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K

2661

Getting Started Guide

©2003 All rights reserved. Kurzweil ® is a product line of Young Chang Co., Ltd. Young Chang®, Kurzweil ® , V. A. S. T. ®, KDFX®,

Pitcher®, and LaserVerb®, KSP8 ™, K2661™, K2600™, K2500™, and K2000™ are trademarks of Young Chang Co., Ltd. SmartMedia™ is a

trademark of Toshiba Corporation. ADAT® is a registered trademark of Alesis Corporation. All other products and brand names are

trademarks or registered trademarks of their respective companies. Product features and specifications are subject to change without notice.

You may legally print up to two (2) copies of this document for personal use. Commercial use of any copies of this document

is prohibited. Young Chang Co. retains ownership of all intellectual property represented by this document.

Part Number: 910388 Rev. A

ii

IMPORTANT SAFETY & INSTALLATION INSTRUCTIONS

INSTRUCTIONS PERTAINING TO THE RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS

WARNING:

When using electric products, basic precautions should

always be followed, including the following:

1. Read all of the Safety and Installation Instructions and Explanation

of Graphic Symbols before using the product.

2. This product must be grounded. If it should malfunction or break

down, grounding provides a path of least resistance for electric

current to reduce the risk of electric shock. This product is equipped

with a power supply cord having an equipment-grounding

conductor and a grounding plug. The plug must be plugged into an

appropriate outlet which is properly installed and grounded in

accordance with all local codes and ordinances.

DANGER:

Improper connection of the equipment-grounding

conductor can result in a risk of electric shock. Do not modify the

plug provided with the product - if it will not fit the outlet, have a

proper outlet installed by a qualified electrician. Do not use an

adaptor which defeats the function of the equipment-grounding

conductor. If you are in doubt as to whether the product is properly

grounded, check with a qualified serviceman or electrician.

3.

WARNING:

This product is equipped with an AC input voltage

selector. The voltage selector has been factory set for the mains

supply voltage in the country where this unit was sold. Changing

the voltage selector may require the use of a different power supply

cord or attachment plug, or both. To reduce the risk of fire or electric

shock, refer servicing to qualified maintenance personnel.

4. Do not use this product near water - for example, near a bathtub,

washbowl, kitchen sink, in a wet basement, or near a swimming

pool, or the like.

5. This product should only be used with a stand or cart that is

recommended by the manufacturer.

6. This product, either alone or in combination with an amplifier and

speakers or headphones, may be capable of producing sound

levels that could cause permanent hearing loss. Do not operate for

a long period of time at a high volume level or at a level that is

uncomfortable. If you experience any hearing loss or ringing in the

ears, you should consult an audiologist.

7. The product should be located so that its location or position does

not interfere with its proper ventilation.

8. The product should be located away from heat sources such as

radiators, heat registers, or other products that produce heat.

9. The product should be connected to a power supply only of the type

described in the operating instructions or as marked on the product.

10. This product may be equipped with a polarized line plug (one blade

wider than the other). This is a safety feature. If you are unable to

insert the plug into the outlet, contact an electrician to replace your

obsolete outlet. Do not defeat the safety purpose of the plug.

11. The power supply cord of the product should be unplugged from the

outlet when left unused for a long period of time. When unplugging

the power supply cord, do not pull on the cord, but grasp it by the

plug.

12. Care should be taken so that objects do not fall and liquids are not

spilled into the enclosure through openings.

13. The product should be serviced by qualified service personnel

when:

A. The power supply cord or the plug has been damaged;

B. Objects have fallen, or liquid has been spilled into the product;

C. The product has been exposed to rain;

D. The product does not appear to be operating normally or

exhibits a marked change in performance;

E. The product has been dropped, or the enclosure damaged.

14. Do not attempt to service the product beyond that described in the

user maintenance instructions. All other servicing should be

referred to qualified service personnel.

15.

WARNING:

Do not place objects on the product’s power supply

cord, or place the product in a position where anyone could trip

over, walk on, or roll anything over cords of any type. Do not allow

the product to rest on or be installed over cords of any type.

Improper installations of this type create the possibility of a fire

hazard and/or personal injury.

RADIO AND TELEVISION INTERFERENCE

WARNING:

Changes or modifications to this instrument not expressly

approved by Young Chang could void your authority to operate the

instrument.

IMPORTANT:

When connecting this product to accessories and/or other

equipment use only high quality shielded cables.

NOTE:

This instrument has been tested and found to comply with the

limits for a Class B digital device, pursuant to Part 15 of the FCC Rules.

These limits are designed to provide reasonable protection against

harmful interference in a residential installation. This instrument

generates, uses, and can radiate radio frequency energy and, if not

installed and used in accordance with the instructions, may cause

harmful interference to radio communications. However, there is no

guarantee that interference will not occur in a particular installation. If

this instrument does cause harmful interference to radio or television

reception, which can be determined by turning the instrument off and on,

the user is encouraged to try to correct the interference by one or more

of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the instrument and the receiver.

• Connect the instrument into an outlet on a circuit other than the one

to which the receiver is connected.

• If necessary consult your dealer or an experienced radio/television

technician for additional suggestions.

NOTICE

This apparatus does not exceed the Class B limits for radio noise

emissions from digital apparatus set out in the Radio Interference

Regulations of the Canadian Department of Communications.

AVIS

Le present appareil numerique n’emet pas de bruits radioelectriques

depassant les limites applicables aux appareils numeriques de la

class B prescrites dans le Reglement sur le brouillage radioelectrique

edicte par le ministere des Communications du Canada.

SAVE THESE INSTRUCTIONS

The lightning flash with the arrowhead symbol,

within an equilateral triangle, is intended to alert

the user to the presence of uninsulated

"dangerous voltage" within the product's

enclosure that may be of sufficient magnitude

to constitute a risk of electric shock to persons.

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,

DO NOT REMOVE THE COVER

NO USER SERVICEABLE PARTS INSIDE

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL

The exclamation point within an equilateral

triangle is intended to alert the user to the

presence of important operating and

maintenance (servicing) instructions in the

literature accompanying the product.

CAUTION

iii

Important Safety Instructions

1) Read these instructions

2) Keep these instructions.

3) Heed all warnings.

4) Follow all instructions.

5) Do not use this apparatus near water.

6) Clean only with dry cloth.

7) Do not block any of the ventilation openings. Install in accordance with the manufacturer’s

instructions.

8) Do not install near any heat sources such as radiators, heat registers, stoves, or other appara-

tus (including amplifiers) that produce heat.

9) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug

has two blades with one wider than the other. A grounding type plug has two blades and a

third grounding prong. The wide blade or the third prong are provided for your safety. If the

provided plug does not fit into your outlet, consult an electrician for replacement of the obso-

lete outlet.

10) Protect the power cord from being walked on or pinched, particularly at plugs, convenience

receptacles, and the point where they exit from the apparatus.

11) Only use attachments/accessories specified by the manufacturer.

12) Use only with a cart, stand, tripod, bracket, or table specified by the manu-

facturer, or sold with the apparatus. When a cart is used, use caution when

moving the cart/apparatus combination to avoid injury from tip-over.

13) Unplug this apparatus during lightning storms or when unused for long

periods of time.

14) Refer all servicing to qualified service personnel. Servicing is required when the apparatus

has been damaged in any way, such as power-supply cord or plug is damaged, liquid has

been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain

or moisture, does not operate normally, or has been dropped.

Warning

- To reduce the risk of fire or electric shock, do not expose this apparatus to rain or mois-

ture. Do not expose this equipment to dripping or splashing and ensure that no objects filled with

liquids, such as vases, are placed on the equipment.

To completely disconnect this equipment from the AC Mains, disconnect the power supply cord

plug from the AC receptacle.

iv

Kurzweil International Contacts

Contact the nearest Kurzweil office listed below to locate your local Kurzweil representative.

Kurzweil Co., Ltd.

Daerung Technotown 6th, 306

493-6 Gasan, Gumcheon, Seoul, Korea

Tel: (+82) 2-2108-5700

Fax: (+82) 2-2108-5729

A N D Music Corp.

P.O. Box 99995

Lakewood, WA 98499-0995, USA

Tel: (253) 589-3200

Fax: (253) 984-0245

Young Chang Canada Corp.

250 Victoria Park Ave. Suite # 105

Toronto, Ontario Canada M2H 3P7

Tel: (905) 948-8052

Team Kurzweil Europe

Gl. Donsvej 8

6000 Kolding

Phone: (+45) 75 56 96 44

Fax: (+45) 75 56 96 55

Official distributors in other countries are listed on the web site.

World Wide Web Home Page:

http://www.kurzweilmusicsystems.com

Contents

Kurzweil International Contacts..................................................................................................................................... iv

World Wide Web Home Page: ......................................................................................................................................... iv

Chapter 1 Introduction

Overview of the K2661 ................................................................................................................................................... 1-1

VAST Synthesis................................................................................................................................................................ 1-2

KB3 Tone Wheel Emulation........................................................................................................................................... 1-2

How the K2661 Works .................................................................................................................................................... 1-3

How to Use This Manual ............................................................................................................................................... 1-3

Do I Have Everything? ................................................................................................................................................... 1-3

Chapter 2 Startup

Quick Startup Checklist ................................................................................................................................................. 2-1

Startup—the Details........................................................................................................................................................ 2-2

Playing the Presets .......................................................................................................................................................... 2-4

The Other Modes............................................................................................................................................................. 2-8

Software Upgrades.......................................................................................................................................................... 2-8

Chapter 3 User Interface Basics

Mode Selection................................................................................................................................................................. 3-1

Navigation........................................................................................................................................................................ 3-2

Data Entry ........................................................................................................................................................................ 3-4

Intuitive Data Entry ........................................................................................................................................................ 3-6

Search ................................................................................................................................................................................ 3-7

Renaming Multiple Objects ........................................................................................................................................... 3-7

Mixdown and MIDI Faders Pages................................................................................................................................ 3-9

Quick Song Recording and Playback ......................................................................................................................... 3-10

Chapter 4 The Operating Modes

What the Modes Are ....................................................................................................................................................... 4-1

Selecting Modes............................................................................................................................................................... 4-1

Using the Modes.............................................................................................................................................................. 4-3

Chapter 5 Editing Conventions

Introduction to Editing................................................................................................................................................... 5-1

Object Type and ID.......................................................................................................................................................... 5-2

Saving and Naming ........................................................................................................................................................ 5-3

Deleting Objects............................................................................................................................................................... 5-6

Memory Banks................................................................................................................................................................. 5-7

Special Button Functions................................................................................................................................................ 5-8

Chapter 6 Program Mode

VAST Program Structure................................................................................................................................................ 6-2

KB3 Program Structure................................................................................................................................................... 6-4

The Program Mode Page................................................................................................................................................ 6-9

K2661 Getting Started Guide

vi

Chapter 7 Setup Mode

Chapter 8 Quick Access Mode

Chapter 9 Basic Effects Mode

Introduction ..................................................................................................................................................................... 9-1

Terminology ..................................................................................................................................................................... 9-2

MAIN Page....................................................................................................................................................................... 9-5

Effects Bus Editor ............................................................................................................................................................ 9-7

Effects Send Page............................................................................................................................................................. 9-8

The CTRL Page ................................................................................................................................................................ 9-9

Bypass and Mute pages.................................................................................................................................................9-11

Chaining Effects............................................................................................................................................................. 9-13

The Structure of Kurzweil Digital Effects (KDFX) ................................................................................................... 9-14

Software Organization.................................................................................................................................................. 9-17

Controlling Effects......................................................................................................................................................... 9-17

Chapter 10 MIDI Mode

The TRANSMIT Page ................................................................................................................................................... 10-1

The RECEIVE Page ....................................................................................................................................................... 10-4

The Channels Page........................................................................................................................................................ 10-7

Program Change Formats ............................................................................................................................................ 10-9

The Soft Buttons in MIDI Mode ................................................................................................................................ 10-14

Chapter 11 Master Mode

The Master Mode Page..................................................................................................................................................11-1

The MAST2 Page............................................................................................................................................................11-4

The Soft Buttons in Master Mode ..............................................................................................................................11-11

Guitar/Wind Controller Mode...................................................................................................................................11-14

Object Utilities ..............................................................................................................................................................11-15

Chapter 12 Song Mode

Getting Started with the Sequencer............................................................................................................................ 12-1

Tutorial: Arrangements .............................................................................................................................................. 12-12

RAM Tracks.................................................................................................................................................................. 12-17

Using Song Mode........................................................................................................................................................ 12-19

Recording Multi-timbral Sequences via MIDI........................................................................................................ 12-23

Song Mode: The MAIN Page..................................................................................................................................... 12-24

Song Mode: The MISC Page ...................................................................................................................................... 12-32

Song Mode: The MIX Page ........................................................................................................................................ 12-39

Chapter 13 Basic Disk Mode

Disk Mode Page............................................................................................................................................................. 13-2

SCSI Termination........................................................................................................................................................... 13-3

Directories ...................................................................................................................................................................... 13-4

File List Dialog............................................................................................................................................................... 13-7

Creating Directories .....................................................................................................................................................13-11

K2661 Getting Started Guide

vii

The Directory Selection Dialog.................................................................................................................................. 13-13

Disk Mode Functions.................................................................................................................................................. 13-14

Load Function Dialog ................................................................................................................................................. 13-19

Saving Files .................................................................................................................................................................. 13-24

Storing Objects in the Memory Banks...................................................................................................................... 13-34

The Multiple Object Selector Page............................................................................................................................ 13-34

Chapter 14 Sampling and Live Mode

Setting Up For Sampling.............................................................................................................................................. 14-1

Entering The Sampler ................................................................................................................................................... 14-1

Sampling Analog Signals ............................................................................................................................................. 14-2

Sampling the K2661’s Output...................................................................................................................................... 14-8

Sampling Digital Signals.............................................................................................................................................. 14-8

Live Mode..................................................................................................................................................................... 14-10

Chapter 15 Audio Outputs

Audio Configurations................................................................................................................................................... 15-1

Audio Routing: Programs to KDFX............................................................................................................................ 15-2

Audio Routing: KDFX to Audio Outputs.................................................................................................................. 15-2

Using the Digital Outputs............................................................................................................................................ 15-3

Appendix A K2661 Boot Block

Starting the Boot Block .................................................................................................................................................. A-1

Updating K2661 Software ............................................................................................................................................. A-1

Running Diagnostic Tests.............................................................................................................................................. A-3

Resetting the K2661........................................................................................................................................................ A-3

Appendix B Standard K2661 ROM Objects

Appendix C Contemporary ROM Block Objects

Programs...........................................................................................................................................................................C-2

Keymaps...........................................................................................................................................................................C-3

Program Control Assignments......................................................................................................................................C-4

Controller Assignments: Contemporary ROM Block ................................................................................................C-7

Appendix D Orchestral ROM Block Objects

Programs.......................................................................................................................................................................... D-2

Keymaps.......................................................................................................................................................................... D-3

Program Control Assignments..................................................................................................................................... D-4

Controller Assignments: Orchestral ROM Block....................................................................................................... D-7

Appendix E General MIDI

General MIDI Programs.................................................................................................................................................E-2

Standard Mode Controller Assignments .....................................................................................................................E-3

K2661 Getting Started Guide

viii

Introduction

Overview of the K2661

1-1

Chapter 1

Introduction

Thank you for purchasing a Kurzweil/Young Chang K2661 instrument.

The K2661 is packed with great acoustic, electric, and synth sounds—combined with some of

the most advanced synthesis features available, which you can use to create almost any sound

imaginable. The K2661 incorporates most of the features of the K2600, and provides several new

features as well.

This manual, along with the

Musician’s Guide

and

Musician’s Reference

(provided on the CD-

ROM) will get you started with your new instrument. As you become an advanced user, you

will want to spend more time with the

Musician’s Guide

and

Musician’s Reference

to make the

most of your K2661’s many capabilities.

Overview of the K2661

The K2661 is a versatile performance instrument and an invaluable tool for multi-timbral

sequencing and recording. Its Variable Architecture Synthesis Technology (V.A.S.T.) lets you

build sounds from realistic instrumental samples and sampled synth waveforms—then modify

the nature of those sounds through a wide variety of digital signal-processing (DSP) functions.

The K2661 also generates its own synth waveforms, which can be combined with the samples or

used on their own. Onboard sound ROM includes the Orchestral and Contemporary sound

blocks, as well as a fine set of General MIDI (GM) sounds. You can add one or both of the two

available option ROMs (Stereo Dynamic Piano and Vintage Electric Pianos), and you can load

samples from disk into sample RAM.

Before we get into explaining VAST, here are a few of the features that by themselves make the

K2661 an impressive stage and studio machine. It’s fully multi-timbral—different programs can

be played on each MIDI channel. It’s 48-note polyphonic, for a full sound no matter how many

chords you play. There’s an on-board digital effects processor, providing up to five simultaneous

effects, including real-time effects control, internally or via MIDI.

In addition to the standard stereo audio output pair, there are four balanced analog outputs and

eight channel digital output.

1-2

Introduction

VAST Synthesis

For sample memory, your K2661 has one SIMM (single, in-line memory module) installed in a

socket that you can reach through the access panel on the bottom of the instrument. If your

K2661 does not already have the maximum of 128 megabytes of Sample RAM installed, you can

install a larger SIMM using the instructions in the

Musician’s Reference.

The most important thing

for you to know about Sample RAM, however, is that it is not battery-backed; RAM samples are

permanently erased from memory when you power down. Fortunately, we’ve made offline

storage a snap.

There’s a SmartMedia slot for 3.3v SmartMedia cards, and also a

SCSI

port for connecting an

external hard disk or CD-ROM drive. You’ll find all this storage potential extremely useful for

saving and loading samples, which can also be transferred to and from the K2661 using the

standard MIDI sample transfer format, or the faster, parallel SMDI sample transfer format (SCSI

Musical Data Interchange). See the

Musician’s Reference

for information about MIDI and SMDI

sample transfers.

The K2661’s battery-backed program RAM can store hundreds of your own programs, or

thousands of notes recorded in the sequencer. This sequencer (Song mode) lets you play back

MIDI type 0 or 1 sequences, record and play back your own songs, and record multi-timbral

sequences received via MIDI. The battery should last for several years; instructions for replacing

it are in the

Musician’s Reference

(provided on CD-ROM).

An optional sampling feature is available, allowing you to make your own mono or stereo

samples using analog or digital inputs. With the sampling option, you can also use Live mode,

which enables you to take an input signal and route it through the K2661’s VAST algorithms—so

you can apply Kurzweil DSP and effects to any sound.

There’s also digital input/output (I/O) in ADAT format, which provides eight channels for

digital audio input and output, as well as a stereo digital output in AES/EBU or S/PDIF

formats.

And, of course, there’s the incomparable Kurzweil sound. The K2661 comes to you with

hundreds of programs (called patches, presets, voices, etc. on other synths). There are also about

200 multi-zone performance setups. Many of these setups use note triggers to play factory-

recorded songs that provide grooves and arpeggiation that make great templates for

performance or recording.

VAST Synthesis

Variable Architecture Synthesis Technology

gives the K2661 its unprecedented flexibility. While

many other synthesizers offer a fixed set of

DSP

tools (typically filtering, pitch, and amplitude

modulation) the K2661’s Variable Architecture lets you arrange a combination of any five DSP

functions from a long list of choices. The functions you choose define the type of synthesis you

use.

Each layer of every program has its own DSP architecture, which we call an

algorithm

. Within

each algorithm, you can select from a variety of DSP functions. Each function can be

independently controlled by a variety of sources including LFOs, ASRs, envelopes, a set of

unique programmable functions (FUNs), as well as any MIDI control message. The many

different DSP functions and the wealth of independent control sources give you an extremely

flexible, truly vast collection of tools for sound creation and modification. When you’re ready to

jump in and start creating programs, turn to Chapter 6.

KB3 Tone Wheel Emulation

In addition to VAST synthesis, the K2661 offers many oscillator-based programs that give you

the classic sound of tone-wheel organs like the Hammond B 3™. KB3 mode, as we call it, is

completely independent of VAST, and has its own set of editing procedures. You’ll find details in

Chapter 6.

Introduction

How the K2661 Works

1-3

How the K2661 Works

The K2661 integrates three MIDI-driven components: a MIDI controller (the keyboard, or an

external MIDI controller, a sound engine, and a global effects processor (KDFX). The sound

engine responds to the MIDI events generated by the MIDI controller, and turns them into

sounds that are processed within the variable architecture of the algorithms—or by oscillators

for KB3 programs. The resulting sound can then be routed through KDFX and to the audio

outputs.

How to Use This Manual

This manual describes how to connect and power up your K2661, getting around the front

panel, and a brief description of the operating modes. For information on editing and advanced

programming features, refer to the

Musician’s Guide

and

Musician’s Reference

(provided on the

CD-ROM).

When manual text appears in boldface italic (

like this

), you’ll find it described in the Glossary in

the

Musician’s Reference

. Only the first one or two occurrences of these words are highlighted.

The

Musician’s Reference

also contains brief descriptions of the K2661’s major operating features,

and all sorts of useful lists—

programs

,

keymaps

,

algorithms

, effects,

control sources

, as well as

complete specifications for the K2661.

The best way to read this manual is with your K2661 in front of you. By trying the examples we

give to illustrate various functions, you can get a quick understanding of the basics, then move

on to the more advanced features.

Do I Have Everything?

Your K2661 shipping carton should include the following in addition to your instrument:

• Power cable

• Sustain pedal

•

Getting Started

manual

• SmartMedia card

• Compact disc with documentation and accessory files

• Warranty card

If you don’t have all of these components, please call your Kurzweil/Young Chang dealer.

The Accessory Files

The accessory files included with your K2661 (on SmartMedia and Compact Disc) include the

following. Additional files may be included; see the appropriate README files for these.

K2661 Base ROM Objects

These provide a backup of the ROM Objects installed in your K2661 at the factory.

You will not normally need to use these, however you should keep them in a safe place in case

you need to reinstall this version of the operating system. For example, if you have installed a

newer version of the objects (we make new versions available for download from our web site)

and you encounter any problems, you might need to go back and install the version on

SmartMedia and Compact Disc.

OBJKB contains all of the objects in a stock K2661 without sampling. OBJKL contains the Live

Mode objects, which are included in a unit with the sampling option installed.

1-4

Introduction

Do I Have Everything?

When you install a new version of the operating system, you’ll need to load all the object files

for the options you have. This includes the object files for the SD Piano and Vintage Electric

Piano ROM blocks, if you have them. Load the system files first, then all of the object files, then

exit the Boot Loader by pressing the

Run System

soft button. See Appendix A if you need help

with operating the Boot Loader.

K2661 Demos

This includes several directories of demo song files, which show off some of the capabilities of

your K2661. In addition,

KDFXTUTR.K26

contains objects used in the tour of Effects mode that

starts on page 9-22.

Most song demos can simply be loaded into the K2661 and played from Song mode. However,

two demo files require that your K2661 have the sampling option installed. The demo files

LMFBDMO1.K26

, and

LMFBDMO2.K26

demonstrate internal feedback loops using a chain of

VAST->KDFX->sampler->VAST->KDFX—known as Live mode. Because a Master table is

included, your SampleMode settings will be set automatically when you load the demo file.

Caution

: Programs that cause internal feedback can get extremely loud, so it’s important to be careful

after loading these objects. Live-mode programs are inherently unstable when you’re in Live mode and the

sampling source (the Src parameter in the Samplemode page) is set to

Int

. These programs are capable of

producing tremendously loud feedback loops with a relatively small amount of gain. In modes where the

provided studio is not the active studio, the compressor that keeps these feedback chains under control isn’t

operating, and the loop can grow out of control very quickly. If you intend only to listen to the demo, and

not to examine the programming, we recommend that you delete the song file (and its dependent objects)

from your K2661 when you are done listening. We also recommend that you go to the SampleMode page

and set the Src parameter to

Ext

or the Mode parameter to something other than

LiveIn

, to help to avoid

any unintended feedback. If you want to look at the program settings, lower the volume on your

instrument, and read the more detailed description of Live mode beginning on page 14-41.

K2661 Farm & Extras

This includes over 1000 extra programs and effects, all cultivated from the “farm” where we

grow our programs and effects.

The

K2500FRM

directory contains over 1000 extra programs, organized in files by type of

sound. This set of programs was originally developed for the K2500, hence the name.

The

KDFXFARM

directory contains two subdirectories.

LIVEMODE

contains a set of files

containing extra programs using Live mode (which requires having the sample option in your

K2500).

MOREKDFX

contains some FX Presets and a number of Programs that use KDFX, as

well as a couple of blank studios.

PIANOFRM

contains extra programs that specifically use the 4-megabyte stereo piano.

VOCODER

contains programs and setups that are designed to be used with the Vocoder

feature. You can read about the Vocoder in detail on page 11-4.

The

MOREPRGS

directory contains several files of extra programs.

K2600 / K2500 / K2000 Compatibility Files

These files includes of all the ROM objects in the original K2600, K2500, or K2000. You would

use one of the compatibility files if you have songs created for one of those older object sets. See

Loading Older Setup Versions

on page 7-2 for information about using older objects with the

K2661.

Startup

Quick Startup Checklist

2-1

Chapter 2

Startup

If hooking up new gear is familiar to you, and you just want to get going, here’s a quick

description of all the basic things you need to cover to get started with your K2661. If you need

more information, thorough descriptions of each step follow. In either case, check out Playing the

Presets on page 2-4.

Quick Startup Checklist

1. Set the keyboard on a hard, flat, level surface. Make sure to leave plenty of room for

ventilation.

2. Four adhesive-backed rubber feet are provided with your K2661. If you want to attach

them to the bottom of the K2661, carefully turn the keyboard over, remove the paper

backing from the rubber feet and attach them now. There are four pairs of holes on the

bottom of the keyboard – a pair in each corner – showing the best places to attach the

rubber feet.

3. Connect the power cable.

4. Make sure your sound system is at a safe volume level.

5. Plug in a pair of stereo headphones or run standard (1/4-inch) audio cables from your

amplifier or mixer to the MIX audio outputs on the K2661. (Use the MIX L out for mono.)

Start Jamming!

1. Power up your K2661 and check out some of the programs and setups. The K2661 starts

up in either Program mode or Setup mode—whichever of the two modes it was in when it

was last shut down (or given a soft reset). Press the button labeled Program or Setup to

switch modes.

2. If you hear distortion, reduce the gain on your mixing board, or use the pad if it has one.

3. Scroll through the program list with the Alpha Wheel.

4. Press the Quick Access mode button and use the alphanumeric buttons to select from

programmable banks of ten programs or setups.

5. If you don’t hear anything, review these steps, or check the Troubleshooting section in the

Musician’s Reference.

2-2

Startup

Startup—the Details

Startup—the Details

This section walks you through the hookup of your K2661. We’ll take a look at the rear panel,

then describe the power, audio, and other cable connections.

Before You Start...

Don’t connect anything until you make sure your K2661 is properly and safely situated. Also, if

your K2661 has been out in the cold, give it time to warm up to room temperature before

starting it, since condensation may have formed inside the K2661. Never block the ventilation

openings on the bottom or rear panels; doing so can cause overheating and serious damage. To

provide adequate ventilation, the rear panel should be at least four inches from any vertical

surface.

Connecting the Power Cable (Line Cord)

The K2661 runs on AC power: 100, 120, 230, or 240 volts at 50–60 Hz. Your dealer will set the

voltage switch to match the voltage in your area. The voltage level is set with a selector on the

rear panel of the K2661. Unless you are sure it needs to be changed, you shouldn’t adjust this.

When you’ve connected the cable at the K2661 end (as you face the back of the K2661, the power

connection is at the left), plug it into a grounded outlet. If your power source does not have the

standard three-hole outlet, you should take the time to install a proper grounding system. This

will reduce the risk of a shock.

Connecting the Audio Cables

After you’ve turned down the level on your sound system, connect the K2661’s analog audio

outputs to your sound system using a pair of stereo or mono audio cables. Mono cables will

always work, but if you’re going into balanced inputs, use stereo cables for a better signal-to-

noise ratio. The K2661’s analog outputs are balanced, and generate a “hotter” signal than

previous Kurzweil instruments.

You’ll find six 1/4-inch jacks near the top of the rear panel. For now, connect one end of each

audio cable to your mixing board or PA system inputs, and connect the other end to the jacks

marked MIX L and R on the rear panel of the K2661. If you have only one input available, use

the K2661’s MIX L output to get the full signal in mono. You’ll find more about audio

configurations—including digital output—in Chapter 15.

Connecting MIDI

The simplest MIDI configuration uses a single MIDI cable: either from the MIDI Out port of

your K2661 to the MIDI In port of another instrument, or from the MIDI Out port of your MIDI

controller to the MIDI In port of the K2661. There are all sorts of possible configurations,

including additional synths, personal computers, MIDI effects processors, and MIDI patch bays.

Depending on your system, you may want to use the K2661’s MIDI Thru port to pass MIDI

information from a MIDI controller to the K2661 and on to the next device in your system. You

can also connect MIDI devices to the K2661’s MIDI Out port, which can send channelized MIDI

information from the keyboard or through the K2661 from your MIDI controller. See the

discussion of the Local Keyboard Channel parameter on page 10-6.

Startup

Startup—the Details

2-3

Connecting SCSI

You may not have a hard disk or other SCSI device to connect to your K2661 right away, but if

you do, you can connect it to the SCSI port. Please read the following information carefully; it’s

very important. Also, there’s a collection of SCSI tips in Chapter 6 of the Musician’s Reference.

Note: SCSI on the K2661 is always terminated. Turn to Chapter 13 and read the section called SCSI

Termination if you require more information. You can lose data if your system isn’t terminated properly.

Switching On the Power

The power switch is on the rear panel. If you’re facing the keyboard, it’s just to the right of the

power cable connection.

When you power up, the display briefly show some startup information. The Program mode

display then appears. It looks like the diagram below (the programs shown in the diagram don’t

necessarily exist).

ProgramMode||||Xpose:0ST|||<>Channel:1||

!!!!!!!!!!!!!!!!!!@|998|James|Jams||||||

KeyMap|Info|||||||#|999|Default|Program|

|Grand|Piano||||||#|||1|Righteous|Piano|

||||||||||||||||||#|||2|Mondo|Bass||||||

||||||||||||||||||#|||3|Killer|Drums||||

%%%%%%^%%%%%%^%%%%$|||4|Weeping|Guitar||

Octav-|Octav+|Panic||Sample|Chan-||Chan+

The first time you power up (or after a reset), your instrument will be set to operate on MIDI

Channel 1 (as shown in the top line of the diagram). After that, it will power up on whatever

channel you were on when you powered down. If you’d rather have the K2661 reset certain

parameters to default values when you power up, you can do that, too. See Power

Mode on page 10-7.

Set the volume at a comfortable level. You’ll get the best signal-to-noise ratio if you keep the

K2661 at full volume, and adjust the level from your mixing board. You may also want to adjust

the display contrast and brightness. There are two small knobs on the rear panel of the K2661 for

this purpose.

SmartMedia

You can use 3.3v SmartMedia cards (4 megabyte and larger) for backing up, archiving, and

sharing your work. The SmartMedia card slot is on the back panel of the K2661, but it is easily

accessible from the front of the instrument. The gold contacts on the card must be facing up

when you insert it; the K2661 can’t read a card when it is inserted upside down.

Caution: Do not remove a SmartMedia card while the blue LED is lit. Removing a card while the blue

LED is lit can cause data corruption.

2-4

Startup

Playing the Presets

Playing the Presets

There are three things you’ll want to check out right away: programs, setups and Quick Access

banks. In performance situations, you’ll be selecting your sounds using one of these three

methods. There’s a mode (and a mode button) corresponding to each method.

Getting Around

In all three of these modes, the bottom line of the display identifies the function of each of the

buttons beneath the display. We call these buttons soft buttons, because they do different things

depending on what’s currently showing in the display.

In Program and Quick Access modes, you can change MIDI channels with the Chan- and Chan+

buttons under the display. In Program mode, you can also change channels using the

Chan/Bank buttons to the left of the display. (In Quick Access mode, the Chan/Bank buttons

change Quick Access banks; more about that on page 2-7.) There are two more soft buttons that

appear in these modes: Panic and Sample.

The Panic button sends an All Notes Off message and an All Controllers Off message—both to

the K2661 and over all 16 MIDI channels. You won’t need it often, but it’s nice to have.

The Sample button takes you to Sample mode (the SampleMode page), which, as you’ve

probably guessed, is where you make your own samples—if you have the sampling option in

your instrument.

Programs

The K2661 powers up in Program mode, where you can select and play programs stored in

ROM or RAM. Programs are preset sounds composed of up to 32 layers of samples or

waveforms. If you’ve left Program mode, just press the Program mode button or Exit button to

return.

Take a minute to familiarize yourself with the Program-mode display. It gives you some helpful

basic information, like the MIDI transposition, what MIDI channel you’re on, and which

program is currently selected.

There’s a box at the left side of the display. The info box, as it’s called, displays information

about the current program (there’s also an info box for Setup mode). The following diagrams

shows how the information differs depending on the type of program you’ve selected.

VAST Programs

First is a “normal” VAST program, which is what most of the factory programs are. They have

from one to three layers. In this case, there are two. For programs of up to three layers, the info

box contains one line per layer, indicating the keymap used in that layer. The line under the

keymap name indicates the layer’s keyboard range. In this case, both layers extend across the

entire keyboard (A 0 to C 8).

ProgramMode||||Xpose:0ST|||<>Channel:1||

!!!!!!!!!!!!!!!!!@||||5|Piano|for|Layers

Keymap|Info||||||#||||6|DrkPno^ArakisPno

|Grand|Piano|||||#||||7|Honky-Tonk||||||

|Grand|Piano|||||#||||8|Pno&Syn/AcString

|||||||||||||||||#||||9|ClassicPiano&Vox

%%%%%%%%%%%%%%%%%$|||10|E|Grand|Stack|||

Octav-|Octav+|Panic||Sample|Chan-||Chan+

Startup

Playing the Presets

2-5

VAST programs with more than three layers are known as drum programs, as shown in the

following diagram. Drum programs can use any sound you like, but the most common use for

programs with more than three layers is to create a number of different sounds across the

keyboard—which is perfect for combinations of percussion sounds (hence the name). For drum

programs, the info box simply indicates the number of layers in the program—in this case, 26.

ProgramMode||||Xpose:0ST|||<>Channel:1||

!!!!!!!!!!!!!!!!!!@||48|OG||||||||||||||

Drum|Program||||||#||49|Lowdown|Bass||||

26|layers|||||||||#||50|SquashStudio|Kit

||||||||||||||||||#||51|Retro|Skins|MW||

||||||||||||||||||#||52|2|Live|Kits|2|MW

%%%%%%^%%%%%%^%%%%$||53|Garage|Kit|II|MW

Octav-|Octav+|Panic||Sample|Chan-||Chan+

KB3 Programs

The architecture of KB3 programs is different from that of VAST programs. KB3 programs don’t

have layers; they rely on oscillators that mimic the tone wheels used in many popular organs.

Consequently, the info box shows only the waveform used in the program.

ProgramMode||||Xpose:0ST|||<>Channel:1||

!!!!!!!!!!!!!!!!!!@|751|Prog|Rock|Organ|

KB3|Program|||||||#|752|Syn|Rock|Organ||

|Mellow|Vox|||||||#|753|Dirty|Syn|B|||||

||||||||||||||||||#|754|CleanFullDrawbar

||||||||||||||||||#|755|Loungin|||||||||

%%%%%%^%%%%%%^%%%%$|756|MildGrunge||||||

Octav-|Octav+|Panic||Sample|Chan-||Chan+

Because of their architecture, KB3 programs require different processing within the K2661, and

they don’t work on “regular” channels. They require a special channel to handle the KB3

program’s voices. You can choose any of the 16 MIDI channels to be the KB3 channel, but you

can have only one KB3 channel, and KB3 programs play only on that channel (VAST programs

work just fine on the KB3 channel, by the way).

By default, Channel 1 is designated as the KB3 channel (you can change it in Master mode). If

the current channel isn’t the same as the KB3 channel, and you select a KB3 program, you won’t

get any sound, because a non-KB3 channel can’t handle a KB3 program.

2-6

Startup

Playing the Presets

In the following diagram, Channel 2 is the current channel, but Channel 1 is the KB3 channel.

The info box tactfully lets you know what the KB3 channel is, and parentheses appear around

the names of all KB3 programs, to further remind you that KB3 programs aren’t available on the

current channel. To get Program 753 to work in this case, you’d have to change the current

channel back to Channel 1, or go to Master mode and change the KB3 channel to Channel 2.

ProgramMode||||Xpose:0ST|||<>Channel:2||

!!!!!!!!!!!!!!!!!!@|751|(Prog|Rock|Organ

KB3|Program|||||||#|752|(Syn|Rock|Organ)

|Mellow|Vox|||||||#|753|(Dirty|Syn|B)|||

||||||||||||||||||#|754|(CleanFullDrawba

KB3Chan|is|Ch|1|||#|755|(Loungin)|||||||

%%%%%%^%%%%%%^%%%%$|756|(Mild|Grunge)|||

Octav-|Octav+|Panic||Sample|Chan-||Chan+

Live Mode Programs

Programs 740–749 are designed expressly for Live mode, a feature that enables you to take a

signal from the Analog sampling input (this requires the sampling option, of course), and route

it through the DSP algorithms. Programs 740–749 will not play unless you’re receiving a signal

at the Analog sampling input. See page 14-10 for more about Live mode.

Selecting Programs

When you want to change programs, you have several options.

The easiest method is the Alpha Wheel. Turning it left or right will scroll through the program

list. You can also change programs using the cursor buttons (the arrow buttons to the right of the

display), or the Plus/Minus buttons under the Alpha Wheel. To save time, you can enter the

program number directly from the alphanumeric buttonpad to the right of the Alpha Wheel,

pressing the Enter button to complete the selection. If you make a mistake, press Clear, then

start over.

The K2661 has various settings for responding to MIDI Program Change commands from

external sources. These are explained in Chapter 10, so we won’t go into them here. You should

be able to change programs by sending Program Change commands from your MIDI controller.

If you don’t hear anything, see the troubleshooting section in the Musician’s Reference. When

you’re ready to start doing your own programming, check out Chapter 6.

Setups

Setups are preset combinations of programs. Setups can have up to eight zones, each of which

can be assigned to any range of the keyboard (overlapping or split). Each zone can have its own

program, MIDI channel, and MIDI control assignments.

Press the Setup mode button to the left of the display. Its LED will light, telling you that you’re

in Setup mode. Notice that the Setup-mode display is similar to the Program-mode display. If

the setup has three or fewer zones, the box at the left shows you the programs assigned to each

of the setup’s three zones, and which MIDI channel is used for each program. If the setup is

composed of more than three zones, then the box displays a series of horizontal lines illustrating

the approximate key ranges of the zones. See page 7-1 for a more detailed description.

Startup

Playing the Presets

2-7

SetupMode||||||Xpose:0ST||||||||||||||||

!!!!!!!!!!!!!!!!!!@|201*Friday|Gig||||||

Chan/Program|Info|#|202*Bop|Rock|Reggae|

1||||9|Cool|Traps|#|||1|Jazz|Trio|||||||

2|||18|Sly|Acoust|#|||2|All|Percussion||

3|||22*Izit|Jimmy|#|||3|Heavy|Metal|||||

%%%%%%^%%%%%%^%%%%$|||4|To|Sequencer||||

Octav-|Octav+|Panic||Sample|||||||||||||

Many setups include arpeggiation and note-triggered songs to create some pretty amazing

grooves that you can use as is, or as templates for your own material. As you play with these

setups, experiment with the sliders and other controllers for a wide range of effects. Some of

these grooves keep playing after you’ve released the keys that got them going. When you want

to stop them, select another setup, or press the Setup mode button.

Quick Access

A really convenient way to select programs and setups is to use Quick Access mode, where you

select a Quick Access bank from a list of factory preset or user-programmed banks. Each bank

contains ten memory slots, or entries, where you can store any combination of programs or

setups. While you’re in Quick Access mode, you can select any program or setup in the bank

with buttons 0 through 9.

The K2661 comes with a few Quick Access banks already programmed so you can get an idea of

how they work. You’ll probably create your own Quick Access banks to help you select

programs and setups with a minimum of searching. Press the Quick Access mode button to the

left of the display. Its LED lights, to tell you you’re in Quick Access mode. You’ll see a display

that looks like this:

QuickAccessMode|||<>Bank:1|For|Show|1|||

Silk|Rhodes|||POLY|TOUCH||||Voice+String

NastyTrombone|SINK|MONSTA|||Waterflute||

Soon||||||||||Jazz|Trio|2|||Fretless|Bas

||||||||||||||VELVETEEN|||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|Xpose:0ST|||SINK|MONSTA||||||||Chan:1||

Octav-|Octav+|Panic||Sample|Chan-||Chan+

The top line of the display tells you which Quick Access bank is selected. Use the Chan/Bank

buttons (to the left of the display) to scroll through the banks. The names of each of the ten

entries in the bank are listed in the center of the display. Many of their names will be

abbreviated. The currently selected entry’s full name is shown near the bottom of the display.

The amount of transposition is displayed to the left of the entry name. If the current entry is a

program, you’ll see the current keyboard (MIDI) channel displayed to the right of the entry’s

name. If it’s a setup, you’ll see the word Setup.

The entries on the Quick Access page are arranged to correspond to the layout of the numeric

buttons on the alphanumeric pad. On the page above, for example, the program

SINK MONSTA is entry 5, and can be selected by pressing 5 on the alphanumeric pad.

When you’re ready to create your own Quick Access banks, turn to Chapter 8 to learn about the

Quick Access Editor.

2-8

Startup

The Other Modes

The Other Modes

There are six other modes, five of which have mode buttons on the front panel (Sample mode

doesn’t have a front-panel button). See page 3-1 and Chapter 4 for more detailed descriptions of

each mode.

Effects mode Create and modify effects presets, and define how they’re applied to the

K2661’s programs and setups.

MIDI mode Configure the K2661 for sending and receiving MIDI information.

Master mode Define performance and control settings.

Song mode Record and edit sequences (songs); play Type 0 and Type 1 MIDI

sequences.

Disk mode Load and save programs, setups, samples, and other objects.

Sample mode Edit ROM samples; create and edit RAM (user-defined) samples.

Software Upgrades

Part of the beauty of the K2661 is the ease with which you can upgrade its operating system and

objects (programs, setup, etc.) using the boot loader to install upgrades into flash ROM.

At Kurzweil and Young Chang, we have a long history of support for our instruments; the K250,

K1000, K2000, and K2500 have been repeatedly enhanced, and these improvements have always

been made available to instrument owners in the form of software upgrades.

Upgrading your K2661’s software is simple, painless, and—generally—free! As upgraded

software becomes available, you can either get files from your Young Chang dealer or download

the new stuff from the Web.

To stay in touch, check out our Web site:

http://www.kurzweilmusicsystems.com/

When you’ve acquired an upgrade, you can install it yourself in a matter of minutes. See

Appendix A for details.

User Interface Basics

Mode Selection

3-1

Chapter 3

User Interface Basics

This chapter will show you how to get around the front panel of your K2661. Your interactions

can be divided into three primary operations: mode selection, navigation, and data entry. There

is also an assignable control section.

Mode Selection

The K2661 is always in one of eight primary operating modes. Select a mode by pressing one of

the mode buttons — they’re to the left of the display. Each mode button has an LED that lights to

indicate the current mode. Only one mode can be selected at a time.

Program mode Select and play programs, and modify them with the Program Editor.

Rearrange and modify samples in the Keymap and Sample Editors.

Setup mode Select and play setups (eight keyboard zones with independent MIDI

channel, program and control assignments), and modify them with the

Setup Editor.

Quick Access mode Select from a list of preset banks, each containing a list of ten programs

and/or setups that can be viewed in the display for easy selection.

Modify the preset banks and create your own with the Quick Access

Editor.

Effects mode Define the behavior of the on-board effects. Modify the preset effects and

create your own with the Effects Editor.

MIDI mode Define how your K2661 sends and receives MIDI information, and

configure each channel to receive independent program, volume, and pan

messages that override the normal Program-mode settings.

Master mode Define performance and control characteristics for the entire K2661.

3-2

User Interface Basics

Navigation

Song mode Use the K2661’s sequencer to record and play back your keyboard

performance, play Type 0 and Type 1 MIDI sequences, and record multi-

timbral sequences received via MIDI.

Disk mode Interface with the K2661’s SmartMedia drive, or an external SCSI device

to load and save programs, setups, samples, and more.

There are two more modes that don’t have dedicated buttons on the front panel: Sample mode

and Live mode. In Sample mode, you can create and edit samples (if you have the sampling

option). To get to Sample mode, press the Sample soft button in Program, Setup, Quick Access,

or Master modes. See Chapter 14 for details.

Live mode lets you route an input signal through the K2661’s DSP algorithms. See page 14-10.

Mode Buttons

The mode buttons are labeled in white. When you press a mode button, its LED lights up to

indicate that the mode has been selected. If pressing a mode button does not light its LED, press

the Exit button one or more times, then try again.

The colored labeling for each mode button indicates special functions that relate to some of the

K2661’s editors. These functions are described on page 5-8.

Navigation

The navigation section of the front panel consists of the display and the buttons surrounding it.

These navigation buttons will take you to every one of the K2661’s programming parameters.

The Display

Your primary interface with the K2661 is its backlit graphic display. As you press various

buttons, this fluorescent display reflects the commands you enter and the editing changes you

make. The ample size of the display (240-by-64 pixels) enables you to view lots of information at

one time.

Pages

Within each mode, the functions and parameters are organized into smaller, related groups that

appear together in the display. Each one of these groups of parameters is called a page. Each

mode has what we call an entry-level page; it’s the page that appears when you select that mode

with one of the mode buttons. Within each mode and its editor(s), the various pages are selected

with the navigation buttons. There are many pages, but there are a few features common to each

page. The diagram below shows the entry-level page for Program mode.

ProgramMode||||Xpose:0ST|||<>Channel:1||

!!!!!!!!!!!!!!!!!!@|200*Analog|Jam||||||

KeyMap|Info|||||||#|202*Heart|Strings|||

|Grand|Piano||||||#|||1|Righteous|Piano|

||||||||||||||||||#|||2|Mondo|Bass||||||

||||||||||||||||||#|||3|Killer|Drums||||

%%%%%%^%%%%%%^%%%%$|||4|Weeping|Guitar||

Octav-|Octav+|Panic||Sample|Chan-||Chan+

User Interface Basics

Navigation

3-3

The Top Line

On the top line of most pages, there’s a reminder of which mode you’re in and which page

you’re on. Many pages display additional information in the top line, as well. The

Program-mode page above, for example, shows you the current amount of MIDI transposition

and the currently selected MIDI channel. The top line is almost always “reversed”—that is, it

has a white background with blue characters.

The Bottom Line

The bottom line is divided into six (sometimes fewer) sets of reversed characters that serve as

labels for the six buttons directly beneath the display. These labels—and the functions of the

buttons—change depending on the currently selected page. Consequently the buttons that

select these functions are called “soft” buttons.

The Soft Buttons

The soft buttons are called “soft” because their functions change depending on the currently

selected mode. Sometimes they perform specific functions, like changing MIDI channels in

Program mode. In the Program Editor and other editors, they’re also used to move to different

pages of programming parameters. If a soft button’s label is in all capital letters (KEYMAP, for

example), pressing the corresponding soft button takes you to a page of parameters. If the soft

button is labeled in lower-case or mixed-case letters (Save, for example), the soft button

performs some kind of function.

The Cursor Buttons

To the right of the display are four buttons arranged in a diamond fashion. These are called the

cursor buttons. They move the cursor around the currently selected page, in the direction

indicated by their labels. The cursor is a highlighted (reversed) rectangle (sometimes it’s an

underscore). It marks the value of the currently selected parameter.

Programming the K2661 involves selecting various parameters and changing their values. Select

parameters by highlighting their values with the cursor. You can change the highlighted value

with any of the data entry methods described in the data entry section below.

The Chan/bank Buttons

To the left of the display are two buttons labeled Chan/Bank. Their function is related to the two

small arrows—<|>—that appear in the top line of the display when there are multiples of the

current page—for example, the LAYER pages in the Program Editor. When you see these

arrows, you can use the Chan/Bank buttons to scroll the values of the parameter that appears to

the right of the arrows. In Program mode, for example, they shift through the MIDI channels,

showing the program assigned to each channel.

When you’re in the Program Editor, the Chan/Bank buttons let you view each layer in the

program. You can see the corresponding parameters in each layer by scrolling through the layers

with these buttons. In the Keymap Editor, Chan/Bank scroll through key ranges of the current

keymap. In the Setup Editor, the Chan/Bank buttons scroll through the zones in the current

setup. In Quick Access mode, they scroll through the Quick Access banks, and in Song mode

they scroll through recording tracks.

We’ll let you know, when applicable, what the Chan/Bank buttons do.

