑyou may run into a problem as the K2500 tries to play the buffer where

the audio was interrupted. If the input signal is mono, you might be able to overcome this by

using a delay line to ÒholdÓ the signal. The delay line could be part of V.A.S.T., or it could be an

external device, but either way its output is sent back to the K2500 through the unused Live

Mode input channel.

Chord Progressions

Record a few bars of block chordsÑall notes under C4Ñinto the sequencer, using a simple

quarter-note or half-note pattern. What sound you use doesnÕt matter. Now replace the

Program on the recorded track with the LiveMode Default Program. Play back the sequence

(you will probably want it to loop), and at the same time play single notes from an external

instrument into the K2500, in the same rhythm as your recorded chords. If you change the notes

on the instrument, the chords will transpose. If you play intervals or chords, you're on your

own as to the consequences!

Feedback

Live Mode gives you the ability to feed back a live signal into itself, similar to pointing a

microphone at the speaker it's sending audio to. Before you hook anything up, turn the volume

down very low (but not necessarily off, but very, very low).

Now go to the Sample page and choose Internal as the Source. Go to a multi-layer ROM

Program of your choice, and go to the Import page. Import Layer 1 from LiveMode Default.

Play one note, then a few. As you play more notes, the noise will build up. 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. Inject a little something from the

synthesizer to get things startedÑand you are instantly transported to an alien dimension.

For more complexity, split the incoming signal and run it through multiple V.A.S.T. layers in

parallelÑyou can use up to 32, each one processing, panning, and routing the signal differently.

You can crosslink the inputs and outputs (right into left, left into right) to create a double

feedback loop for even more fun.

Your ideas?

If you have Internet access, please join our mailing list and exchange ideas with other Live

Mode fans. We will also be putting information about Live Mode on our Website:

www.youngchang.com.

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