3-4

User Interface Basics

Data Entry

The Edit Button

The Edit button activates each of the K2661’s editors, and acts as a shortcut to many pages

within the Program Editor. Pressing the Edit button tells the K2661 that you want to change

some aspect of the object marked by the cursor. For example, when a program is selected and

you press Edit, you enter the Program Editor. If a setup is selected, you enter the Setup Editor.

There are editors accessible from just about every operating mode. To enter an editor, choose one

of the modes (mode selection), and press Edit. An editing page for that mode will appear. You

can then select parameters (navigation) and change their values (data entry). If the value of the

selected parameter has its own editing page, pressing the Edit button will take you to that page.

For example, in the Program Editor, on the PITCH page, you might see LFO1 assigned as the

value for Pitch Control Source 1. If you select this parameter (the cursor will highlight its

value—LFO1 in this case), then press the Edit button, you’ll jump to the page where you can

edit the parameters of LFO1. Naturally, you can find every page in the current editor by using

the soft buttons, but often it’s easier to use the Edit button shortcut.

The Exit Button

Press Exit to leave the current editor. If you’ve changed the value of any parameter while in that

editor, the K2661 will ask you whether you want to save your changes before you can leave the

editor. See page 5-3 for information on saving and naming. The Exit button also takes you to

Program mode if you’re on the entry level page of one of the other modes. If at some point you

can’t seem to get where you want to go, press Exit one or more times to return to Program mode,

then try again.

Data Entry

The data entry section of the front panel includes the Alpha wheel, the Plus/Minus buttons, and

the 14-button alphanumeric pad.

The Alpha Wheel

The Alpha Wheel is especially useful because it can quickly enter large or small changes in

value. If you turn the Alpha Wheel one click to the right, you’ll increase the value of the

currently selected parameter by one increment. One click to the left decreases the value by one

increment. If you turn it rapidly, you’ll jump by several increments. You can also use the Alpha

Wheel to enter names when you’re saving objects.

The Plus/Minus Buttons

These buttons are located just under the Alpha Wheel. The Plus button increases the value of the

currently selected parameter by one, and the Minus button decreases it by one. These buttons

are most useful when you’re scrolling through a short list of values, or when you want to be sure

you’re changing the value by one increment at a time. One press of the Plus or Minus button

corresponds to one click to the right or left with the Alpha Wheel. These buttons will repeat if

pressed and held.

Pressing the Plus and Minus buttons simultaneously will move you through the current list of

values in large chunks instead of one by one. Often this is in even increments (10, 100, etc.).

Don’t confuse these buttons with the +/- button on the alphanumeric pad. This button is used

primarily for entering negative numeric values and switching from uppercase to lowercase

letters (and vice versa).

User Interface Basics

Data Entry

3-5

The Alphanumeric Pad

As its name implies, this set of 14 buttons lets you enter numeric values, and to enter names one

character at a time. Depending on where you are, the K2661 automatically enters letters or

numerals as appropriate (you don’t have to select between alphabetic or numeric entry).

When you’re entering numeric values, press the corresponding numeric buttons, ignoring

decimal places if any (to enter 1.16, for example, press 1, 1, 6, Enter). The display will reflect

your entries, but the value won’t actually change until you press Enter. Before pressing Enter,

you can return to the original value by pressing Cancel. Pressing Clear is the same as pressing 0

without pressing Enter.

When entering names, you can use the Left/Right cursor buttons or the <<< / >>> soft

buttons to move the cursor to the character you want to change. Use the labels under the

alphanumeric buttons as a guide to character entry. Press the corresponding button one or more

times to insert the desired character above the cursor. The Cancel button is equivalent to the

>>> soft button, and Enter is the same as OK. The Clear button replaces the currently selected

character with a space. The +/- button toggles between uppercase and lowercase letters.

There’s also a convenient feature called keyboard naming, which lets you use the keyboard to

enter characters in names. See page 5-5.

Double Button Presses

Pressing two or more related buttons simultaneously executes a number of special functions

depending on the currently selected mode. Make sure to press them at exactly the same time.

In this

mode or

editor…

…pressing these buttons

simultaneously… …does this:

Program

mode

Octav-, Octav+ Reset MIDI transposition to 0 semitones. Double-press again to

go to previous transposition.

Chan–, Chan+ Set current MIDI channel to 1.

Plus/Minus Step to next Program bank (100, 200, etc.)

Master mode Chan/Bank Enables Guitar/Wind Controller mode.

Song mode

Left/Right cursor buttons Toggle between Play and Stop.

Up/Down cursor buttons Toggle between Play and Pause.

Chan/Bank Select all tracks on any TRACK page in Song Editor.

Disk mode

2 leftmost soft buttons Issue SCSI Eject command to currently selected SCSI device.

Chan/Bank Hard format SCSI device. List selected objects when saving

objects.

Left/Right cursor buttons Select all items in a list. Move cursor to end of name in naming

dialog.

up/down cursor buttons Clear all selections in a list. Move cursor to beginning of name

in naming dialog.

Program

Editor

Chan/Bank Select Layer 1.

Table 3-1 Double Button Presses

3-6

User Interface Basics

Intuitive Data Entry

Intuitive Data Entry

Many parameters have values that correspond to standard physical controllers. In many cases,

you can select these values “intuitively,” rather than having to scroll through the Control Source

list. This is done by selecting the desired parameter, then holding the ENTER button while

moving the desired physical control.

For example, on the LAYER page in the Program Editor, you can set the range of the currently

selected layer as follows: use the cursor buttons to move the cursor to the value for the LoKey

parameter, press (and hold) the Enter button, then press the note you wish to be the lowest note

for the currently displayed layer. The note you triggered (it has to be between C 0—C 8) will

appear as the value for the LoKey parameter. Repeat the process for the HiKey parameter.

Another example: select Program 199 while in Program mode. Press Edit to enter the Program

Editor. Press the PITCH soft button to select the PITCH page. Move the cursor to the Src1

parameter. Hold the Enter button, and move the Pitch Wheel. PWheel will be selected as the

value for Src1.

You can also use the keyboard to choose control sources, since most key numbers correspond to

a value on the control source list. If you have a certain control source that you use over and over

(for example, LFO1), this can be the quickest way to enter its value. To do this: highlight a

parameter which uses a value from the control source list, hold down Enter, then strike the key

corresponding to the control source you want to choose. LFO1, for example, is assigned to B5.

You’ll find a complete chart of these keyboard shortcuts at the end of Chapter 4 of the Musician’s

Reference.

Also, for almost every parameter, you can hold the Enter button and move the Data Slider to run

through the range of values for the currently selected parameter. This is not as precise as the

Alpha Wheel, but much faster.

Keymap

Editor

Plus/Minus With cursor on the Coarse Tune parameter, toggles between

default Coarse Tune of sample root and transposition of sample

root.

Sample

Editor

2 leftmost soft buttons Toggle between default zoom setting and current zoom setting.

Plus/Minus buttons Set the value of the currently selected parameter at the next

zero crossing.

Any Editor

Plus/Minus Scroll through the currently selected parameter’s list of values in

regular or logical increments (varies with each parameter).

2 leftmost soft buttons Reset MIDI transposition to 0 semitones. Double-press again to

go to previous transposition.

Center soft buttons Select Utilities menu (MIDIScope, Stealer, etc.).

2 rightmost soft buttons Sends all notes/controllers off message on all 16 channels

(same as Panic soft button).

Left/Right cursor buttons Toggle between Play and Stop of current song.

Up/Down cursor buttons Toggle between Play and Pause of current song.

Save Dialog Plus/Minus buttons Toggle between next free ID and original ID.

In this

mode or

editor…

…pressing these buttons

simultaneously… …does this:

Table 3-1 Double Button Presses

User Interface Basics

Search

3-7

Changing the Current Layer in Multi-Layer Programs

When editing a multi-layer program (including drum programs), you can quickly switch

between layers by holding the Enter button, then striking a key. The K2661 will change the

current layer to that key’s layer. If the key is part of more than one layer, subsequent key strikes

will cycle through each layer that has that key in its range.

Note: This method for changing the current layer in a multi-layer program will NOT work if the

currently highlighted parameter has a note number or control source for its value. In this case, the key you

strike will function as described in Intuitive Data Entry, above.

Search

There’s a convenient way to find any string of characters within the currently selected list, or

range of values. Hold the Enter button and press any of the numeric buttons. A dialog like the

one below appears.

|||||||||||||||||||||||||<>KbdNaming:Off

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Search|string:||Soul|Rebels|||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Delete|Insert||<<<||||>>>||||OK|||Cancel

Type in the string of characters you want to find. For example, if you’re looking at the program

list and you want to find all programs containing the word “Horn,” you would type h-o-r-n.

This function is not case-sensitive; it will find upper and lower case characters regardless of

what you type.

When you’ve typed the string of characters you want to find, press Enter. The K2661 searches

through the current list of objects or values, finds all items that match the string of characters

you typed, and displays the first one it finds. Hold Enter and press one of the Plus/Minus

buttons to search for the next higher- or lower-numbered object that contains the string of

characters.

The string you select remains in memory. You can store and select a string of characters with

each of the numeric buttons. Hold Enter and press one of the numeric buttons at any time to

select that string for a search. When the string appears, you can change it, or just press Enter to

find that string.

Renaming Multiple Objects

You can automatically rename multiple RAM objects with one operation, by substituting one

string of characters with another.

1. Press the Master mode button to enter Master mode.

2. Press the Object soft button, then press the Name soft button. The NAME page appears,

showing a list of all RAM objects.

3-8

User Interface Basics

Renaming Multiple Objects

3. Use the Alpha Wheel or Plus/Minus buttons to highlight objects. When an object whose

name you want to change is highlighted, press the Select soft button to select the object.

Note the asterisk that appears between the object’s ID and its name.

4. When you’ve selected all the objects you want to rename, press OK. The following dialog

appears. The name you see is the name of the last object you selected.

|||||||||||||||||||||||||<>KbdNaming:Off

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Object|Name:||||Badname|||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Delete|Insert||<<<||||>>>||||OK|||Cancel

5. Use your favorite method to enter a slash (/), followed by the string of characters that you

want to replace. This function is case-sensitive, so you can enter both capitals and lower-

case characters. In this example, we’re going to change “Bad” to “Good.”

|||||||||||||||||||||||||<>KbdNaming:Off

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Object|Name:||||/Bad||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Delete|Insert||<<<||||>>>||||OK|||Cancel

6. When you’ve entered the desired string of characters, press OK, and the dialog changes to

prompt you to enter the replacement string. Notice that we entered only the characters

B-a-d, and not the entire name of the object. Enter the new string, as shown below.

|||||||||||||||||||||||||<>KbdNaming:Off

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Replace|with:|||Good||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Delete|Insert||<<<||||>>>||||OK|||Cancel

7. Press OK. The K2661 asks you if you’re sure (unless you have confirmations turned off).

Press Yes. The NAME page reappears. Every RAM object whose name contained Bad now

contains Good instead.

User Interface Basics

Mixdown and MIDI Faders Pages

3-9

Mixdown and MIDI Faders Pages

There are two buttons below the Solo button, labeled Mixdown and MIDI Faders. These call up

pages that let you use the sliders to control MIDI Pan and Volume, or any MIDI Controller that

you choose. This is useful for real-time control over setups.

Mixdown Page

This page temporarily turns the K2661’s 8 sliders into MIDI pan and volume controls. You can

get to this page from any mode by pressing the Mixdown button, located below the Solo button.

Press Mixdown, and the display looks similar to what you see on the Song-mode MIX page.

However, there are a few differences. On the Mixdown page, the sliders relate to MIDI channels

instead of tracks. If you highlight 1-8 for example, moving slider D will affect volume or pan for

MIDI Channel 4 while you’re on this page.

On the Mixdown page, pan and volume messages are sent to the internal K2661 sounds, to MIDI

Out, or both. All Mixdown-page channels have the same destination (local, MIDI, or both),

which is determined by the Control parameter on the MIDI-mode TRANSMIT page. You can

assign the sliders to control either volume or pan. The soft buttons at the bottom of the

Mixdown page let you select pan or volume control, on channels 1-8 or 9-16, allowing you to

temporarily use the 8 sliders as pan or volume faders. Keep in mind that MIDI volume is a

channel-specific message. Therefore, if you have more than one zone in a setup assigned to the

same channel, moving any one of the associated sliders will affect all those zones.

MIDI Faders Pages

The button just below Mixdown is called MIDI Faders. The MIDI Faders page allows you to

create a preset configuration of any Controller assignment for each slider, along with an initial

preset value for that Controller. For each slider, you assign the MIDI channel, MIDI Controller

number, and a value. You can enter the value using any normal data entry method, or by

moving the corresponding slider on keyboard models. You can also assign several sliders to the

same channel, but assign each one to a different Controller number.

There are four different configurations (pages 1–4), which you select with the soft buttons. Each

configuration remembers the last value you set for each slider. If you want to send those values

without moving the slider, press the Send button.

Mixdown||||<>Prog:|36|DuckWalk||||||||||

|||WXWXWXWX|WXWXWXWX|WXWXWXWX|WXWXWXWX||

|||wxwxC{wx|wxwxwxwx|wxwxwxwx|wxwxwxwx||

>>||z|z}~|z||z|z|z|z||z|z|z|z||z|z|z|z||

||||_|_|_|_||_|_|_|_||_|_|_|_||_|_|_|_||

||||||||||||||||||||||||||||||||||||||||

|||*****************||||||||||||||||||||

|Pan|||Volume|Ch|1-8|Ch9-16|||||||||Done

Shows which channels are

affected by sliders.

Soft buttons for indicating

which channels are

affected by sliders.

>> shows

whether sliders

control pan or

volume

3-10

User Interface Basics

Quick Song Recording and Playback

The available values for the Channel parameter on this page are 1–16 (local and MIDI), 1L–16L

(local only, no MIDI), and 1M–16M (MIDI only, no local).

Quick Song Recording and Playback

There are three buttons—labeled Record, Play/Pause, and Stop—below the mode selection

buttons. They control the recording and playback of songs from any mode; you don’t have to be

in Song mode to record or play back.

Using these buttons affects the current track of the current song—that is, the song and track that

were selected the last time you were in Song mode. When you record, the recording track and

recording mode are determined by the current settings in Song mode; likewise for the playback

mode when you’re playing a song.

When the sequencer status is STOPPED (neither the Record-button LED nor the Play/Pause-

button LED is lit or flashing), press Record to put the sequencer in REC READY status. The

Record-button LED lights (red). Then press Play/Pause to start recording. The Play/Pause-

button flashes (green) to indicate the tempo. Any countoff is determined by the current Song-

mode setting for the CountOff parameter. Press Play/Pause or Stop to end recording and go to

the Save dialog, where you can save the song, or trash it.

When the sequencer status is STOPPED, press Play/Pause to begin playing the current song.

Press Play/Pause again to pause playback, and again to resume. Press Stop to end playback.

MIDI|Faders:Page1|||||||||||||||||||||||

Chan|:|9|||10||11||12||13||14||15||16|||

Ctl||:|6|||6|||6|||6|||6|||6|||6|||6||||

Value:|50||0|||50||0|||50||0|||50||0||||

||||||||||||||||||||||||||||||||||||||||

||||||\]||}~||\]||}~||\]||}~||\]||}~||||

|||||||_|||_|||_|||_|||_|||_|||_|||_||||

Page1||Page2||Page3||Page4|||Send||Done|

The Operating Modes

What the Modes Are

4-1

Chapter 4

The Operating Modes

In this chapter we’ll discuss the theory behind the mode concept, and we’ll describe the basic

operating features of each mode. Complete details on the editing features of each mode are

provided in the K2661 Musician’s Guide (on the CD-ROM).

What the Modes Are

The modes exist to make the K2661 logical to work with. With as many performance and

programming features as the K2661 has, it’s helpful to break them into groups. These groups are

called modes. There are eight primary modes (plus Sample mode and Live mode); they’re

described briefly in the section called Using the Modes on page 4-3. Chapters 6 through 13 are

dedicated to explaining each primary mode in turn. Chapter 14 describes Sample mode and

Live mode.

Each mode is named for the kind of operations you perform while in that mode, and each

mode’s editor (if any) contains all of the parameters related to editing the type of object found in

that mode. In Setup mode, for example, you select setups (and only setups) for performance or

editing. All of the setup-editing parameters are grouped together on the Setup-Editor page,

which is accessible through Setup mode.

Selecting Modes

When the K2661 is on, it’s almost always operating in one of the eight primary modes

represented by the LED-highlighted buttons beneath the display—or in one of the editors

corresponding to the current operating mode. There are two exceptions: Sample mode (and the

Sample Editor), and Live mode. Pressing one of the mode buttons selects the corresponding

mode. This is the mode’s entry level. At the entry level, the LED of the selected mode is lit. Only

one mode can be selected at a time.

From any primary mode, you can get to any other primary mode simply by pressing one of the

mode buttons. If you’re in an editor, however, you must press Exit to return to the mode’s entry

level before selecting another mode.

All of the modes except Disk mode and Live mode give you access to one or more editors for

changing the values of the parameters within that mode. Press the Edit button to enter the editor

of the currently selected mode. When you do this, the mode LED goes out.

It’s possible to enter another mode’s editor without leaving the currently selected mode. For

example, if you press Edit while in Setup mode, you’ll enter the Setup Editor. The Setup-Editor

page will appear, and the LocalPrg parameter will be highlighted by the cursor. If you press Edit

again, you’ll enter the Program Editor, where you can edit the currently selected program. While

you can edit and save programs as you normally would, you’re still in Setup mode, and you

can’t select another mode at this point. When you exit the Program Editor, you’ll return to the

Setup-Editor page. Press Exit again, and you’ll leave the Setup Editor, returning to the

Setup-mode page.

This method of entering editors works for any parameter whose value is an editable object

(program, setup, keymap, FX preset, etc.)

4-2

The Operating Modes

Selecting Modes

The following table lists the procedures for moving between modes and editors. Note that the

Exit button won’t always take you where the table says it will; it often depends on how you got

where you are. The table assumes that you’ve entered a given editor via its corresponding mode.

You’ll always return to Program mode eventually if you press Exit repeatedly.

Current Mode/

Editor Status

Available Modes/

Editors How to Get There

Any mode All other modes Press corresponding mode button

Program mode Program Editor Press Edit

Sample mode Press Sample soft button

Program Editor

Program mode Press Exit

Studio Editor On KDFX page: select Studio parameter; press Edit

Keymap Editor On KEYMAP page: select Keymap parameter, press Edit

Keymap Editor

Program Editor Press Exit

Sample mode Press the MIDI mode button

Sample Editor Select Sample parameter; press Edit

Sample Editor Keymap Editor Press Exit

Setup mode Sample mode Press Sample soft button

Setup Editor Press Edit

Setup Editor

Setup mode Press Exit

Program Editor On CH/PRG page: select LocalPrg parameter; press Edit

Studio Editor On KDFX page: select Studio parameter; press Edit

Song Editor On COMMON page, select Song parameter; press Edit

Quick Access mode Sample mode Press Sample soft button

Quick Access Editor Press Edit

Quick Access Editor

Quick Access mode Press Exit

Program Editor Set value of Type parameter to Program; select program; press Edit

Setup Editor Set value of Type parameter to Setup; select setup; press Edit

Effects mode Studio Editor Press Edit

Studio Editor Previous mode Press Exit

FX Preset Editor Select FX preset block; press Edit

FX Preset Editor Studio Editor Press Exit

MIDI mode

Program Editor On CHANNELS page: select Program parameter; press Edit

Setup Editor On TRANSMIT page: select CtlSetup parameter; press Edit

Velocity Map Editor On TRANSMIT or RECEIVE page: select Veloc(ity)Map parameter; press Edit

Pressure Map Editor On TRANSMIT or RECEIVE page: select Press(ure)Map parameter; press Edit

Master mode

Sample mode Press Sample soft button

Velocity Map Editor Select VelTouch parameter; press Edit

Pressure Map Editor Select PressTouch parameter; press Edit

Intonation Table Editor Select Intonation parameter; press Edit

Song mode Song Editor Select CurSong parameter; press Edit

Program Editor Select Program parameter; press Edit

Sample mode Sample Editor Select Sample parameter; press Edit

Previous mode Press Exit

Most editors Previous mode or editor Press Exit

The Operating Modes

Using the Modes

4-3

Nested Editors

Starting at the Program-mode level, there are three “nested” editors, each related to the

parameters that make up different components of a program. The first is the Program Editor,

which you enter when you press Edit while in Program mode. Programs consist, among other

things, of keymaps; they determine which samples play on which keys. Keymaps can be edited

as well. The Keymap Editor is entered from within the Program Editor, by selecting the

KEYMAP page with the soft buttons, then pressing Edit.

Similarly, keymaps consist of samples, which also can be edited. The Sample Editor is entered

from the Keymap Editor, by selecting the Sample parameter and pressing Edit. When you enter

the Sample Editor, you’ve worked through three nested levels of editors, all related to the

components that make up a program. And in fact, you’re still in Program mode (if that’s where

you started from). Pressing Exit while in the Sample Editor will return you to the Keymap

Editor. Pressing Exit again will return you to the KEYMAP page of the Program Editor. Once

more, and you’re back to Program mode’s entry level.

Note: You can also get to the Sample Editor directly from Sample mode (by pressing Edit). If you’re

editing a single sample, this might make more sense, since it’s more direct. If you’re planning on editing a

number of samples within a given keymap, however, you’ll find it more convenient to enter the Sample

Editor through the Program and Keymap Editors, because once you’ve finished with one sample, you can

easily return to the KEYMAP page and select another sample within the keymap.

Finding Square One

If, at any time, you don’t know where you are, and the mode LEDs are all unlit, press Exit one or

more times. This will return you to the entry level of whatever mode you were in, and if you

press Exit enough times, you will always return to Program mode, the startup mode. If you’ve

made any changes, you’ll be asked whether you want to save before leaving any editor. Press

the No soft button or the Exit button if you don’t want to save. If you want to save, press the

Rename or Yes soft button, and you’ll see the Save dialog, which is described in Saving and

Naming on page 5-3.

Using the Modes

You can play your K2661 regardless of the mode you’re in. In fact, the only times you can’t play

it are when you’re in the middle of a disk operation (loading, saving, formatting) or a SMDI

sample transfer. With these two exceptions, the K2661’s MIDI response is almost always active.

Even so there are three modes that are more performance-oriented than the others. These are

Program, Setup, and Quick Access modes. We’ll describe each of the eight modes briefly in this

section.

Program Mode

The K2661 starts up in Program mode, where you can select, play, and edit programs. The

Program-mode entry-level page shows the currently selected program, as well as a small

segment of the program list. Program mode gives you access to Sample mode via the Sample

soft button.

The Program, Keymap, and Sample Editors are nested within Program mode. They take you to

the core of the K2661’s sound editing parameters. See the K2661 Musician’s Guide (on the CD-

ROM) for details.

Setup Mode

Setup mode lets you select, play, and edit setups. Setups consist of up to eight separate zones,

split or overlapping, each having its own program, MIDI channel, and control parameters.

Setups are great for performance situations, whether you’re playing multiple K2661 programs

4-4

The Operating Modes

Using the Modes

or controlling additional synths connected to the K2661’s MIDI Out port. Chapter 7 describes

Setup mode .

If you’re using a different MIDI controller, you can make use of Setup mode even if your MIDI

controller can transmit on only one MIDI channel at a time. To do this, go to the RECEIVE page

in MIDI mode (by pressing the RECV soft button while in MIDI mode), and set the Local

Keyboard Channel parameter to a value that matches the transmit channel of your MIDI

controller. When you select Setup mode, the K2661 will interpret incoming MIDI information

according to the settings for the currently selected setup. See the discussion of the Local

Keyboard Channel parameter in Chapter 10 for details.

Setup mode also gives you access to Sample mode via the Sample soft button.

Quick Access Mode

Another feature for live performance, Quick Access mode enables you to combine programs and

setups into banks of ten entries. Each of these programs or setups can be selected with a single

alphanumeric button. Different banks are selected with the Chan/Bank buttons. There’s a

selection of factory preset banks, and you can use the Quick Access Editor to create your own

banks and store them in RAM. There’s a full description in Chapter 8.

Quick Access mode gives you access to Sample mode via the Sample soft button. You can also

use Quick Access banks as a way to remap incoming or outgoing Program Change commands.

Effects Mode

Effects mode sets the behavior of the KDFX effects processor. The Effects-mode page lets you tell

the K2661 how to select preset studios (programmed effects configurations) when you change

programs or setups, or lets you choose a preset studio that’s applied to every K2661 program.

The Studio Editor allows you to tweak the preset studios, and create your own. Chapters 9

shows you how. You can also listen to the sounds of various effects while in Effects mode,

without selecting different programs.

MIDI Mode

You’ll use MIDI mode to configure the K2661’s interaction with other MIDI instruments, by

setting parameters for transmitting and receiving MIDI. You’ll also use it to configure your

K2661 for multi-timbral sequencing. On the CHANNELS page, you can assign a program to

each channel, and enable or disable each channel’s response to three types of MIDI control

messages: Program Change, volume and pan. You can also override program output

assignments, and adjust overall program gain. See Chapter 10.

Master Mode

Master mode, described in Chapter 11, contains the parameters that control the entire K2661.

Global settings for tuning, transposition, velocity and aftertouch sensitivity, and other

preferences are adjusted here. You can also get to GM Mode and SampleMode from here.

Song Mode

Song mode enables you to play sequences (songs) stored in the K2661’s RAM, and provides a

fully featured sequencer that you can use to record songs. You can also record multi-timbrally

via MIDI, or load standard MIDI files (Type 0 or 1). The Song Editor enables you to modify

existing RAM sequences, do step recording, and create arrangements (by linking two or more

songs together). See Chapter 12.

Disk Mode

Disk mode lets you load and save programs and other objects using the K2661’s SmartMedia

drive or a disk (or CD-ROM drive) connected to the K2661’s SCSI port. See Chapter 13.

Editing Conventions

Introduction to Editing

5-1

Chapter 5

Editing Conventions

Introduction to Editing

Programming (editing) the K2661 always involves three basic operations: mode selection,

navigation, and data entry.

First, select the mode that relates to the object you want to edit—a program, a setup, etc. Then

select the object you want to edit, and press the Edit button to enter the editor within that mode.

An editor contains all the parameters that define the object you’re programming.

Next, you navigate around the editor’s page(s) with the soft buttons, and select parameters with

the cursor (arrow) buttons. When you’ve selected a parameter (its value is highlighted by the

cursor), you can change its value with one of the data entry methods. When you change a value,

you’ll normally hear its effect on the object you’re editing. The K2661 doesn’t actually write your

editing changes to memory until you save the object you’re working on. It then allows you to

choose between writing over the original object, or storing the newly edited version in a new

memory location.

For complete information on the K2661’s editors, refer to the K2661 Musician’s Guide (on the CD-

ROM).

What’s an Object?

If you’ve been wondering what we mean by the term “object,” it’s an expression we use for

anything that can be named, saved, deleted, or edited. Here’s a list of all the types of objects:

Samples Digital recordings of instrumental sounds or waveforms. Samples

actually have two separate parts: the actual sample data and the sample

header information, which contains start, alternative start, loop, and end

points, as well as other information like tuning and volume.

Keymaps Collections of samples assigned to specific velocity ranges and/or keys.

Programs Factory-preset or user-programmed sounds stored in ROM or RAM.

A program is one or more layers of sound, with programmable DSP

functions applied to the keymaps within each layer.

Setups Factory-preset or user-programmed MIDI performance presets consisting

of up to eight zones, each with its own program, MIDI channel, and

controller assignments, and (optionally) arpeggiation specifications.

Songs Sequence files loaded into RAM, or MIDI data recorded in Song mode.

Studios Factory-preset or user-programmed configurations of the K2661’s

onboard digital audio effects processor.

FX presets Factory-preset or user-programmed data—including effects algorithms,

levels and balance—that define the nature of studios.

Quick Access banks Factory-preset or user-programmed banks of ten entries each, that store

programs and setups for single-button access in Quick Access mode.

5-2

Editing Conventions

Object Type and ID

Velocity maps Factory-preset or user-programmed curves that affect the K2661’s

response to, and MIDI transmission of, attack velocity values.

Pressure maps Factory preset or user-programmed curves that affect the K2661’s

response to, and MIDI transmission of, pressure (aftertouch) values.

Intonation tables Factory preset or user-programmed tables that affect the intervals

between the twelve notes of each octave.

Master tables The values that are set for the global control parameters on the

Master-mode page, as well as the settings for the parameters on the

CHANNELS page in MIDI mode, and the programs currently assigned to

each MIDI channel.

Fader tables MIDI Controller assignments defined on the MIDI Faders pages.

Name tables Contains a list of dependent objects needed by the other objects in a file at

the time the file was saved.

Macros List of disk files to be loaded into the K2661’s memory at start-up time.

Object Type and ID

The K2661 stores its objects in RAM using a system of ID numbers that are generally organized

into banks of 100. Each object is identified by its object type and object ID; these make it unique.

An object’s type is simply the kind of object it is, whether it’s a program, setup, song, or

whatever. The object ID is a number from 1 to 999 that distinguishes each object from other

objects of the same type. For example, within the 200s bank, you can have a setup, a program,

and a preset effect, all with ID 201; their object types distinguish them. You can’t, however, have

two programs with ID 201.

ROM (factory preset) objects have ID numbers in a number of banks. When you save objects that

you’ve edited, the K2661 will ask you to assign an ID. If the original object was a ROM object,

the K2661 will suggest the first available ID. If the original object was a RAM object, you’ll have

the option of saving to an unused ID, or replacing the original object.

Objects of different types can have the same ID, but objects of the same type must have different

IDs to be kept separate. When you’re saving an object that you’ve edited, you can assign the

same ID to an existing object of the same type, but if you do, the new one will be written over

the old one. For example, if you assign an ID of 1 to a program you’ve edited, the K2661 will ask

you if you want to “replace” the ROM program currently stored with that ID. We’ll discuss this

further in Saving and Naming on page 5-3.

Many parameters have objects as their values—the VelTouch parameter on the Master-mode

page, for example. In this case, the object’s ID appears in the value field along with the object’s

name. You can enter objects as values by entering their IDs with the alphanumeric pad. This is

especially convenient for programs, since their ID numbers are the same as their MIDI program

Object Type Object ID Object Name

Program 201 Hot Keys

Setup 404 Silicon Bebop

Velocity Map 1 Linear

Sample 3 Hey Moe

Editing Conventions

Saving and Naming

5-3

change numbers (when you’re using the Extended or Kurzweil Program Change format—see

Program Change Formats on page 10-9).

The object type and ID enable you to store hundreds of objects without losing track of them, and

also to load files from disk without having to replace files you’ve already loaded. See Memory

Banks on page 5-7 for more information on object type and ID.

Saving and Naming

When you’ve edited an object to your satisfaction, you’ll want to store it in RAM. There’s a

standard procedure for saving and naming, which applies to all objects.

You can press the Save soft button, of course, but it’s easier to press the Exit button, which

means “I want to leave the current editor.” If you haven’t actually changed anything while in

the editor, you’ll simply exit to the mode you started from. If you have made changes, however,

the K2661 will ask you if you want to save those changes. This is the first Save dialog. A dialog is

any display that asks a question that you need to answer before the K2661 can proceed.

The following diagram shows the Save dialog for the Program Editor. The top line tells you that

you got to this dialog by pressing Exit. If you had pressed the Save soft button instead of Exit,

you’d see Save in the top line, instead of Exit. If you were in another editor, the top line would

indicate that as well.

EditProgram:Exit||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Save|changes|to|Righteous|Piano?||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||Rename|Cancel|Yes||||No|||

The best way through this process is to press the Rename soft button. This takes you

immediately to the naming dialog, where you assign a name to the object you’re saving. You

haven’t saved yet, but you’ll be able to after you’ve named the program.

EditProgram:Rename|||||||<>KbdNaming:Off

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Program|Name:|||Righteous|Piano|||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Delete|Insert||<<<||||>>>||||OK|||Cancel

Like the Save dialog, the top line identifies the current editor and function, and also indicates

whether the keyboard naming feature is enabled (see Keyboard Naming on page 5-5).

The cursor underlines the currently selected character. Press the <<< or >>> soft buttons to

move the cursor without changing characters. Press an alphanumeric button one or more times

to enter a character above the cursor. The characters that correspond to the alphanumeric

buttons are labeled under each button. If the character that appears is not the one you want,

5-4

Editing Conventions

Saving and Naming

press the button again. Press the +/- button on the alphanumeric pad to switch between upper

and lower case characters.

Press 0 one or more times to enter the numerals 0 through 9. Press Clear (on the alphanumeric

pad) to erase the selected character without moving any other characters. Press the Delete soft

button to erase the selected character. All characters to the right of the cursor will move one

space left. Press the Insert soft button to insert a space above the cursor, moving all characters to

the right of the cursor one space to the right.

Press the Cancel soft button if you decide not to name the object. Press OK when the name is set

the way you want to save it.

In addition to the letters and numerals, there are three sets of punctuation characters. The easiest

way to get to them is to press one of the alphanumeric buttons to select a character close to the

one you want, then scroll to it with the Alpha Wheel. Here’s the whole list:

! “ # $ % & ’ ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9

: ; < = > ? @ A through Z

[ \ ] ^ _ ` a through z. (space).

Pressing the Plus/Minus buttons simultaneously is a short cut to the following characters:

0, A, a and (space).

If you’re wondering how we came up with this sequence of characters, it’s composed of ASCII

characters 33 through 122.

When you press OK, the final Save dialog appears, where you assign an ID to the edited object.

If you change your mind about the name, press the Rename soft button for another try.

EditProgram:Save||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Save|Righteous|Piano|as:|ID#200|||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Object||||||||||||||Rename|Save|||Cancel

ROM Objects

If the object you started from was a ROM (factory preset) object, the K2661 will automatically

suggest the next available (unused) ID as the ID for the edited object. If that’s the ID you want,

press the Save soft button, and the object will be stored in RAM with that ID. Otherwise, you

can select any ID from 1 to 999. This page also gives you the opportunity to return to the naming

dialog (as described in the previous section) or, by pressing the Object soft button, to access the

Object Utilities (described in Chapter 13).

If you select an ID that’s already in use, the K2661 will tell you that you’re going to replace the

ROM object that’s already been assigned that ID. If you don’t want to do that, you can select a

different ID. Or you can press the Plus/Minus buttons simultaneously to toggle between the ID

that the K2661 suggested and the original ID. Or press the Cancel soft button to cancel the

operation.

If you decide not to cancel or change the ID, and you press the Replace soft button, the K2661

will write your newly edited object over the existing ROM object. Actually, it only appears that

Editing Conventions

Saving and Naming

5-5

way, since you can’t truly write to ROM. The ROM object will reappear if you delete the newly

edited object (there are soft buttons in each editor for deleting objects).

RAM Objects

If the original object was a RAM object, the K2661 will assume you want to replace it, and will

suggest the same ID as the original object (if it has an asterisk—*—between its ID and its name,

it’s a RAM object). As with ROM objects, you can cancel, replace, or change the ID and save to

an unused ID. If you replace a RAM object, however, it’s definitely gone!

Keyboard Naming

The keyboard naming feature makes

naming objects convenient (and

musical!). With keyboard naming

enabled, you can use the keyboard

(or your MIDI controller) to enter

the name of the object you’re

modifying.

There are three keyboard naming

states: Off (disabled), On, and Adv

(Advance). When set to On or Adv,

the keys (MIDI note numbers,

actually) correspond to all the

characters shown on page 5-4. There

are also equivalents to the cursor

movement, insertion, deletion, and

OK (Enter) buttons.

On requires you to move the cursor

to enter each letter, just as you have

to do when using the normal data

entry methods for naming. Adv

automatically moves the cursor one

space to the right each time you

strike a key, just like a typewriter or

computer keyboard. This is the most

convenient setting.

When you’re in the Rename dialog,

use either of the Chan/Bank buttons

to change the keyboard naming

state.

l L

Delete; move characters left one space

Move cursor left one space

Move cursor right one space

(Shift)

(Space) 2 @

a A 3 #

b B

c C 4 $

d D 5 %

e E

f F 6 ^

g G 7 &

h H 8 *

i I

j J 9 (

k K 0 (zero) )

m M - (Hyphen) _ (Underscore)

n N = (Equals) +

o O (Backspace)

p P

q Q ; (Semicolon) : (Colon)

r R ' (Apostrophe) '' (Quote)

s S

t T , (Comma) <

u U . (Period) >

v V / (Slash) ?

w W

x X [ (Left bracket) ` (Back quote)

y Y ] (Right bracket) \ (Backslash)

z Z

(Space) (OK, Enter)

(Shift)

Move cursor to end of name

A0

C4

(y)

tch Wheel Absolute Value

C8

1 !

Move cursor to start of name

Insert; move characters right one space

Move cursor right one space

Delete; move characters left one space

Move cursor left one space

C5

C6

C7

C3

C2

Insert; move characters right one space

Use the (Shift) keys or

Sustain pedal to enter

upper-case and

special characters

5-6

Editing Conventions

Deleting Objects

Deleting Objects

Within most editors, there are soft buttons for deleting objects. When you want to delete an

object, press the Delete soft button, and the K2661 will ask you if you want to delete the object.

(At this point in the dialog, you can select another object with any of the data entry methods.)

Press OK if you want to delete it, or press Cancel if you don’t. Although it seems that you can

delete ROM objects, you can’t actually do it. The K2661 will behave as if it’s deleting the ROM

object, but it will still be there the next time you select it. (What actually happens is that the

ROM object is copied to RAM as soon as you press Edit, and when you “delete” the ROM object,

you’re actually deleting the RAM copy. The original ROM object remains in memory.)

RAM objects, on the other hand, are gone when you delete them! If you’ve “replaced” a ROM

object by saving a RAM object with the same ID, the ROM object is invisible, but still there.

Deleting the RAM object stored at the same ID will restore the ROM object.

You’ll often delete objects to gain RAM space, or to organize the memory banks before saving

objects to disk. To delete multiple objects, use the Delete Objects utility available in Master

mode. It’s described on page 11-18.

Dependent Objects

A dependent object is an object that’s linked in memory with at least one other object. For

example, if you create a setup that uses a program that you also created, that program is a

dependent object of the setup.

When you start to delete an object that has dependent objects, the Delete dialog gives you a

choice: Delete dependent objects? If you press Yes, the K2661 will delete the object and all its

dependent objects when you execute the Delete function. In our example, if you were deleting

the setup you created, and you chose to delete dependent objects, the dependent program

would get deleted as well. If you press No at the Delete dependent objects? prompt, the K2661

deletes only the object, but keeps the dependent objects. In our example, the setup would get

deleted, but the dependent program would remain.

When deleting objects and their dependents, the K2661 deletes only those dependent objects

that aren’t dependent on other objects that you’re not deleting. For example, suppose you have

two setups that contain the same program. If you delete one of the setups, and delete dependent

objects with it, the setup gets deleted, but the program that’s contained in the other setup

remains in memory.

Editing Conventions

Memory Banks

5-7

Memory Banks

To help organize the storage of your edited objects, the K2661’s memory is divided into ten

banks, each of which stores objects having IDs within a certain range. Objects within the same

range of IDs are stored in the same memory bank, regardless of their types. The banks are in

increments of 100, that is, objects with IDs from 1 through 99 are stored in the first bank, IDs

from 100 to 199 in the second bank, and so on. We refer to them simply as the “Zeros bank,”

“100s bank,” “200s bank,” etc. If you save an object as ID 203, for example, it’s in the 200s bank.

You can store up to 100 objects of each type in each memory bank, The number of objects of a

given type that can be saved in a memory bank depends on its type. For example, you can store

20 Quick Access banks in each memory bank. As you begin to save objects that you’ve edited,

you’ll notice that the IDs suggested by the K2661 sometimes increase in large chunks—from 219

to 300, for example. This is due to the limit to the number of objects of a given type that can be

stored in a single memory bank. This limit can be important in terms of organizing your objects

for storing to disk. Check out the section called Storing Objects in the Memory Banks on page 13-34

for lists of how many objects of each type can fit into each memory bank.

You’ll want to think about organizing your edited objects in the memory banks when you start

using the SmartMedia drive or a SCSI device to store your programs, samples, and other objects.

Objects that are stored in the same memory banks can be easily stored in the same file on disk—

which generally is a good idea. You can also store all the banks to one file by selecting

“Everything” in the Disk-mode Bank dialog.

The memory banks work automatically, that is, you don’t have to select the different banks to

gain access to the objects stored in them. The K2661 selects the appropriate bank when you enter

the object ID you want to work with. To select Program 201 while in Program mode, for

example, just press 2, 0, 1, Enter on the alphanumeric pad. The 200s bank is automatically

selected, and the program list will show programs numbered in the 200s. If your MIDI controller

can send program change commands from 0 to 127 or 1 to 128 only, you’ll probably want to

adjust the way the K2661 responds to program change commands. See the discussion of the

Program Change Type parameter (ProgChgType) in Chapter 10.

When you do a save operation in Disk mode, you’re creating a file to be saved to disk or

SmartMedia. This will save either individually selected objects or an entire bank of objects from

the K2661’s RAM. If you choose to save a complete bank, then all objects with IDs in the range of

the selected bank, regardless of type, are saved as part of the file. For example, if you save the

200s bank (objects with IDs from 200–299), then every object with an ID from 200 to 299 will be

saved to the file.

This system makes it easy for you to keep track of everything you save. The first program you

save, for example, will have an ID of 200 (unless you specify another ID). The first setup you

create will also have an ID of 200 (since they’re different types of objects, the IDs can be the

same). If you were to save the 200s bank, both your program and your setup would be saved to

the same file.

Saving and Loading Files—Disk Mode

Saving to disk or SmartMedia simply involves selecting objects or a complete bank of objects to

be stored as a single file. All objects with IDs within that range will be saved to the file. When

you load a file, the K2661 asks you which bank will receive the file. You can load a file into any of

the ten banks, regardless of the bank it was saved from. The K2661 will automatically reassign

the object IDs. A file saved from the 200s bank, for example will be stored on disk with its objects

numbered from 200–299. If you load it back into the 300s bank, its objects will be renumbered

from 300–399.

See Chapter 13 for more information on loading and saving files.

5-8

Editing Conventions

Special Button Functions

Special Button Functions

The Mode buttons and the Chan/Bank Down button have additional functions, depending on

the mode or editor you’re in. When you’re in the Program or Setup Editor, they function

according to the orange labeling under each button. They also work as track mutes on the MIX

page of Song mode.

When you’re in the Sample Editor, the Program, Setup, Q Access, MIDI, Master, and Song

mode buttons function according to the orange labeling near each button. The table below

describes all of the special button functions.

Button Mode or Editor

White

Orange

Light Grey

Program Editor (Orange) Setup Editor (Orange) Song Mode Sample Editor (Light Grey)

Program

Mute 1

Zoom-

Mutes Layer 1 of current program, or

mutes current layer of current drum

program

Mutes Zone 1 of current setup if 3

or fewer zones; mutes current zone

of current setup if more than 3

zones

On MIX page,

mutes Track 1 or 9

On TRIM and LOOP pages,

decreases horizontal

dimension of current sample

in display

Setup

Mute 2

Zoom+

Mutes Layer 2 of current program, or solos

current layer of current drum program

Mutes Zone 2 of current setup if 3

or fewer zones; solos current zone

of current setup if more than 3

zones

On MIX page,

mutes Track 2 or

10

On TRIM and LOOP pages,

increases horizontal

dimension of current sample

in display

Q Access

Mute 3

Samp / Sec

Mutes Layer 3 of current program, or solos

current layer of current drum program

Mutes Zone 3 of current setup if 3

or fewer zones; solos current zone

of current setup if more than 3

zones

On MIX page,

mutes Track 3 or

11

Toggles between units used

to identify location within

sample— either number of

samples from start, or time

in seconds from start

Effects

FX Bypass

Bypasses (mutes) current program’s FX

preset (plays program dry)

Bypasses (mutes) current setup’s

studio (plays studio dry)

On MIX page,

mutes Track 4 or

12

MIDI

Previous Pg

Gain -

Successive presses take you back to four

most recent editor pages; 5th press takes

you to ALG page

Successive presses take you back

to four most recent editor pages;

5th press takes you to CH/PRG

page

On MIX page,

mutes Track 5 or

13

On TRIM and LOOP pages,

decreases vertical

dimension of current sample

in display

Master

Mark

Gain +

“Remembers” current editor page, so you

can recall multiple pages with Jump button;

asterisk appears before page name to

indicate that it’s marked; unmark pages by

pressing Mark when page is visible

Same as for Program Editor; pages

common to both editors are

marked or unmarked for both

editors

On MIX page,

mutes Track 6 or

14

On TRIM and LOOP pages,

increases vertical dimension

of current sample in display

Song

Jump

Link

Jumps to marked pages in order they were

marked

Jumps to marked pages in order

they were marked

On MIX page,

mutes Track 7 or

15

Preserves interval between

Start, Alt, Loop, and End

points of current sample;

press again to unlink

Disk

Compare

Negates effect of unsaved edits and plays

last-saved (unedited) version of object

being edited

Same as for Program mode;

display reminds you that you’re

comparing; press any button to

return to edited version

On MIX page,

mutes Track 8 or

16

Chan / Bank

Layer / Zone

In Program Editor, these two buttons scroll through layers of current program; in

Effects Editor, scroll through FX presets; in Keymap Editor, scroll through key

ranges of current keymap; in Setup Editor, scroll through zones of current setup;

in Quick Access mode, scroll through entries in current Quick Access bank

Change recording

track

Edit Whenever cursor is highlighting an editable object or parameter, takes you to corresponding editor or programming page

Program Mode

6-1

Chapter 6

Program Mode

Programs are the K2661’s performance-level sound objects. They’re preset sounds equivalent to

the patches, presets, voices, or multis that you find on other synths.

Program mode is the heart of the K2661, where you select programs for performance and

editing. The K2661 is packed with great sounds, but it’s also a synthesizer of truly amazing

depth and flexibility. When you’re ready to start tweaking sounds, the Program Editor is the

place to start. But first there’s a bit more general information about Program mode. For complete

information on the K2661’s Program Editor, refer to Chapter 6 of the K2661 Musician’s Guide (on

the CD-ROM).

In Chapter 2 we briefly discussed the difference between VAST programs and KB3 programs.

You’ll remember that VAST programs contain up to 32 layers, each of which contains a keymap,

which in turn consists of a number of samples assigned to a particular keyboard range—

typically five or six notes, depending on the samples.

We mentioned drum programs, which are VAST programs with more than three layers. There’s

no real difference between “normal” VAST programs and drum programs—consequently this

chapter doesn’t make any further distinctions between them. There are also Triple Mode

programs, where three layers of DSP information are used for one massive DSP chain.

OK, one further distinction: there’s no keymap information about drum programs in the info

box on the Program-mode page—there simply isn’t room for information about more than three

layers. If you’re wondering why we even have the concept of a drum program, it’s actually a

carryover from the K2000, which had less processing power than the K2661, and required a

special channel to handle more than three layers—and you need lots of layers, each with a

different sound and keyboard range, to make a convincing drum program. The name stuck.

You’ll also recall from Chapter 2 that KB3 programs use a much different architecture: no layers

or algorithms, just a bunch of oscillators that start running as soon as you select a KB3 program.

This keeps the K2661’s sound engine rather busy, and that’s why there’s a special channel

dedicated to KB3 programs; “regular” channels don’t have the processing ability to generate

that many voices on a constant basis. By default, Channel 1 is the KB3 channel, but you can

make any channel the KB3 channel (with the KB3Chan parameter on the Master-mode page).

The next two sections give more detailed descriptions of the differences in structure between

VAST programs and KB3 programs. Then, since there are several performance features (and a

few issues) unique to KB3 programs, we’ll talk about those (KB3 Mode on page 6-4). After that,

there are descriptions of the Program-mode features that are common to both types of

programs.

6-2

Program Mode

VAST Program Structure

VAST Program Structure

You might want to take a look at Figure 6-1 on page 6-3, which depicts the hierarchy of a VAST

program, from individual samples all the way up to setups, which can contain up to eight

programs.

Every VAST program contains at least one layer. A layer consists of a keymap and an algorithm

for processing the samples contained in the keymap. Samples are stored in the K2661’s ROM, or

are loaded into Sample RAM via Disk mode, MIDI standard sample transfer, SMDI sample

transfer, or by your own sampling efforts. Each sample is a separate digital recording of some

kind of sound: musical, vocal, industrial, any sound at all. Individual samples are assigned to

specific key ranges (from A 2 to D 3, for example), and are also assigned to be triggered at

specific attack velocities. These assignments constitute the keymap.

When you trigger a note, the K2661 looks to the keymap of each layer of the currently active

VAST program(s) to determine which samples to play. The sound engine then fetches the

requested samples and generates a digital signal representing the sound of the samples. This

signal first passes through the five DSP functions (more in triple mode) that make up the

algorithm. It then passes through the KDFX effects processor, and finally appears—with some

level of effects applied to it—at one or more of the audio outputs.

The layer is the VAST program’s basic unit of polyphony, that is, each layer constitutes one of

the 48 voice channels the K2661 can activate at any time. If you have a program that consists of

two layers covering the note range from A 0 to C 8, each key you strike triggers two voice

channels.

Program Mode

VAST Program Structure

6-3

Figure 6-1 VAST Program Structure

Zone

1

Zone

2

Zone

3

Zone

4

Zone

5

Zone

6

Zone

7

Zone

8Eight keyboard zones—

each with independent

program, MIDI channel,

and control assignments

Selected for performance

and editing in Program

mode; up to 32 layers per

program

A keymap processed

through an algorithm,

modulated by control

sources

Up to 128 sample

roots, assigned to play

at programmable key

and velocity ranges

Individual digital sound

recordings stored in

ROM or RAM; stereo

samples use two

voices of polyphony

6-4

Program Mode

KB3 Program Structure

KB3 Program Structure

There’s nothing quite like the sound of the classic Hammond™ B-3 tone wheel organ, especially

when played through a Leslie™ rotating speaker system. We’ve done extensive testing and

analysis with several tone wheel organs, and created our own models to emulate the unique

tone wheel sound. We even took into account the way that older organs start to sound different

(and arguably better) as their capacitors begin to leak—and we included a parameter that lets

you vary the amount of grunge (leakage) in your sound.

We also recruited some very talented organ players to try out KB3 programs, and we’ve used

their feedback to make the real-time controls as convenient and realistic as possible.

KB3 programs use oscillators to emulate the tone wheel sound. Each oscillator operates

independently, and has its own pitch and amplitude control. You can control how many

oscillators are used for a KB3 program. There are two oscillators per voice, for a total of 96. You

can use up to 95 of them in a KB3 program (the 96th is reserved to produce key click). Because

the oscillators start running as soon as you select a KB3 program, there are always voices

available—unlike VAST programs, which start “stealing” notes when you reach the 48-voice

polyphony limit. In other words, with a KB3 program, you can play and sustain more than 48

notes, and the K2661 will continue to play then all. With VAST programs, once 48 notes are on

(for example, when you play and sustain a four-note chord in a 12-layer program), each new

note that you play replaces one of the notes that was already on.

The oscillators—we’ll call them tone wheels from here on—are divided into an upper and lower

group. By default, the upper tone wheels use the samples in the K2661’s keymaps (including

your own RAM keymaps if you want) to generate sound, while the lower tone wheels use

waveforms (like sine, square, or sawtooth). You can switch this around if you like, for even more

variety.

KB3 Mode

KB3 programs are different enough from VAST programs that we use the term KB3 mode to

describe what’s going on when you play a KB3 program. There are a few important points to

consider if you want to get the most out of KB3 mode.

KB3 Channel

As we mentioned in Chapter 2, you can play KB3 programs only on the KB3 channel, which you

define on the Master-mode page. When you’re in Program mode, this means that the current

MIDI channel must match the KB3 channel, and when you’re in Setup mode, any zone that uses

a KB3 program must use the KB3 channel. If this isn’t the case, the KB3 programs won’t make

any sound. If this happens in Program mode, all KB3 program names appear in parentheses,

and the info box reminds you that you’re not on the KB3 channel. If it happens in Setup mode,

the display looks normal, but if you go into the Setup Editor, the LocalPrg parameter shows the

KB3 program name in parentheses in every zone that’s not on the KB3 channel.

Note: If you’re using a Kurzweil PC88 to control your K2661, you shouldn’t use Channel 1 as the KB3

channel. The PC88 sends MIDI Controller 90 on Channel 1 to select effects. In KB3 mode, the K2661

maps Controller 90 to internal controller 90, which controls the emulation of leakage that we mentioned

earlier. You probably don’t want your leakage level fluctuating every time the PC88 sends Controller 90.

Program Mode

KB3 Program Structure

6-5

Real-time Controls in KB3 Mode

You have real-time control over many components of KB3 programs directly from the front

panel. The sliders emulate the drawbars that are so essential to the tone wheel sound, while the

buttons above them (they’re called the Mute buttons, because they normally mute and solo

zones in Setup mode) can control the KB3 effects: Leslie, vibrato, chorus, and percussion (key

click).

When you’re in Program mode, the Mute buttons always control KB3 effects. In a setup

containing a KB3 program, if you want the Mute buttons to control KB3 effects, you’ll have to

edit the setup, because in Setup mode, the Mute buttons mute and unmute zones by default.

1. Go to Setup mode, and select the setup you want to edit. Press Edit.

2. Press either more soft button until you see the COMMON soft button. Press it, and your

display should look like this:

EditSetup:COMMON|||||||||||||||All|Zones

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Song||:O|None||||||||||||||||Sync|:Off||

Mutes|:Zone|Mutes|||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

<more|||||||||COMMON|ARPEG||RIBCFG|more>

3. Select the Mutes parameter and change its value to KB3 Control.

4. Don’t forget to save.

Playing KB3 Programs

One of the standard performance features of many tone wheel organs is the set of drawbars for

emulating the stops on a pipe organ. Moving the drawbars controls the amplitude of either the

fundamentals or the harmonics of the notes (out to increase amplitude, in to decrease it).

The sliders and Mod Wheel serve as the nine drawbars found on most tone wheel organs.

Pushing the sliders up is the equivalent of pushing the drawbars in (removing fundamentals or

harmonics). The Mod Wheel is the other way around, since you’re probably used to the Mod

Wheel being off when it’s down, and on when it’s up. So remember, for the Mod Wheel, down

(off) is like pushing the drawbar in (decreasing amplitude), and up (on) is out (increasing

amplitude).

KB3 Mode Buttons (Mute Buttons)

When the Mute buttons are enabled for KB3 control, their LEDs indicate the status of the

various effects for the current KB3 program. This status is saved as part of each program. You

Subharmonics Fundamental Harmonics

16' 5 1/3' 8' 4' 2 2/3' 2' 1 3/5' 1 1/3' 1'

Slider A Slider B Slider C Slider D Slider E Slider F Slider G Slider H Mod Wheel

Table 6-1 Standard Drawbar Settings for the Hammond B3

6-6

Program Mode

KB3 Program Structure

can change the effects in real time by pressing the buttons (or by sending the appropriate MIDI

Controller values from your MIDI controller).

In normal operational modes, using the Mute buttons to change a program’s KB3 effects doesn’t

affect the program; the effects return to their programmed settings the next time you select the

program. If, however, you’re in an editor when you change the effects, you’re actually editing

the program. If you like the changes, you can save the program with the new KB3 effects

settings. If you don’t like the changes, you can exit without saving, and the program will revert

to its previous settings.

The Mute buttons also send MIDI Controller information to the K2661’s MIDI Out port. See

Column 2 of Table 6-3 to check which Controller numbers the buttons send.

Of course, you can change the programmed settings for the KB3-mode buttons. For each of the

buttons, there’s a corresponding parameter in the Program Editor.

MIDI Control of KB3 Programs

When you’re playing a KB3 program from an external MIDI source, there are two things to keep

in mind:

• Certain MIDI Controller numbers always control specific KB3 features

• The value of the LocalKbdCh parameter affects how KB3 programs respond to MIDI

Controller messages

Controller Numbers

Table 6-3 lists the MIDI Controller numbers that control KB3 features. The first column lists

the Controller numbers that KB3 programs always respond to (the K2661 also sends these

Controller numbers to its MIDI Out port when you’re using the local keyboard channel—we’ll

say more about that on page 6-7). KB3 programs also respond to the Controller numbers in the

second column; these are the Controller numbers that the Voce™ MIDI Drawbar Controller uses

to control common tone wheel organ features. Whatever kind of external MIDI source you’re

using, you can use the MIDI controller numbers in either the second or third column to control

the corresponding KB3 feature in the first column. For example, to control Drawbar 1, you can

send either MIDI 6 or MIDI 12.

Effect

Category Button Name

Corresponding

Page and

Parameter

Comments

1 Rotary Fast / Slow MISC: SpeedCtl

2

Vibrato

On / Off MISC: VibChorCtl

3 Chorus / Vibrato MISC: VibChorSel Disabled if Button 2 is off

4 Depth 1 / 2 / 3 MISC: VibChorSel Disabled if Button 2 is off

5

Percussion

On / Off PERC: Percussion

6 Volume Loud / Soft PERC: Volume Disabled if Button 5 is off

7 Decay Fast / Slow PERC: Decay Disabled if Button 5 is off

8 Pitch High / Low PERC: Harmonic Disabled if Button 5 is off

Table 6-2 KB3 Mode Buttons and Corresponding Parameters

Program Mode

KB3 Program Structure

6-7

Local Keyboard Channel

The local keyboard channel enables the K2661 to receive MIDI information on a single channel,

then rechannelize that information so you can play and control all eight zones of a setup, even if

your MIDI source transmits on only one channel. When you’re in Program mode, the local

keyboard channel remaps incoming information to the K2661’s current channel (the one shown

in the top line of the display).

The LocalKbdCh parameter (on the RECEIVE page in MIDI mode) defines the local keyboard

channel. When you’re in Program mode, and playing a KB3 program, you may want to leave

LocalKbdCh set to None, which is its default value. In this case the MIDI Controller messages

for KB3 control listed in Table 6-3 are certain to work.

There are some possible disadvantages to this, however. First, the K2661 doesn’t relay incoming

MIDI to its MIDI Out port. Perhaps more importantly, if you change the channel on your MIDI

source, the K2661 plays the program on the channel used by your MIDI source—regardless of

the K2661’s current channel. For example, if your MIDI source transmits on Channel 1, and you

set the K2661’s current channel to 2, you’ll still play the program assigned to Channel 1. If that’s

the way you like it, there’s no problem.

You may find it more convenient to use the local keyboard channel. In this case, the K2661

remaps incoming MIDI to the K2661’s current channel, so in Program mode, you’ll always play

the program on the K2661’s current channel. Incoming MIDI also gets sent to the K2661’s MIDI

Out port. On the other hand, in this case your MIDI source’s transmitting channel must match

the K2661’s local keyboard channel for anything to work. Furthermore, for KB3 programs, some

of the MIDI Controller numbers listed in Table 6-3 won’t necessarily work.

KB3 Program Feature MIDI Controller Number

K2661 Voce

Drawbar1 6 12

Drawbar2 22 13

Drawbar3 23 14

Drawbar4 24 15

Drawbar5 25 16

Drawbar6 26 17

Drawbar7 27 18

Drawbar8 28 19

Drawbar9 1 20

Expression Pedal 4 8

Percussion On/Off 73 N.A.

Percussion High/Low 72 72

Percussion Loud/Soft 71 71

Percussion Fast/Slow 70 70

Rotating Speaker Slow/Fast 68 68

Vibrato/Chorus On/Off 95 95

Vibrato/Chorus Selector 93 93

Key Click Level 89 89

Leakage Level 90 90

Table 6-3 KB3 MIDI Controller Assignments

6-8

Program Mode

KB3 Program Structure

Things are a bit different for playing setups. In this case, you must use the local keyboard

channel to be able to play and control all of the setup’s zones. Set LocalKbdCh to match the

channel your external MIDI source is using (so if, for example, your MIDI source transmits on

Channel 1, set LocalKbdCh to 1). All MIDI information that the K2661 receives on the local

keyboard channel gets remapped to the channels and control destinations used by the zones in

the setup.

The K2661 also remaps certain MIDI Controller messages that it receives on the local keyboard

channel, so that they correspond (in most cases) to the default assignments for the K2661’s

physical controllers (Mod Wheel, sliders, ribbons, etc.). While this ensures that the physical

controllers work in a consistent and relatively standard fashion for most setups and VAST

programs, it necessitates a few adjustments to make incoming MIDI Controller messages control

the KB3 features listed in Table 6-3. Without these adjustments, some of the KB3 features won’t

respond to MIDI Controller messages—this is true when you’re playing programs as well as

when you’re playing setups.

To make everything work properly, you need to make sure that all the appropriate physical

controllers are assigned for KB3 control. Physical controller assignments are handled by setups,

and are defined by parameters on several pages in the Setup Editor. Each zone of a setup has its

own controller assignments. Programs don’t have controller assignments, so they “borrow”

them from a special setup that’s reserved for that purpose. This setup is called the control setup;

it’s determined by the value of the CtlSetup parameter (on the TRANSMIT page in MIDI mode).

You can read about control setups in detail on page 6-10.

When you’re playing a setup on the local keyboard channel, each zone that uses a KB3 program

must have the appropriate physical controller assignments. When you’re playing a KB3

program, Zone 1 of the control setup must have the appropriate physical controller assignments.

There are two ways to configure a setup properly for KB3 control:

• Edit an existing setup, adjusting some of the physical controller assignments.

• Use the KB3 setup that we’ve provided for your convenience. It’s in a file on the

SmartMedia card and CD-ROM that came with your K2661.

KB3 Control: A Summary

Whenever you want to play a KB3 program, make sure that the KB3 setup is assigned as the

control setup. When you want to play a setup containing a KB3 program, make sure that the

zone that uses the KB3 program has the same physical controller assignments as the KB3 setup.

When you’re creating a setup that will use a KB3 program, use the KB3 setup as your starting

point.

One final word—for now—about using the local keyboard channel: all the MIDI information

received on the local keyboard channel also gets sent—after being remapped—to the K2661’s MIDI

Out port. There’s a discussion of the local keyboard channel beginning on page 10-6.

Program Mode

The Program Mode Page

6-9

The Program Mode Page

ProgramMode||||Xpose:0ST|||<>Channel:1||

!!!!!!!!!!!!!!!!!!@|199|Default|||||||||

KeyMap|Info|||||||#|209*Dig|it|al|||||||

|Grand|Piano||||||#|||1|Righteous|Piano|

||||||||||||||||||#|||2|Mondo|Bass||||||

||||||||||||||||||#|||3|Killer|Drums||||

%%%%%%^%%%%%%^%%%%$|||4|Weeping|Guitar||

Octav-|Octav+|Panic||Sample|Chan-||Chan+

The top line of the Program-mode entry-level page shows your location, the present MIDI

transposition, and the current MIDI channel.

The info box at the left of the Program-mode page gives you information about the current

program. For VAST programs of up to three layers, the info box shows the keymap assigned to

each layer (Layer 1 on top, with additional layers below). The line beneath the name of the

keymap indicates the keyboard range of that layer. In the diagram above, for example, there’s

one layer that extends from C 0 to C 8—the default range. The representation of these layer

ranges is approximate; they’re intended to let you know if you have a layered keyboard (lines

overlapping) or a split keyboard (lines not overlapping).

For drum programs (VAST programs of more than three layers), the info box shows the number

of layers in the program. For KB3 programs, the info box shows the keymap used for the upper

tone wheels (or the lower tone wheels, if you have the Upper/LowerSwap parameter set to On).

The info box also tells you if the current program makes use of Triple Mode (see Chapter 12 of

the Musician’s Reference.)

Program Names in Parentheses

While you are scrolling through different programs on various MIDI channels, you may

occasionally encounter a program that doesn’t make any sound, and whose name is in

parentheses. The parentheses tell you that you have selected a KB3 program without being on

the KB3 channel. KB3 programs use a different program architecture, and require many more

voices to operate. Consequently, they use a special channel with enough throughput to handle

those voice requirements. If you select a KB3 program without being on a KB3 channel, the

K2661 cannot play the program. As shown in the following illustration, the KB3 channel is 1,

while the K2661’s current channel is 2. The selected program is disabled.

ProgramMode||||Xpose:0ST|||<>Channel:2||

!!!!!!!!!!!!!!!!!!@|112|(Hammin|Jammin)|

KB3|Program|||||||#|113|(Funkie|Munkie)|

|Mellow|Vox|||||||#|114|(Le's|Rock)|||||

||||||||||||||||||#|115|(Jimmy,|Jimmy,|)

KB3Chan|is|Ch|1|||#|116|(Inagadadavida)|

%%%%%%^%%%%%%^%%%%$|117|(Grind|it,|Gran)

Octav-|Octav+|Panic||Sample|Chan-||Chan+

The Program-mode page illustrates this in two ways: the program names are in parentheses,

and the box at the left of the page includes the message “KB3 Chan is Ch 1.” To fix this, you

could either change the K2661’s MIDI channel (with the Chan/Bank buttons), or make

Channel 2 the KB3 channel (using the KB3Chan parameter in Master mode). You can play any

program on the KB3 channel, but you can play KB3 programs only on the KB3 channel. You can

play drum programs—up to 32 layers—on any channel.

6-10

Program Mode

The Program Mode Page

Control Setup

The control setup defines what the K2661’s physical controllers (wheels, sliders, pedals, etc.) do

while you’re in Program mode. It’s a convenient way to apply the controller assignments in

your setups globally. Just choose an existing setup to be the control setup, using the CtlSetup

parameter on the MIDI-mode TRANSMIT page. Then while you’re in Program mode, many of

the controller assignments for Zone 1 of the control setup also apply to the programs you play

(this is true for MIDI control messages as well, unless you have turned off MIDI control).

If you don’t like the way the physical controllers work in Program mode, you can either select a

different control setup, or edit the existing one. Any changes you make to the current control

setup will also affect the way that setup works in Setup mode.

There are a few important points to remember about the control setup:

• The current control setup is used by all programs in Program mode.

• You cannot change the control setup from within Program mode.

• The control setup doesn’t affect the sound of a program, only the assignments of certain

physical controllers. The samples and keymaps assigned to a program are unaffected by the

control setup. While you’re in Program mode, the K2661 ignores the programs assigned to

the setup that you choose as the control setup.

• Almost all of the VAST programs in the K2661 are designed to respond to the controller

assignments in the default control setup (97 ControlSetup). Therefore you’ll want to use

97 ControlSetup as the control setup in most cases, with two exceptions. When you’re using

the local keyboard channel (that is, when the value of the LocalKbdCh parameter is

anything but None) and playing a KB3 program from an external MIDI source, use a control

setup that’s configured for KB3 control, as described on page 6-8 (if LocalKbdCh is None,

97 ControlSetup is fine for playing KB3 programs from an external MIDI source). If you

want to change the controller assignments for any program or set of programs (either VAST

or KB3), use a control setup that has the controller assignments you want.

See page 7-3 for a table listing the parameters that affect Program-mode controller assignments.

The Soft Buttons in Program Mode

The Octav-/Octav+ buttons are a shortcut for quick transposition in 12-semitone increments.

You can use them to transpose the entire K2661 as much as three octaves up or down. The top

line of the display shows the current amount of transposition (Xpose). Pressing both Octave

buttons simultaneously returns the transposition to zero.

The Octave buttons transpose the K2661, as well as any MIDI devices connected to the K2661’s

MIDI Out port. Changing the transposition with the soft buttons also changes the corresponding

setting on the MIDI-mode TRANSMIT page.

Pressing the Panic soft button sends an All Notes Off message and an All Controllers Off

message on all 16 MIDI channels.

Press the Sample soft button to enter the K2661’s sampler. Refer to Chapter 14 for complete

information on the sampler.

Use the Chan– and Chan+ soft buttons to change the current MIDI channel. This changes the

MIDI channel the K2661 uses internally, as well as the channel you’re using to send information

to other synths connected to the K2661’s MIDI Out port (MIDI slaves). Changing the current

MIDI channel with the soft buttons also changes the corresponding setting on the MIDI-mode

TRANSMIT page.

Setup Mode

7-1

Chapter 7

Setup Mode

Note: For complete information on the K2661’s Setup Editor, refer to Chapter 7 of the K2661 Musician’s

Guide (on the CD-ROM).

In Setup mode, the K2661 can take on the identity of eight distinct instruments and eight distinct

MIDI transmitters, each of which can use the setup’s physical controller assignments (or any

subset of those controller assignments). For example, you can create a setup that is split into

eight different keyboard regions (called zones). Each zone can play its own program, while also

transmitting on its own MIDI channel.

Selecting setups in Setup mode is much like selecting programs in Program mode—just use one

of the normal data entry methods to scroll through the list of setups. There are, however, some

important differences between a program and a setup. A program plays on a single keyboard

zone and on a single MIDI channel. A setup enables you to use up to eight keyboard (or MIDI

controller) zones, each of which can have its own program, MIDI channel, and control

assignments. The parameters you define for each setup affect programs only while you are in

Setup mode. An exception to this is the control setup, which we discuss on page 7-2.

Press the Setup-mode button to enter Setup mode. You’ll see a list of setups, which you can

select with any data entry method.

The lines in the info box represent the approximate key range of each zone, and let you know if

any zones overlap. In the preceding diagram, the setup has seven active zones (Zone 7 is turned

off); Zones 1–4 are at the upper end of the keyboard. Zones 5, 6, and 8, which overlap Zones 1–4,

cover the lower two thirds of the keyboard.

For setups containing three or fewer zones, the box displays the MIDI channel and program

assignments for each zone, with lines under the Program names to indicate the key range of

each zone (as shown in the following diagram). An L or an M next to the channel number

indicates that the zone transmits only locally or via MIDI (the default is Local and MIDI).

Off indicates that the zone has been turned off completely (when a zone is turned off, no MIDI,

program, or key-range information is visible for the zone).

SetupMode||||||Xpose:0ST||||||||||||||||

!!!!!!!!!!!!!!!!!!@|221|Friday|Gig||||||

Key|||||||||||||||#|222|Bop|Rock|Reggae|

Range|||||||||||||#|301|MIDI|Setup|One||

Info||||||||||||||#|302|Jazz|Trio|||||||

||||||||||||||||||#|303|Heavy|Metal|||||

%%%%%%^%%%%%%^%%%%$|304|To|Sequencer||||

Octav-|Octav+|Panic||Sample|||||||||||||

7-2

Setup Mode

SetupMode||||||Xpose:0ST||||||||||||||||

!!!!!!!!!!!!!!!!!!@|222|Bop|Rock|Reggae|

Chan/Program|Info|#|301|MIDI|Setup|One||

1|||36|Cool|Traps|#|302|Jazz|Trio|||||||

2||676|Sly|Acoust|#|303|Heavy|Metal|||||

3L|122|Izit|Jimmy|#|304|To|Sequencer||||

%%%%%%^%%%%%%^%%%%$|305|MIDI|Setup|Two||

Octav-|Octav+|Panic||Sample|||||||||||||

You can transpose the entire setup up or down with the two Octav soft buttons. Press them

simultaneously to set the transposition back to zero. When you transpose a setup, the split

points between zones remain in place; each program is transposed within its respective zone.

The Panic soft button sends All Notes Off and Reset All Controllers messages to all zones. The

Sample soft button provides convenient access to the K2661’s sampler. Refer to Chapter 14 for

information on the sampler.

When you select a setup in Setup mode, the K2661 sends a number of MIDI messages, on each of

the MIDI channels used by the setup. Some of these include: Program Change commands, MIDI

Bank Select messages, Pan and Volume messages, and entry values for physical controllers

(entry values are the values that take effect as soon as you select the setup; there are also

controller exit values, which are the values of the controllers when you leave the setup—either

by selecting another setup or by exiting Setup mode). The values of all these messages depend

on the parameters you define in the Setup Editor.

Loading Older Setup Versions

You can load setups created on the K2000, K2500, or K2600 into the K2661. Setups created on the

K2500 or K2600 are the same as those created on the K2661, so they’re fully interchangeable.

Since setups created on the K2000 have fewer features (like three zones instead of eight), you

have two choices for using K2000 setups on the K2661. You can leave the K2000 setups as they

are, and they’ll work for either the K2000 or the K2661—but they won’t have all the K2661

features like eight zones. Or you can edit the K2000 setups to take advantage of the K2661’s

expanded features. Once you do this, however, the setups will no longer work on the K2000. If

you want to keep using those setups on a K2000, keep backup copies of the original setups.

If you edit a K2000 setup to use K2661 features, you may need to reassign the programs it uses.

If your K2000 setup uses a K2000 ROM program, the setup won’t play the same program when

you load it into the K2661, because the two instruments have different lists of ROM programs. In

this case, you can either select a similar program for the K2661 setup (if one exists), or you can

save the programs used by the K2000 setup into the same ROM IDs in the K2661 (this doesn’t

really replace the K2661 programs; they reappear when you delete the K2000 programs). If your

K2000 setup uses K2000 RAM programs, you won’t have any problems as long as you load

dependent objects when you load the K2000 setup into the K2661.

The Control Setup

In addition to zone splitting and layering, Setup mode is a powerful way to take advantage of

the K2661’s programmable sliders, ribbon controllers, and assignable buttons. In order to

provide some of the same flexibility for Program mode, we created the control setup, which

defines the controller assignments for programs in Program mode.

The default control setup is 97 Control Setup, but you can choose any control setup you want.

To do this, go to the MIDI-mode TRANSMIT page and use any normal data entry method to

change the CtlSetup parameter. When you reenter Program mode, all programs will now

respond to many of the controller assignments defined in Zone 1 of the control setup (Zones 2–8

are not relevant in Program mode, because a program can occupy only one MIDI channel).

Setup Mode

7-3

To edit the control setup, press the Edit button while the CtlSetup parameter is highlighted on

the MIDI-mode TRANSMIT page. This brings you to the Setup Editor, which is described in the

following sections. The following table shows which control-setup parameters affect controller

assignments in Program mode.

Physical controller destinations, their curves and states, and the Arpeggiator parameters all

define controller assignments for programs in Program mode. The other parameters have no

effect; this keeps Program mode relatively simple. Program mode lets you change values for

transposition, MIDI channels, and programs independently of the control setup.

Once you save changes to the control setup, those changes will affect all programs when you are

in Program mode. For example, programming the Large Ribbon in the control setup to have

three sections will mean that in every program in Program mode, you will have a three-section

Large Ribbon.

You may want to program several different control setups, and switch among them for different

applications. Suppose, for example, that you’re recording a song, but you don’t want to record

aftertouch. You can create a setup with pressure turned off in Zone 1 (on the PRESS page in the

Setup Editor, set the value of the Press parameter to Off for Zone 1). Now whenever you want to

record without aftertouch, just select this setup as the control setup.

Zone-status LEDs in Setup Mode

Take a minute to scroll through some of the factory setups. As you change setups, you’ll notice

that the LEDs in the eight buttons above the programmable sliders go on and off and change

color. These LEDs indicate the status of each of the zones in the setup. You may also see the Solo

button go on. This means that the setup is configured to have only one zone playing when you

select it.

In Setup mode, each of the eight zone-status LEDs will always be in one of four states:

Off Empty zone—that is, a zone that has no program or MIDI channel associated with it.

For example, if you select a setup and only four status LEDs light up (regardless of

Control Setup–Setup Editor

Page, Zone 1

Parameters Affecting

Program Mode

Parameters Not Affecting

Program Mode

CH/PROG ZoneArpeg, Destination,

MIDIBankMode

LocalPrg, Out, Channel, MIDIBank,

MIDIProg, Status, EntryProgChg

KEY/VEL VelScale, VelOffset,

VelCurve

LoKey/HiKey, Transpose, NoteMap,

LoVel/HiVel

PAN/VOL None

BEND All

COMMON Sync

ARPEG All

RIBCFG All

Continuous Controller assignment

pages (SLIDER, SLID/2, CPEDAL,

RIBBON, WHEEL, PRESS)

Dest, Scale, Add, Curv Ent and Exit

Switch Controller assignment pages

(FOOTSW, SWITCH)

SwType, Dest, On, Off Ent and Exit

KDFX, FXMOD2, FXMOD3,

FXMOD4, FXLFO, FXASR, FXFUN

None

Table 7-1 Control Setup Parameters Affecting Program Mode

7-4

Setup Mode

their color), the setup contains just four zones. Whenever you’re in Setup mode, the

number of lines in the info box matches the number of zone-status LEDs that are lit.

Red Soloed zone. As you might have guessed, only one zone can be soloed at a time. When

a zone is soloed, only that zone plays notes and generates controller information.

Other zones, if they’re not turned off, still generate program changes and

entry/exit controller values.

Green Active zone. As long as no other zone is soloed, an active zone plays notes— and

generates controller information, program changes, and entry/exit controller values.

If another zone is soloed, an active zone is “backgrounded”—it’s status LED remains

green, but it doesn’t play notes or generate controller information.

Orange Muted zone. Muted zones don’t play notes or generate controller information, but

they do generate program changes and entry/exit controller values.

In performance situations, the zone-status buttons provide a convenient way to temporarily

change the status of one or more zones. This can be very effective for bringing voices and/or

controller configurations into and out of your performance. The best way to get familiar with

this technique is to play with the buttons, as the next few paragraphs describe.

Select a setup (look for one with lots of active zones that cover the whole keyboard), and play a

few bars. You’ll hear sounds corresponding to each of the active zones (green LEDs). If you see

any muted zones (orange LEDS), press their zone-status buttons, and they’ll become active. Play

around a bit. Try muting all the zones, then bringing them back one by one until all the zones in

the setup are active.

Now press the Solo button. The Solo-button LED lights (it’s always red), and one of the zone-

status LEDs (never more than one) turns red. You’ll now hear only that zone as you play. All the

active zones are now backgrounded—they’ll still generate program changes and entry/exit

controller values, but you won’t hear anything from them.

Now press one of the zone-status buttons. Its LED turns red, and it becomes the soloed zone.

The previously-soloed zone returns to its programmed status. Solo each zone in turn, using the

info box in the display to find the range covered by the zone. Note that you can solo a zone even

if it’s muted. Press the Solo button again, and its LED goes out. The previously-soloed zone

returns to its programmed status, and you can hear all the active zones again.

Table 7-2 gives you a quick visual reminder of how zones behave depending on their status.

Remember that any changes you make to zone status in Setup mode are temporary; as soon as

you select another setup, that setup’s programmed zone status takes over. To change a setup’s

zone status permanently, use the Setup Editor .

LED Color Zone

Status

Data Generated by Zone

Notes Controllers Program

Number

Entry and

Exit Values

Red Soloed ✔✔✔✔

Green (no others are red) Active ✔✔✔✔

Green (another is red) Backgrounded ✔✔

Orange Muted ✔✔

(Off) Empty

Table 7-2 Zone Status in Setup Mode

Quick Access Mode

8-1

Chapter 8

Quick Access Mode

In Quick Access mode, you can select programs or setups with a single press of an alphanumeric

button (or with the other data entry methods). For example, in the illustration below, you would

simply press 5 on the alphanumeric pad to choose FM Harmonica. Notice that your selection

becomes highlighted in the list, as well as appearing on the line just above the soft-button labels.

QuickAccessMode|||<>Bank:1|For|Show|2|||

Stage|Piano|||Marimba|||||||Voice+String

Honky-Tonk||||FM|Harmonica||Eat|||||||||

Memorymoog|4||Jazz|Trio|2|||Fretless|Bas

||||||||||||||Velveteen|||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|Xpose:0ST|||FM|Harmonica|||||||Chan:1||

Octav-|Octav+|Panic||Sample|Chan-||Chan+

Using Quick Access mode involves selecting Quick Access banks from the list of factory preset

or user-programmed banks. You can use the bank selection shortcut to do this: press the +/– or

Clear button on the alphanumeric pad, and you’ll be prompted to enter a bank number. Type

the desired number on the alphanumeric pad, then press Enter. The bank is selected, and you

return to the Quick Access-mode page. Or use the Chan/Bank buttons to scroll through the QA

banks.

Each bank contains ten memory slots, or entries, where you can store programs or setups in any

combination. Any program or setup in the currently selected bank can be selected with the

numeric buttons 0 through 9.

The ROM (factory preset) QA banks are organized into useful groupings of sounds that we

think you’ll find convenient.

You can store 20 Quick Access banks in each memory bank (except the Zeros bank, which can

store 75). See Storing Objects in the Memory Banks on page 13-34 for a breakdown of the Quick

Access-bank IDs that belong in each memory bank. Press both Chan/Bank buttons

simultaneously to quickly move between memory banks.

The MIDI Program Change commands that the K2661 sends when in Quick Access mode can

differ from those in Program or Setup mode. This depends on the setting you have for the

PChgType parameter in MIDI mode. If the setting is Extended or Kurzweil, the Program

Change commands sent are the same as in Program or Setup mode. If the setting is

QA Extended or QA Kurzweil, the K2661 sends Program Change commands that correspond

to the current Quick Access bank and the entry you select, not the actual program number of the

entry. See Program Change Formats on page 10-9.

Everything you need to know about using Quick Access mode for performance is covered in

Chapter 2, in the section called Playing the Presets, so we’ll move on to the Quick Access Editor,

which you’ll use to create your own Quick Access banks.

The first step in editing Quick Access banks is to select Quick Access mode. Then use the Chan/

Bank buttons to select the bank you wish to edit. The currently selected bank is shown in the top

8-2

Quick Access Mode

line of the Quick Access-mode page. Press the Edit button, and you enter the editor, where you

can examine each entry in the bank you selected. The Quick Access Editor page looks like this:

EditQuickAccess||||||||||||||<>Entry:9||

||||||||||||||||||||998|Blues|in|CMOS|||

Entry:||Type:|||||||999|Default|Program|

9|||||||Program|||||||1|Righteous|Piano|

||||||||||||||||||||||2|Mondo|Bass||||||

||||||||||||||||||||||3|Killer|Drums||||

||||||||||||||||||||||4|Elvis|Again|||||

Name|||Save|||Delete|Dump|||||||||||||||

The top line gives you the usual mode reminder, and shows you which of the ten entries you’re

looking at. The cursor is highlighting the object (program or setup) that’s stored in that entry.

The easiest way to edit the bank is to use the Chan/Bank buttons to scroll through the ten

entries. The entry number changes both at the top of the page, and at the left of the page. As the

entry number changes, the highlighted objects at the center of the page change as well, showing

you what’s stored in each entry. On the page above, for example, entry 9 is the current entry. The

Type parameter tells you that the object stored at entry 9 is a program. The cursor highlights the

program’s ID and name.

In this example, you could select a different program with your favorite data entry method. If

you wanted to store a setup in that entry instead of a program, you would move the cursor to

the Type parameter and change its value to Setup. The list of objects would change from the

program list to the setup list, and you could move the cursor back to the setup list and select

another setup. When you select the Entry or Type parameter, the list of objects at the right

disappears, leaving only the currently selected object. This makes it easier to see when it’s not

highlighted by the cursor.

When you’ve filled each entry with the object you want, press the Name soft button if you want

to rename the bank, or press the Save soft button to begin the save procedure. Press the Dump

soft button to dump the bank via MIDI System Exclusive.

K2661 QA Banks

id bank name id bank name

1 Pianos 13 Percussion

2 E Pianos 14 Solo Brass

3 Organs 15 Section Brass

4 Strings 16 Winds

5 Voices 17 Analog Synths

6 Ensembles 18 Synths Leads

7 Guitars 1 19 Digital Synths

8 Guitars 2 20 Synth Pads

9 Basses 21 Synth Ambient

10 Synth Basses 22 Keys

11 Drums 1 23 More Synths

12 Drums 2 24 KB3

25 Basic QA Bank

Basic Effects Mode

Introduction

9-1

Chapter 9

Basic Effects Mode

Note: For complete information on K2661 Effects, refer to the K2661 Musician’s Guide and K2661

Musician’s Reference (on the CD-ROM).

Introduction

Effects mode puts the power of an entire studio—equalizers, signal processors, and mixers—

inside your K2661. It allows you to define processing functions, signal paths, and balances, on

sounds created by the K2661 and, in Live mode, sounds from any source.

When you’re in Program, Setup, or Quick Access mode, you can take advantage of

FX Modulation routings (FXMods, which are preset overrides for studio parameters) for real-

time control over any aspect of your studio—either from the buttons, sliders, wheels, and pedals

on your K2661, or from any MIDI source at all, like a sequencer or a dedicated controller.

Effects mode provides up to five individual effects processors. Four of these are designed to

operate on their own individual buses, and the fifth, the “Auxiliary” processor, is designed to be

global.

When the K2661 is being used multi-timbrally, Effects mode can provide separate processors for

each of several instruments. For example, let’s say four K2661 channels are in use, under the

control of a sequencer. Each instrument on each channel can have its own processing: flanger for

the piano, delay for the sax, compression for the bass, and tight reverb for the drums. Then all of

these signals could go through a global Aux processor, where they could be given a room reverb.

At the outputs of the K2661, the reverb could show up on one pair, while the other instruments’

dry or processed (prereverb) signals could show up at the others, either in mono or stereo. Or

the entire mix, carefully balanced and panned, could appear at a single pair, ready to be

recorded or played through a PA.

9-2

Basic Effects Mode

Terminology

Figure 9-1 A typical KDFX Studio

Alternatively, in a live performance setting, you can use the KDFX in Setup mode as an entire

orchestra, with different instruments layered on top of each other and mapped to different parts

of the keyboard, all with their own signal processing—and that signal processing can change

completely in an instant when you call up a new setup.

These are just two of the huge variety of scenarios possible with KDFX. The structure of KDFX is

so flexible that you should never run out of ideas for how it can be used.

Terminology

Before starting to work with Effects mode, take a minute to familiarize yourself with the

relevant terms. Understanding the words will help you get the concepts more quickly. Read this

chapter first, and refer to it later if something isn’t clear.

Studio

A studio is the entire Effects-mode environment, consisting of inputs, FXBuses, an Aux Bus,

FX presets, parameter settings, overrides, and outputs. One studio is current at a time in Effects

mode. Studios are objects, like K2661 programs, and have a number. They can be linked to

programs or setups using the FXCtrl setting. The K2661 comes with a large number of factory

studios. You can modify them or create new ones and store them in RAM.

Multitap Delay

Flanger

Plate Reverb

Compressor

Room Reverb

K2500 Outputs

Programs

FXBuses (Inserts)

AuxFX (Global)

to Mixing

Console or

tape deck

K2661 audio outputs

Basic Effects Mode

Terminology

9-3

FXBus (also called Insert FXBus)

A signal path with some kind of processing —a delay, reverb, flanger, etc.—on it. It has stereo

inputs and outputs, and contains an FX preset that determines the kind of processing to be

applied. A studio has four insert FXBuses, each with its own FX preset, as well as a fifth FXBus,

known as the Aux bus.

Aux FX Bus (Aux Bus)

A separate bus from the insert FXBuses, which is placed in the signal path after the output of the

insert FXBuses, so that it can act as a global processor.

FX Preset

Determines the type of signal processing that is present on an FXBus or the Aux Bus. FX presets

consist of an algorithm, plus the settings of the parameters associated with that algorithm. Any

number of FX presets can use the same algorithm. The K2661 comes with a large number of

FX presets, and you can modify them or create new ones and store them in RAM. Algorithms,

however, are stored in ROM, so you can’t change them. Each FXBus and the Aux Bus gets its

own FX preset, so up to five FX presets can be active in a studio at a time.

Algorithm

A specific type of signal processing, like a hall reverb, plate reverb, chorus, flanger, pitcher,

compressor, or rotary speaker, which is at the core of an FX preset. KDFX comes with a large

variety of algorithms, which are stored in ROM, and are not user-definable. Additional

algorithms, supplied by Kurzweil, can be loaded in from disk or SmartMedia when they become

available. Algorithm parameters (RT60, delay feedback, pitch change, etc.) are user-definable; the

K2661 stores the values of those parameters in RAM as part of an FX preset.

Size/PAUs

How big an algorithm is, in terms of how much processing power it needs to operate. Size is

measured in Processor Allocation Units, or PAUs. The simplest algorithms require only 1 PAU,

while more complex ones require 2, 3, or even 4. The total number of PAUs available to the four

insert FXBuses is 4. PAUs can be allocated automatically as FX presets are assigned to FXBuses,

or manually by the user. The Aux Bus has its own set of 3 PAUs, which are not shared with the

insert FXBuses.

Parameters

Refers to the user-controlled settings for the different characteristics of an algorithm. For

example, the user can set the reverb time (RT60) of an algorithm to 3.5s, or the delay feedback of

a delay line to 90%, or the dynamic ratio of a compressor to 10:1. Parameters are stored, along

with the algorithm they modify, as part of an FX preset. In certain cases, the parameter settings

within a studio can be overridden, either using FXMods or bus overrides.

9-4

Basic Effects Mode

Terminology

FXMods

FXMods give you real-time control over many of the parameters within a studio. Parameters on

any of the pages of the Studio Editor can be controlled by MIDI commands—such as physical

controller input or sequencer data—or by internal K2661 functions like LFOs, envelopes, clocks,

or key states. FXMods are not part of a studio or FX preset; they’re part of a program or setup.

A program or setup can have up to 18 FXMods, as well as two dedicated LFOs, ASRs, and FUNs

for further effects control. The FXMods and the LFOs, ASRs, and FUNs are defined on seven

FX pages in the Program and Setup Editors.

Bus Overrides (or BusMods)

Bus overrides allow parameters within an FX preset to be controlled on the FXBus Editor page

in the Studio Editor, outside the FX Preset Editor page. Any two parameters in an FX preset can

be brought out to its FXBus page. Bus overrides are stored as part of the studio, not as part of the

FX preset. They are useful when an existing FX preset is close to what you want, so that you can

tweak it without having to create a new FX preset.

FXCtrl

The effects mode is determined by the value of the FXCtrl parameter, which is found on the

Effects-mode page. It determines how the K2661 selects studios when you change programs or

setups, and determines whether you have real-time control over studio parameters—in other

words, whether FXMods are active.

If the value of FXCtrl is Program or Auto, then as you change programs in Program mode, the

K2661 also loads the studio linked with that program. This activates all the FXMods defined

within the program.

If the value of FXCtrl is Setup or Auto, then as you change setups in Setup mode, the K2661 also

loads the studio linked with that setup. This activates all the FXMods defined within the setup.

If the value of FXCtrl is Auto, and the value of FX Channel is Current, then when you’re in

Program, Setup, Quick Access, or Song mode, programs, setups and songs automatically use

their corresponding studios. In Program, Setup, and Quick Access modes, the studio

corresponds to the current program or setup. In Song mode, the studio corresponds to the

program on the song’s assigned effects channel (which is determined by the value of the

EffectChan parameter on the COMMON page in the Song Editor).

If the value of FXCtrl is Master, changing programs or setups does not load an associated studio;

the current studio is defined by the Studio parameter on the Effects-mode page. Any FXMods

defined in the current program or setup are inactive.

Studio Editor

To get to the Studio Editor, go to the Effects-mode page, highlight the current studio, and press

Edit. The Studio Editor contains the following pages:

The INPUT page, where signals coming from the K2661’s four stereo output buses are routed to

one or more FXBuses.

The FXBUS page, for assigning FX presets to the four FXBuses, and for defining bus overrides.

The AUXFX page, for assigning an FX preset to the Aux Bus, and for defining bus overrides.

The OUTPUT page, where the signals coming from the FXBuses and Aux bus are routed to the

K2661’s eight physical outputs (analog and digital).

Basic Effects Mode

MAIN Page

9-5

The FX Preset Editor, which is nested within the Studio Editor, and which contains three pages.

The FX Preset Editor is where you select algorithms and set parameters for the FX presets, as

well as doing administrative things like naming and saving. You can get to the FX Preset Editor

from the either the FXBUS page or the AUXFX page, by highlighting the current FX preset and

pressing Edit.

Name, Save, Delete, and Dump, for doing file management on your collection of studios.

You can also get to the Studio Editor from the Program and Setup Editors, by pressing Edit

when the Studio parameter is selected (this is the most convenient method for getting into the

Studio Editor). In both the Program and Setup Editors, the Studio parameter is on the KDFX

page.

MAIN Page

The KDFXMode:MAIN page gives you a summary view of the current effects configuration,

including the current studio, the FX Presets assigned to each of the five effects buses, and the

bypass status of each bus.

KDFXMode:MAIN||||FXCtrl:Auto||||<>Enable

Studio:113|PltEnvFI4T|Plate|||||||Free:0

FX1|||43|Plebe|Chamber||||||||-|||Size:1

FX2|||902|Synth|Env|Filter||||B|||Size:2

FX3|||735|Bap|ba_da_dap|||||||-|||Size:1

FX4|||0|None||||||||||||||||||B|||Size:0

Aux|||103|BigPredelayPlate||||B|||Size:3

MAIN||CTRL|||EQBYP||FXBYP||BUSMUT|Enable|

Figure 9-1 Effects mode: the KDFXMode:MAIN page

As with every other page, the top line of the KDFXMode:MAIN page identifies the page you’re

on. It also shows you two other important features of Effects mode:

FXCtrl: this is a parameter on the Ctrl page, which is accessible with the CTRL soft

button.

Enable state: Shows whether KDFX is currently enabled or if any part of KDFX is bypassed or

muted.

The second line of the display shows the ID and name of the current studio. When you enter

KDFX Mode directly (i.e., not through another one of the K2661’s editors) you can scroll through

the displayed list of studios. This allows you to choose a different studio on the

KDFXMode:MAIN page. When FXCTRL is set to Master (see page 9-9), you can also do this,

even when you have entered KDFX Mode from within another editor.

If you select the studio then press the Edit button, you’ll go to EditStudio:FXBUS page, where

you can make changes to each bus within the studio.

The second line also shows the number of PAUs available for the current studio (“Free:” on the

right-hand side). This number will be 0–4, since in each studio four PAUs are available for the

four insert FXBuses (the AuxFX bus has its own fixed set of three PAUs).

9-6

Basic Effects Mode

MAIN Page

The next five lines show the IDs and names of the FX Presets assigned to the five effects buses

(insert FXBuses 1–4 and the AuxFX bus). You can’t change these assignments on the

KDFXMode:MAIN page; to do that you would highlight the Studio name (line two of this page)

then press Edit. This takes you to the Studio Editor, on the appropriate FXBUS page for the first

bus. Use the Chan/Bank buttons to move between buses.

Each of these five lines also indicates the bypass status for the five buses, as well as the number

of PAUs used by each FXBus. A dash (-) indicates active/enabled, and B indicates bypassed/

disabled. You can change the bypass status for a bus by moving the cursor to this field and

changing it with either the alpha wheel or pressing one of the increment/decrement buttons.

The size of each FX Preset is measured in PAUs (processor allocation units). FXBuses 1–4 can all

use up to four PAUs, but the studio can use a maximum of four total PAUs. The AuxFX bus can

use up to three PAUs independent of the insert FXBuses.

Soft Buttons in Effects Mode

The MAIN button takes you to the KDFXMode:MAIN page, where you can view the current

studio and the FX Presets assigned to the five KDFX buses.

The CTRL button takes you to the KDFXMode:CTRL page, which contains parameters that

determine which studio gets selected when you select a program, setup, or song.

Soft Buttons: Configuring Bypasses

You can individually bypass any of the EQ and effects inputs, and also mute any of the FXBuses

(the four insert FXBuses and the AuxFX bus). In the enabled state, nothing is muted or bypassed.

The K2661 always starts up in the enabled state.

Use these soft buttons to perform bypasses and muting:

EQBYP Displays EQ Bypass page, where you can bypass the EQ on each individual

input bus.

FXBYP Displays FX Bypass page, where you can bypass the effects on individual

FXBuses.

BUSMUT Displays the BusMute page, where you can mute the output of individual

FXBuses.

BypAll/Enable Toggles between enabled state and default bypass state (all buses bypassed,

none muted). If you have created a custom bypass scene, BypAll resets it to

the default bypass state. See page 9-11 for information on creating a custom

bypass scene.

You may also use either of the Chan/Bank buttons to toggle between enabled

and bypassed states. This will often be preferable, since Chan/Bank, unlike

BypAll, does not reset the bypass state to the default (all buses bypassed,

none muted). Instead, Chan/Bank toggles between the enabled state and any

custom bypass scene you may have created, allowing you to audition a studio

with and without bypasses.

Basic Effects Mode

Effects Bus Editor

9-7

Effects Bus Editor

The FXBus Editor lets you create effects Preset chains on any of the four stereo effects buses. See

page 9-13 for more information about chaining effects.

EditStudio:FXBUS|Size:3|Free:0|<>FXBus:1

|||||qWWWWT|||||||||||||||||||||||||||||

FX1|!kRvrb©!!!!!!!!!!!!!!!!!!!!!!!!!!!h|

|||||CVVVVB|||||||||||||||||||||||||||||

FX:|1|NiceLittleBooth|||||||||||||||||||

Wet/Dry|||:42%wet|||||||||||||||||||||||

Out|Gain||:0.0dB|||||||||||Alloc:Auto|||

<more||INPUT||FXBUS|||Add||Remove||more>

Figure 9-2 Effects Bus Editor display -- single effect

EditStudio:FXBUS|Size:1|Free:0|<>FXBus:1

|||||qWWWWT|||qwwwwt|||qwwwwt|||qwwwwt||

FX1|!kRvrb©!!!kChorg!!!kDly|g!!!kFlngg!h

|||||CVVVVB|||CVVVVB|||CVVVVB|||CVVVVB||

FX:|1|NiceLittleBooth|||||||||||||||||||

Wet/Dry|||:42%wet|||||||||||||||||||||||

Out|Gain||:0.0dB|||||||||||Alloc:Auto|||

<more||INPUT||FXBUS|||Add||Remove||more>

Figure 9-3 Effects Bus Editor display -- four chained effects

The Add and Remove buttons allow you to define your own chains of effects using up to four

FX Presets. The Add button creates an effects block (shown as a box) to the right of the current

cursor position in the effects chain. You can use a total of four effects in any studio, so if you

create a four-block effects chain on a bus then you won’t be able to use any effects on the other

buses in that studio. Your K2661 keeps track of effects usage for you, and won’t let you add an

effects block to a bus if you’re already max’ed out.

The Remove button deletes the effects block that the FXBUS editor cursor is on. Adding and

deleting effects blocks may cause audio glitches in any signal path and should not be done

during critical listening.

Each FX Preset in an effect chain has two “override” parameters (BusMods) that are displayed

when that FX block is selected. By selecting the name of an override parameter (e.g., Wet/Dry),

you can scroll to choose from any other available parameter.

Each effect also has its full complement of real time modulators as defined and displayed in the

Program and Setup editors.

9-8

Basic Effects Mode

Effects Send Page

Effects Send Page

The FXSEND page lets you send the output of each stereo effects bus to the stereo mixdown and

auxiliary buses.

EditStudio:FXSEND|||||||||||||<>FXBus:1|

|||||!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!h

||||||0wwwwt||||||||||0wwwwt|||||||||

||||||KAux|1||||||||||KMix|1|||||||||

||||||CVVVVB||||||||||CVVVVB|||||||||

|||||||Aux|Lvl:0.0dB|||Mix|Lvl:0.0dB||||

|||||||Aux|Pan:0%||||||Mix|Pan:0%|||||||

||||||||||||||||||||||||||||||||||||||||

<more||FXSEND|AUXFX|OUTPUT|||||||||more>

Figure 9-4 Effects Bus Send display

Basic Effects Mode

The CTRL Page

9-9

The CTRL Page

The CTRL page is where you set a variety of important parameters for KDFX, including the

Effects Control Mode (FXCtrl) for the current studio.

The CTRL page is also where you set the FX Channel for the current studio.

KDFXMode:CTRL||||FXCtrl:Auto||||<>Enable

Studio:49|Sndboard|Room|Hall||||||||||||

FXCtrl:Auto|||||||||||||||||||||||||||||

FXChan:Current||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

MAIN||CTRL|||EQBYP||FXBYP||BUSMUT|Enable

Figure 9-5 Effects Control page

Effects Control Mode (FXCtrl)

FXCtrl determines how the K2661 selects studios as you change programs or setups, and

determines whether you have real-time control over studio parameters—in other words,

whether FXMods are active.

If the value of FXCtrl is Program or Auto, then as you change programs in Program mode, the

K2661 also loads the studio linked with that program. This activates all the FXMods defined

within the program. If the value of FXCtrl is Setup or Auto, then as you change setups in Setup

mode, the K2661 also loads the studio linked with that setup. This activates all the FXMods

defined within the setup. If the value of FXCtrl is Auto, and the value of FX Chan is Current,

then when you’re in Program, Setup, Quick Access, or Song mode, programs, setups and songs

automatically use their corresponding studios. In Program, Setup, and Quick Access modes, the

studio corresponds to the current program or setup. In Song mode, the studio corresponds to

the program on the song’s assigned effects channel (which is determined by the value of the

EffectChan parameter on the COMMON page in the Song Editor).

If the value of FXCtrl is Master, changing programs or setups does not load an associated studio;

the current studio is defined by the Studio parameter on the Effects Mode page. Any FXMods

defined in the current program or setup are inactive.

Effects Control in Embedded Editors

In the parlance of V.A.S.T., an embedded editor is an editor that you enter while you are already

in another editor. An example of this would be entering the KDFX Studio Editor while you are

already in the Program Editor. In this sort of situation, an editor may function differently than if

you had entered it directly from a performance mode.

When you enter the KDFX Studio Editor from within another editor (for example, you are

already in the Program Editor when you press the Effects button), KDFX will revert FXCtrl to

Auto and FXChan to Current if you attempt to perform an operation that the software doesn’t

support. For example, you cannot change a program’s assigned studio by pressing the Effects

button to enter the KDFX Editor while you are already within the Program Editor. If you set

FXCtrl to Master you will be able to audition different studios, but the software will not let you

change a studio. The correct way to change the studio used by a program is to press the KDFX

soft button from within the Program Editor.

9-10

Basic Effects Mode

The CTRL Page

Effects Channel (FX Chan)

This parameter is closely linked to the FXCtrl parameter—the values available for FX Chan

depend on the setting for FXCtrl. FX Chan affects both studio selection and real-time control of

KDFX—again, depending on the value of FXCtrl.

When FXCtrl is Master

The effects channel is irrelevant when FXCtrl is Master. KDFX is under the control of the studio

you select with the Studio parameter. No FXMods apply.

When FXCtrl is Program

The available values for FX Chan are Current, and 1–16. When FX Chan is Current, studio

selection is determined by whatever program is assigned to the current K2661 channel (as

shown in the top line of the display in Program mode or Effects mode). That program’s FXMods

are also enabled, and they respond to MIDI Controller messages received on the current

channel.

When FX Chan is any value from 1 to 16, studio selection is determined as follows: in Program

mode it’s determined by the program assigned to that channel; in Setup mode, it’s determined

by the program in the zone assigned to that channel. FXMods respond to MIDI Controller

messages as follows: in Program mode, the FXMods of the program on the channel specified by

FX Chan respond to messages on that channel; in Setup mode, the FXMods of the program in

the zone using the channel specified by FX Chan respond to messages on that channel.

The Studio parameter disappears, since studio selection is under program control.

When FXCtrl is Setup

The only available value for FX Chan is None, since studio selection and FXMods are

determined by the program in Zone 1 of the current setup. The FXMods of the program in the

zone using the channel specified by FX Chan respond to MIDI Controller messages on that

channel. The Studio parameter disappears, since studio selection is under setup control.

When FXCtrl is Auto

The available values for FX Chan are Current, and 1–16. When FX Chan is Current, studio

selection and FXMods are determined as follows: in Program mode, it’s determined by the

program assigned to the current K2661 MIDI channel; in Setup mode, it’s determined by the

program in Zone 1 of the current setup; in Song mode (or during song playback regardless of

mode), it’s determined by the program on the channel designated as the song’s effects channel—

as specified by the EffectChan parameter on the COMMON page in the Song Editor. FXMods

respond to MIDI Controller messages as follows: in Program mode, the FXMods of the program

on the K2661’s current channel respond to messages on that channel; in Setup mode, the

FXMods of the program in Zone 1 of the current setup respond to messages on the channel used

by Zone 1.

When FX Chan is any value from 1 to 16, studio selection is determined as follows: in Program

mode it’s determined by the program assigned to that channel; in Setup mode, it’s determined

by the program in Zone 1 of the setup (ignoring the FX CHan setting). FXMods respond to MIDI

Controller messages as follows: in Program mode, the FXMods of the program on the channel

specified by FX Chan respond to messages on that channel; in Setup mode, the FXMods of the

program in Zone 1 of the setup respond to messages on that channel (again, ignoring FX Chan).

Studio

When FXCtrl is Master, the Studio parameter selects the studio for the entire K2661. When

FXCtrl is Program or Setup, this parameter is unavailable, since setup selection and FXMods are

determined by program or setup selection. When FXCtrl is Auto, setup selection and FXMods

Basic Effects Mode

Bypass and Mute pages

9-11

are under program or setup control, but the Studio parameter is still available; its value reflects

the studio assignment for the program or setup that was current before you entered Effects

mode. You can change the value of the Studio parameter while in Effects mode, so you can hear

how different studios affect the current program or setup, without having to enter the Program

or Setup Editor. Any changes you make here revert to their previous settings when you exit

Effects mode.

Bypass and Mute pages

You can bypass effects buses, inside or outside of an editor, by pressing the Effects button

followed by either the BypAll soft button or one of the Chan/Bank buttons. Although similar,

the two methods are slightly different:

• The BypAll soft button globally bypasses all effects buses, and also resets the default bypass

state to bypass all buses. When you press this soft button it changes into the Enable soft

button, allowing you to toggle between the state where all buses are bypassed and the state

where all are enabled.

• Either Chan/Bank button toggles between the enabled state and the current bypass state.

The current bypass state is either the default (all buses bypassed) or the custom bypass

scene you have created. See the next section for information about creating a bypass scene.

Pressing the Effects button again, or pressing Exit, puts you back where you were.

Creating a Custom Bypass Scene

You create a custom bypass “scene” (e.g., effects bypassed on one bus, but not on the other

three) by using the soft buttons on the EQBYP, FXBYP, and BUSMUT pages to isolate sounds or

effects. You can then toggle between an all-enabled state and your custom scene by pressing

either of the Chan/Bank buttons (to the left of the display) while in KDFX Mode.

The system indicates whether anything at all is bypassed or muted by showing “Bypass” at the

far right of the top line on the display; if nothing is bypassed, this field shows “Enable.” Any

settings from the FXBYP page are also indicated on the KDFXMode:MAIN page as either a “B”

(bypassed) or a “-” (enabled). EQ Bypass and Bus Mute settings, however, are not indicated on

the KDFXMode:MAIN page. If you exit this mode with anything bypassed, the Effects button's

red LED stays lit to remind you that something is not active.

The EQBYP Page

KDFXMode:EQBYP|||FXCtrl:Auto||||<>Enable

Studio:113|PltEnvFI4T|Plate|||||||||||||

||||||||||||||||||||||||||||||||||||||||

EQ|A|||LoShelf-HiShelf||||||||||||||:In|

EQ|B|||LoShelf-HiShelf||||||||||||||:Out

EQ|C|||Lopass1-HiShelf||||||||||||||:In|

EQ|D|||Hipass1-Lopass1||||||||||||||:In|

MAIN||EQ|A|||EQ|B|||EQ|C|||EQ|D|||||||||

Figure 9-6 EQ Bypass Page

9-12

Basic Effects Mode

Bypass and Mute pages

The MAIN soft button takes you to the KDFXMode:MAIN page. The soft buttons EQ A, EQ B,

EQ C, and EQ D toggle the bypass/active status for the EQ on the corresponding input buses.

The EQBYP page looks a little different when there are mono inputs to the studio. In this case,

press the L/R soft button to toggle between left and right mono inputs for a bus.

KDFXMode:EQBYP|||FXCtrl:Auto||||<>Enable

Studio:113*PltEnvFI4T|Plate|||||||||||||

||||||||||||||||||||||||||||||||||||||||

EQ|A/L|LoShelf-HiShelf||||||||||||||:In|

EQ|B|||LoShelf-HiShelf||||||||||||||:Out

EQ|C|||Lopass1-HiShelf||||||||||||||:In|

EQ|D|||Hipass1-Lopass1||||||||||||||:In|

MAIN||EQ|A/L|EQ|B|||EQ|C|||EQ|D|||L/R||||

Figure 9-7 EQ Bypass Page with Mono Inputs

The FX Bypass Page

KDFXMode:FXBYP|||FXCtrl:Auto||||<>Enable

Studio:113|PltEnvFI4T|Plate|||||||||||||

FX1|||43|Plebe|Chamber||||||||||:Active

FX2|||158|Soft|Chorus|||||||||||:ByPass

FX3|||2|Stereo|Echoes|||||||||||:Active

||||||||||||||||||||||||||||||||||||||||

Aux|||31|Platey|Room||||||||||||:Active|

MAIN||FXBus1|FXBus2|FXBus3||||||||AuxFX|

Figure 9-8 FX Bypass Page

The MAIN soft button takes you to the MAIN page. The FX1–FX4 and AuxFX soft buttons

toggle Bypass/Active status for the effect on the corresponding bus.

The Bus Mute Page

KDFXMode:BUSMUT||FXCtrl:Auto||||<>Enable

Studio:113|PltEnvFI4T|Plate|||||||||||||

FXBus1||43|Plebe|Chamber|||||||||:Active

FXBus2|158|Soft|Chorus|||||||||||:Muted|

FXBus3|||2|Stereo|Echoes|||||||||:Muted|

FXBus4|||---|||||||||||||||||||||:Active

AuxFX|||31|Platey|Room|||||||||||:Active

MAIN||FXBus1|FXBus2|FXBus3|FXBus4|AuxFX|

Figure 9-9 Bus Mute Page

The MAIN soft button takes you to the KDFXMode:MAIN page. The soft buttons FXBus1–

FXBus4 and AuxFX toggle the mute/active status for the corresponding input buses.

Basic Effects Mode

Chaining Effects

9-13

Chaining Effects

One of the most powerful features in KDFX is effects chaining, which allows you to send a

signal through four consecutive KDFX effects. The screen below shows an example of this:

EditStudio:FXBUS|Size:1|Free:0|<>FXBus:1

|||||qWWWWT|||qwwwwt|||qwwwwt|||qwwwwt||

FX1|!kRvrb©!!!kChorg!!!kDly|g!!!kFlngg!h

|||||CVVVVB|||CVVVVB|||CVVVVB|||CVVVVB||

FX:|1|NiceLittleBooth|||||||||||||||||||

Wet/Dry|||:42%wet|||||||||||||||||||||||

Out|Gain||:0.0dB|||||||||||Alloc:Auto|||

<more||INPUT||FXBUS|||Add||Remove||more>

Figure 9-10 Effects Bus Editor display -- four chained effects

Effects chaining allows the 4 PAUs of processing shared among Buses 1-4 of a Studio to be used

in series. You can chain one FX Preset into another, into another, up to four in a row, until you

run out of PAUs. This is done by removing processing “blocks” from one bus, and adding them

to another. As no effect is less than 1 PAU, and only 4 PAUs are available across Buses 1-4, any

Studio may have a maximum of 4 blocks, arranged however you please, in which to select

Presets (not counting the Aux bus which is unaffected by chaining).

The FXBUS page shows chained effects at the top of the display (underneath the top menu line).

As an example, start from Program Mode, press the Effects button, then select Studio 700

Flanger Trio:

KDFXMode:MAIN||||FXCtrl:Auto||||<>Enable

Studio:700|Flanger|Trio|||||||||||Free:0

FX1a||180|Ned|Flangers||||||||-|||Size:1

||1b||172|Sweet|Flange||||||||-|||Size:1

||1c||181|Wispy|Flange||||||||-|||Size:1

||1d||40|SmallDrumChamber|||||-|||Size:1

Aux|||108|Roomitizer||||||||||-|||Size:2

MAIN||CTRL|||EQBYP||FXBYP||BUSMUT|Enable|

You can see that this studio has three flange effects, followed by a reverb. The effects are

numbered 1a through 1d to indicate that they are all part of FXBUS 1, instead of four separate

effects buses. Now press Edit to go into the Studio Editor. The top of the display shows the four

effects chained together. Each block contains an abbreviation based on the algorithm used by the

Preset:

EditStudio:FXBUS|Size:1|Free:0|<>FXBus:1

|||||qWWWWT|||qwwwwt|||qwwwwt|||qwwwwt||

FX1|!kFlng©!!!kFlngg!!!kFlngg!!!kRvrbg!h

|||||CVVVVB|||CVVVVB|||CVVVVB|||CVVVVB||

FX:|180|Ned|Flangers||||||||||||||||||||

Wet/Dry|||:42%wet|||||||||||||||||||||||

Out|Gain||:0.0dB|||||||||||Alloc:Auto|||

<more||INPUT||FXBUS|||Add||Remove||more>

The name of the FX Preset for the currently highlighted block is now shown underneath the

signal path graphics. In this example, you will see the FX Preset Ned Flangers if the first block is

highlighted. You still have 2 Bus Overrides (or Bus Mods) per block, which appear just below

the name of the Preset.

9-14

Basic Effects Mode

The Structure of Kurzweil Digital Effects (KDFX)

Use the left and right cursor buttons to select each block. When a block is selected, move the

alpha wheel or press the + or - buttons to select a different FX Preset (you can also change the

Preset by cursoring to the full name of the Preset after the FX: label).

Notice that the unhighlighted blocks have a box around them. This shows they are active. Since

this studio has 4 blocks, each block can use only 1 PAU. If you select an effect that uses more

than one PAU, one of the blocks will become inactive and the box surrounding that block will

disappear. For example, if you change the first block to FX Preset 183 NarrowResFlange, the box

around block 4 disappears. The top line of the display shows you this FX Preset uses 2 PAUs. As

in the past, if the Allocation parameter is set to Auto, the lower number blocks have precedence,

so block 4 is the one that becomes inactive. If you highlight block 4 at this point, you will see the

FX Preset shown in parenthesis, again showing it is not active.

The Chan/Bank buttons move you through the four FXBUSes. Since no effects are available in

this case, you will see a line with no blocks on them if you look at any bus except FXBUS 1. You

can still use a bus to send another signal to the AUX without the chain, by the way, since KDFX

has been designed to offer you maximum flexibility.

Gain Staging in Effects Chains

When chaining Presets together, it is sometimes necessary to adjust the levels between blocks,

most often to pad the level going into the next block to prevent unwanted clipping. While most

algorithms have both an In Gain and an Out Gain parameter, In Gain is not selectable as a Bus

Mod. In fact, any Preset beyond the first in a chain cannot use In Gain, and will display the value

inside the Preset in parentheses. We suggest, when necessary, choosing Out Gain as a Bus Mod

to adjust the output level of an effect, instead of trying to pad the input of the following effect.

Of course, you can always edit FX Presets directly and customize them for your chain.

Checking Out Some Chains

For examples of studios with chains, check out studios 700-719. By setting the FX Ctrl parameter

(KDFXMode:CTRL page) to Master, and the OutPair parameter (MIDIMode:Channels page) to

KDFX-A, you can scroll through Programs on a given MIDI channel and audition these studios

as they were intended to be heard, with a variety of input source material.

The Structure of Kurzweil Digital Effects (KDFX)

The Studio

All Effects-mode functions are contained in a studio. Only one studio is active at a time.

Each studio has four stereo or eight mono inputs. The sources for these inputs are the four

output pairs available in two places: the Pair parameter on the OUTPUT page in the Program

Editor, and the Out parameter on the CN/PRG page in the Setup Editor. In both cases, the

available values are KDFX-A, KDFX-B, KDFX-C, and KDFX-D. Instead of going directly to the

K2661’s physical outputs, these program outputs go to the inputs of a studio. Only after going

through the studio does the audio output appear at the physical outputs. The inputs to the

studio can come from one multi-layered program, or from several programs, or from the

K2661’s own sample input when the instrument is in Live mode.

The input signals pass through an input routing system, as specified by the settings on the

INPUT page in the Studio Editor. Here, the signals go through individual two-band equalizers,

or EQs. Then each input, mono or stereo, is routed to any two of the four FXBuses.

Basic Effects Mode

The Structure of Kurzweil Digital Effects (KDFX)

9-15

Each of the FXBuses contains its own signal-processing program, called an FX preset. Each

FX preset has a set of parameters: for example the RT60 value on a reverb, or the Feedback level

on a delay line. These parameters can be fixed as part of the FX preset, or they can be externally

controlled, from one of two different places. The four FXBuses are also called Insert FX, because

in a conventional studio, that’s where they would be found: in the insert loop of a mixer,

between the channel input and the Mix bus.

There is also a fifth FX preset, which is located on the Auxiliary FX Bus (the Aux bus). The Aux

bus follows the four main FX presets in the signal path, and is normally configured as a global

processor.

Each FX preset consists of an algorithm, modified by user-definable parameters. An algorithm is

a processing function, like a reverb, flanger, or compressor; or a combination of processing

functions in a particular order, like a flanger followed by a delay followed by a reverb. The

algorithms themselves are fixed in ROM, like Kurzweil ROM samples, but you can change the

values of their operating parameters.

Each algorithm requires a certain amount of processing power, which is expressed in

Processing Allocation Units (or PAUs). Simple algorithms require 1 PAU, while more complex

algorithms require up to 4 PAUs. The amount of processing power available in each FX preset is

set by its Allocation parameter. When you are selecting an FX preset for an insert bus, the

number of PAUs its algorithm requires appears on the display, so you can keep track of how

many PAUs are in use.

PAUs are shared among the four insert buses. There is a limit to the total number of PAUs that

the insert buses can use, and that limit is four. PAUs can be manually preassigned to specific

FXBuses, or using “Auto” mode they can be assigned automatically as FX presets are assigned

to the buses. The Aux bus has a separate set of PAUs—three of them—which are not shared with

the insert buses.

Finally, the outputs of the FX presets are passed through to an output routing system—as

specified by the settings on the OUTPUT page in the Studio Editor—where they are sent to the

physical outputs of the K2661.

The following equation summarizes studio structure:

The next page shows a schematic overview of studio structure.

Studio = EQs + Input-page settings + FX presets + Output Editor settings

9-16

Basic Effects Mode

The Structure of Kurzweil Digital Effects (KDFX)

Figure 9-2 KDFX structure

output A output B output C output D

EQs

FX Presets

program

outputs

physical

outputs output A output B output C output D

Aux

effect

Mixer

Pre FXBus1

FXBus1

Pre FXBus2

FXBus2

Pre FXBus3

FXBus3

Pre FXBus4

FXBus4

Mix Aux

Level

Balance/Pan/

Width

If input is mono, each

channel has its own

eqs and sends

All signal paths are

stereo unless noted

Level

Balance

FX1 FX2

FX3

FX4

Basic Effects Mode

Software Organization

9-17

Normal Studio Structure

Many of the studios provided in ROM follow an overall organizational plan, which uses Effects

mode’s resources efficiently and clearly. While you’re by no means required to follow this

structure when creating your own studios, it’s a good idea to get familiar with it, to see how

Kurzweil’s own engineers have approached the issue of studio organization.

Inside the ROM programs and setups, the outputs KDFX-A through KDFX-D are assigned

based on the type of effects processing that would most likely be appropriate for that sound.

• Input A/FXBus1 contains a relatively simple reverb with a low Size requirement.

• Input B/FXBus2 contains an effect that does not increase the “length” of the sound (that is,

no reverb or delay), something like chorus, flange, distortion, pitcher, or EQ.

• Input C/FXBus3 contains effects that take up lots of time, such as delays, and delays with

reverb.

• Input D/FXBus4 is dry.

• The Aux bus contains a larger reverb (Size:3), a compressor, or a graphic EQ.

Software Organization

Like K2661 programs, the software user interface of a studio is organized in a “top-down” way:

A studio is an “object” in K2661 terms, and the FX presets within a studio are also objects,

“dependent” to the studio, the way a keymap is to a program. Studios and FX presets that you

modify or create are stored in program RAM. A studio contains up to five FX presets. The same

way that one keymap can be used in multiple programs, a particular FX preset can be used in

multiple studios.

Like ROM samples in the K2661, effects algorithms are stored in ROM and you cannot modify

them. Each FX preset contains one algorithm. Just as you can use the same sample in more than

one keymap, you can use the same algorithm in as many FX presets as you like.

Controlling Effects

Studios can be called up from the front panel, or they can be assigned to specific K2661

programs or setups. If you set the FXCtrl parameter on the Effects-mode page to Program,

Setup, or Auto, then changing a program (if the current channel agrees with the FX Channel) or

setup will select the studio associated with the new program or setup. Of course, just as you can

use the same keymap in multiple programs, you can use the same studio in multiple programs

or setups. Setting FXCtrl to Master means that the studio does not change with the program or

setup.

Studio parameters are set in the Studio Editor and are initially set up with fixed values, but they

can be also be controlled in real time by a wide range of control of sources, including K2661

onboard knobs, sliders, and ribbon; various internal software functions; and external MIDI

commands like those coming from a sequencer or a dedicated controller.

9-18

Basic Effects Mode

Controlling Effects

Figure 9-3 KDFX Software organization

Controlling Effects with a Sequencer

A useful technique for sequencer users is to set up the program controlling the studio

parameters to be a dummy program with no keymaps but with all of the FX Mods you need in

place—this program produces no sound by itself, and exists only to control the studio. That way

you can use a dedicated MIDI channel for studio control. See page 12-21 for more information.

Controlling Effects with SysEx messages

You can also control KDFX by sending MIDI system-exclusive (SysEx) messages to the K2661.

See Appendix B in the Musician’s Reference for specific information.

Input mixer

algorithm # (in ROM)

parameters

Studio #

FX Preset # Output mixer

Program or

Setup #

KDFX and

FXMod pages

real-time

control

MIDI Mode

The TRANSMIT Page

10-1

Chapter 10

MIDI Mode

Press the MIDI-mode button to enter MIDI mode. There are three pages in MIDI mode:

• TRANSMIT (XMIT soft button)

• RECEIVE (RECV soft button)

• CHANNELS (CHANLS soft button)

You’ll use these pages to determine what MIDI messages the K2661 transmits, and how it

responds to the MIDI messages it receives—as well as how each MIDI channel behaves.

When you enter MIDI mode, you’ll see one of the three available MIDI-mode pages. When you

exit MIDI mode, the K2661 remembers which page you were on. The next time you select MIDI

mode, that page appears.

The TRANSMIT Page

Press the XMIT soft button, and the TRANSMIT page appears. Use these parameters to control

how the K2661 sends MIDI information to its MIDI Out port. These settings to some extent affect

the K2661’s response to its own keyboard and controllers, but they primarily affect the

responses of other MIDI devices that are receiving MIDI from the K2661 on the channel

specified with the Channel parameter on this page.

It’s important to remember that many of the settings of the TRANSMIT page are in effect only

when a program is selected, either in Program mode or in Quick Access mode. If a setup is

selected, in Setup mode or in Quick Access mode, the setup’s MIDI settings override the

corresponding settings on the TRANSMIT page. The TRANSMIT page looks like this:

MIDIMode:TRANSMIT|||||||||||||||||||||||

CtlSetup:97|Control|Setup|||||||||||||||

Channel|:2|||||||||||||||ProgChng|:On|||

Transpos:0ST|||||||||||||Buttons||:Off||

Control|:Both||||||||||||ChgSetups:KeyUp

VelocMap:1|Linear|||||||||||||||||||||||

PressMap:1|Linear|||||||||||||||||||||||

XMIT|||RECV|||CHANLS|PrgChg|RsetCh|Panic

10-2

MIDI Mode

The TRANSMIT Page

Control Setup

This is where you select the current control setup, Zone 1 of which sets the physical controller

assignments for all programs while you’re in Program mode. Refer to Chapters 6 and 7 for more

information on the control setup.

Note: The control setup is responsible for many of the settings that each had separate parameters on the

K2000 and K2500. If you’ve worked with one of these instruments, you’ll need to relearn how MIDI

transmission controls are defined. Instead of setting a number of parameters on the MIDI TRANSMIT

page, you’ll simply select a control setup. Zone 1 of that setup then determines the controller assignments

(as specified on the SLIDER, RIBBON, WHEEL, and other pages in the Setup Editor).

Channel

This defines which MIDI channel the K2661 uses to transmit MIDI messages. The value for this

parameter matches the current MIDI channel displayed on the top line of the Program-mode

page. If you change the current MIDI channel while in Program mode, the setting of this

parameter changes accordingly, and vice versa.

Transpose

This parameter affects the transposition that’s applied to the MIDI data stream. Adjusting this

parameter transposes the K2661’s notes, as well as notes on slaves receiving from the K2661.

This transposition setting is not overridden when you use Setup mode, but is added to the

transposition settings for the currently selected setup.

Control

Here you determine where the K2661 sends MIDI information. A value of MIDI sends the MIDI

signal to the K2661’s MIDI Out port, but not to the K2661 itself. This is also known as Local

Control Off.

If you’re using your K2661 with a MIDI sequencer and have a MIDI loop (K2661’s Out to

sequencer’s In, and vice versa), you’ll need to select a value of MIDI when your sequencer’s

Patch Thru feature—also known as Play Thru, and Soft Thru—is on. This will prevent the

K2661’s MIDI signal from looping back on itself, which can cause problems. If you deactivate

your sequencer’s Patch Thru feature, set the Control parameter’s value to Both, and the K2661

will play normally. Also, you may want to set the value of the LocalKbdCh parameter to None

when you have a MIDI loop, because you can have problems with doubled notes and MIDI

overload. You won’t have problems, however, as long as the channels transmitted by the K2661

are all different from the incoming MIDI channel.

Parameter Range of Values Default

Control Setup Setup list 97 Control Setup

Channel 1 to 16 1

Transposition ±60 semitones 0

Control Both, MIDI, Local Both

Velocity Map Velocity Map list 1 Linear

Pressure Map Pressure Map list 1 Linear

Program Change Off, On On

Buttons Off, On Off

Change Setups Immed, KeyUp KeyUp

MIDI Mode

The TRANSMIT Page

10-3

A value of Local disables the MIDI Out port. Use this setting when you want to play the K2661,

but not to send any MIDI information to other MIDI instruments (local control only). A value of

Both (the default) enables you to play the K2661 and send MIDI information from its MIDI Out

port.

Velocity Map—Transmit (VelocMap)

The transmit velocity map affects the way the K2661 sends velocity information to its MIDI Out

port. Different maps generate different velocity values for the same attack velocity—that is, they

apply different curves to the attack velocities the K2661 receives and remap them to new

velocities before transmitting them to the MIDI Out port.

Important: The MIDI velocity maps affect only those MIDI velocity values transmitted via the

K2661’s MIDI Out port, and are used exclusively to adjust the response of MIDI devices

connected to the Out port. If you have a DX7 connected to your K2661, for example, and the DX

is distorting, selecting a transmit Velocity Map like Hard2 should handle the problem. Changing

the velocity map on this page does not affect the response of the K2661’s sound engine to its

own keyboard, or to an external MIDI controller. That’s done on the RECEIVE page. See Chapter

18 of the Musician’s Guide if you’re interested in editing velocity maps.

Also important: Both the transmit and receive velocity maps should be left at values of Linear

unless you really need to change them. The linear maps give you the most consistent results.

Keep in mind that the setting of the Veltouch parameter in Master mode also has an effect on the

transmit velocity map.

Pressure Map—Transmit (PressMap)

This is like the VelocMap, but it controls the aftertouch values sent by the K2661 to its MIDI Out

port. Use this exclusively to adjust the response of MIDI devices connected to the K2661’s MIDI

Out port. Changing the pressure map on this page does not affect the response of the K2661’s

sound engine to its own keyboard, or to an external MIDI controller. That’s done on the

RECEIVE page. See Chapter 18 of the Musician’s Guide for information about editing pressure

maps.

Program Change (PChng)

When On, the K2661 sends program change commands to its MIDI Out port when you select

programs or setups from the front panel or from your MIDI controller. Select a value of Off

when you want to change programs on the K2661 but don’t want to send program change

commands to the MIDI Out port. This parameter doesn’t affect the type of program change

command that’s sent; it just determines whether any command is sent at all. (The type of

program change command is determined by the settings for three parameters on the CH/PRG

page in the Setup Editor.)

10-4

MIDI Mode

The RECEIVE Page

Buttons (Bttns)

If you set the value of the Buttons parameter to On, the System Exclusive (SysEx) messages

generated by your button presses are sent to the MIDI Out port. This enables you to do two

things: control a remote K2661 (or earlier model), and record sequences of programming button

presses to a sequencer or SysEx software package.

If you have the MIDI In port of another K2661 (or K2600, K2500, or K2000) connected to the first

one’s MIDI Out port, the second instrument will respond to every button press on the first

instrument, just as if you were pressing the buttons of the second one. Keep in mind that both

devices must be in exactly the same state (the same page in the same mode, with identical lists of

RAM objects) when you start. Otherwise the button presses you make on the first instrument

may execute other functions on the second instrument.

Much more useful is to send streams of button presses to your sequencer. When you dump them

from your sequencer back to the K2661, the K2661 responds as if the buttons were actually

pressed. This enables you to set up a variety of “macros,” which are strings of commands that

can be executed all at once by a single initial command. For example, you can record a sequence

of button presses that enters Disk mode, selects a specific SCSI device, and loads one or more

banks of samples while you do something more entertaining. Again, it’s important to keep in

mind that the state of your K2661 must be identical to its state when you recorded the sequence

of button presses. If you’ve added or deleted any objects stored in RAM, for example, the

sequence of button presses will select different objects when you play back the button press

sequence.

Note: Make sure this parameter is set to Off before you initiate a SysEx dump of any kind. If this

parameter is On when you start a dump, the buttons you press to begin the dump will also generate

SysEx messages.

Change Setups (ChgSetups)

This parameter determines the exact timing of setup changes when you select a different

setup—either by a normal data entry method or via MIDI program change commands. Choose

KeyUp to indicate that you want setup changes to take place only when you’ve released all

currently held notes. Choose Immed to indicate that you want such changes to happen

immediately when you select the setup.

The RECEIVE Page

Press RECV to select the RECEIVE page, where you define the K2661’s response to incoming

MIDI signals (with one exception pertaining to Quick Access mode, which we’ll explain later).

MIDIMode:RECEIVE||||||||||||||||||||||||

BasicChannel:1|||||||||SysExID:|||0|||||

MIDI|Mode|||:Multi|||||SCSI|ID:|||6|||||

AllNotesOff|:Normal||||BendSmooth:On||||

ProgChgType|:Extended||LocalKbdCh:None||

VelocityMap:|1|Linear||BankSelect:Ctl|32

PressureMap:|1|Linear||PowerMode|:User||

XMIT|||RECV|||CHANLS|PrgChg|RsetCh|Panic

Parameter Range of Values Default

Basic Channel 1 to 16 1

MIDI Mode Omni, Poly, Multi Multi

MIDI Mode

The RECEIVE Page

10-5

Basic Channel

The basic channel determines which channel will always be available to receive MIDI

information. Depending on the MIDI receive mode (below), the Basic channel may be the only

receiving channel, or one of several.

MIDI Receive Mode (MIDI Mode)

The MIDI Mode parameter determines the MIDI receiving capabilities of the K2661. When set to

Omni, the K2661 responds to incoming MIDI events on all MIDI channels, and plays them on

the current channel. This is normally used for diagnostic purposes only.

At a setting of Poly, the K2661 responds only to events that are sent on the same channel as the

K2661’s current MIDI channel (the one displayed on the top line of the Program-mode page). In

Poly mode, the currently selected channel is always the basic channel, so if you change channels,

the basic channel changes accordingly.

With a value of Multi (the default), the K2661 responds to events on all active channels. This is

the mode you’ll use when you’re driving the K2661 with a sequencer, since you can play a

different program on each channel. At this setting, you can turn individual channels on and off

(on the CHANNELS page, described later in this chapter).

All Notes Off

If this parameter’s value is set to Normal, the K2661 responds to All Notes Off messages

received over MIDI. Ignore causes these messages to be ignored. If you’re using a Roland

product as a MIDI controller for your K2661, you’ll want to set the value of this parameter to

Ignore. This is because some older Roland products occasionally send an All Notes Off message

when no keys are held down—even if you’re sustaining notes with a pedal. You might find all

your sustains missing from your sequence, for example, if you’re driving your K2661 from one

of Roland’s hardware sequencers. Setting this parameter to Ignore takes care of this problem.

Regardless of the setting for this parameter, the K2661 always responds to its own Panic button

by shutting off all active notes and controllers.

Program Change Type (ProgChgType)

This determines how the K2661 responds to program change commands received via MIDI. See

Program Change Formats on page 10-9 for an explanation of the various values available for this

parameter.

All Notes Off Normal, Ignore Normal

Program Change Type Program Change Type List Extended

Velocity Map Velocity Map list 1 Linear

Pressure Map Pressure Map list 1 Linear

System Exclusive ID 0 to 127 0

SCSI ID 0 to 7 6

Bend Smooth On, Off On

Local Keyboard Channel None, 1 to 16 None

Bank Select 0 only, 32 only, Ctl 0, Ctl 32 Ctl 32

Power Mode User, Demo User

Parameter Range of Values Default

10-6

MIDI Mode

The RECEIVE Page

Velocity Map—Receive

The velocity map applies a preset curve to incoming velocity messages. It maps incoming

velocity levels to new levels that correspond to the eight dynamic levels used by the VTRIGs

and keymaps for velocity level selection. See Chapter 18 of the Musician’s Guide . Normally

you’ll leave this set to 1 Linear. Adjust this parameter’s value only when you need to alter the

K2661’s response to the velocity messages from a MIDI controller, for example, if you’re getting

too much or too little volume when you play, or when a sequencer is driving the K2661.

Pressure Map—Receive

Like the velocity map, this determines how the K2661 responds to incoming pressure

(aftertouch) messages.

System Exclusive ID (SysExID)

The SysExID parameter differentiates between more than one MIDI device of the same model.

You won’t need to change the default setting of 0 unless you have multiple K2661s (or K2600s,

K2500s, or K2000s) receiving SysEx messages from a single source. In that case, make sure each

instrument has a different SysExID. Then you can direct SysEx messages to the appropriate

K2661 with the SysExID byte that’s included with every SysEx message. A value of 127 specifies

“Omni Receive.” That is, at this value, a K2661 responds to a SysEx message regardless of the

SysEx ID of the message (as long as the manufacturer and device IDs match—see Chapter 7 of

the Musician’s Reference for more information about System Exclusive messages).

SCSI ID

Use this parameter to change the SCSI ID of your K2661. You can ignore this parameter unless

you’ve connected a SCSI device (external SCSI disk or CD-ROM drive) to the K2661’s SCSI port.

You can use the SCSI port to chain up to seven SCSI devices to the K2661 (a total of eight devices

can be chained together); just be sure to set each one to a different SCSI ID. Most SCSI devices

available today make it easy to change their SCSI IDs, so you may not have to adjust this

parameter even if you have several SCSI devices connected. See Chapter 13 for more

information about using SCSI devices.

Bend Smooth

This parameter can improve your K2661’s performance when you’re driving it from a MIDI

guitar controller. Its default value is On.

You may find that pitch bending seems to carry over from the previous note to the next note,

causing it to start on the wrong pitch. This is probably due to the automatic pitch smoothing

provided by the K2661. If this is happening, try setting the BendSmooth parameter to a value of

Off.

Local Keyboard Channel (LocalKbdCh)

Changing the setting of the Local Keyboard Channel parameter is useful only when your K2661

is receiving MIDI information from an external source—maybe you have a favorite MIDI

keyboard that you use to control all the gear in your studio, or you use a lot of outboard

sequencing. If you’re using the K2661 as a standalone music workstation or performance

keyboard, you can ignore this parameter.

If you do need to change the setting of the Local Keyboard Channel parameter, refer to Chapter

10 of the K2661 Musician’s Guide (provided on the CD-ROM).

MIDI Mode

The Channels Page

10-7

Bank Select

BankSelect allows you to choose between having the K2661 respond to Controller 0 or

Controller 32 or both. The reason for this is that various manufacturers have chosen one method

or the other. The four possible values for this parameter are:

0 only Responds to controller 0 only.

32 only Responds to controller 32 only.

Ctl 0 Responds to 0 or 32.

Ctl 32 Responds to 0 or 32.

Power Mode

Power Mode has two possible values: User and Demo. When set to User, the user’s parameter

settings are retained. When set to Demo several parameters are returned to default values when

the unit is powered up. The default value for the Power Mode parameter is User.

The following parameters are reset when Power Mode is set to Demo.

Master mode: KB3 Channel resets to 1

MIDI Transmit: Control resets to Both; Channel resets to 1; Transpose resets to 0 ST

Effects mode: FX Mode resets to Auto, and FX Chan resets to Current

Disk mode: Current Disk resets to SMedia

The Channels Page

Press the CHANLS soft button to select the CHANNELS page, where you can define numerous

parameters for each MIDI channel independently. Use the Chan/Bank buttons to select the MIDI

channel you wish to work on.

The CHANNELS page is very useful when you’re doing multi-timbral sequencing, with

programs assigned to numerous MIDI channels. The CHANNELS page lets you set several

control characteristics for each MIDI channel. This makes it easy to adjust the playback of the

sequence without editing the sequence itself. For example, you might turn off the Enable

parameter for one or more channels to mute the tracks on those channels. You could also set the

VolLock parameter to On, to ignore any MIDI volume messages the K2661 receives on a given

MIDI channel.

MIDIMode:CHANNELS||||||||||<>Channel:2||

Enable|:On||||||||||||||||||||||||||||||

Program:1|Concert|Piano|1||||PrgLock:Off

Pan||||:64|||||||||||||||||||PanLock:Off

Volume|:127||||||||||||||||||VolLock:Off

OutPair:Prog||||||||||||||||||||||||||||

OutGain:Prog||||||||||||||||||||||||||||

XMIT|||RECV|||CHANLS|PrgChg|RsetCh|Panic

Parameter Range of Values Default

Enable Off, On On

10-8

MIDI Mode

The Channels Page

Enable

Use this parameter to turn the currently selected channel on or off. When on, the channel will

receive MIDI information, and the settings of the parameters on the MIDI CHANNELS page

will be in effect. When off, the channel will ignore all MIDI information.

Program

Use this parameter to assign a program to the currently selected channel. The channel will still

respond to program change commands received via MIDI, unless the PrgLock parameter

(described below) is set to On.

Pan

This offsets the pan position of the current program as set on the OUTPUT page in the Program

Editor. A value of 0 is maximum offset to the left, 64 is no offset, and 127 is maximum offset to

the right. Changing the value of this parameter is like inserting a MIDI pan message. MIDI Pan

(MIDI 10) messages will change the value of this parameter, unless the PanLock parameter

(described below) is set to On.

If the Mode parameter on the OUTPUT page in the Program Editor is set to Fixed, changing the

value of Pan on the CHANNELS page in MIDI mode has no effect.

Volume

This sets the volume for any program assigned to the currently selected channel. A value of 0 is

silence, and a value of 127 is full volume. The value of this parameter will change in response to

MIDI Volume (MIDI 07) messages, unless the VolLock parameter (described below) is set to On.

Output Pair (OutPair)

This parameter sets the audio output group for the program assigned to the currently selected

channel. The default value of Prog means that the output group is determined by the program’s

value for the Pair parameter on the OUTPUT page in the Program Editor. In this case, the

channel’s output group changes depending on the program assigned to it, with the output

group being routed on a per layer basis within the program. Values of KDFX-A, KDFX-B,

KDFX-C, or KDFX-D fix the output group regardless of the program that’s assigned to the

channel.

Output Gain (OutGain)

OutGain boosts or cuts the level at the audio outputs for any program assigned to the currently

selected channel. This allows you to make a program louder or softer without having to edit the

program.

Program Program list Program ID 1

Pan 0 to 127 64 (centered)

Volume 0 to 127 127 (maximum)

Output Pair Prog, KDFX-A to KDFX-D Prog

Output Gain Prog, –12 to 30 dB in 6 dB increments Prog

Program Lock Off, On Off

Pan Lock Off, On Off

Volume Lock Off, On Off

Parameter Range of Values Default

MIDI Mode

Program Change Formats

10-9

Program Lock, Pan Lock, Volume Lock

When the parameter locks are set to On, the three parameters they control do not respond to

their respective MIDI controller messages. In that case, you could change the Program, Pan, and

Volume settings from the front panel, but not via MIDI.

Program Change Formats

The K2661 can store more programs than the MIDI program change specification can handle

(MIDI lets you send program change numbers from 0 to 127 or 1 to 128 only). So we’ve designed

a system that makes program selection more flexible. This is true whether you’re selecting

programs from the K2661’s front panel, or via MIDI.

First of all, the K2661’s programs (and all of its objects) are numbered and grouped according to

a decimal system, that is, in multiples of ten. This is much easier to keep track of than the binary-

oriented groupings of many synths, which feature banks of 8, 16, or 64 programs.

Next, the K2661 gives you 999 program change numbers to work with. These are organized into

ten banks of 100 each (the memory banks). A program’s object ID is its program change number,

as discussed on page 5-2. This makes it easy to keep track of your programs. The K2661 can use

several different formats for interpreting program change commands. The value for the

ProgChgType parameter on the RECEIVE page determines which format is used, and the one

you should select depends on your MIDI system.

If you expect you’ll always change programs from your K2661’s front panel, you can finish this

paragraph and skip the next few sections. In this case, selecting programs is as simple as

entering the program change number (the program’s object ID) on the alphanumeric pad, and

pressing Enter. Even program numbers above the usual MIDI limit of 127 can be selected this

way.

Extended and Kurzweil Program Change Types

In the early days of MIDI, most instruments had small numbers of memory locations, usually

32, 64, or 128. As instruments began to have more memory locations, however, users ran against

the limitation of only 128 values for program changes in the MIDI spec. Because of this, Bank

Change Controller was added, allowing users to switch between banks of up to 128 programs

per bank.

Previous to the addition of the Bank Change Controller, Kurzweil had developed their own

method of switching banks by using two program changes, one to switch the bank, the second

to call up the program within the bank (as described below). The K2661 can respond to either

Program Change Type For Use With:

Extended Other K2661s (or K2600s, K2500s or K2000s) similarly set, plus all

other instruments that use the Bank Change controller

Kurzweil K1200s, and 1000s with version 5 software

0–127 Older MIDI devices that transmit program change commands in the

range from 0–127 only.

QA Bank E Other K2661s (or K2600s, K2500s or K2000s) similarly set, when in

Quick Access mode

QA Bank K K1200s and v5 1000s, when in Quick Access mode

QA 0–127 With the K2661 in Quick Access mode, when using it with older MIDI

devices

10-10

MIDI Mode

Program Change Formats

the Bank Change controller or the double-program-change method. In a nutshell, the difference

between the Extended setting and the Kurzweil setting is this: In Extended, the K2661 will

receive and respond to the Bank Change controller. When set to Kurzweil, the K2661 will

receive only the double-program-change method.

Extended Program Changes

If you’re controlling your K2661 from a MIDI device that can handle the MIDI Controller 0 or 32

program-change format, you’ll have the greatest flexibility if you set the ProgChgType

parameter to a value of Extended (or QA Bank E, but that explanation comes later).

When you’re using the extended program change format, then depending on the value of the

BankSelect parameter on the RECEIVE page in MIDI mode, the K2661 will respond to either

MIDI Controller 0 or 32 program change commands for bank selection (Zeros through 900s),

and standard program change commands for program changes within the current bank.

Different values have different results, as shown in the following table:

If your K2661 is already in the memory bank you want to use, you can send it single PCHs from

0 to 99, to select programs within that memory bank. The K2661’s response depends on the

setting for the MIDIBankMode parameter on the CH/PRG page in the Setup Editor. If you want

to change the memory bank, the K2661 must receive either an MC 0 or 32 message with value

0–9. The next PCH in the range 0–99 will select the correspondingly numbered program in the

newly selected bank. The following table of examples should help make it clear.

Kurzweil Program Changes

When you use the Kurzweil program change format, you’ll use PCH messages to select different

memory banks, followed by a second PCH command to change the program within the current

bank, as the following examples demonstrate. You’ll want to use this format if you’re controlling

your K2661 from a Kurzweil 1000- or 1200-series instrument.

Program Change Command

Type

Value of

Message Result

MIDI controller 0 or 32

(MC 0 or MC 32)

0 to 9 Selects memory bank zeros–900s

10 to 127 Ignored

Standard (PCH)

0 to 99 Selects correspondingly numbered program in current

memory bank

100 to 127 Selects correspondingly numbered program in next-

highest bank

Bank Change

Command Received

Program Change

Command Received Result

MC 0 or 32: value 0 PCH: value 99 Program 99 (0s bank, 99th program)

MC 0 or 32: value 1 PCH: value 42 Program 142 (100s bank, 42nd program)

MC 0 or 32: value 1 PCH: value 120 Program 220 (200s bank, 20th program)

MC 0 or 32: value 9 PCH: value 0 Program 900 (900s bank, 0th program)

MC 0 or 32: value 9 None 900s bank selected, no change in current program (bank

selection is pending for next PCH)

MC 0 or 32: value 10 PCH: value 99 MC 32 message ignored; 99th program in current bank

selected (for example program 199 if in 100s bank)

MIDI Mode

Program Change Formats

10-11

0-127 Program Change Type

You may be controlling your K2661 from an “old” MIDI device—one that was built before the

MIDI Controller 0 program change format was developed. If your MIDI controller is one of

these (if its manual doesn’t mention MIDI Controller 0 program changes, it’s an “old style”

machine), you might want to set the ProgChgType parameter to a value of 0–127. This will

enable you to select programs 0–127 from the controller. This limits your range of program

selection, but it configures the K2661 to respond predictably to the controller. (You’ll have to

select higher-numbered programs from the K2661’s front panel) Of course, you could use the

Kurzweil format, but in many cases you’ll have to send two program change commands to get

the program you want.

Quick Access Banks—Extended (QA Ext)

Using this setting is similar to using the Extended program change format, but it goes one step

further. Incoming program change commands are interpreted just as they are in the normal

Extended format. But the resulting program change number, instead of selecting a program,

selects a Quick Access bank entry (you must be in Quick Access mode for this to work). There

are two advantages to using this format. First, it allows you to select both programs and setups

using program change commands, without having to switch between Program and Setup

modes. Second, you can remap incoming program change commands to select programs or

setups with different IDs. This is handy if the sending unit can’t send program change

commands higher than 127.

First, a brief review of Quick Access bank structure. Each Quick Access bank can store ten

entries, each of which can be a program or a setup. Each of the K2661’s 10 memory banks can

store 20 Quick Access banks (except the Zeros bank, which can store 75). Therefore when you’re

in Quick Access mode, you have access to 200 (or 750 in the Zeros bank) programs or setups

without leaving the currently selected memory bank. The QA Ext program change format lets

you select any one of those programs or setups via MIDI. If you select another memory bank,

you have a different set of 200 programs and setups at your disposal. When you’re using this

format, the K2661 will respond to MC 0 or 32 messages for selecting QA banks, and to PCHs for

selecting entries within the current bank. PCHs select entries according to their “chronological”

listing within the QA bank (not according to their IDs).

1st Program Change

Command Received

2nd Program Change

Command Received Result

PCH: value 39 None 39th program in current bank selected

PCH: value 99 PCH: value 27 27th program in current bank selected (99 is selected, then

overridden by 27)

PCH: value 102 PCH: value 16 Program 216 (200s bank, 16th program

PCH: value 105 PCH: value 44 Program 544

PCH: value 109 PCH: value 0 Program 900

PCH: value 127 PCH: value 99 99th program in current bank (1st PCH is ignored, since it’s

above 109)

PCH: value 127 PCH: value 104 No change in current program; 400s bank is selected

pending next PCH

Command Type Value Range Result

MIDI controller 0 or

32 (MC 0 or MC 32)

0 to 7 Selects QA bank 0n, 1n, 2n, 3n, 4n, 5n, 6n, 7n in current memory bank

8–127 Ignored

Standard (PCH) 0–99 Selects last digit (n above) of QA bank, and entry within that bank

100–127 Ignored

10-12

MIDI Mode

Program Change Formats

Depending on the QA bank entry you want to select, you’ll send the K2661 either a PCH (value

0 to 99), or a MIDI Controller 0 or 32 message (value 0 to 7) followed by a PCH. Sending a single

command will let you select from a range of 10 QA banks and select an entry within that bank

(see the table below). To select a different range of QA banks, send an MC 0 or 32 message

followed by a PCH.

The MC 0 or 32 messages selects the range of QA banks (0s through 70s), while the PCH selects

the bank within that range, as well as the entry within that bank. Neither the MC 0 or 32 nor the

PCH selects a different memory bank (Zeros through 900s). In fact, you can’t change the memory

bank via MIDI when using this format. All program and setup selections are made within the

currently selected memory bank. You’ll know which memory bank is selected by looking at the

ID of the currently selected Quick Access bank in the top line of the Quick Access-mode page.

Several examples follow.

If the Zeros Memory Bank is Currently Selected

Remember that in the Zeros memory bank, the Quick Access bank IDs go through 75. So if the

Zeros memory bank is the current memory bank, you can send MC 0 or 32 values as high as 7

for the bank range command. And you can send PCH values as high as 99 for the bank/bank

entry command. (When you’re in the other memory banks, you can send MC 0 or 32 values of 0

or 1, and PCH values of 0 to 99.)

If the 200s Memory Bank is Currently Selected

Quick Access Banks—Kurzweil (QA Kurz)

This works almost exactly like the QA Ext format. The only exception is that within the

QA Kurz format, the K2661 expects the bank range command to be a PCH, and not MC 0 or 32.

MIDI Controller 0 or 32 messages are not recognized. The K2661 expects to receive PCHs of

Bank Range

Command

Bank / Bank Entry

Command Resulting Selection

MC 0 or 32: value 0 PCH: value 6

No change (K2661 interprets this as QA bank 0, entry 6.

There is no QA bank 0. Lowest valid PCH value in this

case is 10, which would select QA bank 1, entry 0)

None PCH: value 9 Entry 9 in current QA bank

MC 0 or 32: value 0 PCH: value 32 QA bank 3, entry 2

MC 0 or 32: value 1 PCH: value 4 QA bank 10, entry 4

MC 0 or 32: value 1 PCH: value 28 QA bank 12, entry 8

MC 0 or 32: value 2 PCH: value 44 QA bank 24, entry 4

Bank Range

Command

Bank / Bank Entry

Command Resulting Selection

None PCH: value 44 QA bank 204 or 214; entry 4

MC 0 or 32: value 0 PCH: value 6 QA bank 200, entry 6

MC 0 or 32: value 0 PCH: value 32 QA bank 203, entry 2

MC 0 or 32: value 0 PCH: value 99 QA bank 209, entry 9

MC 0 or 32: value 1 PCH: value 4 QA bank 210, entry 4

MC 0 or 32: value 1 PCH: value 28 QA bank 212, entry 8

MC 0 or 32: value 2 PCH: value 44 No change; MC 0 or 32 value 2 is invalid in 200s bank.

MIDI Mode

Program Change Formats

10-13

value 0–99 to select a bank and entry, or a pair of PCHs, the first having a value of 100–107 to

select a different 10-bank range.

QA 0–127

Finally, there’s the QA Bank format for use with older MIDI devices (program change

commands 0–127 only). It works similarly to the other QA formats, but the allowable range of

values is limited to 0–107.

QA Formats and MIDI Transmission

If you’re in Quick Access mode and you’re using one of the QA formats for the program change

type, selecting QA banks or bank entries from the K2661 (with the alphanumeric buttonpad, the

cursor buttons, the Alpha Wheel, the Plus/Minus buttons, or the Chan/Bank buttons) also sends

corresponding program change commands to the K2661’s MIDI Out port. The nature of these

commands depends on the value of the ProgChgType parameter. The K2661 sends either an MC

0 or 32 message followed by a PCH (when ProgChgType is QA Ext), or a pair of PCHs (when

ProgChgType is QA Kurz) or a single Program Change command (when ProgChgType is QA 0–

127). The following tables give specific examples.

Current

QA Bank

Entry From

Alphanumeric Pad

Commands Sent

MC 0 or 32 PCH

10010

19019

20020

29029

99099

10 0 1 0

19 9 1 99

20 0 2 0

29 9 2 99

75 9 7 59

100 0 0 0

105 9 0 59

110 9 1 99

117 7 1 77

119 9 1 99

Table 10-1 QA Extended Program Change Examples

Current QA Bank Entry From Alphanumeric Pad Commands Sent

1 0 100 10

1 9 100 19

2 0 100 20

2 9 100 29

9 9 100 99

10 0 101 0

Table 10-2 QA Kurz Program Change Examples

10-14

MIDI Mode

The Soft Buttons in MIDI Mode

The Soft Buttons in MIDI Mode

The first three soft buttons select the three MIDI-mode pages. The PrgChg soft button lets you

send a program change command on any MIDI channel. The RsetCh soft button lets you return

all channel parameters to their default values. The Panic soft button sends an All Notes Off and

an All Controllers Off messages to the K2661 and on all 16 MIDI channels.

Program Change (PrgChg)

When you press this soft button, a dialog appears:

Send|Program|Change:||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

On|Channel||2,|Send|Program|||0|||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Chan-||Chan+||Prog-||Prog+||Send||Cancel

This dialog lets you send program changes out the MIDI Out port, but does not change internal

programs. The Chan/Bank buttons, the Up/Down cursor buttons, and the Chan– and Chan+

soft buttons can all be used to change the channel on which the program change command will

be sent. The Left/Right cursor buttons, the Plus/Minus buttons, the Alpha Wheel and the Prog–

and Prog+ soft buttons can all be used to change the program change number that will be sent.

When you’ve set the channel and the program change number, press the Send soft button to

send the program change command. Or press the Cancel soft button if you don’t want to send it.

You can change the channel and the program number as many times as you want before you

press Send. You also can use the alphanumeric pad to select a program number directly.

Reset Channels (RsetCh)

When you press this soft button, the K2661 asks if you want to reset all channels. If you press

Yes, all settings on the CHANNELS page will return to their default values. For example, you

may have set several MIDI channels to route their audio to Output Group B for a special project.

When the project’s over, you can reset the Channels to restore the audio routing to each

individual program (a value of Prog), rather than selecting each channel’s page and setting the

Pair parameter back to a value of Prog. Press No if you decide not to reset the channels.

Panic

Panic sends All Notes Off and All Controllers Off messages to the K2661 and all MIDI channels.

19 9 101 99

20 0 102 0

29 9 102 99

75 9 107 59

100 0 100 0

105 9 100 59

110 9 101 99

117 7 101 77

119 9 101 99

Current QA Bank Entry From Alphanumeric Pad Commands Sent

Table 10-2 QA Kurz Program Change Examples

Master Mode

The Master Mode Page

11-1

Chapter 11

Master Mode

Press the Master mode button to enter Master mode, which contains parameters affecting the

K2661’s overall performance.

The Master Mode Page

On the Master-mode page you’ll find parameters for setting the overall tuning and transposition

of the K2661, the MIDI channel to be used for KB3 programs (explained below), and for several

keyboard and programming adjustments. You can also enter the sampler from the Master-mode

page.

Master||||||Samples:8192K|||Memory:485K|

Tune||||||:0ct||||||||||||||||||||||||||

Transpose|:0ST||||||||||||||||||||||||||

KB3Chan|||:1||||||||||||||||||||||||||||

VelTouch||:1|Linear|||||||||||||||||||||

PressTouch:1|Linear|||||Confirm||:On||||

Intonation:1|Equal||||||IntonaKey:C|||||

Object|Delete||Util||Sample|||GM|||MAST2

Tune

Adjusting the value of this parameter tunes every program in the K2661 by the amount you

specify. Tuning can be adjusted up or down 100 cents (one semitone) in one-cent increments.

This parameter is useful for getting in tune with recordings and acoustic instruments. Adjusting

the tuning in Master mode does not change the settings on the PITCH page of individual

programs, but will be added to any adjustments you make there. Master-mode tuning

adjustments affect only the K2661’s notes, and not notes sent via MIDI.

Parameter Range of Values Default

Tune ± 100 cents 0

Transpose ± 60 semitones 0

KB3 Channel 1 to 16 1

Velocity Touch Velocity Map list 1 Linear

Pressure Touch Pressure Map list 1 Linear

Intonation Intonation Table list 1 Equal

Confirm On, Off On

IntonaKey C–BC

11-2

Master Mode

The Master Mode Page

Transpose

Like the Tune parameter above, Transpose affects every K2661 program, but not those notes sent

to the MIDI Out port. You can adjust the MIDI transposition on the TRANSMIT page in MIDI

mode.

KB3 Channel

The architecture of KB3 programs is completely different from the architecture of regular VAST

programs. KB3 don’t have layers containing keymaps and samples that get played with each

keystrike. Instead, they have an array of oscillators that are constantly running, which requires a

different kind of processing (and more of it). Consequently, a KB3 program won’t run on a

“normal” MIDI channel. It has to have a special channel that processes note information

differently. And that’s what the KB3 Channel parameter does.

There can be only one KB3 channel, although you can set it to be any of the 16 MIDI channels.

It’s like saying “OK, I want Channel 1 to be the channel that plays KB3 programs. All the other

channels are for regular programs and other stuff.”

Any program can play on the KB3 channel, but KB3 programs can play only on the KB3 channel.

If you’re on a keyboard channel that’s not the KB3 channel, and you select a KB3 program, the

program’s name appears in parentheses in the display, and you won’t be able to trigger any

notes on that channel. In this case the box at the left of the display reminds you which channel is

the KB3 channel.

Velocity and Pressure Touch (VelTouch and PressTouch)

If you change the setting of the VelTouch parameter, remember that it also has an effect on the

transmit velocity map (which is on the MIDI-mode TRANSMIT page).

Intonation

Most modern western music uses what is known as equal temperament. This means that the

interval between each semitone of the 12-tone octave is precisely the same as every other

interval. Many different intonation intervals have evolved over the centuries, however, and the

K2661 supplies you with 17 different intonation “tables” to choose from. (There are also a few

extra “tables” listed, which we’ll describe in a moment.) By changing the value for this

parameter, you select from among the intonation tables stored in the K2661’s memory. Each of

these tables defines different intervals between each of the semitones in a single octave.

Scroll through the list of Intonation tables, and listen for the differences between semitones.

Some of the intervals between semitones may be quite different from equal intonation, but

you’ll notice that all notes are precisely tuned with notes that are an octave apart. This is because

the intonation tables set the intervals within a single octave, and apply those intervals to each

octave. If this doesn’t make sense, the explanation of the Intonation Table Editor, in Chapter 18

of the Musician’s Guide will help clarify things. If you’re hoping to create fully microtonal

tunings by editing intonation tables—sorry, that’s not possible. But you can create microtonal

tunings using the Keymap Editor; see Chapter 14.

Master Mode

The Master Mode Page

11-3

Determining the Version Number of Your ROM Objects (Intonation Tables 18–22)

As you’re scrolling through the list of intonation tables, you may notice a listing for an

eighteenth intonation table with a name such as 18 Obj vn.nn. This isn’t really another

intonation table. Rather, this is where the K2661 stores the version number of some of your ROM

objects. If you ever need to find out what version of ROM objects you’ve got loaded, this is

where you look. Simply go to the Master page, then scroll the Intonation parameter until 18 is

displayed. If you have more than one block of ROM objects installed, you’ll see additional

“tables,” up to and including 22. And don’t forget to return to your correct intonation table

when you’ve checked the version numbers of your ROM objects.

List and Description of Intonation Tables

In general, you should select a nonstandard intonation table when you’re playing simple

melodies (as opposed to chords) in a particular musical style. When you use intonation tables

based on pentatonic scales, you’ll normally play pentatonic scales to most accurately reproduce

those styles. An excellent reference source for further study of alternative tunings is Tuning In:

Microtonality in Electronic Music, by Scott R. Wilkinson.

1 Equal No detuning of any intervals. The standard for modern western

music.

2 Classic Just Tunings are defined based on the ratios of the frequencies

between intervals. The original tuning of Classical European

music.

3 Just Flat 7th Similar to classic Just, but with the Dominant 7th flatted an

additional 15 cents.

4 Harmonic The perfect 4th, Tritone, and Dominant 7th are heavily flatted.

5 Just Harmonic

6 Werkmeister Named for its inventor, Andreas Werkmeister. It’s fairly close to

equal temperament, and was developed to enable transposition

with less dissonance.

7 1/5th Comma

8 1/4th Comma

9 Indian Raga Based on the tunings for traditional Indian music.

10 Arabic Oriented toward the tunings of Mid-Eastern music.

11 BaliJava1 Based on the pentatonic scale of Balinese and Javanese music.

12 BaliJava2 A variation on 1Bali/Java, slightly more subtle overall.

13 BaliJava3 A more extreme variation.

14 Tibetan Based on the Chinese pentatonic scale.

15 CarlosAlpha Developed by Wendy Carlos, an innovator in microtonal

tunings, this intonation table flats each interval increasingly,

resulting in an octave with quarter-tone intervals.

16 Pyth/aug4 This is a Pythagorean tuning, based on the Greek pentatonic

scale. The tritone is 12 cents sharp.

17 Pyth/dim5 This is a Pythagorean tuning, based on the Greek pentatonic

scale. The tritone is 12 cents flat.

18–24 Obj vn.n Not an intonation table; indicates version number of K2661

ROM objects.

11-4

Master Mode

The MAST2 Page

Confirm

Confirmations are special displays that the K2661 shows you when you are about to alter

memory permanently. The confirmations ask if you really want to do what you’re about to do,

and give you another chance to cancel the operation you’re about to execute. With the Confirm

parameter set to Off, these prompts do not appear. You’ll still be alerted before doing something

that might cause you to lose your work, but your margin of error is slimmer with confirmations

turned off.

Intonation Key (IntonaKey)

This sets the tonic, or base note from which the currently selected intonation table calculates its

intervals. If you select G as the intonation key, for example, and the intonation table you select

tunes the minor 2nd down by 50 cents, then G# will be a quartertone flat relative to equal

intonation. If you change the intonation key to D, then D# will be a quartertone flat. If you use

nonstandard intonations, you’ll want to change the intonation key as you change the key you’re

playing in. If the Intonation parameter is set to Equal, changing IntonaKey has no effect.

You can also set the intonation key from an external MIDI device. Note On events at C -1

through B -1 (MIDI note numbers 0 through 11) will set the intonation key at C through B,

respectively.

To trigger notes in the range required to set the Intonation key, you can transpose the K2661

temporarily from its front panel, or from your MIDI controller if it has the ability. Alternatively,

you could create a setup with just the lowest octave transposed down two octaves, then select it

when you want to change the Intonation key. If you’re driving your K2661 from a sequencer,

you could simply insert the appropriate note events anywhere in the sequence to change the

intonation key.

The MAST2 Page

Press the MAST2 soft button to reach the MAST2 page:

Master2||GM|Samples:8192K|||Memory:485K|

||||||||||||||||||||||||||||||||||||||||

Vocoder|||:Off||||||||||||||||||||||||||

View|Mode|:List|||||||||||||||||||||||||

Digital|Output|Format:|AES||||||||||||||

Digital|Output|Length:|24|Bit|||||||||||

||||||||||||||||||||||||||||||||||||||||

Reset||||||||||||||||||||||||||||||MAST1

The MAST2 page enables you to perform a hard reset of your instrument (this deletes

everything in RAM, so be careful!), and to turn the vocoder feature on and off.

Master Mode

The MAST2 Page

11-5

The Vocoder

Vocoding is a special feature that allows you to use an input signal to control another audio

(slave) signal. Typically you would use a synthesizer for the input signal, although in fact you

can use any sound source. You must have the sampling option to be able to use the vocoder.

Cables and Connections

Using the K2661 for Both Input and Slave Signals

You’ll need an insert cable (Y cord) with a 1/4-inch stereo (Tip/Ring/Sleeve) plug (male) on one

end and 2 mono jacks (female) on the other end. The right side mono jack should be 1/4-inch.

The left side can be either 1/4-inch or XLR. (You will be plugging a Mic into the left side, so if

the insert cable has a 1/4-inch jack, you’ll need an adapter from XLR to 1/4-inch.)

1. Plug the stereo side of the insert cable into the 1/4-inch stereo Sample Input.

2. Connect a microphone to the left mono jack of the insert cable. It must be the left input.

3. Connect the B Right output of the K2661 to the right mono jack of the Insert cable.

Using the K2661 for Input Signal and External Source for Slave Signal

There are two setup methods for this configuration. Here’s the first:

You’ll need an insert cable (Y cord) with a 1/4-inch stereo (Tip/Ring/Sleeve) plug (male) on one

end and 2 mono jacks (female) on the other end. The right side mono jack should be 1/4-inch.

The left side can be either 1/4-inch or XLR. (You will be plugging a Mic into the left side, so if

the insert cable has a 1/4-inch jack, you’ll need an adapter from XLR to 1/4-inch.)

1. Plug the stereo side of the insert cable into the Stereo Analog Input of the sampler.

2. Connect a microphone to the left mono jack of the insert cable. It must be the left input.

3. Connect the output of your external sound source to the right mono jack of the insert

cable.

The second method:

1. Connect a microphone into the left low impedance input (XLR) of the sampler.

2. Connect your external sound source to the right low impedance input (XLR) of the

sampler.

Final Audio Output

You must have audio cables connected from the A outputs on the K2661 to your mixer or amp.

Don’t use the Mix outputs.

MIDI

If your external slave is a rack (or it is a keyboard but you want to use the K2661’s keyboard to

control the slave), connect a MIDI cable from the MIDI Out port of the K2661 to the MIDI In port

of the slave.

Setting Up the K2661

1. Go to Sample mode (press the Sample soft button in Program, Setup, or Quick Access

mode).

11-6

Master Mode

The MAST2 Page

2. Set the Input parameter to a value of Analog.

3. Set the value of the Source (Src) parameter to External (Ext).

4. Set the value of the Mode parameter to LiveIn.

5. Verify that mic signal is on the left side only. Adjust the Gain parameter as needed, to get a

good signal level.

6. Verify that your sound source (either the K2661 or external source) is on the right side

only.

7. Go the Effects-mode page and make sure that the FX Mode parameter is set to Auto and

the FX Chan parameter is set to Current.

Enabling Vocoder Mode

1. Load the file VOCODER.K26 into any bank. It’s provided on the CD-ROM and

SmartMedia card. See Chapter 13 if you need help loading a file.

2. Go to Master mode.

3. Press the MAST2 soft button.

4. Set the value of the Vocoder parameter to On.

5. Exit from Master mode (press any of the other Mode buttons).

Note that enabling the vocoder activates special software, which replaces the software used for

the SHAPE2 and AMP MOD OSC functions in the F3 block of an algorithm. Therefore any

programs that use SHAPE2 and AMP MOD OSC in the F3 block will sound different while the

vocoder is active. Turning the Vocoder parameter Off will restore those DSP functions and

disable vocoding.

Using the Vocoder

Go to Setup Mode and select one of the setups in the memory bank where you just loaded the

vocoder file. If you are using an external sound source for your slave, choose the setup Vocoder-

ExtSlave. If you are using the K2661 as the input source for the slave, then you can choose either

Vocoder-22 Band or Vocoder-20 Band. The 22-band vocoder will allow you to play up to 4

voices of polyphony on the slave program; the 20-band vocoder will allow you to play up to 8

voices of polyphony on the slave program.

Play a note or chord on your keyboard and speak into the microphone. You should be able to

hear what you are speaking, but the sound will be a string sound (assuming you are using the

K2661 as the slave source), pitched to the note or chord you are playing.

Try moving Sliders A, B, and C, and listen for changes in the sound. Since the setups contain

entry values for these sliders, you may have to move the slider across its full range before it

begins to take effect.

Effects Issues and Output Issues

The studio assigned to the vocoder setups is configured in the following manner: If you are

using the K2661 for the slave signal, the slave program (in zone 3) has its output assigned to

KDFX-B, which is being routed to the FXBus2, with no effect. On the OUTPUT page in the Setup

Master Mode

The MAST2 Page

11-7

Editor, Output B is set to FXBus2, thereby sending the signal from the slave program to the B

outputs and from B Right into the right side of the sample input.

The slave program has its output panned hard right within the program, so if you decide to try

using a different slave program, you will probably want to edit the program itself to pan its

output hard right, so you get 100% of the signal. You don't need to worry about setting the

output pair within the program, because the Out parameter on the CH/PRG page of the Setup

Editor is set to KDFX-B in zone 3, thereby overriding any settings from within the program.

The vocoder programs themselves are assigned to KDFX-A, which is being routed to FXBus1.

On the OUTPUT page in the Setup Editor, Output A is set to Mix. So the final output of the

vocoder programs is run through the effect and then comes out the A Outs and the Mix Outs.

Don’t use the Mix audio outputs, however, or you’ll hear the slave program along with the

vocoder.

If you choose to change the effects, you may find it easier to edit the vocoder studio, and try

changing the effects assigned to FXBus1, FXBus2, and AuxFX. But if you want to change to a

different studio, you will need to make sure the following parameters are set correctly: on the

FXBUS page, for FXBus2, set the Level parameters for both Aux and Mix to Off, and on the

OUTPUT page, set Output B to FXBus2.

How Vocoding Works

A vocoder is a device that analyzes the time-varying audio spectrum of one signal (the master)

and imposes that spectrum as a filter on a second signal (the slave.) The method we use is an

emulation of the traditional analog technique involving banks of bandpass filters and envelope

followers.

The master signal is what you send from the microphone, and the slave signal is what you send

from an external synthesizer or other sound source, or a program from the K2661.

The master signal is sent to a number of bandpass filters in parallel. The center frequencies are

spaced to cover the most useful frequencies. The lowest frequency filter is a low pass rather than

a bandpass, which groups all low-frequency components together. Likewise, the highest filter is

a high pass. The outputs of all these bandpass filters go into individual envelope followers,

which detect the level of signal present in each band. The output of the envelope follower is then

used as a control for the slave signal.

The slave signal is also sent to the same number of bandpass filters. These generally have the

same center frequencies as the master bandpasses. The output signals from the slave bandpasses

are multiplied, one by one, by the outputs of the envelope followers (from the master signal).

The resulting products are all added together for the final output.

Since each band requires two layers (one for master and one for slave), the largest number of

bands you can have for vocoding is 24. (24*2=48, which is your maximum polyphony.) The

programs in the Setup called Vocoder-ExtSlave use 24 bands. If you want to use the K2661 to

generate your slave signal, then you have to use either the 22- or 20-band vocoder setups, which

have fewer bands, and therefore leave 4 or 8 voices of polyphony available for the slave signal

program.

Since 48 (or 44 or 40) layers are used, and a drum program has a maximum of 32 layers, we use

two 24 (or 22 or 20) layer programs, on different MIDI channels, that are combined in a setup.

Each of the setups has 3 zones. In the 22- and 20-band vocoder setups, the first two zones are

used for the vocoding programs and the third zone plays the internal program that is used for

the slave signal. In Vocoder-ExtSlave, the third zone is set to transmit via MIDI only, on

Channel 1. (This allows you to play your external sound source, but won't play a K2661 internal

program.)

11-8

Master Mode

The MAST2 Page

Layers are grouped in pairs, with the master signal going to the first layer, and the slave to the

second. All odd numbered layers are master and all even numbered layers are slave. If you look

at the algorithms in the vocoding programs, you will see that the first two DSP blocks (after

PITCH) of each layer are a bandpass filter (or low pass or hi pass filters for the first and last

bands). The first layer then has a DSP called MASTER, while the second layer has a DSP called

SLAVE. These stages are then followed by an AMP stage. These DSP blocks perform the

function of an envelope follower and gain multiplication.

The signal flows from the odd numbered (master) layer to its associated even numbered (Slave)

layer (for example, from layer 1 to 2), which is something that does not happen in other

algorithms. The low pass frequencies controlled by the third time slot for each layer set the

response speed of the envelope follower. They are normally set to the same frequency. The

master layer controls the frequency of one pole of low pass filtering, and the slave layer controls

two more poles.

The AMP page on the master layer does nothing. There is no output from this layer, so any

settings on the OUTPUT page don't matter. The slave layer's AMP page does do an actual

amplitude control. The output pages for slave layers are active, and can be used to choose the

output group and set the step panning.

All of the master layers use the LiveIn Left keymap and all of the slave layers use the LiveIn

Right keymap. That is why you must plug the microphone into the left side of the sample input

and the slave source into the right side.

As is always the case with Live mode, a note message is required in order for an incoming signal

to be processed through VAST. Therefore, the two layers in the setup assigned to the vocoding

programs have Pswitch2 set to generate a C4 with a velocity of 127, as soon as the setup is

selected. That note remains on until you select a different setup. The setups are edited so that

none of the notes on an 88 note keyboard are assigned to either of the two vocoding programs

Real-time Control of the Vocoding Programs

The most important control parameter is the envelope follower speed, set by the third time slot

low pass parameters. These are set to C 6 on all the layers for the initial level. Slider A (MIDI 6)

lowers the cutoff up to 8 octaves (9600 cents). Therefore, the higher you raise the slider, the

slower the envelope follower speed. C 6, as a filter cutoff, has a time constant on the order of one

millisecond. This is generally too fast. For best results, this should be lowered about 4 octaves to

C 2 (half the range of the Data Slider), to a time constant of 16 milliseconds. Too slow and the

vocoder will not respond to quick transients, like consonants, and too fast will result in a jittery

sort of sound, as the envelopes follow every little fluctuation. At the fastest possible setting, the

envelopes follow the master audio signal itself, and an extremely harsh intermodulation is

heard between master and slave. The vocoder setups have an entry value of 64 for this slider, so

when the setup is selected it is the equivalent of having the slider halfway up.

Slider B (MIDI 12) is used to control the width of the band pass filters (for all bands except the

lowest and highest). The vocoder setups have an entry value of 10 for this slider, the equivalent

of having the slider at the first dot above the bottom.

Slider C (MIDI 13) transposes the center frequencies of all the slave bandpasses upward

together. It gives you the same result as pitch shifting the master signal up. Vocal formants will

be munchkinized as you bring the slider up. The vocoder setups have an entry value of 0 for this

slider, the equivalent of having the slider at the bottom.

Additional Notes and Programming Suggestions

The classic application of a vocoder is to make instrumental sounds talk/sing. The slave signal

has to have a lot of high frequency content, or the consonants will not be heard clearly. However,

there is no rule set in stone that you must speak words into the microphone. Using the vocoder

Master Mode

The MAST2 Page

11-9

just as a timbral control can be just as interesting. You can get very expressive results by using

your voice to control a lead line, doing the articulation and filter control by talking, singing, or

just making various vocal sounds. You can get some of the same types of results you would by

using a breath controller. It’s a little like having a 24-band graphic equalizer, but instead of

controlling it with your hands, you use your voice.

Furthermore, you don't even have to use a microphone as the master. You can send a signal from

anything else that has varied timbral content and get interesting results. For example, the master

signal could be a drum loop or some other recorded sound that changes timbres regularly.

The analog sample inputs on the K2661 are line level, not mic level. This means you have to

boost the gain on the sample page to get a good signal. But this also increases the general noise

level of the input signal. If you have a mic preamp, or plug the mic into a mixing board before

sending the signal to the K2661, you can lower the Gain parameter and start with a much

cleaner signal. This is highly recommended.

In addition, you will find you get better results if you run the preamped mic signal into a

compressor before sending it to the K2661. This can also be done for the slave signal. Using

compressors will give you a much more even dynamic result, making it easier to play and

control your sound. This is because the dynamic range of the master and slave signals is added

together. For example, let’s say both the master and slave signals have a dynamic range of 20 dB.

The resulting signal will have a dynamic range of 40 dB, giving you a very wide range between

the softest and loudest signals you can produce.

One way to improve intelligibility is to mix in a little of the master signal into the final audio

output. This can be done in a couple of ways. If you run the mic into a mixer, you can split the

signal, sending it both to the K2661 as well as to your final mix.

A second way is to include it in the vocoder program. You can do this by editing one of the

programs in the 22- or 20-band vocoder setups. You would want to add a layer to the program

(it doesn't matter which one of the two programs you edit). Set the Keymap for the layer to

LiveIn L and choose Algorithm 1 with the DSP function set to NONE. You could then control the

amount of the signal by editing the Adjust parameter on the F4 AMP page (or even assign a

control source to vary the amount).

You could then try various algorithms and DSP functions to further modify the signal. Running

the signal through a high pass DSP to emphasize vocal articulations is one obvious example.

Just make sure that you don't use the SHAPE 2 or AMP MOD OSC DSP functions. In that case,

the master signal won't be output.

If you are using the K2661 for the slave signal, try editing the slave vocoder program. A simple

thing to try is to choose a different keymap. The AMPENV in this program has been set to User,

with a lengthy decay, so you can even choose decaying sounds such as guitar, and get

interesting results. And of course, you can choose other programs as the slave.

And of course, you should try making some of your own programs to use as a source. Just edit

the setup and change the program in zone 3 to your new program. For example:

• Use an LFO to modulate the center frequencies of the slave bandpasses, or the master

bandpasses.

• Try panning alternate bands of the slave layers to L and R to create a “fake stereo” program.

• Try different center frequencies from the ones used in the preset programs.

• Currently the center frequencies of the slave layers match the master layers. Try scrambling

the slave frequencies relative to the master frequencies.

11-10

Master Mode

The MAST2 Page

• If you are using the K2661 for the slave signal and need more polyphony, you can delete

some of the layers in the vocoding programs. Make sure to delete matching sets of master

and slave layers. You will probably want to readjust the frequencies and widths of the

remaining layers accordingly.

More applications

Instead of using a microphone or other external source for your master, you could use the K2661

to generate both the master and slave signals. There are two ways you could set this up. You can

either edit the setup to add another program on a 4th zone, or you could edit the slave source

program to add more layers. Then split the keyboard so that one side plays the master zone/

layers and the other side plays the slave zone/layers. On the OUTPUT page, make sure all the

master layers are assigned to B and panned hard left and the slave layers assigned to B and

panned hard right. You will then have to alter the wiring setup described at the beginning of this

document so that the B Left jack is going to the left side of the stereo sample input.

If you edit width of the master layers so that they are extremely narrow, and set the frequencies

to a specific scale pattern, then if you sing into the microphone, you will only hear sound as you

sing the specific pitches in that scale.

If you edit the width of the slave layers so that they are extremely narrow, then you will get a

very pure tonal sound, hearing only very specific pitches depending on the harmonic content of

the master.

Another possibility for using very narrow width master layers: Edit the slave layers so that

instead of using a series of bandpass filters, each slave layer uses different DSP functions in the

F1 and F2 slots (remember that the F3 slot still needs to be set to LPCLIP in order for the

vocoding function to work—you can change algorithms as long as the algorithm allows LPCLIP

to be selected for the F3 slot). Now, if you sing various pitches, the slave signal will be played

through the various corresponding VAST algorithms.

It is actually possible to use samples in RAM (or ROM) instead of the Live Mode In for either the

master or slave signals (or even both of them). Just change the Keymap parameter on the

KEYMAP Page. (Remember that you need to edit the Keymap parameter on all master and/or

slave layers.) In this case, the keymap would be playing a single held sample, so you will want

to use a looped sample. Loops with changing harmonic content will work best. The note used in

the setups is C 4, so you would want the sample root at C 4 to hear it back without transposition.

You will need to edit the layers, save the programs, and reselect the setup before you will hear

the change. If both the master and slave layers call up samples in the unit, then as soon as you

select the setup, you will hear sound without even touching the keyboard! You might want to

assign a slider to the F4 AMP page on the slave layers to control the amount of output. If the

master and slave layers are loops of slightly different lengths, then you will hear a continually

changing sound that could appear to go in indefinitely without changing.

Continuing with the previous suggestion, you could set the slave layers to different keymaps,

each layer assigned to a different sample loop. Edit the DSP functions on the slave layers so that

F1 and F2 are set to NONE, or some other DSP function. Set the master layers to very narrow

widths. Now, as your master signal changes frequencies you will hear different sample loops

fading in and out.

View Mode

Change the View Mode parameter on the MAST2 page to Large to set the view mode to large

format; change it to List to return to normal view. The large-type view affects Program, Setup,

and Quick Access modes. When you’re in these modes, program names, setup names, and

Quick Access-bank entry names appear in large, easy-to-read type.

Master Mode

The Soft Buttons in Master Mode

11-11

Digital Output Format

Change this parameter to set the K2661's digital output stream to your preferred format. The

default is ADAT 8-channel digital. Other values are AES Pro, also known as AES/EBU, and AES

Cons, also known as S/PDIF. This global parameter is remembered across power cycles, and is

not part of any setup or KDFX studio.

To use ADAT In, the K2661's ADAT Out cable must be connected to the sending device. K2661

must be the “master,” and the other device(s) must "slave" to it. Output sample rate (and

therefore input as well) is fixed at 48 kHz.

AES Output Length

Change this parameter to set the AES digital word length of the K2661's digital output stream.

The default is 24 Bit, which is preferred for most applications. Reducing the bit length will

reduce the dynamic range of your sound and may increase audible noise. However, some older

digital equipment may not be able to work with 24 bit data, and you may have more satisfactory

results by reducing the word length at the K2661 output stage. This global parameter is

remembered across power cycles, and is not part of any setup or KDFX studio.

When you change the digital word length, the signal going to the analog outs is affected, too.

For this reason, if you are only using the analog outputs you should keep this parameter set to

24 Bit (the default).

The Soft Buttons in Master Mode

Object

This soft button brings up the object utilities. They’re described beginning on page 11-15.

Delete

This soft button brings up the delete bank dialog, enabling you to erase sets of objects, either

entire banks or all objects, from RAM. If the Confirm parameter on the Master-mode page is set

to a value of On, you’ll be given an extra chance to cancel before the set of objects is actually

deleted. Once the deletion is complete, the objects are irretrievable, so you may want to save

objects to disk before deleting them from RAM.

To delete individual objects, use the functions that are available when you press the Object soft

button.

11-12

Master Mode

The Soft Buttons in Master Mode

Util

With this button you call up the Utility page, which gives you access to four analytic and

diagnostic tools. Double pressing the two center soft buttons from any editor is another way to

get to the Utility page. The Utility page looks like this:

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|Select|what|to|display:||||||||||||||||

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MIDI||Objects|Voices|Stealer|||||||Done|

The MIDI soft button launches MIDIScope™, a useful subprogram that lets you monitor the

MIDI messages from the K2661’s keyboard and those received via MIDI. This is a good way to

make sure you’re receiving MIDI from MIDI masters. It’s also good for making sure your

controls are assigned where you want them, checking your attack velocities, etc.

The Objects soft button displays the entire list of objects stored in RAM. This is an easy way to

check the object ID of any object you’ve created. You cannot manipulate objects, though, as you

can with the Objects Utility (see page 11-15).

When you press the Voices soft button, the display shows the K2661’s active voice channels as

you play. Blocks of capital Xs in six columns of eight represent the 48 notes that the K2661 can

play simultaneously. The Xs change to lower case xs, then to commas and periods, then finally

drop out as each voice releases or decays to silence.

This feature gives you an indication of the envelope level of each voice, though not necessarily

the volume level. Nonetheless, this can give you a valuable indication of how your voices are

being used. For example, if all or most of the voices are being represented by capital Xs, then

there’s a good chance that when voice stealing takes place an audible voice will be reallocated.

The Voices utility works a bit differently for KB3 programs. The K2661 uses one voice of

polyphony for every two tone wheels in a KB3 program. In the Voices utility, the voices used by

the tone wheels appear as Xs, meaning that the voices are used for the KB3 program. They don’t

get reallocated at any time, since they’re always on, even if you’re not playing any notes. Any

voices not dedicated to a KB3 program behave normally. So if you have a setup that contains a

KB3 program in one zone, and VAST programs in one or more other zones, you can monitor the

voice allocation of the non-KB3 voices in the section of the display that isn’t constantly filled

with Xs.

Use the Stealer soft button to select a display that will show how the K2661 is allocating its 48

voice channels. When you trigger a note, the note number will appear in one of the display’s

three columns, and will remain visible while the note is sustained. The four-digit numeral you

see is an internal value that has no direct significance.

As long as fewer than 48 voice channels are being used, new note numbers will appear as you

play additional notes, and the note numbers for notes that have decayed or have been released

will disappear. When all 48 voices have been activated, the display will show which voice

channels are shut off (“stolen”) to enable new notes to play.

Press the Done soft button when you are finished with the Utility page. This is the same as

pressing the Exit button.

Master Mode

The Soft Buttons in Master Mode

11-13

Sample

Press the Sample soft button to enter the K2661’s sampler. Refer to Chapter 14 for complete

information on the sampler.

GM

Press the GM soft button to call up the GM page:

Master:GM|||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

GM||||||||:On|||||||||||||||||||||||||||

GM|Studio|:500|GM1|Room|||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||MAST1

Enable GM Mode by setting the GM parameter to On. When GM is on, GM is displayed on the

top line of the screen. This happens on all of the K2661’s main pages.

The GM Studio parameter sets the FX Studio that will be used by GM programs. Six GM

Studios are included, providing different reverb and chorus-plus-reverb settings.

500 GM1 Room

501 GM2 Chamber

502 GM3 Hall

503 GM4 Chorus+Room

504 GM5 Chorus+Chmbr

505 GM6 Chorus+Hall

The default GM Studio (GM1 Room) is at ID 500. Use the GM Studio parameter to select a

Studio which best complements your program material.

Here’s what happens when you enable GM Mode:

• On all channels except channel 10 (which GM uses for drums), you will see only the 128 GM

programs. On MIDI channel 10, you will see the eight drum kits.

• The K2661 will modify the following entries in the master table:

• FX mode (GM uses Master mode)

• FX channel (GM uses None)

• FX studio (GM uses the studio selected in GM Studio set on the Master: GM page)

• Receive velocity map (GM uses the GM Receive Velocity Map)

• progChgType (GM uses 0-127 mode)

Old settings will be remembered, however, so that when you turn GM Mode off the K2661

will restore your previous settings.

• Volume and expression controllers are mapped to a special GM curve, as in “GS” synths.

(GS is a superset of General MIDI that is used by the Roland Sound Canvas and other

products.)

• GM drum kits are mapped across program number space as in the “GS” synths, and have

exclusive zones included with them.

11-14

Master Mode

Guitar/Wind Controller Mode

• Program changes sent to the K2661 when it is in GM Mode will only select programs from

the GM program set.

Setups, Songs, and QA Banks created outside of GM Mode will not point to the correct programs within

GM Mode (although you may find the results “interesting”).

Similarly, Setups, Songs, and QA Banks created within GM Mode will not point to the correct programs

when you leave GM Mode. For this reason, when you create Setups, Songs, or QA Banks within GM

Mode you may want to append the letters “GM” to the object’s name and/or store the objects only in

certain banks.

Reset

This button is on the MAST2 page. Press the Reset soft button if you want to return your

K2661’s memory to the state it was in when you bought it.

Caution! The K2661 will ask you if you want to delete everything (meaning all RAM objects), and a pair

of Yes/No soft buttons will appear. Press No if you want to keep any objects you may not have saved.

Press Yes, and everything stored in RAM will be erased. All parameters will be restored to default values.

After a few seconds, the K2661 will return to the Program-mode page.

Guitar/Wind Controller Mode

If you are using a wind controller or guitar controller with your K2661, you may not always get

the sound you expect. Since these controllers will sometimes send a MIDI Note On command

before sending Breath or Volume data, the attack transients that characterize each instrument

may not get generated properly.

Consequently, the K2661 provides a special mode that may improve its response to your guitar

or wind controller. To enter Guitar/Wind Controller mode, press both Chan/Bank buttons while

in Master mode, then confirm with the Yes soft button.

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Enable|Guitar/Wind|controller|mode?|||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||Yes|||No||

Guitar/Wind Controller mode slightly delays MIDI Note On and Note Off commands, so that

response to pitch bend and other expressive components of a note will be more accurate. If

you’re hearing a glitch in the attack of notes from your guitar or wind controller, you should try

setting your K2661 to this mode. Keep in mind, however, that since this mode slightly changes

the order in which MIDI commands are sent, it may affect the performance of the K2661 under

some circumstances.

Restarting the K2661 or performing a soft reset disables Guitar/Wind Controller mode.

Master Mode

Object Utilities

11-15

Object Utilities

Object Utility functions are useful for moving or copying objects into various banks, naming or

renaming objects, deleting objects, and dumping objects over MIDI. To access these functions,

press the Object soft button while in Master mode. You will see the following dialog:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Select|database|function:|||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|Move|||Copy|||Name||Delete|Dump|||Done|

The soft buttons are used to choose the various object utility functions.

Move Move selected objects to a new bank or a specific starting ID.

Copy Copy selected objects to a new bank or a specific starting ID.

Name Name selected objects.

Delete Delete selected objects.

Dump Dump selected objects over MIDI.

Done Exit from the object utilities.

Each function’s multiple object selection interface is identical to the one used in the Save Objects

dialog. For a complete description of this interface, see Saving Individual Objects on page 13-25.

Here is what the Move page would look like (with several objects selected):

Func:MOVE|||||Sel:14/211|||||Index:|||1|

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Sample||200*Zild|20|Ride|Hrd|C|4S|||260K

Sample||201*Zild|20|Ride|Sft|C|4S|||224K

Sample||202*Zild|16|Crash||||C|4S|||341K

Sample||203*Zild|NewBeatOpen|C|4S|||198K

Select||Next|||Type||Multi|||OK|||Cancel

The name of the function is displayed on the top line:

Func:MOVE|

If you press Cancel while in one of the object utilities, you return to the Object Utilities page (the

“Select database function:” dialog pictured above). Any objects that were selected when you

pressed Cancel will still be selected if you subsequently enter a different object utility (by

pressing a different soft button such as Name, for example). The selections are reset when you

exit the Object Utilities page (by pressing the Done button).

11-16

Master Mode

Object Utilities

All of the features of the Save Object dialog are accessible here:

You can use the Multiple Object Selector (described on page 13-34) to select ranges of

objects according to object types, IDs, strings in the object names, or dependent

relationships.

You can quickly select or deselect all objects using the Left/Right cursor and Up/Down

cursor double-presses.

You can audition any of the program, keymap, sample, or song objects by pressing either

the Left or Right cursor button, when the desired object is highlighted. Songs will play

until either cursor button is pressed again. To audition a program, keymap, or sample

object, play a note on your MIDI controller (after pressing the Left or Right cursor

button).

Move

Pressing Move from the Object Utility page takes you to the Move utility. The Move utility

allows you to select any group of objects and move them to a different bank. If you select several

objects of a single type, then you are allowed to set a specific starting ID for the objects, of any

number (0-999). For example, you could move a group of samples from scattered IDs to a

continuous range of IDs starting from ID# 354.

If you move objects that are dependent objects of other objects (such as samples that are

dependents of a particular keymaps,) the parent objects are automatically relinked to their

dependents that have moved. What this means is that you can move any objects to any new ID

numbers, without having to worry if your programs, keymaps or songs will still play correctly.

Moving a Single Object

If you select a single object to move, you will see a dialog similar to the Save/Replace dialog you

see when saving any object.

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Move|Awesome|Click|to:|ID#198|||||||||||

(replace|Click)|||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||Replace|Cancel

Moving Multiple Objects

Select the objects that you want to move, then press OK. You will see the following dialog:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||||||Move|to|bank:200...299|||||||||||

||||||||||||||||||||300...399|||||||||||

||||||||||||||||||||400...499|||||||||||

||||||||||||||||||||500...599|||||||||||

|||||||||||||||||||||Append|Fill||Cancel

Master Mode

Object Utilities

11-17

This is similar to the Load function, where you are asked to choose a bank and mode for

loading. If you have selected more than one object, and all of the selected objects have the same

type, then there will be an additional button available, ID:

|||||||||||||||ID||||Append|Fill||Cancel

Here is a description of the above soft buttons:

Append: Try to use each object’s ID offset within its current bank as the ID offset within the

specified destination bank. If there is already an object at this offset in the new bank, increment

the ID until a free ID slot is found. For example, if you were moving Programs 202, 209, 217, and

230 to the 400s bank, which already has a program at 409, the resulting IDs for the moved

programs would be 402, 410, 417, and 430.

Fill: Use consecutive numbering for each object that is moved, starting from the beginning of

the specified destination bank. Any object IDs that are already being used in the specified bank

will be skipped over. For example, if you were moving Songs 300, 315, 489, and 841 to the 200s

bank, which already contains Songs 200 and 203, then the moved songs’ ID numbers would be

201, 202, 204, and 205.

ID: Use consecutive numbering for each object that is moved, skipping over IDs that are in use

(like Fill mode), starting from the ID that you specify. You will see the following dialog when

you press the ID soft button:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Select|starting|ID:|231|||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||OK|||Cancel

Cancel: Return to the Move object dialog.

The objects are moved as soon as Append or Fill is pressed, or when a starting ID is selected.

After the Move function completes, you will still be in the Move object dialog, and you will still

be scrolled to the previously highlighted object, even if it has moved to a new ID.

Keep in mind that when you only select one object to move, you can replace another object.

However, when you select multiple objects for moving you cannot overwrite any objects.

Copy

Pressing Copy from the Object Utility page takes you to the Copy utility. The Copy utility allows

you to select any group of objects and copy them to a different bank. Only object data is copied,

and not sample data. If you copy a sample object, you will end up with a “copy sample” that

points to the same region of sample RAM as the original.

The operation of the Copy utility is identical to the Move utility just described.

If the objects to be copied in a single operation include any objects grouped together with any of

their dependents, the new copies of the parent objects will reference the new copies of the

dependent objects. As an example, suppose you select Song 400 and its three dependent

11-18

Master Mode

Object Utilities

programs, Programs 200, 210, and 303. If you copy all of these objects at once into the 700s bank,

using Fill mode, you will see the copies at Song 700 and at Programs 700, 701, and 702. Song 700

will reference the copies of the programs (at 700, 701, and 702). In contrast, if you had only made

a copy of Song 400 as Song 700, the song would reference the old programs (at 200, 210, and

303).

Name

The Name utility allows you to rename an object without entering an editor. You can also use

this utility to rename one or more objects with the same name. This is much faster than

renaming each object individually. A lot of times you might want several objects to have the

same name except for a unique identifier at the end of the name. Using this utility function, you

could assign a common name to multiple objects at once, and then quickly name each one a little

differently.

When you press OK after selecting objects, you will see the following dialog prompting you for

an object name, with a suggested default:

|||||||||||||||||||||||||<>KbdNaming:Off

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Object|Name:||||Zither||||||||||||||||||

|||||||||||||||||||||V||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Delete|Insert||<<<||||>>>||||OK|||Cancel

The default name that you see comes from the highlighted object in the object list, regardless of

whether the highlighted object is actually selected. This makes it easy to copy the name of one

object on to another.

As in all naming dialogs on the K2661, you can do a double-press of the Left/Right cursor

buttons to put the naming cursor on the last character of the string. This is helpful when putting

unique characters at the ends of names.

Left/Right cursor button double-press -> Move cursor to the end of the name

The Relink-by-Name feature (described earlier) relies on there being unique names for

dependent objects of the same type, so it is a good practice to make object names unique,

particularly samples.

You can use the keyboard naming feature when naming objects. See page 5-5 for details. You can

also use the string-replacement feature to make multiple changes to object names. See Renaming

Multiple Objects on page 3-7 for details.

Delete

The Delete Objects utility is very useful for reclaiming unused object and sample RAM in your

K2661. This utility allows you to select any arbitrary group of objects for deleting, and audition

them if necessary before getting rid of them. This can be a convenient way to delete individual

or selected groups of objects. However, if you want to delete an entire bank or everything in

RAM, the Delete soft button on the Master-mode page is quicker.

Master Mode

Object Utilities

11-19

If any of the selected objects have dependents that were not selected, you will see the question:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Delete|dependent|objects?|||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||Yes||||No||

If you answer Yes to this question, all dependent objects of the selected objects are deleted,

unless they are being used as dependents of other objects that are to remain in memory.

Answering No will delete only those objects that were selected.

Dump

This utility is for dumping selected objects over MIDI. If any of the selected objects have

dependents that were not selected, you will be asked the question “Dump dependent objects?”

Press OK to initiate a MIDI System Exclusive dump of the selected set of objects, one by one out

the MIDI Out port of the K2661. Dumping everything can generate massive dumps, so you

should know the limits of the device you’re dumping to.You can cancel the dump at any time

with the Cancel soft button.

Note that only sample objects (which contain the Start, Alt, Loop, and End points, as well as the

values of all parameters found on the MISC page in the Sample Editor) are dumped by this

utility, and not RAM sample data. (RAM sample data can be dumped via the MIDI Sample

Dump Standard from within the EditSample page. See Chapter 6 of the Musician’s Reference for

more information on the MIDI Sample Dump Standard.) Dumping the sample object of a RAM

sample is not very useful because the sample memory address ranges are fixed in the object.

This means that if you load the sample object back into the K2661 via MIDI, there is virtually no

way it will point to and play back the same area of sample memory as when it was dumped, let

alone the same sample data. However, this can lead to some interesting results.

Sample objects that reference the K2661’s ROM sample area will reference the same area when

you load them back in via MIDI.

11-20

Master Mode

Object Utilities

Using the Object Utilities from the Editor

You can get to the object utilities while editing any object. This is provided as a convenience, for

example to be able to do certain housekeeping work such as deleting samples to free up room in

your sample RAM, or making copies of objects. Access to the utilities can be done by pressing

the Object soft button from any Save/Replace dialog in the editor:

EditProgram:Save||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Save|Train|Wreck|as:|ID#412|||||||||||||

(replace|Train|Wreck)|||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Object|||||||||||||Rename|Replace|Cancel

You can get to this Save/Replace dialog when editing an object by either exiting after you have

modified the object, or pressing the Save soft button.

If you try to use the Copy utility to copy the exact object you are in the process of editing, you

will make a copy of the edited version. With sample objects this would be one way to save off a

copy sample that references a small part of a much larger sample. You could remain in the

Sample Editor, and continue to edit the larger sample, by pressing Done followed by Cancel

after making the copy. This may be a faster way to save many “snippets” out of a sample than

continually reentering the Sample Editor after saving copy samples to different IDs.

When using the Object Utilities from within the editor, you must be careful not to delete any of

the objects you are currently editing. This could have unpredictable results.

Song Mode

Getting Started with the Sequencer

12-1

Chapter 12

Song Mode

Getting Started with the Sequencer

The K2661’s sequencer is a powerful and versatile tool for songwriters, composers, and anyone

else who wants to record and play back songs. As with any tool, however, it’s best to start with

the basics. This section begins with a tutorial where you will record a song, then shows some of

the mixing capabilities of the sequencer. If you are familiar with other sequencers, you will have

no problem using Song mode in the K2661. Read through this section, however, to learn about

the features that make the K2661’s sequencer unique. For complete information on the Song

Editor, refer to Chapter 12 of the K2661 Musician’s Guide, provided on the CD-ROM.

What is a Sequencer?

A sequencer is similar in some ways to a multi-track tape recorder: you can record and play back

all sorts of music and sounds, layer sounds on top of other sounds, and change or manipulate

things that you’ve previously recorded. Unlike a tape recorder, however, you do not actually

record sounds with a sequencer. Rather, you are recording commands that cause sounds to be

played. Nonetheless, we will sometimes explain sequencer features by drawing analogies to

familiar tape recording techniques such as splicing and overdubbing.

There are several advantages to recording a song by sequencing. For one thing, sequencer

commands take up much less disk space than digitally recorded music would, so you can get a

lot of information (that is, music) on a single disk. Furthermore, you can easily make changes to

your sequences. For example, you can change individual notes, transpose parts, or change

instrumentation. Lastly, you can share the sequences you create with other musicians.

A Word about the Local Keyboard Channel

Before you being sequencing, we’d like to remind you about the Local Keyboard Channel

parameter on the MIDI-mode RECEIVE page (described on page 10-6). Local Keyboard Channel

is especially important whenever the K2661 is going to receive MIDI information from an

external source, since this enables you to record on different tracks without constantly switching

transmit channels on your controller.

• Set the Local Keyboard Channel on the MIDI-mode RECEIVE page to a specific

channel (1–16).

• Set your MIDI controller (keyboard, percussion controller, etc.) to transmit on the same

channel.

Performing the above two steps means that you’ll be able to hear the individual channels (each

of which is assigned by default to a separate recording track) as you scroll through the different

recording tracks in the K2661’s Song mode. Local Keyboard Channel performs a rechannelizing

function that makes this happen.

12-2

Song Mode

Getting Started with the Sequencer

Patch Through

There’s one more use for Local Keyboard Channel. With any model of the K2661, the Local

Keyboard Channel parameter lets you patch through (also known as soft through) to external

sound modules. When Local Keyboard Channel is enabled, the K2661 takes the rechannelized

information and sends it out the MIDI port. This lets you hear an external module while you are

recording a track assigned to that module.

Tutorial: Recording a song

In this tutorial, we’ll record a song by using the steps described below. Bear in mind, though,

that this is just one approach to sequencing a song. This example includes:

• Assigning programs to channels

• Recording a drum loop

• “Unlooping” the drum track and adding the remaining instruments

• Mixing the song

Assign Programs to Channels

Start by deciding what instruments you want to use in the song. Suppose you want to record a

bass /drums / organ rhythm track with a lead instrument on top. You’ve decided to use the

programs such as the following:

•54 Jazz Kit II

•30 Warm Bass 1^2

•22 Gospel Organ

•79 Modulead

Set up your K2661 so that each of these instruments is on a separate MIDI channel. Since Song

mode automatically assigns each channel to a separate sequencer track (1-16, consecutively),

you’ll then be all set when you start laying down tracks, and won’t have to go scrolling through

the program list. Don’t worry about changing your mind later, though, since you can always

make changes after you’ve recorded your initial tracks.

If you use a KB3 program in a song, make sure that the channel to which you assign it is the KB3

channel; otherwise it won’t play. You could always change the KB3 channel to match the channel

you want to use for recording the KB3 program, but we recommend deciding on a channel that

will always be the KB3 channel, and keeping it that way. Also keep in mind that KB3 programs

require one voice of polyphony for every two tone wheels in the program. Since most KB3

programs use at least 79 tone wheels, that leaves only eight voices free for other programs.

Aside from the KB3-channel issue, it doesn’t really matter which channel you use for the

programs you want to record. In this example, we’re going to put the drums on Channel 1 and

the bass, organ, and lead on Channels 2, 3, and 4.

Song Mode

Getting Started with the Sequencer

12-3

Follow these steps to assign the programs to separate channels:

1. Press the Song mode button to enter Song mode. The display will look something like

this:

Notice that the sequencer is ready for you to record a new song, and the recording track

(RecTrk) is set to track 1. If 1 NewSong doesn’t appear as the value for the CurSong

parameter, press the MISC soft button, then press the New soft button on the MISC page.

You’ll return to the MAIN page, and CurSong will say 1 NewSong.

2. Use the Down cursor button to move the cursor to the Program parameter.

3. When this parameter is highlighted, type 54 then press the Enter button. You’ve now

assigned Jazz Kit to channel 1.

SongMode:MAIN||Events:186K|||STOPPED||||

CurSong:1|NewSong||||||||||||Tempo:100||

RecTrk|:1||||Vol:127|Pan:64||Mode|:Erase

Program:54|Jazz|Kit|II|||||||Locat:||1:1

||||||||||||||||||||||||||||||||||||||||

Track||:R|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|

Channel:1|2|3|4|5|6|7|8|9|10111213141516

Record||Play|||Stop||Erase||MISC||MIXER|

4. Press the Up Chan/Bank button. This changes the RecTrk parameter to 2, but leaves the

Program parameter highlighted. Notice how the R in the Track region moves from Track 1

to Track 2. Also notice how each of the sixteen tracks has a default channel associated with

it. You could change this if you wanted to, but most people find it easiest to associate track

1 with channel 1, track 2 with channel 2, and so on.

Incidentally, when you’re assigning programs on this page, you could use the Up/Down

cursor buttons to highlight RecTrk, then change the recording track and select the

Program parameter again, but the Chan/Bank button method is more convenient.

5. On Recording Track 2, select Program 30 Warm Bass 1^2.

SongMode:MAIN||Events:186K|||STOPPED||||

CurSong:1|NewSong||||||||||||Tempo:120||

RecTrk|:1||||Vol:127|Pan:64||Mode|:Erase

Program:1|Concert|Piano|1||||Locat:||1:1

||||||||||||||||||||||||||||||||||||||||

Track||:R|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|

Channel:1|2|3|4|5|6|7|8|9|10111213141516

Record||Play|||Stop||Erase||MISC||MIXER|

Recording track is set to Track 1

12-4

Song Mode

Getting Started with the Sequencer

SongMode:MAIN||Events:186K|||STOPPED||||

CurSong:1|NewSong||||||||||||Tempo:120||

RecTrk|:2||||Vol:127|Pan:64||Mode|:Erase

Program:30|Warm|Bass|1^2|||||Locat:||1:1

||||||||||||||||||||||||||||||||||||||||

Track||:-|R|-|-|-|-|-|-|-|-|-|-|-|-|-|-|

Channel:1|2|3|4|5|6|7|8|9|10111213141516

Record||Play|||Stop||Erase||MISC||MIXER|

6. Repeat the above two steps to assign 22 Gospel Organ to Channel 3 and 79 Modulead to

Channel 4.

You’ve now chosen the programs for your first sequence. It’s important to realize, though, that

you have not recorded anything yet. The programs will be there when you need them, but they

have not yet been included in a song. Also, don’t forget that you can change the program

assignments any time before or after you record the song.

Record a Drum Loop

Our song will be based around a four measure drum loop that we’ll record now. Later on, we’ll

“unloop” the drum track for additional recording.

The length of the drum loop is determined by the current endpoint, so we’ll start by recording

four measures of silence to set the endpoint.

1. Set RecTrk to 1 then press the Record soft button. The Song Status indicator (top

right-hand corner of the display) flashes REC READY.

2. Press the Play soft button. The Song Status indicator now reads RECORDING.

The K2661’s built-in metronome begins clicking, and the Song-mode LED blinks in time

with the current tempo.

Notice the Locat parameter on the right side of the display, which shows the current Bar

and Beat number. When you begin recording, the K2661 provides you with a four-beat

countoff, during which time Locat’s Bar and Beat number are preceded by a minus sign.

SongMode:MAIN||Events:186K|||REC|READY||

CurSong:1|NewSong||||||||||||Tempo:120||

RecTrk|:1||||Vol:127|Pan:64||Mode|:Erase

Program:54|Jazz|Kit||||||||||Locat:||1:1

||||||||||||||||||||||||||||||||||||||||

Track||:R|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|

Channel:1|2|3|4|5|6|7|8|9|10111213141516

Record||Play|||Stop||Erase||MISC||MIXER|

song status indicator

Locat parameter

shows current measure

and beat number

Song Mode

Getting Started with the Sequencer

12-5

You can change the length of the countoff by changing the value of the Countoff

parameter on the MISC page.

Since we are recording four measures of silence, press the Stop soft button as soon as

Locat reads 5:1.

NOTE: The sequencer will truncate to the nearest downbeat, so as long as you press Stop before

Locat reads 5:2 (but after it reads 4:4) you’ll be OK. Don’t worry about this too much, though,

since in the next step we’ll show you how to check (and change, if necessary) the endpoint.

When you press Stop, you’ll be asked to if you want to save this song. Even though

you’ve just recorded four measures of silence, go ahead and save it; this makes it an

official song object. By the way, it’s pretty easy to rename the song at this stage. Just press

the Rename soft button during the Save Song dialog

For the purposes of this example, we’ll assume that you pressed Stop a few beats too late.

You’ll see how easy it is to correct this sort of thing in the Event Editor.

3. On the Song-mode MAIN page, make sure that the cursor is highlighting any parameter

other than the Program parameter, then press the Edit button. The COMMON page

appears. (If the Program parameter had been highlighted when you pressed Edit, you

would have entered the Program Editor, which is not what you want to do right now.)

EditSong:COMMON||||||||||||||<>Track:1||

Tempo|||||:120||||||StartStep|||:1||||||

TimeSig|||:4/|4|||||TempoControl:Song|||

EffectChan:1||||||||TriggerChan|:1||||||

ChainTo|||:0|None|||TriggerCtl||:ON|||||

TrackDest|:----|----|----|----|GM:Off|||

DrumTrack|:----|----|----|----||||||||||

<more||EVENT||TRACK||STEP|||ARRANG|more>

4. Now press the EVENT soft button to bring up the Event Editor, which looks something

like this:

EditSong:EVENT||(Ch|1)|||||||<>Track:1||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||1:1||||1:1.000|CTRL|BANK|||0|||||||||

|||1:1||||1:1.000|PCHG|||54|||||||||||||

|||1:1||||1:1.000|CTRL|VOL||127|||||||||

|||1:1||||1:1.000|CTRL|PAN|||64|||||||||

|Cut||||Copy||Paste|||View||AllOn||Done|

The Event Editor gives you access to an editable list of all note events, controller events,

and other MIDI events that Song mode uses to describe your sequence. While you’re

looking at the Event Editor, notice the data that the sequencer records, even when no notes

are played.

5. Use the Alpha Wheel to scroll to the bottom of the event display.

12-6

Song Mode

Getting Started with the Sequencer

The last event listed is the endpoint, which should correspond to the first beat of the Bar

following the last Bar in the song. For our four measures of silence, then, the endpoint

should be 5:1. The display below, however, shows that five measures have been recorded:

EditSong:EVENT||(Ch|1)|||||||<>Track:1||

|||1:1||||1:1.000|CTRL|VOL||127|||||||||

|||1:1||||1:1.000|CTRL|PAN|||64|||||||||

|||6:1||||6:1.000|END|||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|Cut||||Copy||Paste|||View||AllOn||Done|

Fortunately, it’s quite easy to change the endpoint from 6:1 to 5:1 to remove the extra

measure that’s been accidentally recorded. (If your endpoint is at 5:1, you won’t need to

change it now. If, however, your endpoint is less than or greater than 5:1, you should

proceed with the next step.)

6. Check the endpoint, and change it if necessary.

To change the endpoint from 6:1 (or any other incorrect value) to 5:1, press the Right

cursor button to position the cursor in the Bar:Beat:Tick column (6:1.000 in the above

example). Type 51000 then press the Enter button. The endpoint is changed, and the song

is now four measures long.

Press the Done soft button to return to the COMMON page in the Song Editor. If you

changed the endpoint while in the Event Editor, save the song now (you may have to

press one of the more soft buttons to see the Save soft button).

7. Press Exit to return to the MAIN page in Song mode.

8. Make sure that the RecMode and PlayMode parameters are set to Loop.

From the MAIN page, press the MISC button. Set the RecMode parameter on the MISC

page to Loop.

The PlayMode parameter should already be set to Loop. If it isn’t, turn the Alpha Wheel

until Loop is highlighted.

9. Turn on input quantization.

SongMode:MISC||Events:186K|||STOPPED||||

RecMode|:Loop|||Quant:Off|||CountOff:1||

PlayMode:Loop|||Grid|:1/16||Click|||:Rec

KeyWait|:Off||||Swing:0%||||ClickCh|:16|

Locate||:||1:1||Sync|:Off|||ClickPrg:198

AutoIn||:||1:1||Clock:Int|||ClickKey:C|4

AutoOut|:||1:1||Tempo:Auto||ClickVel:100

Record||Play|||Stop|||New|||In/Out|MAIN|

Quantize parametersRecMode & PlayMode parameters

Song Mode

Getting Started with the Sequencer

12-7

While you’re on the MISC page, take a look at the quantize parameters (Quant, Grid, and

Swing) in the middle column of the page. Quantization is a very useful feature, especially

if you’re having a bad rhythm day. When you quantize a track, the sequencer moves the

elements of that track closer to a grid based on the time signature of the song. You can use

quantization to tighten up a rhythm track subtly, or to create a precise, unwavering

mechanical rhythm.

For our drum loop, we’ll try the total quantization experience, so position the cursor over

the Quant parameter, and turn the Alpha Wheel until the value is set to 100%. Move the

cursor down to the Grid parameter. The default value of 1/16 indicates that quantization

will move the notes you play to the closest 16th-note division in the Bar. Try double-

pressing the Plus/Minus buttons below the Alpha Wheel to move through a range of

useful grid values. Note that some of the values have tr or t appended to them. These are

grid settings that allow you to maintain a triplet feel. We’ll use a setting of 1/16, so return

to this value if you’ve changed it, then press Exit or the MAIN soft button to return to the

MAIN page in Song mode.

NOTE: The K2661’s sequencer also provides a full range of advanced quantization features that

you can apply to previously recorded tracks. To learn about these, refer to Chapter 12 of the

Musician’s Guide.

10. Make sure you are in Merge mode (it’s the default, so you’ll be in Merge mode unless

you’ve changed the value of the Mode parameter). This is important, because you want to

be able to overdub on the track as it loops. (In Erase mode, you would erase all existing

notes every time the loop came around.) To activate Merge mode, go to the MAIN page

and set the Mode parameter to a value of Merge.

11. Begin recording drums.

Press the Record soft button (observe the REC READY indicator on the top line) then

press the Play soft button when you’re ready to begin. Remember to wait for the four beat

countoff before you start to play.

Since you are in Merge mode, you don’t need to do everything at once. A common

approach to making drum loops is to record a different voice each time the loop comes

around. For example, on the first loop you could record snare hits on the back beats (1:2,

1:4, 2:2, 2:4, etc.). Then you could add kick drum to the snare when the loop comes around

again; you’ll be able to hear the previously recorded part, as well as the new part. On the

third pass you might record ride cymbal, followed by hi-hat or other percussive accents.

Keep it simple at first, because you can always save the part while it’s basic (but correct),

then make additions later. To keep track of where you are, watch the flashing Song-mode

LED or the Locat parameter on the MAIN page.

12. Press the Stop soft button when you’ve finished recording the drums.

Save the changes to your song by pressing the Yes soft button followed by the Replace

soft button.

12-8

Song Mode

Getting Started with the Sequencer

Record a Bass Line

When you are satisfied with your drum loop, you can begin using it as the foundation for a

song. What we’ll do here is set RecMode to Unloop while leaving PlayMode set to Loop. This

means that the drum loop will keep playing while we record new unlooped material of any

length. The endpoint of the song will change to reflect the length of the newly recorded material.

1. Press the MISC soft button to bring up the MISC page.

2. Set the RecMode parameter to Unloop. Leave the PlayMode parameter set to Loop.

Depending on the type of song you are recording, you may also want to turn quantization

off before you record your bass part.

SongMode:MISC||Events:186K|||STOPPED||||

RecMode|:UnLoop|Quant:100%||CountOff:1||

PlayMode:Loop|||Grid|:1/16||Click|||:Rec

KeyWait|:Off||||Swing:0%||||ClickCh|:16|

Locate||:||1:1||Sync|:Off|||ClickPrg:198

AutoIn||:||1:1||Clock:Int|||ClickKey:C|4

AutoOut|:||1:1||Tempo:Auto||ClickVel:100

Record||Play|||Stop|||New|||In/Out|MAIN|

3. Press the MAIN soft button to return to the MAIN page.

4. Set the recording track (RecTrk) to Track 2.

Since you previously assigned Warm Bass 1^2 to channel 2, it should appear in the

Program parameter when you set Track 2 as the recording track. Note, too, that the track

status indicator for Track 1 changes to P (for Play) when you select Track 2 for recording.

The small square above the track status indicator tells us that material is contained on that

track.

5. Press the Record soft button to enter REC READY mode.

6. Press the Play soft button, then begin laying down a bass track.

SongMode:MAIN||Events:186K|||STOPPED||||

CurSong:200*NewSong||||||||||Tempo:100||

RecTrk|:2||||Vol:127|Pan:64||Mode|:Merge

Program:30|Warm|Bass|1^2|||||Locat:||1:1

||||||||[|||||||||||||||||||||||||||||||

Track||:P|R|-|-|-|-|-|-|-|-|-|-|-|-|-|-|

Channel:1|2|3|4|5|6|7|8|9|10111213141516

Record||Play|||Stop||Erase||MISC||MIXER|

This track already has

material recorded on it.

Track status indicators: track 1 is set to Play, track 2 is set to Record.

Tracks 3 through 16 are empty.

Song Mode

Getting Started with the Sequencer

12-9

Remember that by default there is a four-beat count off, during which time the Locat

value is preceded by a minus sign (-). No material is recorded during the count off, though

anything you play during the countoff gets quantized to the first Beat of the song. As you

are recording the bass track, your drum loop will keep playing. Play for as long as you

want; the sequencer will lengthen the song as needed.

7. Press the Stop soft button when you are done recording the bass.

You will be given the usual save options. To keep what you’ve just recorded, press the Yes

soft button followed by the Replace soft button.

Since you unlooped the drum track when you recorded the bass, you’ve changed the

endpoint of the song to be wherever you stopped the bass track. You can check the

endpoint (and change it, too, if you want) using the Event Editor, as described earlier.

Record the Remaining Instruments in Your Song

Now that you’ve defined your song with the bass and drum tracks, you can put the organ and

lead (or whatever instruments you’ve chosen) into your song.

1. Set the recording track (RecTrk) on the MAIN page to Track 3.

Notice the small squares above the track status indicators for Tracks 1 and 2, reminding

you that you’ve now got material on two tracks.

SongMode:MAIN||Events:186K|||STOPPED||||

CurSong:200*NewSong||||||||||Tempo:120||

RecTrk|:3||||Vol:127|Pan:64||Mode|:Merge

Program:22|Gospel|Organ||||||Locat:||1:1

||||||||[|[|||||||||||||||||||||||||||||

Track||:P|P|R|-|-|-|-|-|-|-|-|-|-|-|-|-|

Channel:1|2|3|4|5|6|7|8|9|10111213141516

Record||Play|||Stop||Erase||MISC||MIXER|

2. Press the MISC soft button to bring up the MISC page.

3. Set RecMode to FixLen.

Since you’ve defined the length of your song with the bass track, setting RecMode to

FixLen means that the song will play through only once each time you record a new part.

4. Record the organ in the same way that you recorded the bass track in the previous section.

Notice that you can do this from the MISC page, without returning to the MAIN page.

5. Continue recording instruments until you have played all the parts of your song.

12-10

Song Mode

Getting Started with the Sequencer

Mix Your Song

The MIX page lets you change the panning and volume levels for the tracks in your song.

Needless to say, this is one of the most important steps in the completion of your song

production, and potentially one of the most creative. This example will keep things simple by

showing you how to change the volume level of one of your instruments. We’ll also take a quick

look at the track mute feature.

1. Press the MIXER soft button to bring up the MIX page.

The icons that represent pan-position knobs and volume-level faders resemble the

controls on a traditional mixing board. Manipulating them should be quite intuitive.

Simply position the cursor over a pan position knob or volume level fader, then turn the

Alpha Wheel to set the level you want. On keyboard models, the sliders control the

volume of the current bank of channels (as indicated by the line near the bottom of the

display). In the diagram below, the sliders would control the volume on Channels 1–8.

For example, suppose you want to turn down the organ on Track 3:

2. Use the Right or Left cursor button to position the cursor over Track 3’s volume level

fader on the MIX page.

Although the tracks aren’t numbered on the MIX page, they’re laid out logically: left-to-

right, from 1 through 16 consecutively. Track 3, then, is the third track from the left.

3. Use the Alpha Wheel to turn down the volume of the track by changing the position of the

volume slider.

4. Press the Keep soft button and save the change.

Now when you play back the song, Track 3’s volume starts playing at the newly set level.

You can also record real-time volume and pan changes from the MIX page or enter

numeric values for these parameters on the MAIN page.

Using the Mode Buttons to Mute a Track

Finally, we’ll take a quick look at the track mute feature, which lets you use the K2661’s mode

buttons to mute individual tracks. This can be invaluable during mixdown.

You may have noticed a horizontal line underneath the sliders for Tracks 1 through 8 on the MIX

page. As the illustration below shows, this is the “Quick Mute Track Bank Indicator,” showing

which bank of eight tracks will respond to the eight track-mute buttons. The eight mode buttons

SongMode:MIX|<>Prog:46||Brt|Saxy|Lead|||

|||WXWXWXWX|WXWXWXWX|WXWXWXWX|WXWXWXWX||

|||wxwxwxwx|wxwxwxwx|wxwxwxwx|wxwxwxwx||

||||z|z|z|z||z|z|z|z||z|z|z|z||z|z|z|z||

||||_|_|_|_||_|_|_|_||_|_|_|_||_|_|_|_||

|||P|P|P|R||-|-|-|-||-|-|-|-||-|-|-|-|||

|||*****************||||||||||||||||||||

Record||Play|||Stop||Tr9-16||Keep|||OK||

Track 3 Volume Level Fader

Song Mode

Getting Started with the Sequencer

12-11

(Program, Setup, etc.) double as track-mute buttons while you’re on the MIX page; press one or

more of them and the corresponding tracks are muted Press them again to bring the track back

into the mix.

Use the Tr 1-8 / Tr 9-16 soft button to toggle between banks of eight tracks, either 1–8 or 9–16.

When you press this soft button, the horizontal bar repositions itself below the affected tracks.

Table 12-1 shows the K2661’s mode buttons, and which tracks they mute when you’re on the

MIX page:

Let’s listen to our song with and without drums:

1. On the MIX page, press the Play soft button. The song, with all of its instruments, begins

to play.

2. Press the Program mode button on the front panel. The Program-mode LED lights, and

Track 1 (the drum track) is muted.

3. Press the Program mode button again to unmute the drum track.

Using your K2661’s front panel buttons, you can mute one or more tracks at once, or even

mute eight tracks at a time.

Available Buttons 1-8 9-16

Program 1 9

Setup 2 10

Quick Access 3 11

Effects 4 12

MIDI 5 13

Master 6 14

Song 7 15

Disk 8 16

Table 12-1 Track Muting in Song Mode

SongMode:MIX|<>Prog:46||Brt|Saxy|Lead|||

|||WXWXWXWX|WXWXWXWX|WXWXWXWX|WXWXWXWX||

|||wxwxC{wx|wxwxwxwx|wxwxwxwx|wxwxwxwx||

||||z|z}~|z||z|z|z|z||z|z|z|z||z|z|z|z||

||||_|_|_|_||_|_|_|_||_|_|_|_||_|_|_|_||

|||P|P|P|R||-|-|-|-||-|-|-|-||-|-|-|-|||

|||*****************||||||||||||||||||||

Record||Play|||Stop||Tr9-16||Keep|||OK||

Quick Mute Track Bank Indicator Toggles track muting

between tracks 1-8

and tracks 9-16.

12-12

Song Mode

Tutorial: Arrangements

Tutorial: Arrangements

The Arrangement Editor gives you a variety of ways to record and play songs. The following

tutorial is designed to walk you through the steps of creating songs using the Arrangement

Editor. Here are some typical tasks:

• Record two or more songs, then string them together in any order, as steps in an

arrangement.

• Record additional tracks over the steps in an existing arrangement, saving the new tracks in

the arrangement song.

• Use up to 32 tracks for recording and playback.

• Trigger songs or arrangements by striking keys (or triggering notes from any MIDI

controller)—an excellent feature for live situations.

Creating an Arrangement

This involves recording and saving each section of your final piece of music as a separate song,

then using an arrangement to string together the sections in any order you choose. There are a

couple reasons you might want to do this.

First of all, many pieces of music tend to be composed in sections. If your music tends to feature

various sections repeated in varying order, using the Arrangement Editor can be easier than

copying those sections and pasting them into a single song.

The second reason has to do with memory requirements. No objects (aside from samples) can be

larger than 64k (10,000 to 16,000 notes, depending on the amount of controller information you

record). You may need to use arrangements to accommodate the size of long musical pieces.

When you’re recording songs that you intend to combine into arrangements, it can be helpful to

name the songs Part 1, Part 2… or Chorus, Verse… That way, when you are putting together the

arrangement, you can quickly identify each section. You might also want to organize the IDs of

the songs. For example, you could start numbering the songs at the second ID in a memory bank

(301, 302…), then save the arrangement song at the first ID in the bank (300, in this example).

That way, you can create a file containing the arrangement song and its constituent songs, and

when you load it into the K2661, the arrangement (the one you’re likely to want to play) will be

the first song in the bank.

Once you have your songs, you’re ready to create another song to use as the arrangement.

1. In Song mode, select 1 NewSong as the value for the CurSong parameter. This is

important, because the arrangement song should not contain any note or controller

information.

2. Press Edit, and set the Tempo parameter to match the tempos of the songs you’ll be

adding to the arrangement. (This assumes they are all the same tempo. We’ll cover how to

deal with different tempos later on.)

3. Press either more soft button, then press Save. The save dialog gives you the opportunity

to rename the song and give it the ID of your choice. Press Save again when you’ve made

the changes you want.

4. Press the ARRANG button (you’re still in the Song Editor). The top line of the display

tells you that you’re looking at Step 1 of a song that contains one step. Cursor down to the

Song parameter and select the song you want to use for the first step in the arrangement.

Song Mode

Tutorial: Arrangements

12-13

5. Press Add to add another step to the arrangement. Select the song you want for the

second step. Continue adding steps and selecting songs as needed. If you need to get rid

of a step, select the step and press the Delete soft button.

If you press the Play soft button while on this page, you’ll hear the currently selected step.

(If the step’s Mode parameter is set to Next, the K2661 will play the next step when the

current step finishes.) Once you have more than one step in an arrangement, you can use

the Chan/Bank buttons to scroll through the steps.

6. Save, then press Exit to return to the MAIN page in Song mode. Notice that there are now

three dashes below the Program parameter. Press Play, and the dashes change to indicate

the current song, and the current step. The Locate parameter shows the bar number of the

arrangement, not the bar number of the current step. In other words, if the first step in an

arrangement has 16 bars, then when Bar 1 of Step 2 is playing, Locate will show 17:1,

not 1:1.

Arrangement Parameters: the ARRANGE page

Mutes

The Mutes parameter has 16 values, in groups of 4. By default, tracks are unmuted (active), as

represented by the dashes. To mute a track, move the cursor to highlight the dash corresponding

to the track you want to mute, and press either Plus/Minus button to change the dash to M. This

mutes the track.

Muting tracks is a good way to make several different-sounding steps out of the same song. If

you create a multi-step arrangement in which each step uses the same song—with different

tracks muted in each step—you can bring different parts in and out in each step.

Xpose

You can transpose any step up or down. This allows you to transpose the song without having

to edit the actual song data. Every track in the step gets transposed.

This is great for many sounds, but not so useful for steps containing programs that have

different timbres assigned to different keys—like drum programs. Fortunately, you can

designate any track as a drum track, which prevents it from getting transposed when you

transpose the step. You must designate drum tracks in the individual songs that are used as

steps in the arrangement, not in the arrangement song.

To designate a drum track, go to the COMMON page for the song containing the track in

question. Find the DrumTrack parameter, and move the cursor to highlight the dash

corresponding to the track in question. Press either Plus/Minus button to change the dash to

a D. Don’t forget to save.

Times

You can set any step to play from 1 to 120 times before stopping or continuing to the next step in

the arrangement.

Mode

This is normally set to Next. In this case, the arrangement will play the next-highest-numbered

step once the current step is finished. If the last step is set to Next, the arrangement will repeat

Step 1. To make the song stop after the last step, set the last step’s Mode parameter to Stop.

12-14

Song Mode

Tutorial: Arrangements

Arrangement Parameters: the COMMON page

Start Step

This determines the step number where the song will start. Normally this is 1, but it can be any

step in the arrangement.

Tempo Control

You can choose whether the tempo is controlled by the arrangement song itself or by each song

in the arrangement. When set to Song it will use the tempo and time signature set in the

arrangement song itself. When set to Arrange, it will use the various tempos and time signatures

used in the arrangement’s constituent songs.

Timing Issues

You might encounter timing problems when using the Arrangement Editor; notes can be

delayed when the arrangement switches from step to step. Here’s how to avoid the problem.

Each time you record a track for the first time, the K2661 places four events right at the

beginning of the track: Bank Change, Program Change, Volume, and Pan. If you go into the

Event Editor, you’ll see these four messages appearing at 1:1:000. Normally they’ll be the first

four events you will see.

By the time you have recorded several tracks, these events start to become a large number of

events all occurring at the exact same point in time. The K2661 processes these events

sequentially, and if enough events happen at the same time, some of them get delayed. For

example, if you have 10 tracks, then you will have 40 of those initial events, in addition to any

note and controller info that also exist at 1:1:000 in a track.

To prevent the delays caused by too many events, you can delete unneeded events. Typically,

you are probably not changing the Program, Volume, and Pan settings for each track when you

switch from step to step. For example, quite often you might have the same program on a MIDI

channel for all the steps. In this case, all of the program and bank change messages after the first

step are not needed, and can be deleted. You can edit each step in the arrangement this way

(don’t remove these events from the first step, however).

There are two different methods you can use to get rid of these messages in a track. The simplest

way is to go into the Event Editor. Use the Chan/Bank buttons to select the track whose events

you want to edit—you can select each track individually, or select All to view the events from

every track in the step. To remove an event, highlight it and press Cut.

The second way is to use the Erase function in the Track Editor. Again, choose the track with the

Chan/Bank buttons. Set the From parameter to 1:1 and the To parameter also to 1:1. Of course,

you won’t want to have Events set to All, or you’ll eras any note events that occur at 1:1, as well

as the unwanted events. If you set Events to Program Change and press Go, you’ll erase the

Program and Bank change events. You can then set it to Controllers. At this point, if you leave

Ctl set to All, you can delete both the Pan and Volume events with one operation. But if you

have other controller info that occurs at 1:1 (such as Mod Wheel or sustain pedal) then you

would also be erasing those events. So you can use the Ctl parameter to select just Volume and

just Pan, pressing Go after each selection.

In general, the Event-editor method is quicker if you are working on one track at a time. But if

you have many tracks and know that you want to erase these events from all of them, using the

Track Editor with all tracks selected is faster.

Of course, if you are changing the program changes, pan, or volume in a track when the song

changes from step to step, you need to leave those events in, but typically you might be doing

that in only one track, while six or seven other tracks stay the same.

Song Mode

Tutorial: Arrangements

12-15

Timing problems can also occur between steps due to improperly-located endpoints. If you have

a timing problem, you should check in the Event Editor to make sure the end point of each step

falls on the first beat of the bar after the last bar of the step. For example, if your step is 8 bars

long, the end point should be at 9:1:000.

Removing Initial Events from Step One

Since you almost always want to have initial Program, Bank, Volume, and Pan events in an

arrangement to make sure it plays properly, it makes sense to have those events in each track of

the song used for the first step on the arrangement. But what if that same song is used in a later

step, or Step 1 plays a number of times? In this case, as soon the step restarts, you have

unneeded events that could contribute to delays.

In this case, the solution is to delete those initial events from the Step 1 song, and record them

into the arrangement song. In the arrangement song, select a recording track, press Record, then

highlight the Program parameter and select the program you want for the track. You can also

select the Pan and Volume parameters if you want to set them to a specific volume. Once you

have these parameters set, press Stop. You need to do this for each track that you are using in

the song.

Recording Additional Tracks

So far, all of the recording we’ve described has been done in the individual songs used as steps.

The arrangement song we created has no data in it.

But you can also record tracks in the arrangement song. For example, you might want to record

a series of rhythm section grooves: just bass, drums, and maybe some comping parts. Now you

can use those grooves as step in an arrangement, then record lead lines through the entire

arrangement.

1. Follow Steps 1 through 6 of Creating an Arrangement on page 12-12 to create an

arrangement song, using some different grooves you have created.

2. Start recording new tracks in the arrangement song. Remember that each MIDI channel

can have only one program assigned to it. Therefore you may want to select the tracks you

record in the arrangement song so that their MIDI channel assignments are different from

those of the tracks in the step songs.

Maximizing Track Use

If you extend the previous example, you’ll realize that you can actually make use of 32 MIDI

channels—by creating an arrangement containing steps that use all 16 channels, then recording

16 channels of music in the arrangement song itself. Both the step songs and the arrangement

song can play back through the K2661, through another instrument connected to the K2661’s

MIDI Out port, or through both.

It is important to remember that there are still only 16 MIDI channels, and any one MIDI channel

can play only one program. Therefore there is no way to have more than 16 different programs

playing at the same time on the K2661. But there are two reasons why you would want to use

more than 16 tracks.

First, you can have two or more tracks assigned to the same MIDI channel. For instance, if you

were recording drums, you might want to put different drums from the same program on

different tracks, to make recording and editing easier. On the bottom line of the display on the

MAIN page in Song mode, there are 16 channel parameters, one for each track. The numbers

don’t represent tracks; they represent the track’s MIDI channel assignment. (The dashes—or

12-16

Song Mode

Tutorial: Arrangements

other characters—above the numbers represent the tracks. The dashes and characters are the

values for the Track parameter.) You can assign any track to any MIDI channel.

The second way you can use more than 16 tracks is if you have an external sound module in

addition to the K2661. Each track can be assigned to play only the K2661’s internal sounds

(local), or to be sent only to the MIDI Out, to play the external instrument. To assign the track for

local or MIDI playback, go into the Song Editor and on the COMMON page you’ll see 16 Track

Destination parameters. If the value is a dash, the track is going to both the K2661 and its MIDI

Out port. L means local, and plays the K2661 only. M means that the track goes only to the

K2661’s MIDI Out port. A value of x means that the track is muted.

In the following example, all the tracks in the step song play the K2661, while all the tracks in

the arrangement song go to the MIDI Out port. You can also have the step songs and

arrangement song set to the same track destinations, as long as it’s OK for them to play the same

sounds.

1. Create a song with multiple tracks and save it.

2. On the COMMON page in the Song Editor, set the TrackDest value for each track of this

song to L. Save, then press Exit to return to the MAIN page in Song mode.

3. Using the Cursong parameter, call up 1 NewSong, and press Edit, then ARRANG.

4. Using the Song parameter, call up the song you just recorded. This makes your song a step

in the arrangement song, which you’re currently editing. Press Done to return to the

COMMON page.

5. Set the TrackDest parameter for each track to M, so that the arrangement song won’t also

play the K2661.

6. Save, then press Exit to return to the MAIN page in Song mode.

7. Record additional tracks as part of the arrangement song. You might have to record

programs changes in each track of the arrangement song to set up the external instrument

properly.

Triggering Arrangement Steps From the Keyboard

Each step in an arrangement can be triggered by playing a key (or triggering a note from any

MIDI controller). This can be great for live performance, because you can repeat each step as

many times as you like.

1. Go to the TRANSMIT page in MIDI mode, and assign a control setup that has a value of

On for the Sync parameter on the COMMON page of the Setup Editor. Create one if you

need to, and name it SongSetup. We’ll explain why shortly why you need to use this

control setup.

2. Go to Song mode, and create an arrangement, following Steps 1 through 6 of Creating an

Arrangement on page 12-12.

3. Go to the COMMON page in the Song Editor. There are two parameters on this page for

use with key triggering of steps:

TriggerChan: Notes on this MIDI channel can trigger the current step. Notes on any other

channels will not trigger the step. Set this to match the MIDI channel of the K2661 or

whatever controller you’re using to trigger the steps.

Song Mode

RAM Tracks

12-17

TriggerCtl: This determine if the keys will trigger the steps. Set this parameter to ON, so

when you hit the appropriate note on the trigger channel, the step will start playing. If

you set it to a MIDI Controller number that has a physical controller assigned to it, then

the keys will trigger the step only when the controller is on (for switch controllers) or

above its halfway point (for continuous controllers).

4. Press ARRANG, then press the Chan/Bank Down button until you see Step 1 in the top

line of the display. Set the Mode parameter to a value of Stop.

5. Note the values for the LoKey and HiKey parameters, then set them to E 1 and E 2 by

doing the following:

• Press the SetRng soft button

• Strike E 1 on the K2661 or your MIDI controller

• Strike E 2

Note the new values for LoKey and HiKey. Now the current step starts playing when you

strike E 1. Strike another note (say E 2) while the step is playing, and on the first beat of

the next bar, the step repeats, and all the tracks that aren’t drum tracks get transposed up a

corresponding number of semitones (in this case, an octave). Generally, when you’re

triggering steps using keystrikes, you’ll hit the triggering key somewhere in the last bar of

the current step. This causes the new step to start right after the end of the current step.

You can also cause steps to start as soon as you hit the triggering note. To do this, go to the

TRANSMIT page in MIDI mode, and assign a control setup that has a value of Off for the

Sync parameter on the COMMON page of the Setup Editor.

6. Set the Latch parameter to a value of On. Now the steps will continue playing after you’ve

released the triggering note.

7. Set the VelTrk parameter to a value of Off if you want the step to play back at the level at

which you recorded it. Set it to On to vary the playback level according to the velocity of

the keystrikes that trigger the step.

RAM Tracks

If you have the K2661 sampling option, you can create RAM Tracks, which combines Song mode

with the sampler. The RAM Tracks feature enables you to create a sample during song playback,

then have the K2661 do the work of building a program out of the sample. The K2661 also

inserts the sample into the song so that it plays back in sync with the song.

Possibly the best feature of RAM Tracks is how it affects polyphony. By sampling the K2661’s

audio output, you can condense an entire song into a single track that uses only two voices of

polyphony.

Two Important Concepts

RAM Tracks and Song Playback

You don’t have to be recording a song to create a RAM track. The idea behind RAM tracks is that

you can make a quick sample during playback of a song, then integrate that sample into the

song. Of course, you can create a RAM track while recording a song, but it’s often best to take

one step at a time.

12-18

Song Mode

RAM Tracks

A Matter of Timing

The song must already be playing when you start sampling. There are several ways you can do

this:

• Start the song, then at the appropriate location in the song, press Record on the

SampleMode page, and start the sample input.

• Set the Thresh parameter on the SampleMode page to a dB value—one you know you’ll

exceed with your sample input signal. Start the song, then start your sample input at the

appropriate location in the song. This method makes it easy to sync your sample with the

song.

• Set Thresh to Key. Start the song, then at the appropriate location, then trigger the sampler

by striking a key either on the K2661 keyboard (or on a MIDI source that’s controlling the

K2661), and start the sample input. You must send the trigger on the K2661’s current MIDI

channel.

Creating RAM Tracks

1. Start by configuring the sampler: go to Program mode, and press the Sample soft button

to go to the SampleMode page. Set the Input parameter to Analog, and set the Source

parameter: Ext for an external source, Int if you want to sample the K2661’s output. Set

the Time parameter to give you enough time to record the sample you want. Set the Mon

parameter to On if you want the K2661 to play the sample input through its audio output.

Set the Mode parameter to Mono (L), Mono (R), or Stereo, depending on your input

signal. Adjust the Gain parameter to bring the signal level as close to 0 dB as possible.

2. Go to Song mode, and call up a song that has at least one empty track. If you plan to start

sampling right at the top of the song, you might want to set the Click parameter (on the

MISC page) to a value of Cnt, which gives you a countoff before the song starts playing

(the value of the CountOff parameter—also on the MISC page— sets the number of bars

of countoff).

3. Set the RecTrk parameter to an empty track.

4. Start the playback of the song. On keyboard models, press the Play/Pause button. On rack

models, press the Left and Right cursor buttons at the same time.

5. Press Record to start sampling. When you have the sample, press Stop (if you run out of

time or sample memory before you press Stop, the K2661 stops sampling automatically).

Either way, the song stops its playback as well.

6. The K2661 prompts you to strike a key to set the sample root. Strike any key (or trigger

any note) that you want, or press Default to set the root at C 4. The K2661 shows you the

maximum signal level, or if the sample clipped, it shows you the number of clips. It also

prompts you to save the sample.

7. Press Yes if you like the sample, and the save dialog appears. We recommend naming the

sample now, to make it easy to keep track of it. The name you give the sample will also be

the default name for the song, when the time comes to save the song.

8. Once you’ve saved the sample, the K2661 asks you if you want to place the sample into

the current song. When you press Yes, the K2661 asks you to pick the track you want to

use for the sample’s playback. Pick any empty track: the track must be empty because the

Song Mode

Using Song Mode

12-19

K2661 will eventually create a new program for the sample, and that program must be on

its own MIDI channel. Press OK when you’ve selected a track.

9. The K2661 creates a program, and shows you the new program’s ID. It then prompts you

to strike a key to specify a note for triggering the sample during the playback of the song.

It can be any key; the K2661 automatically handles the transposition required to ensure

that the sample plays back at the right pitch.

10. Go to the MAIN page in Song mode, and on the recording track you set in Step 3, you’ll

see the new program. The program assigned to this track has the same name you gave the

sample when you saved it. If you look at the events on this track (on the EVENT page in

the Song Editor), you’ll see a PCHG event that selects your new program, and a note event

corresponding to the key you struck to set the sample trigger.

11. Repeat Steps 5 through 9 to create additional samples and insert them into the song. You

can use the same track, or a different, empty track. For this example, we’ll use the same

track. In this case, when you press OK, the K2661 asks you if you want to add the sample

to the program that’s already being used for the track (the program you created when you

pressed OK in Step 8. Press Yes. The K2661 prompts you to strike a key, as in Step 9. If you

strike a key that’s already being used by one of the samples in the program, the K2661

alerts you, and lets you to assign a different key (press No) or the same key (press Yes—

although if you do this, then the song will trigger all samples that share the same trigger

key, every time the trigger key gets played).

12. If you use the same track, the K2661 creates another layer in the program on that track,

and assigns the sample to it. You can record up to 32 samples on this track, since a VAST

program can contain up to 32 layers. If you use a different track, the K2661 creates another

new program when you place the sample into the song.

When you’ve recorded all the tracks you want, you can edit the programs assigned to those

tracks, using all the features available for VAST synthesis.

Note: There’s no way to synchronize sample playback exactly to MIDI. While the K2661 handles the

synchronization extremely accurately, it’s possible for the sample to drift away from the song playback, at

a rate of up to .5 milliseconds per minute of playback. That’s a minuscule amount, but it might matter to

you. If you need to be more precise, we recommend that you keep your sample time short, and record a

relatively large number of short samples, as opposed to a small number of long samples. This will virtually

eliminate the risk of your samples drifting out of sync with the song playback.

Using Song Mode

Selecting a Song for Playback

Select the Song parameter with the cursor buttons, then use any data entry method to scroll

through the list of songs. Press the Play soft button, and the song will begin playing. Press the

Stop soft button, and the song will stop and “rewind” to the beginning. If you press Play while

the song is playing, the song will stop and the play pointer will revert to the Locate parameter,

and will show your current location in the song. At this point you have two options. If you press

the Play button again, the song will continue from its current location. If you press the Stop soft

button, the song will return to 0:0.

The K2661 automatically selects programs for playback based on the MIDI channel(s) and the

programs assigned to them at the time the song was recorded. When you start playback, the

12-20

Song Mode

Using Song Mode

K2661 sends program changes, on all relevant channels, to its sound engine and to the MIDI Out

port if the PChng parameter on the MIDI-mode TRANSMIT page is turned on.

If you want to use a different program for playback than the one originally recorded, you have

two alternatives. First, you can edit the song, changing each individual Program Change event

(PCHG) to reflect the desired program IDs. This is done on the EVENT page in the Song Editor.

Or you can set the RecTrk parameter to the track on which you want the program change,

highlight the program parameter, press Record, select the desired, program, and press Stop.

Another alternative is to defeat the song’s recorded program changes, and manually set each

MIDI channel used by the song to play the desired program. Start by setting the ProgLock

parameter to a value of On. The ProgLock parameter is found on the MIDI-mode CHANNELS

page; you can set it independently for each of the 16 MIDI channels. When a channel’s ProgLock

parameter is set to a value of On, the K2661’s sound engine will ignore all program changes it

receives on that channel, whether it’s via MIDI or from the K2661’s front panel, or from within

the song.

When you’ve set the ProgLock for each of the channels used in the song, go to Program mode,

select the MIDI channels used by the song, and assign the programs you want to use. When you

return to Song mode and play the song, the automatic program changes are defeated, and the

song plays the programs you assigned. When you set ProgLock back to Off, the originally-

recorded program changes take effect again.

Effect Selection During Recording and Playback

When you’re recording or playing back a song, the setting for the FX Chan parameter (on the

Effects-mode page) determines which studio (plus FXMods) gets applied to the song. Only one

studio can be applied at a time, even for multi-part songs using more than one program.

Depending on the combination of values for the FX Mode and FX Chan parameters in Effects

mode, the FX channel may automatically track the current MIDI channel. In this case, if you

change the current MIDI channel during playback (or during a MIDI recording) the current

FX channel (and consequently the current effect) will change also, which might not suit your

needs. Consequently, there’s a way to force the FX channel to remain constant during playback

or MIDI recording, even if you move to another mode during the playback or MIDI recording

and change the current MIDI channel.

This is done by setting the FX Mode parameter to a value of Auto, and the FX Chan parameter to

a value of Current—which is the most generally useful combination of settings for these

parameters. In this case, while you’re in Song mode—even if you move to another mode during

playback or MIDI recording—the value of the FX Chan parameter automatically changes to

match the song’s effect channel (the value of the EffectChan parameter on the COMMON page

in the Song Editor). Therefore the effects applied to the song are determined by the program

assigned to the song’s effect channel, and will not change, even if you change the current MIDI

channel during playback or MIDI recording.

Of course, changing MIDI channels during playback or MIDI recording will not change the

FX channel if the FX Channel parameter is set to a value from 1 to 16, or if the FX Mode

parameter is set to a value of Master.

Synchronizing Songs

The K2661 has an internal MIDI clock, which is always running at a speed set by the Tempo

parameter (on the MAIN page). When you’re in Song mode and the Clock parameter (on the

MISC page) is set to a value of Internal (Int)—and the Sync parameter (also on the MISC page) is

set to Xmit or Both— songs will sync to the K2661’s internal clock. At this setting, the clock

signal is sent to the K2661’s MIDI Out port. This is standard MIDI Sync, and any device that

accepts MIDI Sync will play in sync with the K2661.

Song Mode

Using Song Mode

12-21

If you set the Clock parameter to external (Ext), the K2661 expects to receive MIDI clock at its

MIDI In port. Make sure that the Sync parameter on the MISC page in Song mode is set to Recv

or Both, to enable the K2661 to receive sync messages as well as MIDI clock.

To play back a song, press Play, and the K2661 starts as soon as it receives both MIDI clock and a

Song Start message. Or if you want to record, press Record, and the K2661 starts recording as

soon as it receives both MIDI clock and a Song Start message.

If Sync has a value of Off or Xmit, the K2661 still uses the external clock, but you can’t trigger

recording or playback remotely; you have to use the K2661’s soft buttons.

If you’re using Song mode to capture a sequence that you’ve recorded on an external sequencer,

you’ll want to consider the Clock parameter’s setting before you record via MIDI. If you have

the Clock parameter set to Ext, the K2661 will follow the clock of your external sequencer. As a

result, the notes in the song you create will fall regularly on the beats (unless your externally

recorded sequence uses a time signature other than 4/4). This will make it easier for you to find

the notes in the Song Editor. If you set the Clock parameter to Int, the notes in the song will not

necessarily align with the beats of the measures in the song, but the song will play back exactly

as you recorded it on the external sequencer—including tempo changes you may have

incorporated into the externally recorded sequence. If the Clock parameter is set to Ext, tempo

changes will not carry over to the K2661, and will not be heard when you play back the song.

Finally, keep in mind that when the Clock parameter is set to Ext, programs that use one or more

of the Clock control sources (see Chapter 6 of the Reference Guide) will sync to the external MIDI

signals. If no external clock signal is received, the Clock control sources are disabled.

Songs and Effects: A Brief Tutorial

On page 12-20 we discussed how to keep the effects constant during song playback and MIDI

recording. For more complete control over the effects used in a song—including real-time

control—we recommend dedicating one track of the song to effects control. Here’s how to do it.

1. Go to Effects mode, and make sure that the value of FX Mode is Auto, and the value of

FX Channel is Current.

2. Go to the MAIN page in Song mode, and call up a song.

3. Press Edit, which takes you to the COMMON page in the Song Editor.

4. Set the EffectChan parameter to the channel you want to use for effects control. Choose a

channel that isn’t being used for any of the existing tracks in the song. Channel 16 is the

default click-track channel, so you probably don’t want to use Channel 16. For this

tutorial, we’ll use Channel 15.

5. Save the song and exit the Song Editor. You’re back on the MAIN page in Song mode.

6. Set the recording track (the RecTrk parameter) to match the effects channel that you set in

Step 4—in this case, Channel 15. Note the R in the Track status indicator line.

7. Move the cursor to highlight the current program. This is where you select the program to

be used for the current recording track. Since you aren’t going to record any notes on this

track, the program assignment doesn’t matter. On the other hand, if you already have a

program that uses a studio and FXMods that you like, use it here.

8. Press Edit, and since the cursor was highlighting an editable object (the program), you’ll

enter the Program Editor.

9. Go to the KDFX page, and choose a studio. Assign any FXMods that you want to use.

12-22

Song Mode

Using Song Mode

10. Save the program (we recommend renaming it as well), then press Exit to return to the

MAIN page in Song mode.

So far, so good. Your song uses Channel 15 for effects control, and the effects for the song are

determined by the studio used in the program on Channel 15. That is, every program in the song

directs its output to this studio, according to the value of the Pair parameter on the OUTPUT

page in the Program Editor.

You’ll recall that a studio has four inputs, each of which can be responsible for a different effect

(or no effect at all). You may want to edit each program in the song, to send its output to the

desired studio input. There’s a quicker way, however, that doesn’t involve editing programs:

you can determine program output (and consequently studio input) based on MIDI channels.

For example, you can send Channel 1 to KDFX-A, in which case any program on Channel 1 will

send its output to KDFX-A, regardless of the program’s output settings.

1. Press the MIDI mode button to enter MIDI mode, and press the CHANLS soft button.

This takes you to the CHANNELS page.

2. Press the Chan/Bank Up or Down button to display the settings for one of the channels

you’ve used in your song. (the top line of the display shows you the current channel).

3. Change the value of the OutPair parameter. Any value other than Prog means that the

output settings are determined by the channel, not by the program assigned to that

channel.

4. Change the value of the OutPair for the other channels that you’ve used in the song.

Now you have all the outputs directed to the right studio inputs. Keep in mind, though, that the

output settings are customized for the current song. You’ll need to repeat this process for each

song—unless you set OutPair back to Prog for every MIDI channel.

Next you’ll need to make sure that the song always calls up the right studio.

1. Go to the MAIN page in Song mode, and make sure that the recording track is still the one

that uses Channel 15. Also make sure that the program on that track is the one containing

the studio you want to use for the song.

2. Record a couple of bars. This automatically puts a Program Change command at the

beginning of the track. Each time you play the song, the K2661 selects that program—and

consequently the studio and FXMods associated with that program.

That’s it. If you want the song’s effects to change during playback, use this track to record

movements of the controllers that are designated as FXMods.

With one small difference, this approach to effects control also works if you’re using an external

sequencer. When you’re recording in Song mode, the EffectChan parameter (on the COMMON

page in the Song Editor) determines the channel used for effects control. When you’re using an

external sequencer, it works a bit differently.

1. Press the Effects mode button to enter Effects mode.

2. Set the value of the FX Mode parameter to Program.

3. Set the value of FX Channel to whatever channel you want to use for effects control.

4. Create a program that uses the studio and FXMods you want, and use that program on

the channel you chose as the FX Channel.

Song Mode

Recording Multi-timbral Sequences via MIDI

12-23

Memory Limits

While there’s no actual time limit to the length of the songs you record, their size is limited to

64K (or to the maximum amount of available free RAM space you have, if it’s less than 64K).

However, you can create longer songs by recording each section as a separate song, then putting

it together with the Arrange feature. If you run out of RAM space while recording a song, the

recorder stops and prompts you to save the song. It’s a good idea to check your free RAM space

before you begin recording a song, and to check the “Used” field as you record. If you’ve used

all the available RAM for recording, you may find that when you go to the Song Editor to delete

a song or edit its tempo, the K2661 tells you that there’s not enough memory to edit. In this case

you won’t be able to edit any object greater than 4K in size. Objects smaller than 4K can still be

edited, because the K2661 always reserves a minimum of 4K of RAM.

If you want to delete a song and the K2661 won’t let you enter the Song Editor, select the default

song (1 NewSong). Since it’s smaller than 4K (as long as you haven’t saved any changes to it),

you’ll be able to enter the Song Editor. Press the Delete soft button, then use the Alpha Wheel to

select the program you want to delete. Press the Delete button again, and the song will be

erased, freeing up enough RAM to edit other songs. (You could also delete the song in Master

mode—by pressing Object, then Delete, to get to the file deletion dialog.)

Loading MIDI Files From Disk

If you have a Type 0 or Type 1 MIDI sequence file stored on a SmartMedia card or a SCSI device,

you can load it into one of the RAM banks, and the K2661 will be able to play it from Song

mode. If the MIDI file has the GM On Sysex message in it, the imported song will have the GM

parameter set to On automatically.

Recording Multi-timbral Sequences via MIDI

You can record sequences from an external MIDI device using Song mode. Program numbers

and MIDI channel assignments of multi-timbral sequences are recorded with the notes. To

record via MIDI, connect the MIDI Out port of your sequencer to the K2661’s MIDI In port.

Select Song mode, and set the Clock parameter to External. This will sync the K2661 with the

MIDI clock of the external sequencer.

You will probably want to set the Local Keyboard Channel parameter to None when recording

from an external sequencer, since the rechannelizing effect of that parameter could have

unintended results.

To record all your tracks in one pass, set the RecTrk parameter to Mult and make sure that for

each channel of information on your source sequence, you have a track enabled to record and a

unique channel assigned to that track. (The default setting of all tracks enabled to record on

channels 1–16 will always work.)

You can also record individual tracks from your source sequence by setting the RecTrk

parameter to a specific track. The K2661 will record only information coming in on the channel

that the RecTrk parameter is set to.

Press the Record button, and the K2661 will wait for the first clock start from the sequencer.

Make sure that your sequencer is set to send MIDI clock signals, and start the sequence. The

K2661 will begin recording when it receives the first MIDI clock start from the sequencer. When

the sequencer has finished its playback, press the Stop soft button, and the K2661 will stop

recording and ask if you want to save the song.

12-24

Song Mode

Song Mode: The MAIN Page

Song Mode: The MAIN Page

The Song-mode MAIN Page allows real time recording and playback, song and track selection.

From this page you can view and edit the tracks’ channel, program, volume and pan settings, as

well as other useful items.

SongMode:MAIN||Events:375K|||STOPPED||||

CurSong:1|NewSong||||||||||||Tempo:120||

RecTrk|:1||||Vol:127|Pan:64||Mode|:Erase

Program:1|Concert|Piano|1||||Locat:||1:1

||||||||||||||||||||||||||||||||||||||||

Track||:R|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|

Channel:1|2|3|4|5|6|7|8|9|10111213141516

Record||Play|||Stop||Erase||MISC||MIXER|

The Events field on the top line displays the number of events that you can store in RAM. 375 K

in the above example represents maximum available memory. Note that this figure shows the

number of free events, each of which takes up about four bytes of RAM. That’s why the number

you see here is typically about 25% of the free RAM (in kilobytes) you see in the Samples field in

the top line of the Disk mode and Master mode pages.

When the Song Status is REC READY or RECORDING, the Events field changes to Used, and

indicates the percentage of the recording buffer that you have filled, instead of the free event

space.

SongMode:MAIN||Used:||0%|||REC|READY||||

Parameter Range of Values Default

Current Song (CurSong) Song ID & Name 1 NewSong

Recording Track (RecTrk) 1 – 16, None, Mult 1

Program Program ID & Name Current Program

Setup Setup ID & Name Current Setup

Track Status - (Empty), R, M, P - (Empty)

Channel 1 – 16 1 – 16

Volume 0 – 127 127

Pan 0 – 127 64

Tempo 1 – 255 BPM 120 BPM

Mode Merge, Erase Merge

Location (Locat) 1:1 – 9999:9 1:1

Song Mode

Song Mode: The MAIN Page

12-25

Song Status, also on the top line of the display, is always one of the following:

STOPPED The default sequencer status; also appears when you press the Stop or Pause

button.

PLAYING Appears when the Play button is pressed, but only if the following conditions

are true: the Record was not pressed prior to pressing Play, the Key Wait

parameter is set to Off, and the Clock parameter is set to Int (or Clock is Ext

and MIDI clock is detected).

REC READY Appears when the Record button is pressed while Song Status is STOPPED.

REC READY flashes, indicating that the sequencer is waiting to start

recording.

RECORDING Appears when the Play button is pressed while REC READY is flashing

(unless Key Wait is On or the Clock is set to Ext). RECORDING also appears if

the Record button is pressed while Song Status is PLAYING.

KEY WAIT Appears when the Play button is pressed, while Song Status is STOPPED or

REC READY, if the KeyWait parameter on the MISC page is set to On.

KEY WAIT flashes, indicating that recording or playing will begin when you

strike a key.

EXT. CLOCK Appears when the Play button is pressed, while Song Status is STOPPED or

REC READY, if the Clock parameter on the MISC page is set to Ext.

EXT. CLOCK flashes to show that the K2661 is waiting for an external MIDI

clock message to start recording or playing.

Current Song (CurSong)

This shows the ID and 16-character name of the song currently selected for recording, playback,

or editing. When a song is selected, Program Change, Volume, and Pan information is sent to all

MIDI channels assigned to tracks that have data on them, and the internal clock is set to match

the setting of the Tempo parameter.

Tempo

Controls tempo for the selected song. You can make temporary changes, record real time tempo

changes, or set an initial tempo for the current song.

Whatever the tempo is set to when you record your first track will be the song’s initial tempo.

Temporary changes may be made during playback, but the tempo will reset to the initial tempo

when the sequencer is STOPPED.

To change a song’s initial tempo, press Record (the Song Status will change to REC READY), set

the tempo desired, then press Stop. The initial tempo can also be changed with the Tempo

parameter on the COMMON page in the Song Editor. The song will always start playback at the

initial tempo, even though this tempo marker does not get recorded as a tempo event on any

track.

If the sequencer is RECORDING, any tempo value changes will be recorded in real time. Unlike

the special case of setting the initial tempo, any tempo changes recorded in real time are

recorded as tempo events.

12-26

Song Mode

Song Mode: The MAIN Page

Fractional Tempos

You can use fractional tempos (120.5, etc.) in your sequence. However, the initial tempo can not

be fractional, and you cannot enter a fractional number in the tempo parameter on the MAIN or

COMMON pages. You must first record a real time tempo event, then go to the Event Editor and

change it to a fractional amount.

To do this, press Record, then Play. The sequencer starts recording. Use any data entry method

to choose a tempo. The value is unimportant since you will be changing it in the EVENT Editor.

Next press Stop and save the song. Now when you go to the EVENT Editor , you will see a

tempo event. You can now edit the value to a fractional amount. To have the song start

immediately with the fractional tempo, edit its location to 1:1:000.

Recording Track (RecTrk)

Determines which track is record enabled. Set the record enabled track to Multi to record more

than one channel simultaneously or to use a setup in your song.

When RecTrk is set to a single track (1–16), Record (R) is displayed for that track in the Track

Status Indicator region (above the Track and Channels region). Conversely, with one exception,

when any track’s Status Indicator is changed to Record (R), that track is shown as the value for

the RecTrk parameter.

The exception is when RecTrk is already set to Mult, you can select the record enabled tracks by

toggling the Track Status Indicator to Record (R), and the RecTrk will remain set to Mult.

When Mult is initially selected, all of the empty tracks will be record enabled. Tracks containing

data will remain set to play (P), but you can manually set them to record (R).

The parameter(s) below RecTrk change according to the value of RecTrk and in one case, the

mode from which you enter Song mode. If RecTrk is set to a single track (1-16), Program is

displayed and you can select the program to be assigned to that track.

If you change RecTrk to None, the display changes to show the Channel parameter followed by

the Program parameter (although the Program parameter’s name doesn’t appear, just its value).

If you switch through the channels, the program also changes, showing the program currently

assigned to that channel.

A setting of Mult makes the parameters below RecTrk dependent on the mode from which you

entered Song mode. If you enter Song mode from Program mode, the Channel and Program

parameters appear below RecTrk. If you enter Song mode from Setup mode, only one

parameter, Setup, appears.

Program

Scroll through the programs in memory to select the program before initially recording each

track of your song. Any MIDI program changes on the current RecTrk or Chan cause the ID and

name of the track’s program to change during playback.

This parameter’s name is not visible when RecTrk is set to None or Mult (to make room for the

Chan parameter); just its value appears.

You’ll see the Setup parameter instead of the Program parameter when you’ve entered Song

mode from Setup mode. The Setup parameter functions similarly to Program.

Programs selected in Program mode or from a Quick Access bank are selected as the program on

the current RecTrk when you return to Song mode.

Song Mode

Song Mode: The MAIN Page

12-27

To change a track’s program quickly, press Record, select the program, then press Stop. Or you

could press MIXER to go to the MIX page, change the program as desired, then press Keep. This

preserves all changes you have made to any other tracks: volume, pan, tempo, etc.

SongMode:MAIN||Events:186K|||STOPPED||||

CurSong:1|NewSong||||||||||||Tempo:120||

RecTrk|:Mult|Vol:127|Pan:64||Mode|:Merge

Chan:4||2|Stereo|Solo|Pno||||Locat:||1:1

||||||||||||||||||||||||||||||||||||||||

Track||:R|R|R|R|R|R|R|R|R|R|R|R|R|R|R|R|

Channel:1|2|3|4|5|6|7|8|9|10111213141516

Record||Play|||Stop||Erase||MISC||MIXER|

Channel (Chan)

This parameter determines the control channel and is available only when RecTrk is set to None

or Mult. When RecTrk is Mult, this parameter appears only if you have entered Song mode from

Program mode. In this case, the Channel parameter gets squeezed onto the same line as the

Program parameter, which is why you don’t see the Program parameter’s name, just its value.

Setup

Displays the ID and name of the setup to be recorded. This parameter is available when RecTrk

is Mult, and you enter Song mode from Setup mode. The display diagram below shows an

example of the Song-mode page with the Setup parameter replacing the Channel and Program

parameters.

SongMode:MAIN||Events:186K|||STOPPED||||

CurSong:1|NewSong||||||||||||Tempo:120||

RecTrk|:Mult|Vol:127|Pan:64||Mode|:Merge

Setup||:813|Jungle|Jammer|||Locat:||1:1|

||||||||||||||||||||||||||||||||||||||||

Track||:R|R|R|R|R|R|R|R|R|R|R|R|R|R|R|R|

Channel:1|2|3|4|5|6|7|8|9|10111213141516

Record||Play|||Stop||Erase||MISC||MIXER|

Using setups in Song mode takes a bit of extra planning. Since each zone in a setup uses a

separate MIDI channel, you need to make sure that each setup zone has a corresponding track

and channel allocation. It’s important to know how many channels, and consequently how

many tracks, are needed for recording a particular setup. Each setup can have up to eight zones

that can respond to your playing differently, depending on what range of the keyboard is being

played, or if certain velocity and/or controller values determines when a particular zone will

respond. Be aware of the behavior of each setup you intend to record so that you can allocate the

proper tracks and channels needed in your song.

12-28

Song Mode

Song Mode: The MAIN Page

Volume (Vol)

You can set an initial volume level for the playback and recording of each track as a value

between 0 and 127. If the channel of the RecTrk (or the control channel, if RecTrk is set to Multi

or None) contains any recorded volume change (controller code 7), the change will be reflected

as the Vol parameter’s value in real time.

To change a track’s initial volume quickly, press Record, change the value of Vol, then press

Stop.

Pan

You can set an initial pan position (the balance between the Left and Right audio channels) for

the playback and recording of each track as a value between 0 and 127. A value of 64 is center. If

the channel of the RecTrk or the control channel contains any panning data (controller code 10),

the Pan parameter’s initial value for the current track is modified in real time.

To change a track’s initial pan position quickly, press Record, change the value of Pan, then

press Stop.

Mode

If Mode is set to Merge you will be able to overdub when recording on a track containing

previously recorded data. You’ll usually want to set Mode to Merge when RecMode (on the

MISC page) is set to Loop. Otherwise, each time through the loop, the previously recorded

information will be erased.

If you set Mode to Erase, the previously recorded data on the record enabled track will be

replaced with the new data only during the Bars and Beats you are actually recording, and the

previously recorded data before and after the newly recorded Bars and Beats will be preserved.

Location (Locat)

The Bar and Beat displayed as the Locate value changes relative to current location of the song

during playback and recording. You can set this to a negative Bar and Beat location to start

playback a set length of time before the beginning of the song.

Whenever you set the Locate point, that location will be used as the return point when Stop is

pressed. Simply press Stop again to reset the song to the top (1 : 1).

||||||||[|[|[|x|||||||||||||||||||||||||

Track||:P|P|M|R|-|-|-|-|-|-|-|-|-|-|-|-|

Channel:1|2|3|4|5|6|7|8|9|10111213141516

Mode Indicators (+ and x):

Mode Indicators appear only for tracks that already contain data.

A plus sign (+) appears above the Track Status Indicator of a track set to record (R) when the

Mode parameter is set to Merge.

An (x) appears above the Track Status Indicator of a track set to Record (R) when the Mode

parameter is set to Erase.

Song Mode

Song Mode: The MAIN Page

12-29

Activity Indicators ([)

A small square ([) above the Track Status Indicator of a track set to Play (P) or Mute (M) means

the track contains data.

During playback and recording, the indicators above tracks containing any MIDI data will flash

a small, filled-in square when any MIDI activity is detected. The filled-in square also flashes

over a track any time that there is incoming MIDI data on that track’s channel, even while the

sequencer is STOPPED.

Track Status Indicators

Using the Up, Down, Left, and Right cursor buttons to position the cursor onto a Track Status

Indicator, you can toggle an empty track (-) into Record (R) with the Alpha Wheel or Plus/

Minus buttons.

Once a track contains data, it will have a (P) as a Track Status Indicator, and it will be played

during playback. You now will be able to toggle between Play (P), Mute (M), and Record (R).

The track selected as the RecTrk will display an (R), designating it as the recording track. If the

RecTrk is set to Mult, initially all empty tracks will have Record (R) as a Track Status Indicator,

any of which can be switched back to empty (-) if at any time recording on specific tracks is not

desired.

If there isn’t a track with an (R), the RecTrk parameter’s value will be None. (The exception is

when the RecTrk is set to Mult and you have switched all of the tracks out of record enable.)

Track Channels

Each track has a MIDI Channel that it uses to receive and transmit data. By default, tracks 1–16

of a new song are assigned to Channels 1–16 respectively, although a track can play or record on

any channel and the same channel can be used for more than one track. Keep in mind, however,

that only one program can be assigned to a channel at a time, so if you have more than one track

assigned to the same channel, they’ll play the same program—the one on the higher-numbered

track, since that’s the most recent Program Change command received on that channel.

Soft Buttons on the MAIN Page

These buttons are similar to the transport controls on a tape deck. Some of those decks require

you to press Play and Record simultaneously to begin recording. The K2661’s transport buttons

aren’t like that, however. It’s important that you press only one of these soft buttons at a time to

insure proper recording start points, and to always be sure of the current sequencer status.

Record|Pause|||Stop||Erase||MISC||MIXER|

Record changes the Song Status to REC READY if the current Song Status is STOPPED. If the

current Song Status is PLAYING, it will be switched to RECORDING when you press Record.

If the RecTrk is set to None, pressing Record will select the first available empty track for

recording, thus setting the RecTrk to the newly record-enabled track number and placing an (R)

in that track’s status display. Song Status will change to REC READY or RECORDING,

depending on the previous Song Status as described above.

Play plays back any recorded data when pressed while the song status is STOPPED. Playback

will begin from the bar and beat specified in the Locate parameter.

12-30

Song Mode

Song Mode: The MAIN Page

When the Song Status is REC READY, pressing the Play soft button will begin recording.

Pause and Play share the same soft button. Pause appears only when the Song Status is

PLAYING or RECORDING. Pressing Pause while the song is playing will stop the playback

(soft button switches to Play), and the location remains at the current bar and beat, allowing you

to continue from that location by pressing Play again.

Pressing Pause while recording will stop the recording process as if you had pressed Stop.

Stop halts the playback or recording, and resets the song’s location to either the default

Bar 1, Beat 1 value, or to whatever location you defined with the Locate parameter. If the

location is defined as something other than Bar 1, Beat 1, press Stop twice to return to 1:1.

Pressing Stop when the Song Status is RECORDING will always prompt the “Save changes to

this song?” dialog (described below), and provides you with the opportunity to listen to the new

song and compare it with the old, previously saved, song before answering Yes or No.

Here are some useful alternatives to using these button presses:

• There are dedicated front panel buttons for Record, Play/Pause, and Stop. You’ll find them

just below the eight mode buttons.

• Footswitches can be assigned to Play/Stop and Record/Stop. On the MIDI-mode

TRANSMIT page, assign either footswitch to controller number 102 or 103. Using controller

103, you can even record from within the Song Editor.

• Double button presses allow Song Play, Pause, and Stop soft button functions from most

places where these buttons are not available. Use the cursor Left+Right double-press for

Play/Stop, and use the cursor Up+Down double-press for Play/Pause.

Erase removes all channelized data from the track on which the cursor is currently positioned

(on either the Track or Channel parameters) or from the record-enabled track if the cursor is

positioned elsewhere. As described on page 12-32, a dialog appears that allows you to verify

your intentions before permanently erasing any data. Once you’ve confirmed the erasure, it

takes place immediately, so be sure you really want to erase the track before pressing the OK

soft button. You will not be able to revert to a version of the song that includes the erased

tracks—unless you’ve saved the earlier version to another ID. So be careful before you start

removing data that you may not want to lose permanently.

The Erase function doesn’t show a dialog or erase any data if an empty track is selected.

MISC accesses more sequencer control parameters found on the Song-mode MISC page. These

miscellaneous controls include record- and play-mode settings, auto punch-in points,

quantization on input settings, tempo, and click attributes, as documented later in this chapter,

starting on page 12-32.

MIXER lets you view a graphic representation of knobs and level faders for each track on the

MIX page. You can modify program changes, volume and pan position on this page. Record

status can also be selected here. The section on the Mixer begins on page 12-39.

Song Mode

Song Mode: The MAIN Page

12-31

Save this song? Dialog

The following dialog appears after you have recorded a track and pressed Stop, or if you have

entered the Song Editor and made changes, then pressed Exit, or if you press Save in the Song

Editor.

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Save|changes|to|this|song?||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

PlayOld|PlayNew|Stop|||||||||Yes||||No||

PlayOld appears along with the PlayNew soft button in the “Save this song?” dialog after the

recording process has been stopped. Pressing PlayOld will play the current song, minus the last,

but not yet saved, recorded data. The exception is when there is no previously recorded data

(that is, recording the first track of a NewSong), then you will only have a Play soft button to

audition the recorded data just entered.

PlayNew/Play soft buttons allow you to play all of the recorded data, including data on the

track(s) you have just recorded.

Stop halts the playback of either the Old or the New version of the song you are currently

auditioning. Press the Stop soft button to stop the playback or recording, and reset the song’s

location to either the default Bar 1, Beat 1 value, or to whatever location you defined in the Locat

parameter.

Yes saves the data on the track(s) you just recorded. Whatever was played back when you

pressed PlayNew will be the version of the song to be saved when you press Yes. The “Save

New Song?” Dialog (shown below) will be displayed.

No returns you to the Song-mode page in which you were last recording, without saving any

unsaved changes to the current song.

Save New song? Dialog

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Save|NewSong|as:|ID#200|||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Object|||||||||||||Rename||Save|||Cancel

Saving a song requires that you assign it an ID and this is where you do so. If you select an ID of

an existing song object in RAM, the Save soft button will become Replace and Replace existing

Song will appear on the display as a warning and a chance to change your mind.

12-32

Song Mode

Song Mode: The MISC Page

There are only 20 IDs available for song objects per bank in banks 100 - 900. In the zeros bank,

there are 75, IDs 1–75. In the 200s bank there are IDs 200–219, in the 300s bank, IDs 300–319, and

so on.

Object accesses some useful database functions while still in Song mode, before you actually

save the current song. Pressing Object jumps you directly to the Object Utility, described on

page 11-15. When you press Done on the Utility page, you will be returned to the “Save New

Song” dialog.

The Rename, Save, and Cancel soft buttons function the same as they do in all other editors.

Erase Track Dialog

This dialog asks you if you are sure you want to erase a specific track. The track number will

correspond to the track currently selected by the cursor position. When RecTrk is set to Multi or

None, the Erase track function looks to the cursor position to determine the track to erase. If the

cursor is positioned somewhere other than the Track or Channel parameters, Erase will have no

effect. Erasing a track will not alter the song’s End point, nor will it remove any tempo events,

since these elements are common to all tracks in the song.

Yes erases all data on the selected track and returns to the MAIN Song mode. The song will keep

the erased track record enabled, but it will be an empty track.

No aborts the erasing of the selected track and returns to the MAIN Song mode with all

previously recorded tracks intact.

Song Mode: The MISC Page

This page contains parameters that determine how the sequencer behaves during playback and

recording, and when the K2661 is connected to another MIDI sequencer. Most of these settings

are stored in the Master Object, (all except the Auto punch-in points) and none of these are

saved with the song.

SongMode:MISC||Events:186K|||STOPPED||||

RecMode|:Linear|Quant:Off|||CountOff:1||

PlayMode:Loop|||Grid|:1/16||Click|||:Rec

KeyWait|:Off||||Swing:0%||||ClickCh|:16|

Locate||:||1:1||Sync|:Off|||ClickPrg:198

AutoIn||:||1:1||Clock:Int|||ClickKey:C|4

AutoOut|:||1:1||Tempo:Auto||ClickVel:100

Record||Play|||Stop|||New|||In/Out|MAIN|

Song Mode

Song Mode: The MISC Page

12-33

The top line displays the amount of free event space and the current sequencer state, which is

one of the following: STOPPED, PLAYING, REC READY, RECORDING, KEY WAIT, or

EXT. CLOCK.

RecMode

When recording the first track of a new song, you will be able to record as if you had an endless

length of “tape” no matter what the recording mode is set to.

When you record the first track, all recording modes operate the same way. This is because until

you define the length of a new song, its End point is the default setting of Bar 8001, the

maximum amount of Bars in a song. The End point is referenced and modified in different ways

depending on the RecMode.

The End point of a song is defined when:

1. The Stop button is pressed to end the recording of the first track. The new End point is

aligned to the nearest downbeat of the (empty) Bar immediately following the last Bar you

were recording when Stop was pressed.

2. Stop is pressed while recording any track past the previously set End point in Linear or

UnLoop recording mode. Again, the new End point is aligned to the downbeat of the

(empty) Bar immediately following the last Bar you were recording when Stop was

pressed.

3. The AutoOut Bar and Beat is set past current End point, after recording in Auto RecMode,

and when the first track is recorded in Auto RecMode, the AutoOut Bar and Beat becomes

the End point.

Parameter Range of Values Default

Record Mode Linear, Fixlen, Loop, Unloop, Auto Linear

Play Mode Linear, Loop, List, Chain Loop

Key Wait On, Off Off

Locate -25:2 – 999:4 1:1

Auto In 1:1 – 999:4 1:1

Auto Out 1:1 – 2500: 1:1

Input Quantize Off, 1% – 100% Off

Grid 1/1 – 1/384 1/8

Swing -99% – 125% 0%

Sync Both, Xmit, Recv, Off Off

Clock Int, Ext Int

Tempo Auto, Fixed Auto

Countoff Off, 1, 2, 3 1

Click Off, Rec, On, Cnt Rec

Click Channel 1 – 16 16

Click Program 1 – 999 198

Click Key C-1 – G9 C4

Click Velocity 1 – 127 100

12-34

Song Mode

Song Mode: The MISC Page

4. A new End point is entered on the EVENTS page.

5. Using the Track-edit functions Copy, Insert, and Delete to alter the song’s length.

The End point of a song is used as a loop point in Loop and UnLoop modes, and it defines the

Fixed Length of a song when you record in FixLen mode.

Linear: Record as if you had a nearly endless length of “tape.”

FixLen: The song will not continue recording past the End point of the song when the RecMode

is set to Fixed Length. Recording will automatically stop at the End point.

Loop: While RECORDING, the song will play the data between 1 : 1 and the End point over and

over, allowing you to overdub in each pass if the Mode parameter on the MAIN Song-mode

page is set to Merge. Make sure the Mode parameter is set to Merge if you intend to overdub in

Loop Record, or else each consecutive pass in Loop RecMode will erase the data recorded on the

previous pass. While you are still recording in Loop mode, you may selectively erase individual

note events by pressing and holding the Enter button and depressing the desired notes on the

keyboard during the times you would like them erased. Once the song is saved, you can not use

this feature to erase individual notes.

UnLoop: When recording in UnLoop RecMode, any existing tracks will be played back as if they

were looping from Bar 1 : Beat 1 to the End point, but they are actually being re-recorded

linearly over absolute Bars and Beats until you press Stop. UnLoop allows you to record a linear

track over a short looping section without first having to copy the section over and over again to

achieve a new desired Song length. The End point of the Song is extended to the downbeat of

the (empty) Bar immediately following the last Bar you were recording when Stop was pressed.

For example, let’s say you’ve a recorded a four-bar drum loop and now want to record an

eight-bar bass line. This would be a situation where UnLoop would come in handy. While the

drum track keeps looping, the bass track will record in linear fashion, and the end point will be

moved to the point at which you press Stop. Actually, the drum track will also change. It will

play through its loop twice, but while the information is repeating in the loop, it will be recorded

to the track. So now if you look at the drum track, you will see information in bars 5-8 (a

duplicate of the information in bars 1-4).

Auto: Set RecMode to Auto to punch-in record, (either in merge or erase mode), on a track

between the Bars and Beats Defined in AutoIn and AutoOut. To punch in and continue

recording until you press Stop, set the AutoOut point before the AutoIn point.

PlayMode

The PlayMode setting, along with the End point, determine how the song or songs are played

back. The song’s PlayMode setting will be ignored when the song is included as a step in an

arrangement.

Linear: Set the PlayMode to Linear to hear the current song played only once, from the song

position set in the Locate parameter to the End point. The song will be returned to the Locate

Bar and Beat when it reaches the End point.

Loop: The Loop PlayMode will loop the current song from the End point back to Bar 1, Beat 1

continually during playback until Stop is pressed.

List: song objects in memory can be played back to back in numerical ID order starting from the

current song followed by the song with the next highest ID. Once the current song reaches its

End point, immediately the CurSong parameter is updated to the next highest song object ID

and it will play from Bar 1, Beat 1 to its End point. When the song with the highest ID in

Song Mode

Song Mode: The MISC Page

12-35

memory has played through to its End point, the sequencer will stop and that song will be the

new CurSong.

Chain: For every song, there is a parameter called ChainTo found on the COMMON page that

determines what other song, if any, will immediately follow this song’s playback when

PlayMode is set to Chain. When the current song ends, the ChainTo song will replace the

previous CurSong, and if its ChainTo parameter is set to any value other than 0 None, then the

Chain PlayMode will continue playback with the next song being chained. When the last song

in the chain has played through to its End point, the sequencer will stop and that song will be

the new CurSong.

The most common use for the Chain PlayMode is to construct a set list of different songs. Since

the songs chained together are played immediately after one another, we recommend that you

include a few measures of silence either at the end or the beginning of each song in the Chain.

When you want to string songs together more seamlessly, you can create an arrangement with

the Arrangement Editor. See page 12-12.

KeyWait

KeyWait specifies whether the sequencer will wait for a Note event before going into PLAYING

or RECORDING status. With the KeyWait On, press the Play soft button while the sequencer is

STOPPED or REC READY and the new status, KEY WAIT, will flash in the Song Status Field

until a key is played. You can override the KEY WAIT status by pressing the Play soft button

twice.

Locate

The Locate Bar and Beat will change in real time during play back and recording to reflect the

song’s current position. It can be set to a Bar and Beat before (negative values) or during a song.

Once a song’s length is defined, the End point is the maximum value for the Locate parameter. If

Locate is not set to 1 : 1, the count off, if any, is disabled during play back or recording.

This parameter is identical to the Locate parameter on the MAIN page.

AutoIn

When you are in Auto record mode, AutoIn is the Bar and Beat when the recording will begin. If

AutoIn is not set to 1 : 1, the count off, if any, is disabled. The AutoIn setting will not have an

effect on recording unless the RecMode is set to Auto. When this parameter’s value is

highlighted, pressing the In/Out soft button updates only the AutoIn parameter; it doesn’t

update the AutoOut parameter.

AutoOut

When you are in Auto record mode, AutoOut is the Bar and Beat when the recording will stop.

Set the AutoOut location earlier than the Bar and Beat defined as the AutoIn point in order to

record to the very end of a song. The AutoOut setting will not have an effect on recording unless

the RecMode is set to Auto.

Input Quantize (Quant)

This parameter determines how much Note events are moved towards grid locations upon the

initial input of the events. If set to Off, no Quantizing will occur while you record, and the exact

timing of your performance will be preserved during play back. If set to 100%, every recorded

Note event will be aligned to the closest grid location, defined by the Grid setting. Input

12-36

Song Mode

Song Mode: The MISC Page

Quantize is used to quantize your performance as you record it in. However, you may wish to

record without quantization and go back and quantize at a later point. To do this, use the

Quantize function in the Track Editor.

Grid

This setting determines the size of the Input Quantize grid expressed as a fraction of a Bar with

a 4/4 meter. Set Grid to 1/1 for whole note grid, 1/16 for sixteenth notes. All of the standard note

durations and every fractional Bar divisions in between (including triplets, for example,

1/12 = 1/8tr, 1/24 = 1/16tr, and so on) are available as the size of the Input Quantize grid. You

can select commonly used Grid values by double-pressing the Plus/Minus buttons.

Swing

The Swing percentage is applied to the quantize grid. Zero percent swing is straight time, 100%

produces a swing (triplet) feel. A positive Swing value determines how close every other grid

location is moved to a point 1/3 of the way towards the next grid point. Negative Swing moves

every other grid location closer to a point 1/3 of the way towards the previous grid point.

Sync

The Sync parameter is used in conjunction with Clock. It controls transmission and reception of

MIDI sync messages except actual clock. These are the messages it controls: Song Start, Song

Stop, Song Continue, Song Select, and Song Position Pointer.

Song Select

Song Select is a command similar to a Program Change command; it enables you to select songs

via MIDI. Like other MIDI messages, Song Select has 128 values. That’s about half the number of

songs you can store in the K2661, so if you have a lot of songs, you can’t use Song Select to select

all of them.

The K2661 maximizes the number of songs you can select by remapping Song Select values of

0–127 so they match the way songs are stored in the K2661’s RAM banks (75 in the Zeros bank

and 20 in each of the other nine banks). If you want to use Song Select extensively, you should

number your songs according to the song IDs listed in the following table. Songs in the Zeros,

100s, and 900s banks are not available for selection with Song Select.

Song Position Pointer

The K2661 sends a Song Position Pointer message via MIDI when you start a song. The message

indicates the location (Bar and Beat) at which the song starts playing—often that’s the start of

the song (1:1), but you can set the Locate parameter anywhere you want, and start the song from

Song Select Value Song ID

0–19 200–219

20–39 300–319

40–59 400–419

60–79 500–519

80–99 600–619

100–119 700–719

120–127 800–807

Song Mode

Song Mode: The MISC Page

12-37

there when you press Play. The K2661 also responds to Song Position Pointer messages received

from an external source.

When you have the K2661 synced to another sequencer, the Song Position Pointer message shifts

the auxiliary sequencer’s start point correspondingly. This is normally an extremely convenient

feature, but there’s one thing to avoid.

The K2661 lets you set a negative value for Locate, which gives you a countoff before the song

starts (if you do this, set the Countoff parameter on the MISC page to Off, so you don’t repeat

the countoff). Keep in mind that the Song Position Pointer message doesn’t support negative

values, so your auxiliary sequencer might lose sync if you use a countoff. The safest approach is

never to start a song with a Locate value less than 1:1.

Clock

Specifies the source clock as being internal or external. When the Clock is set to external (Ext),

the K2661 will wait to receive MIDI clock data, via its MIDI In port, from another device capable

of generating MIDI clock data before playback and real-time recording can begin.

Tempo

The Tempo parameter, when set to Fixed, provides a tempo lock feature to override any

real-time tempo changes recorded into a sequence. If set to Auto, tempo changes will be

respected.

CountOff

Selects the number of bars of countdown, if any, before playback or recording starts. This works

in conjunction with the click, so if the Click parameter is set to Off, the CountOff setting will

have no effect. If the click is set to record only, then the CountOff will happen only when

RECORDING.

Click

The Click parameter controls the click behavior. Set to Off, there is no click, and consequently no

CountOff. When it is set to On, a click is present during playback and recording. To have a click

only while RECORDING, set the Click to Rec. A value of Cnt generates a click only during

RECORDING CountOff, if any.

ClickCh

Specifies which MIDI channel will be used for the metronome click.

ClickPrg

If click is in use, ClickPrg specifies which program will be used as the metronome click’s sound.

The click channel will be locked on to this program internally, and this program number will be

transmitted via MIDI on the click channel to external any device(s) when playback or record is

started. The default click program is 198 Click, which uses the Clave keymap.

ClickKey

The ClickKey is the note to be used for the metronome click.

12-38

Song Mode

Song Mode: The MISC Page

ClickVel

ClickVel determines the attack velocity to be used by the metronome click. The first beat of each

measure gets played at exactly this velocity level while the other beats scaled to about 90% of

this value as a way to provide an accent.

If there’s not enough of a distinction between Beat 1 and the other beats, you can do the

following to extend the dynamic range of the click program:

1. Go to Program mode, and select Program 198 Click, then press Edit.

2. Press the more> soft button, then the F4AMP soft button.

3. Select the Velocity Tracking (VelTrk) parameter, and increase its value. The more you

increase it, the more difference you hear between Beat 1 and the other beats. Don’t go too

high, though. This may cause Beats 2, 3, and 4 to drop too low. When you save, we

recommend using a different program name and ID, or at least a different ID.

4. Go back to Song mode, select the new program’s ID as the value for the ClickPrg

parameter, and start recording.

Soft Buttons on the MISC Page

Record, Play(Pause), and Stop work the same as they do on the MAIN page, described on

page 12-24.

New selects 1 NewSong as the current song and jumps back to the MAIN page. The tracks in

the new song will be empty, but all initial program, volume and pan settings, and all parameters

in the MISC page remain set the same way they were in the previous song.

In/Out provides a quick way to enter the Auto punch-in points in real time, based on your

current location in the song. When you press In/Out, the K2661 updates either the AutoIn or

AutoOut parameter (or both), depending on their current values and the value of the Locate

parameter.

Typically, you’ll start song playback, press In/Out when you reach the desired punch-in point,

then press it again when the song reaches the desired punch-out point.

More specifically, the first time you press In/Out, the K2661 sets AutoOut to match the current

value of Locate. Press In/Out again, and the K2661 shifts the current value of Auto Out to the

value of Auto In, and updates AutoOut to match the current value of Locate.

If the value of AutoIn or AutoOut is highlighted when you press In/Out, the K2661 updates only

the selected value.

The AutoIn and AutoOut parameters display only Bars and Beats. However, the actual In and

Out points will be precise to the Tick occurring at the time the In/Out button was pressed.

MAIN returns you to the MAIN page.

Song Mode

Song Mode: The MIX Page

12-39

Song Mode: The MIX Page

The MIX page allows you to set and keep new initial settings for all sixteen tracks’ program

changes, volumes, and pan positions. You can set these three parameters for each track, then

press the Keep button, prompting a dialog that asks if you really want to update these settings.

Press Yes to make the changes. Another way to set these initial settings is to press Record to put

the sequencer into REC READY status, make any desired changes, then press the Stop soft

button.

You can also record real-time changes by changing the value of the highlighted fader or knob

while recording on that track. If you do make recording changes in real time, though, make sure

that RecMode is set to Merge, or else the data previously recorded on the track will be erased.

The top line of this page displays the program number and name for the currently highlighted

track. The different tracks are selected by moving the cursor with the Left and Right cursor

buttons. The program for each track can be changed in the MIX page with the Chan/Bank

buttons. Pressing the Chan/Bank buttons at the same time will jump to the next bank of 100

programs.

Pan Position

Position the cursor over any one of the sixteen Pan Position “knobs” on the display and turn the

Alpha Wheel to change the panning for the selected track. The graphic display will move

smoothly between the left and right settings and these changes can be recorded in real time. Use

the alphanumeric buttonpad to enter in a value between 0 (hard left) and 127 (hard right) if you

want to have a track jump immediately to a new pan position. The default pan position is 64

(straight up).

Volume Level

Position the cursor over any one of the sixteen Volume Level “faders” on the display and turn

the Alpha Wheel to change the MIDI Volume for the selected track. The graphic display will

move smoothly, setting volume changes that can be recorded in real time. Use the alphanumeric

buttonpad to enter in a value between 0 (no volume) and 127 (maximum volume) if you want to

have a track jump immediately to a new volume level. The default value is 127 (maximum

volume).

You can also use the sliders to adjust the volume of the currently selected bank of eight tracks.

SongMode:MIX|<>Prog:2|Stereo|Grand||||||

|||WXWXWXWX|DEWFOPWq|WXWXWXWX|WXWXWXWX||

|||wxC{C{C{|wxwxQxws|wxwxwxwx|wxwxwxwx||

||||z\]}~|z||z|z|z|z||z|z|z|z||z|z|z|z||

||||_|_|_`a||_|_|_|_||_|_|_|_||_|_|_|_||

|||R|P|-|-||-|-|-|-||-|-|-|-||-|-|-|-|||

|||*****************||||||||||||||||||||

Record||Play|||Stop||Tr9-16||Keep||MAIN|

Pan Position Knobs

Volume Level Faders

Track Status Indicators

Quick Mute Track

Bank Indicator

12-40

Song Mode

Song Mode: The MIX Page

Track Status Indicators

Using the Up, Down, Left, and Right cursor buttons to position the cursor onto a Track Status

Indicator, you can toggle an empty track (-) into Record (R) with the Alpha Wheel or Plus or

Minus buttons.

Once a track contains data, it will have a (P) as a Track Status Indicator, and it will be played

during playback. You now will be able to toggle between Play (P), Mute (M), and Record (R).

The track selected as the RecTrk will display an (R), designating it as the record-enabled track. If

the RecTrk is set to Mult, then all of the empty tracks will have Record (R) as their Track Status

Indicator. If RecMode is not set to Mult and there isn’t a track with an (R), the RecTrk

parameter’s value will be None. If you are in Multi record mode, and have turned all

record-enabled tracks (R) back to empty (-) so that there isn’t a track with an (R), the RecTrk

remains set to Mult.

Quick Mute Track Bank Indicator

This parameter appears as an underscore directly below the graphics for either the bank of

Tracks 1–8 or Tracks 9–16. It indicates which bank of eight tracks will respond to the Quick Mute

feature, described with the Tr 1-8/Tr9-16 soft buttons, below. It also indicates which tracks

respond to the keyboard model’s sliders for adjusting track volume.

Soft Buttons on the MIX Page

Record, Play(Pause), and Stop work the same as they do on the MAIN page, described earlier.

Tr 1-8 / (Tr 9-16): The eight mode select buttons to the left of the display are used as Track Mutes

when on the MIX page. For example, press the Setup button to mute Track 2; notice that its track

status indicator changes to M. Each of these buttons has an LED to indicate that the

corresponding track is being muted, but since there are sixteen tracks and only eight buttons,

this soft button will select, and display, the bank of eight tracks that can be muted in this fashion.

Press the Tr 1-8 soft button to toggle the Quick Mute Track Bank Indicator under tracks 1 -8 or

tracks 9 - 16, selecting which bank of eight tracks will respond to the Quick Mute feature.

Keep: If you have made any changes to the initial program, volume or panning of a track on the

MIX page, press Keep to prompt this dialog:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Update|initial|prog/vol/pan?||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||Yes||||No||

Press Yes if you are sure you want to update the initial program change, MIDI volume, and pan

settings for tracks already containing data in the current song, to the new values you just made

on the MIX page. The settings will be modified and you are returned to the MIX page. Press No

to abort the updating of the initial program change, MIDI volume and pan settings for the

current song.

MAIN returns you to the MAIN page.

Basic Disk Mode

13-1

Chapter 13

Basic Disk Mode

Disk mode lets you load, save, back up, and copy files of objects between the K2661 and the

outside world, through SmartMedia or the K2661’s SCSI port. The K2661 works with 3.3v

SmartMedia cards (the most common type) having a minimum size of 4 MB.

Most SCSI (Small Computer System Interface) devices will operate with the K2661 via its 25-pin

SCSI ports. The most common use for these ports is to connect one or more hard disks (or

removable drives like Zip or Syquest) for storing samples and other objects. You can also

connect a CD-ROM drive for reading files to the K2661. The K2661 will treat a CD-ROM drive

like any other SCSI device (except that you can’t save files to it). The K2661 can read writable

CDs (CD-Rs), although it can’t write to them.

The K2661 can address up to 8 Gigabytes (8 G) of hard-disk space, in 2-G partitions. This is true

for any hard disk formatted with the DOS-compatible FAT-16 format. Hard disks larger than 8 G

can be formatted to make 8 G (in four partitions) accessible to the K2661. You can connect up to

seven hard disks. See Chapter 13 of the Musician’s Guide for more information about Disk

Partitioning and other advanced features of Disk Mode.

Disk mode in the K2661 allows flexibility to organize disk files and their contents. Many

powerful operations are included that can save a lot of time by allowing you to easily specify

exactly what you want to load or save. Examples of this range from organizing related files into

directories, to loading macros (lists of files or selected objects) from multiple SCSI disks, to

setting up programs to automatically link with samples off of a CD-ROM.

Here’s a summary of Disk-mode functionality:

• One SmartMedia slot

• One SCSI port

• MS-DOS file system compatibility

• Sample transfer using standard audio file formats AIFF and WAV (including support for

looped and tuned WAV files)

• Support for Roland,™ Akai,™ and Ensoniq™ sample files

• SMDI sample transfers

• Support for song files (sequences) in MIDI Type 0 and Type 1 format

• Support for ISO 9660-format CDs: reading, copying, and backing up

• Support for reading writable CDs (CD-Rs): reading, copying, and backing up

13-2

Basic Disk Mode

Disk Mode Page

Disk Mode Page

To enter Disk mode, press the Disk button, and the Disk-mode page will appear:

DiskMode||||Samples:131072K|Memory:1480K

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

CurrentDisk:SMedia||||||||Startup:Off|||

||||||||||||||||||||||||||Library:Off|||

||||||||||||||||||||||||||Verify|:Off|||

||||||||||||||||||||||||||||||||||||||||

<more|||Load|||Save||Macro||Delete|more>

As usual, the current mode is displayed on the top line. At the middle of this line, the amount of

available sample RAM is shown. To the right of the top line you see the amount of memory

available for storing all other RAM objects.

In the center of the page is a line indicating the currently selected disk. Select different disks

using any data-entry method. You can select a SmartMedia card, or SCSI IDs 0–7. (If you connect

an Apple Macintosh® personal computer, don’t select SCSI ID 7, since that’s the SCSI ID of the

Mac, which can’t be changed. All SCSI devices connected in a network must have different SCSI

IDs in order for the network to function.) When you want to communicate with any of the SCSI

storage devices in your network, set the Current disk parameter to the value that matches the

SCSI ID of the device you want to address. That is, the K2661 will interact with the SCSI storage

device whose SCSI ID matches the value of the Current Disk parameter. If you choose a value of

SMedia, the K2661 will communicate with SmartMedia.

The manual for your SCSI disk should tell you its SCSI ID. Most newer SCSI disks show their

SCSI IDs on their rear panels, and many have adjustable SCSI IDs.

The currently selected device will be read from or written to when you load, save, rename, or

delete files. Use the soft buttons to start any of these operations. Refer to Disk Mode Soft

Buttons on page 13-6 for complete information.

Using SmartMedia Cards

You can use SmartMedia cards for all your backup and storage requirements. SmartMedia cards

are sold in a variety of sizes; the K2661 will work with any size, so long as it’s 4M or larger. Also,

you should double-check to make sure that you always buy 3.3v cards, which is the most

common type.

The SmartMedia card slot is on the back panel of the K2661, but it is easily accessible from the

front of the instrument – just look for the SmartMedia logo and the blue LED. The gold contacts

on the card must be facing up when you insert it into the K2661. You can remove a SmartMedia

card anytime the blue LED is unlit.

Caution: Do not remove a SmartMedia card while the blue LED is lit; this can cause data corruption.

Formatting a SmartMedia Card

SmartMedia cards come formatted and ready to use with the K2661. If you ever need to format a

card, however, insert the SmartMedia card (with gold contacts up) into the K2661’s SmartMedia

slot, or in the SmartMedia slot of any computer with SmartMedia formatting capability. Make

sure the card does not have a write-protection sticker attached.

Basic Disk Mode

SCSI Termination

13-3

Press the Disk button to enter Disk mode. Make sure the Current disk parameter says SMedia,

so you don’t accidentally format any SCSI devices you might have connected! Press the soft

button labeled Format. The K2661 will ask you if you want to format, and a pair of Yes/No soft

buttons will appear. Press the Yes soft button when you are ready to begin.

The K2661 will remind you that formatting will erase the SmartMedia card, and will give you

two more chances to cancel the formatting procedure—we want to make sure you don’t

accidentally erase any cards. Press the Yes soft button to continue formatting. When formatting

begins, the display will tell you that the card is being formatted. The blue SmartMedia LED will

light.

Connecting a SCSI Device

It’s easy to connect SCSI devices to the K2661’s SCSI ports. Using a SCSI device will give you off-

line storage, and can speed up your loading and saving operations considerably.

You’ll need a SCSI cable with a 25-pin SCSI connector on the end to be connected to the K2661. If

your SCSI device does not have a 25-pin connector at one end, you can find SCSI cables like

these at any personal computer store. Connect the 25-pin end of the cable to either of the K2661’s

SCSI ports, and the other end to your SCSI device. Before you start connecting cables, however,

please read the next section carefully. We’ve also included important information about SCSI in

Chapter 6 of the Musician’s Reference, as well as at www.kurzweilmusicsystems.com.

SCSI Termination

Simply put, SCSI termination prevents the electrical signals used by SCSI devices from being

reflected from unconnected SCSI ports, and possibly disrupting the data stream. The K2661 is

always terminated.

The rule for SCSI termination is that the two SCSI devices on the ends of a chain of SCSI devices

must be terminated, and all devices in between, however many, must be unterminated. Newer

SCSI devices usually make it easy to enable or disable their termination settings. Older SCSI

devices may require an external terminator to be installed. These are available at all personal

computer stores. Make sure you get the right size for your device (25-pin or 50-pin are common

sizes).

It’s impossible to describe all the possible configurations of SCSI devices, so we’ll provide you

with a few general guidelines that will cover the requirements for most SCSI systems. If you’re

chaining large numbers of SCSI devices together, you may have to do a little juggling, but

chances are you’ll already have some experience with SCSI termination.

First of all, it’s very important that you terminate your SCSI system properly. Improper

termination can result in lost data, can interfere with the operation of your SCSI devices, and

over the long term, can damage them.

If your SCSI system includes a personal computer, you’ll need to be sure that it is internally

terminated. If you’re not sure whether it’s internally terminated, you should call your computer

dealer for confirmation. If your SCSI system includes only the K2661 and an internally

terminated computer, you’re probably all set.

If you have an internally terminated computer, a K2661 and an external hard disk with two SCSI

ports, setting up is also painless. Connect the computer’s SCSI port to one of the hard disk’s

SCSI ports, and the K2661’s SCSI port to the hard disk’s other SCSI port. Make sure the hard

disk is not terminated, since it’s in the middle of the chain. In this configuration (with a

terminated computer at one end and the K2661 at the other), you can chain up to six hard disks

between them. Make sure they’re all unterminated, and don’t forget to set each disk’s SCSI ID to

a different value. Don’t forget that the computer may have one or more internal SCSI drives;

these must also be counted.

13-4

Basic Disk Mode

Directories

If you’re planning to buy an external SCSI hard disk to use with your K2661, it’s a good idea to

buy one with two SCSI ports. Most new hard disks have two ports, and can be terminated or

unterminated relatively easily. This gives you added flexibility, since you can install it at the end

of a chain, leaving its termination in place, or in the middle of a chain, using both its SCSI ports,

and removing its termination.

When your SCSI device is connected, you can select it with the Current disk parameter on the

Disk-mode page. Use any data-entry method to select the SCSI ID that matches the SCSI ID of

your SCSI device. If you’re using the alphanumeric buttonpad to select the device, enter 8 to

select SmartMedia. Newer SCSI devices usually have an external switch for setting their IDs.

Older units may not have these; check your device’s owner’s manual for its SCSI ID.

Using your K2661 in a SCSI System

SCSI IDs

All devices in a chain of SCSI devices must have different SCSI IDs, including the K2661. The

K2661’s SCSI ID is set at 6 by default, and can be changed on the RECEIVE page in MIDI mode.

If your SCSI system includes an Apple® Macintosh,® be sure not to use SCSI ID 7 for any of your

other devices, since the Mac’s SCSI ID is 7, and can’t be changed. Generally, PCs with SCSI cards

will also use SCSI ID 7 for their interface.

Once you’ve made sure that all connected devices are set to different SCSI IDs, you should be

able to select the devices, format them, and start loading and saving files.

Formatting a SCSI Device

The procedure for formatting hard disks is essentially the same as with SmartMedia cards, once

the SCSI device is selected with the CurrentDisk parameter. The K2661 will recognize the disk as

a SCSI disk, and will warn you that formatting will erase the contents of the disk. Compared

with personal computers, the K2661’s formatting time for SCSI disks is surprisingly short.

See the Musician’s Guide for information about Disk Partitioning.

Directories

A directory is a file on the disk that lets you group other files together as you might separate

documents using folders in a file cabinet. You can create directories on K2661 Format SCSI

drives and SmartMedia cards. You can even create directories within directories; these are called

subdirectories.

Directories are very useful for organizing your sample, song, and program files. The K2661

provides many operations for setting up and managing the directories on your disks and the

files within them.

Path

The Path field shows the current directory on the current disk if it is a K2661 format disk. This

field is displayed upon returning to the Disk-mode page after you have pressed one of the disk

function soft buttons and viewed the file contents of a specific disk. It stays visible on the

Disk-mode page until you power down or do a soft reset.

The K2661 always starts at the root (top-level) directory when you power it up, or when you

change the value of the CurrentDisk parameter. When you use the disk functions to view other

directories, the Path field updates the current directory value to track your movements.

Basic Disk Mode

Directories

13-5

The root directory is displayed as a backslash:

Path|=|\

If you press the Load button and load a file from a subdirectory called SOUNDS, the Path field

will appear as

Path|=|\SOUNDS\

The backslash character is a directory separator, as in the following Path:

Path|=|\NEWTUNE\SAMPLES\DOGS\

This represents the directory DOGS, which is a subdirectory of the SAMPLES directory, which is

a subdirectory of the NEWTUNE directory in the root directory. If the path is too long to fit on

the top line of the display, it gets abbreviated. The maximum length of a path in the K2661 is

64 characters (including the backslash characters).

Startup

The Startup parameter determines what disk will be used for loading the power-up macro file

BOOT.MAC (see the Musician’s Guide). If this is set to None, then the K2661 will power-up in a

normal fashion. If this is set to a SCSI device or SMedia, when the K2661 is next powered on it

will look for the BOOT.MAC file in the root directory of the specified disk, and load each of the

entries in the macro specified within.

This feature provides a very flexible way to automatically configure your K2661’s memory

contents whenever you turn the power on.

Library

This feature works in conjunction with the macro feature to provide a way to distribute macro

files that load data from removable media without having to know in advance the SCSI ID of the

removable-media drive. A macro file stores its references to disks by DISK ID (SCSI ID or

SmartMedia), or by either a “Library” or “Unspecified” designation (see the Musician’s Guide).

Typically, you would set the Library parameter to be the same as the SCSI ID of your CD-ROM

drive, if you were loading macro files from a SmartMedia card or another SCSI disk that

referenced CD-ROM files containing samples or keymaps.

Verify

Set Verify to On when you want the K2661 to verify saves, copies, and backups (the K2661 can’t

verify loads). The operations take longer, but it provides insurance against corrupted files.

Disk Drive Information

For SCSI disks, you’ll see specific information about the current disk’s manufacturer, model

number and internal mechanism; for Smart Media cards, the manufacturer and card size are

displayed. The K2661 requests this information from a SCSI disk when you select that disk with

the Current Disk parameter. This information may be needed when determining if a given disk

is compatible for SCSI operation with the K2661.

13-6

Basic Disk Mode

Directories

Macro On Indicator

When (Macro on) is visible, the K2661 records all file-loading operations in its macro table. See

the Musician’s Guide.

Disk Mode Soft Buttons

Here is a brief description of each of Disk mode’s soft button:

Load Load selected file(s) or object(s) from the current disk into K2661 memory.

Save Save banks of objects, selected objects, or a macro as a K2661 file on the current disk.

Macro Display the macro function page, where you can create and edit macros.

Delete Delete files from the current disk if it is a K2661 disk.

Rename Change the filename of a file on a K2661 disk.

Move Change the location of a file from one directory to another (on the same disk).

Util Check the free space, find files, and view directory organization and sizes on the

current disk.

NewDir Create a new directory on K2661 disks.

Backup Hierarchical file backup between disks.

Copy Single or multiple file copy between disks.

Sleep Send SCSI sleep command to the current disk. See the discussion below.

Format Format the current disk as a K2661 disk.

The Sleep Soft Button

Many SCSI devices will “sleep” when they’ve been idle for a few minutes. In other words, the

disk will stop spinning, in order to save power and reduce wear. The K2661 lets you tell your

SCSI devices to sleep. Just press the Sleep soft button, and if your devices have this feature, they

will sleep. This is particularly useful in a quiet studio situation.

Any Disk-mode operation will “wake” the device again. The K2661 will ask you to wait while

the device’s disk starts spinning. As soon as the disk is spinning at full speed, the K2661 will

execute the operation you selected. Some SCSI devices automatically sleep when they power up.

(A device of this type usually provides a way to override this feature; check its manual.) Any

Disk-mode operation will wake a disk in this case, as well.

Basic Disk Mode

File List Dialog

13-7

File List Dialog

The file list dialog appears when you select a disk function (such as Load or Rename) to operate

on one or more files on a disk. Here is a typical file list dialog, for the Load function:

Dir:\||||||||||||Sel:0/3|||||Index:|||1|

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||File|to|load:BASSOON||.K26|||3456K||

|||||||||||||||||MAY25||||||||(dir)|||||

|||||||||||||||||PERC|||||.K26||||101K||

|Total:3557K||||||||||||||||||||||||||||

Select||Root||Parent||Open|||OK|||Cancel

When you enter this dialog, the K2661 displays the contents of the current directory, in an

alphabetized scrolling list. If the current directory cannot be located (for example, if you’ve

changed cards or removable hard disks), the K2661 displays the current disk’s root directory.

The root directory will also be selected if the disk was just chosen by the CurrentDisk parameter

on the Disk-mode page (remember that the current directory is always set to the top level when

the CurrentDisk parameter is changed, or if the K2661 has just been powered on).

The display for all disks (including SmartMedia) shows the 3-character extension of all files in

the directory (except directories themselves). Extensions are created when the file is saved by the

K2661. You cannot modify the extensions on the K2661. This is because the K2661 uses the

extensions to tell it what kind of data the files contain.

Directories created by the K2661 have up to 8-character names, with no extension. A directory

can have an extension if it is created on an external computer (more on this later).

Here is a list of extensions used by or accepted by the K2661:

.AIF Audio Interchange File Format (AIFF)

.KOS Kurzweil K2500 or K2661 operating system file

.KRZ Kurzweil K2000 format file

.K25 Kurzweil K2500 format file containing objects and/or sample data

.K26 Kurzweil K2600/K2661 format file containing objects and/or sample data

.MAC Kurzweil K2500, K2600, or K2661 disk macro file

.MID MIDI Type 0 or Type 1 sequence file

.WAV Microsoft RIFF WAVE format

Note: In most cases, when we refer to .K26 files, we’re including the older-format .K25 and .KRZ files

as well, since the K2661 can read these file formats.

When loading files, the K2661 will try to find out the type of file if the extension is not the same

as is suggested above (with one exception: .MAC files). The K2661 can create files with almost

all of the above extensions; the exceptions are the older-format .KRZ, .K25, and .KOS files.

13-8

Basic Disk Mode

File List Dialog

The top line of the file list contains several items of information pertaining to the currently

displayed directory contents. A typical information line looks like this:

Dir:..\HATS\|||||Sel:0/54||||Index:||24||

In the center of this line is an indicator of the number of files in the currently displayed directory.

This number is grouped together with the number of selected files, for example:

Sel:0/54|

This example indicates that you have selected none of the 54 files in the current directory,. File

selection is possible in several of the disk functions (more on this below). The total number of

files also includes any subdirectories of the current directory, but not the files within the

subdirectories.

On the left end of the top line of the file list page is the current directory, sometimes in an

abbreviated form. If you are in the root directory, the display will read:

Dir:|\|||||||||||Sel:0/54||||Index:||24|

If you are in the directory \MONDAY, the display will read:

Dir:\MONDAY\|||||Sel:0/54||||Index:||24|

If you are in a directory that is more than one level down from the root directory, such as

\FX2\GLASS\BREAKING, the display will read:

Dir:..\BREAKING\|Sel:0/54||||Index:||24|

The “..\” indicator tells you that you are more than one level down from the root directory.

The File Index

On the right side of the top line is the Index field. This tells the position of the highlighted file

relative from the beginning of the file list. The first entry in a file list is index 1.

Dir:\||||||||||||Sel:2/23||||Index:|||3|

|||||||||||||||||AXM||||||.K26*|||122K||

|||||||||||||||||CHIME||||.K26|||||42K||

||||File|to|load:DOORS||||.K26*||3456K||

|||||||||||||||||JUNE27|||||||(dir)|||||

|||||||||||||||||LONGSMPS|||||(dir)|||||

|Total:21034K||||FLUTE||||.K26|||||.5K||

Select||Root||Parent||Open|||OK|||Cancel

Typing a number on the alphanumeric buttonpad will automatically scroll the display to the

corresponding entry in the file list. Typing an out-of-range value such as 999 is a quick shortcut

to get to the end of the file list.

Basic Disk Mode

File List Dialog

13-9

In addition to remembering the current directory on the most recently used disk, the K2661 also

remembers the index within the file list for the current directory. For example, if you were to hit

Cancel on the above page, go to Setup mode to check the current setup, then return to Disk

mode to load a file, the file index would still show 3 DOORS.K26 after you pressed Load. This

index is remembered until a new disk is selected by changing the value of the Current Disk

parameter on the Disk-mode page.

There are exceptions to this however. For example, when a file is written to the disk using the

Save function, the index will subsequently be set to the file that was just saved. The index can

also be explicitly set using the List and Find utilities.

If there are no files in the current directory, then the index is 0, and no value appears for the File

to load parameter:

Dir:\||||||||||||Sel:0/0|||||Index:|||0|

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||File|to|load:|||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|Total:|0K||||||||||||||||||||||||||||||

Select||Root||Parent||Open|||OK|||Cancel

The maximum number of files that can be accessed within a single directory is 360. If you have

more files than this amount in a single directory, then you will not be able to view the entries

past index 360.

While in this dialog, pressing the Chan/Bank buttons will scroll the file list either forward or

backward by “pages” of 5 entries. It is often easier to scroll the list this way when looking to see

if a particular file is present in a directory.

Soft Buttons in the File List Dialog

Use the Select soft button for multiple file selection in the Load, Delete, and Move functions. In

the display below, there are two files selected (DOORS.K26 and FLUTE.K26), as indicated by

the asterisk (*) following their filenames. If you pressed OK in the following display:

Dir:\||||||||||||Sel:2/23||||Index:|||3|

|||||||||||||||||AXM||||||.K26||||122K||

|||||||||||||||||CHIME||||.K26|||||42K||

||||File|to|load:DOORS||||.K26*||3456K||

|||||||||||||||||JUNE27|||||||(dir)|||||

|||||||||||||||||LONGSMPS|||||(dir)|||||

|Total:21034K||||FLUTE||||.K26*||||.5K||

Select||Root||Parent||Open|||OK|||Cancel

the files DOORS.K26 and FLUTE.K26 would be loaded.

The Select button will toggle the selection, meaning that if you press Select on a given file, the

asterisk will go on if it is currently off, and vice-versa. Selecting can be done for files only, not for

directories. You can select as many files as you wish using the Select button. There is also a way

to select all files at once, or clear all file selections at once, using a double-press of the cursor

buttons:

13-10

Basic Disk Mode

File List Dialog

•Left/Right cursor double-press: Select All Files

•Up/Down cursor double-press: Clear All Selections

Pressing either the Left or Right cursor individually performs a separate function for finding

directories, described below. You can select multiple files only within a single directory.

Changing directories clears any selections.

Once you have selected one or more files, press OK to perform the disk function (in this

example, Load) on all files marked with an asterisk, regardless of whether they’re visible in the

display. If there are no files marked with an asterisk, the function operates only on the

highlighted file.

The Root soft button returns you to the top-level directory. If the display is already at the root

directory (as indicated by the Dir field on the top line of the display) the only effect of pressing

Root will be to reset the file index to1 if there are files in the directory.

The Parent soft button moves you up one level in the directory hierarchy. If the display is

already at the root directory, this button has no effect.

The Open soft button performs a different operation depending on the disk function and the

type of the currently highlighted file or directory (or selected files). In all disk functions,

pressing Open on a directory—indicated by (dir) after the filename—will open that directory

and display its file list.

When you first open a directory for viewing, the index is 1 (the first file in the list). The K2661

remembers the index of the previous directory you were in before you pressed Open, so if you

return to that directory by pressing Parent, the index changes accordingly. This index is

remembered for one level down, and therefore is useful when stepping through a list of

subdirectories from a single directory level.

In the Load function, pressing Open for a standard .K26 file will start the Load Object feature.

This allows selected individual objects from the file to be loaded into the K2661. If Open is

pressed on a macro file (.MAC extension), then individual file entries within a macro file can be

selected for loading.

For all other functions, if Open is pressed when a .K26 or a .MAC file is highlighted, the object

file or the macro file will be opened for viewing. For example, pressing Open on a .K26 file while

in the Delete function will display the objects within the file in a scrollable list, however no

delete action will be possible on the individual objects.

Pressing the OK soft button will cause the K2661 to proceed with the selected function. After

pressing OK, there may be further dialogs such as bank specification (for the Load function),

confirmation (for Delete), or name entry (for Rename). One exception to this is in the Load

function; when a directory is highlighted, pressing OK is the same as pressing Open (it displays

the contents of the highlighted directory).

The Cancel soft button exits the file list dialog, completing the disk function with or without any

operation taking place. The K2661 returns to the Disk-mode page. Pressing the Exit button will

do the same thing as Cancel.

Total

The total size of all the files in the directory is indicated at the bottom left of the file display

above the soft buttons. This total represents only the disk space used by the files in the

directory being viewed. The K2661 includes a free space utility that indicates how much space is

being used on the current disk. Also, there is a List utility that can be used to calculate the size of

all files within a selected directory subtree.

Basic Disk Mode

Creating Directories

13-11

Quick Scrolling to Subdirectories

It is sometimes difficult to locate a subdirectory entry in the file list for the current directory, if

there are many files in the current directory. To make this easier, individually pressing either the

Left or Right cursor buttons will set the file index to the previous or next directory (respectively)

in the current directory list. The index will wrap around the beginning or end of the list, so that

repeated presses of either cursor button will cycle through all of the subdirectories. If you have

many subdirectories, you can scroll through them all very quickly using this method.

For example, given the following file list display:

CYMBALS||||||(dir)|||||

DOGS|||||.K26||||122K||

DOORS||||.K26*||3456K||

E4PROG|||.K26|||||10K||

LONGSMPS|||||(dir)|||||

LUTE|||||.K26*||||.5K||

Pressing the Right cursor takes you two entries further to the next directory:

DOORS||||.K26*||3456K||

E4PROG|||.K26|||||10K||

LONGSMPS|||||(dir)|||||

LUTE|||||.K26*||||.5K||

MOON|||||.K26*||3456K||

TRIANGLE|.K26|||||10K||

or, pressing the Left cursor takes you two entries back to the previous directory.

ALTO|||||||||(dir)|||||

BOOBAMS||.K26*||||.5K||

CYMBALS||||||(dir)|||||

DOGS|||||.K26||||122K||

DOORS||||.K26*||3456K||

E4PROG|||.K26|||||10K||

Creating Directories

As stated above, you can create directories for organizing your K2661 files, whether you are

using SCSI or SmartMedia. You can create directories on any disk formatted by a K2661, K2600,

K2500, or K2000.

Directories appear in the normal file list with the indicator (dir) to the right of the directory

name.

There are two ways to create new directories.

• Press the NewDir button while on the Disk-mode page

• Press the NewDir button during the Save dialog.

13-12

Basic Disk Mode

Creating Directories

Creating a Directory From the Disk Mode Page

When you press NewDir, the K2661 prompts you for the directory name:

|||||||||||||||||||||||||<>KbdNaming:Off

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Directory|name:|THINGS||||||||||||||||||

||||||||||||||||||||||V|||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Delete|Insert|>>End||Choose||OK|||Cancel

Pressing >>End will take the cursor to the last character in the name. The Choose button allows

you to grab a filename from the current disk (see the discussion of file-name grabbing, in More

Features of the Save Dialog on page 13-26). Otherwise, the name will default to either NEWFILE

after a powerup, or the name will be that of the most recent file saved or loaded. Once you

choose a name to start with (or the default), you can edit the name using the Left and Right

cursor buttons, the Delete and Insert soft buttons, and the >>End soft button. You can also use

keyboard naming, as described on page 5-5.

After you have chosen the directory name and pressed OK, you have the choice of where (in

what directory) to put the new directory you are creating.

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Use|current|directory|for|THINGS?|||||||

(Path|=|\)||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||Change||OK|||Cancel

Pressing OK will select the default path, which is the current directory. Pressing Change will

allow you to view the disk, traversing its directories, until you find the one in which you want to

create the new directory. In this case, pressing OK creates a directory called THINGS in the root

directory.

Created|directory|/THINGS

The display shows that the K2661 has created the directory, then the Disk-mode page reappears.

Creating a Directory in the Save Dialog

As a convenience when saving files to a directory, you can press Save from the Disk-mode page

and then press NewDir in the Save dialog. You’ll get the same prompts as when you create a

directory from the Disk-mode page. When you press OK, the display shows that the K2661 has

created the directory, then the Save dialog reappears.

When you create a directory from within the Save dialog, the K2661 resets the current directory

to the directory you just created.

Basic Disk Mode

The Directory Selection Dialog

13-13

The Directory Selection Dialog

When making a new directory, as well as in many of the disk functions, you will be presented

with the opportunity to change the current directory, or the default directory for a disk

operation. A good example is the “Use current directory? ”prompt that you see when you create

a directory. If you press Change, you will see a slightly modified file list dialog, through which

you can select any directory on the disk. The display looks like this:

Dir:\||||||||||||Sel:0/23|||||Index:||7|

|||||||||||||||||MELLOTRN|.K26||||122K||

|||||||||||||||||N123AB|||.K26|||||42K||

Select|directory:OCEANS|||.K26|||3456K||

|||||||||||||||||STRINGS||||||(dir)|||||

|||||||||||||||||T1|||||||||||(dir)|||||

|Total:21034K||||UNDULATE|.K26|||||.5K||

|Root||Parent|Open|||||||||Current|Exit|

When you enter this dialog, you will be in whatever directory was displayed as the default.

From here you can go into other directories by using the soft buttons Root, Parent, and Open.

Notice that there is no Select button. This is because the purpose of this dialog is to choose a

single directory as opposed to selecting multiple files. However, the Root, Parent, and Open

buttons function exactly as described above (for the file list dialog). The Sel field (on the top line)

shows you how many files/directories you have selected out of the total number of files/

directories in the current directory.

If you’ve highlighted a directory, there is one additional soft button displayed, SetDir. Notice

the Current button moves over one button to the left:

Dir:\||||||||||||Sel:0/23||||Index:|||8|

|||||||||||||||||N123AB|||.K26|||||42K||

|||||||||||||||||OCEANS|||.K26|||3456K||

Select|directory:STRINGS||||||(dir)|||||

|||||||||||||||||T1|||||||||||(dir)|||||

|||||||||||||||||UNDULATE|.K26|||||.5K||

|Total:21034K||||ZORK|||||.K26|||||.5K||

|Root||Parent|Open||Current|SetDir|Exit|

You can use either of two soft buttons to select a directory in this dialog.

Current This selects the directory you are currently in (whose file list you are

viewing), as specified in the Dir parameter on the top line of the display.

For example, if you wished to select the directory STRINGS using the

Current button, you would first press Open to display the contents of

that directory, and then press Current. If you instead wanted to choose

the root directory, you would simply press Current, since that is the

directory you are viewing (notice the Dir: \ at the top).

SetDir This selects the directory you are scrolled to, such as STRINGS in the

display above. This method is often quicker and more convenient than

pressing Open followed by Current, which does the same thing. The

SetDir soft button is present in the display only when the scrollbar

highlights a directory entry.

13-14

Basic Disk Mode

Disk Mode Functions

Disk Mode Functions

Now that you are familiar with the basics of creating directories and moving around in the

K2661 file system, it is time to discuss some of the features provided in the disk functions

themselves.

Loading Files

The Load button instructs the K2661 to copy a file from the current disk to the K2661’s RAM.

Press the Load button, and a list of files stored in the currently selected device will appear. Scroll

through the list of files with the Alpha Wheel or Plus/Minus buttons, then press OK—or press

Cancel to return to the Disk-mode page.

When you press OK, the Bank dialog will appear (as described in Load Function

Dialog on page 13-19) and you’ll be asked to select the memory bank to load the file into. Scroll

through the list of banks with the Alpha Wheel or Plus/Minus buttons until the desired memory

bank is highlighted, then press OK. Or press Cancel to back up a page and select another file to

load. Once you have selected a bank to which to load, you will be asked to choose a method for

loading. The method you choose determines how the objects in the file will be ordered when

loaded into the bank.

Loading Individual Objects

Since files can contain over 3000 objects, it is often useful to load only a subset of the information

contained in a K2661 file. Sometimes, this capability is necessary even to be able to load certain

files, if the size of the file’s samples or data is greater than the K2661’s internal RAM size.

You can select individual objects or groups of objects (samples, programs, keymaps, effects,

songs) for loading from within a single K2661 file.

The Load Object feature is accessible from within the Load File dialog. To activate it, scroll the

file list until you have highlighted the file that you wish to load objects from:

Dir:\||||||||||||Sel:0/6|||||Index:|||3|

|||||||||||||||||BASSDRMS|.K26||||426K||

|||||||||||||||||HIHATS|||.K26||||788K||

||||File|to|load:SAXES||||.K26|||2510K||

|||||||||||||||||TOMS|||||.K26||||301K||

|||||||||||||||||TOMS1||||.K26|||1400K||

|Total:|5037K||||XCYMB||||.K26|||1012K||

Select||Root||Parent||Open|||OK|||Cancel

Press Open to begin the Load Object dialog. (Note: The file must be in .KRZ, .K25, or .K26

format in order to load individual objects from it.) The K2661 then scans the file contents in

order to present a list of all of the objects in the file. Sometimes this procedure can take a few

Basic Disk Mode

Disk Mode Functions

13-15

moments, depending on how many objects are in the file. During this time, you will see the

following display:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Reading|file|SAXES.K26||[...]|||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Select||Next|||Type|||Multi|||OK||Cancel

The soft buttons in the above display do not become active until the process of scanning is

finished. When this happens, the K2661 will display a list of the file’s objects, in the exact order

that they are stored in the file:

Func:LOAD|||||Sel:0/5|||||||||||Index:|1

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Sample||200|Tenor|Sax1|||||||G|2S|||250K

Sample||201|Tenor|Sax2|||||||C|3S|||179K

Sample||203|Tenor|Sax3|||||||F#3S|||198K

Keymap||200|Tenor|Sax|||||||||||||||176|

Select||Next||Type|||Multi|||OK|||Cancel

The objects in the list are usually grouped by type (sample, program, keymap, etc.). The list can

be scrolled using the Alpha wheel or the Up or Down cursors. The Chan/Bank buttons on the

front panel can be used for fast scrolling. The list will jump by five entries at a time, moving the

entry on the bottom line to the top line.

Note: When scrolling through large numbers of objects (more than 100), the K2661 may sometimes

pause for a few seconds if it needs to get more information from the disk file. When this happens, some

gyrating dots will briefly appear in place of the Index value on the top line of the display.

Each line in the scrollable list represents one object, and displays the object’s type, ID, name, and

size. Samples have additional information: the sample’s root key and a stereo sample indicator:

Sample||203|Tenor|Sax3|||||||||F#3S|||||198K

The ID numbers are the same numbers that were used to reference the objects when the file was

last saved by the K2661. These numbers will usually be different after the objects are loaded,

depending upon the bank (for example, 200...299) and mode that is specified for loading. There

is more information on these modes in the section called Load Function Dialog on page 13-19.

The Size field is interpreted differently for samples and nonsamples. For nonsamples (songs,

programs, etc.), it shows the number of bytes used by the object in the file, and hence the

amount of program memory that the object will occupy in the K2661. For samples, the size field

shows the size of the all sample data associated with the object, and is displayed in kilobytes (K).

Object Type ID Name Sample Info Size

13-16

Basic Disk Mode

Disk Mode Functions

For samples, the letter S after the root key indicates a stereo sample.

Due to display space constraints, if the sample’s root key happens to be in the lowest MIDI

octave range (that is, C -1 through B -1), it will be displayed in a truncated form. For example, if

a sample’s root key was set to G#-1, the display would read:

Sample||293|Tenor|Sax||||G#-||||198K

The status line at the top of the display specifies the function being performed, the number of

selected objects in the list followed by the total number of objects in the file, and the current list

index:

Func:LOAD|||||Sel:0/5||||||||Index:|||1||

As with the file list, entering in a number from the alphanumeric buttonpad will jump to the

indexed entry, and typing in a large number like 9999 will go to the end of the list.

The soft buttons on this page are used for multiple selection of the objects in the list as well as for

moving around the list when there are many items selected or listed. This same dialog is also

used for many other functions in the K2661, namely for saving selected objects to disk and for

several object utility functions that are described later.

Here is a brief description of each button’s function, followed by a detailed explanation of its

operation.

Select Select or deselect an object.

Next Jump to the next selected object.

Type Jump to the next object of a different type.

Multi Go to the Multiple Object Selector page.

OK Tell K2661 to proceed to load the selected objects.

Cancel Exit back to the File List Dialog.

Press the Select button to choose the highlighted object for loading. An asterisk (*) is placed in

between the object name and the object ID for any items that are selected. Deselect a selected

object by pressing Select again. The asterisk will disappear. The easiest way to choose objects for

loading is to scroll the list and individually press Select on each object you want to load.

If you only want to select one object for loading, you need not select it with the Select button.

Instead, pressing OK implicitly selects the highlighted object if there are no other objects

selected. If there are objects selected, however, then the highlighted object will not be loaded

unless it is selected.

Basic Disk Mode

Disk Mode Functions

13-17

This page shows three samples selected for loading (IDs 201, 203, and 304):

Func:LOAD|||||Sel:3/20||||||Index:|||||4

Sample||201*Machine|Snare||||C|4S|||100K

Sample||203*Big|Bass|Loop||||C|4S|||218K

Sample||304*Distorted|Riff|||C|4S|||401K

Sample||305|EPiano1||||||||||D|2|||||24K

Sample||306|EPiano2||||||||||D|3|||||25K

Sample||313|EPiano3||||||||||D|4|||||15K

Select||Next|||Type|||Multi|||OK||Cancel

The Next button will cause the index into the list to jump to the next selected object, forward in

the list. When the end of the list is reached, the search will wrap around from the beginning. If

you have more than one object selected, then if you repeatedly press Next you can easily cycle

through all selected items. If there are no items selected, then this button doesn’t do anything.

The Type button jumps to the next object of a different type from the one that is currently

highlighted. This is a convenient way to find a particular type of object in the list. If you want to

skip over the samples and the keymaps in an object list and jump right to the programs, press

Type about two or three times, stopping when you notice that a program is highlighted.

Press the Multi button to enter the Multiple Object Selector (described on page 13-34). This

powerful utility can be used to control the selection or deselection of many objects, cross-

referenced by object types and ranges of ID numbers.

When you are all done selecting objects to load, press OK. As stated above, if only one object is

to be loaded, it is implicitly selected if it is the currently highlighted object and there are no other

selected objects in the list.

Cancel returns to the file list dialog, highlighting the file you just opened. You can load the

entire file after pressing Cancel by pressing OK when you return to the file list.

Shortcuts when Loading Objects

Select All/Deselect All

Selecting or deselecting all of the objects at once can be done with the same double-presses as

described for the file list dialog, namely:

•Left/Right cursor double-press: Select All Objects

•Up/Down cursor double-press: Clear All Selections

If you want to load most but not all of the items from a file (for example, if there happens to be a

Master table in the file that you don’t want to load), it may be fastest to first select all objects

using the Left/Right double-press, and then manually deselect any unwanted items.

Viewing the Name Table

The name table is an object that appears in files that were created using the Names button in the

“Save dependent objects?” dialog (see The Name Table on page 13-29). This object contains a list

of dependent objects needed by the other objects in the file at the time the file was saved. There

is more information about this later on, however it is worth mentioning here that a highlighted

name table object’s contents can be viewed by pressing either one of the Left or Right cursor

buttons.

13-18

Basic Disk Mode

Disk Mode Functions

Loading Dependent Objects

When you press OK after selecting one or more objects, the K2661 will ask the following

question:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Load|dependent|objects?|||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||Yes||||No||

This dialog appears because one or more of the selected objects might have dependents

associated with them in the file. (Remember, dependents are those objects needed by other

objects; samples are dependents of keymaps, effects and keymaps are dependents of programs,

and so on.) When this dialog appears, it does not necessarily mean that there really are

dependents of the selected objects. The K2661 will not know whether there are dependent

objects in the file until it begins to read in the selected objects, and determines what their

dependents are.

Answering Yes to the question tells the K2661 to also load the dependents. You may wish to

answer No if, for example, you are simply loading a program or a keymap as a template for use

with other objects. You can also manually select only some of an object’s dependents, and then

answer No to “Load dependent objects?” to prevent other unwanted dependents from being

loaded.

To summarize, it is not necessary to select any of the dependents of an object if you plan on

loading all of the dependents. As an example, for a file containing dozens of programs,

keymaps, and samples, you may choose to highlight a certain program and press OK, and

answer Yes to the “Load dependent objects?” question. The K2661 will do the rest, by only

loading the samples and keymaps that are needed by the selected program.

Similarly, if you selected certain keymaps from a file, and then answered Yes to “Load dependent

objects,” the K2661 would figure out exactly what samples need to be loaded as dependents of

the selected keymaps.

Auditioning Samples from a Disk File

Often when working with files that contain samples it is helpful to be able to hear what the

samples sound like before loading all or part of the file. It is possible to audition samples in the

file, from within the Load Object dialog.

To audition a sample, first scroll to the sample that you wish to hear. Then, press either the Left

or Right cursor. The K2661 will load the sample (or 1 second of it if it’s longer than a second).

The audition starts from the very beginning of the sample data (note that if the first second of

data is silence then you won’t hear very much when the sample is auditioned). If the loop points

fall within the first second of the stored sample data, they will be loaded as well. The K2661

display will blink after the completion of loading the sample audition data. When the sample

segment has been loaded, it can then be played back at its root key as well as transposed up and

down the keyboard.

Once a sample has been auditioned, it remains active across the keyboard until another sample

is auditioned. The audition function ends when either OK or Cancel are pressed.

Basic Disk Mode

Load Function Dialog

13-19

There must be sufficient sample RAM in the K2661 to load one second of the sound for

auditioning. This amount varies according to the sample rate of the sample, but for most

samples this will be less than 100K bytes. If the auditioned sample does not play, check that

there is enough free sample memory in the K2661. It is also possible to see the following error if

the K2661 object RAM is full or very near full:

Not|enough|memory|to|audition

Load Function Dialog

Bank Status Indicator

After you have chosen what you wish to load, you are presented with a dialog allowing you to

determine what bank will be used to load the file’s data. The bank-status indicator (an asterisk)

indicates whether a bank contains objects.

If an asterisk is present after the bank number (for example, 400...499*), it means that there are

objects in the bank, whether they are RAM or ROM objects. ROM objects are in most banks; the

only completely empty banks are 200 and300.

If there is no asterisk on the line for a bank, it means the bank is empty.

In the following dialog, there are user objects in the 200s and 400s bank, and possibly also in

other banks that become visible when the selection is scrolled.

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||Load|this|file|as:200...299*||||||||||

||||||||||||||||||||300...399|||||||||||

||||||||||||||||||||400...499*||||||||||

||||||||||||||||||||500...599|||||||||||

|||||||||||||||||||||||||||||OK|||Cancel

This indicator makes it easier to find an empty bank to use for loading, if needed.

Loading Methods

Once you have pressed OK to decide on what bank to use, you will see this dialog if the bank is

empty:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||200...299*||||||||||

||Load|this|file|as:300...399|||||||||||

||||||||||||||||||||400...499*||||||||||

||||||||||||||||||||500...599|||||||||||

||||||||||||||||||||600...699|||||||||||

|||||||||||||||||||||Append|Fill||Cancel

13-20

Basic Disk Mode

Load Function Dialog

You will see the following dialog if the bank contains any objects (in RAM or ROM):

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||200...299*||||||||||

||||||||||||||||||||300...399|||||||||||

||Load|this|file|as:400...499*||||||||||

||||||||||||||||||||500...599|||||||||||

||||||||||||||||||||600...699|||||||||||

||||||||||||||||||||700...799|||||||||||

OvFill|Overwrt|Merge|Append|Fill||Cancel

The soft buttons control the mode for loading and renumbering of objects from the file. Here’s

how they work:

OvFill First deletes all RAM objects in the selected bank, and then loads objects using

consecutive numbering.

Overwrt First deletes all RAM objects in the selected bank, and then loads objects using the

object ID numbers stored in the file.

Merge Preserve the object ID numbers stored in the file for the objects to be loaded,

overwrite objects already in memory if necessary.

Append Try to use the object ID numbers stored in the file for the objects to be loaded. If an

ID number is already in use, increment the ID number until a free slot is found.

Fill Ignore the object ID numbers stored in the file. Try to use consecutive numbering

from the beginning of the selected bank. If an ID number is already in use,

increment the ID number until a free slot is found.

Cancel Cancel the mode selection, and go back to choosing a bank. Scrolling to a different

bank value will have the same effect as Cancel.

Typically, you will just want to use the Fill method. Append, Merge, and Overwrt try to

preserve the numbers stored with the objects in the file, but this should only really be necessary

if you depend on program numbers or effect numbers to be at a certain MIDI program change

number. OvFill is like Fill except the selected bank (or Everything) is cleared out before

loading.

Overwrt and OvFill operate in different ways after a selected bank has been filled up for a given

object type (for example, after you have loaded more than 100 programs into a bank). Overwrt

will continue to preserve the objectIDs stored in the file, and will individually overwrite objects

in the bank following the just filled bank. OvFill does not overwrite past the end of the selected

bank; it instead skips over object IDs that are in use, loading only into unused IDs. Because of

this difference, it can sometimes be faster to load a file using OvFill rather than Overwrt.

However, this applies only if the objects to be loaded would extend past the end of a selected

bank.

Note that when loading into a specific bank (as opposed to loading as “Everything”), the object

IDs in the file are used as follows: The “bank” digit is ignored, and the remainder of the number

is used when the K2661 rebanks the object ID into the bank that you specify. For example, if you

save Program 453 into a file, and load it back into the 300s bank, the K2661 will use the number

53 when deciding upon a new object ID. If the 300s bank was previously empty, and the load

mode is Append, then the program will end up with ID 353.

Basic Disk Mode

Load Function Dialog

13-21

For loading as “Everything,” the ID number for an object stored in a file is taken literally, and

not rebanked (except if Fill or OvFill mode is chosen, in which case the K2661 will use ID

numbers starting from 200).

The following example shows how each different loading methods affect how four programs

load into a bank that already contains programs.

Example: Starting with the following objects already stored in the K2661 internal RAM:

Suppose you were to load a file containing the following objects into the 200s bank:

The following table shows the IDs that each program end up with when you load the organs

(with IDs in the 400s) into the 200s bank, which contains the pianos. Note that in Merge mode,

Organs 405 and 410 replace Pianos 205 and 210.

Program ID Program Name

200 Acoustic Piano 2

204 Bright Piano

205 Tin Ear Piano

210 Chorused Piano

211 Electric Piano 2

Program ID Program Name

405 Blues Organ

406 Gospel Organ

409 Cheezoid Organ

410 Internal Organ

Original

Program

ID

Program Name

Program IDs After Loading

OvFill Overwrt Merge Append Fill

200 Acoustic Piano 2 Deleted Deleted 200 200 200

204 Bright Piano Deleted Deleted 204 204 204

205 Tin Ear Piano Deleted Deleted Deleted 205 205

210 Chorused Piano Deleted Deleted Deleted 210 210

211 Electric Piano 2 Deleted Deleted 211 211 211

405 Blues Organ 200 205 205 206 201

406 Gospel Organ 201 206 206 207 202

409 Cheezoid Organ 202 209 209 209 203

410 Internal Organ 203 210 210 212 206

13-22

Basic Disk Mode

Load Function Dialog

Selecting Multiple Files to Load

As stated previously, you can select multiple files for loading into the K2661 from within a single

directory, in one operation. This is done from the file list dialog with the Select button.

After you have selected one or more files in this way, you will still choose a bank and mode to be

used for the load process, just as with loading a single file. However, the dialog prompt will say

Load selected as:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||Load|selected|as:200...299*||||||||||

||||||||||||||||||||300...399|||||||||||

||||||||||||||||||||400...499*||||||||||

||||||||||||||||||||500...599|||||||||||

|||||||||||||||||||||||||||||OK|||Cancel

If you selected any macro files (.MAC extension) from the directory, then once you have select

the mode for loading, you will see the question:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Load|macros|as|specified?|||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||Yes||||No||

The answer to this question instructs the K2661 that any macro files will have their macro entries

loaded according to the bank and mode:

Yes specified in the macro entry.

No currently specified for this multiple file load. In other words, whatever you select for

Bank and Mode will override the instructions for each entry in the macro.

At this point the files will begin to load. When all the files have been successfully loaded or the

load process has been aborted, the K2661 returns to the Disk-mode page.

If there are any errors encountered during a multiple file load, such as running out of object

RAM, you will be asked once if you wish to abort the load. In some cases, you may wish to

continue loading. If you continue (and don’t abort), the only way to abort will be to use a special

procedure described in the next paragraph.

Aborting a Multiple File Load

There is a way to abort the process of loading multiple files. Aborting can only be done

“in between” files that are being loaded, and not during the load of any one file (short of

powering off or soft-resetting the machine by pressing +/-, 0, and Clear simultaneously, but this

is not recommended!).

Basic Disk Mode

Load Function Dialog

13-23

Aborting a multiple file load is done by pressing and holding down either of the Plus (+) or the

Minus (-) buttons that are located just below the Alpha wheel. This should be done at least one-

half second before you anticipate the current file to finish loading, or else the K2661 will not

sense that you wish to abort the load.

You will see the following question after the current file being loaded is completed:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Abort|the|load?|||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||Yes||||No||

It may be a good idea to practice using this method of aborting a multiple file load, so that when

the time comes that you accidentally select 100 files, you will remember how to abort the

process. This same method (of holding the Plus or Minus buttons down) is also used to abort

the Backup feature and the macro file load feature.

If you run out of object or sample RAM, you will have one opportunity to abort the load as

explained above. However, if you continue from that point you may end up seeing the same

error message “Memory is full” for each file that you had selected. This can be a rather tedious

process, however it is still possible to abort out of this by holding down the Plus or Minus

button simultaneously while pressing Yes when you see the following question:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Abort|this|partial|load?||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||Yes||||No||

More Load Function Features

There are more features having to do with the Load function that are described later on in this

chapter, such as loading macro files and loading AIFF files.

13-24

Basic Disk Mode

Saving Files

Saving Files

The Save button starts the process of saving from the K2661 to the currently selected device.

When you press the Save soft button on the Disk-mode page you will see the bank dialog:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||||Save|selection:200...299*||||||||||

||||||||||||||||||||300...399|||||||||||

||||||||||||||||||||400...499|||||||||||

||||||||||||||||||||500...599|||||||||||

Export|Macro||Object|NewDir||OK|||Cancel

The Macro soft button will be present only if macro recording is turned on. (See the Musician’s

Guide for more information on macros.)

You can save an entire bank of objects, or by pressing the Object soft button, select individual

objects to be saved. If you choose to save using the bank method, all RAM objects within that

bank will be saved. (You cannot save ROM objects. If you wish to save a ROM object, such as a

program, you must first save it internally as a RAM program.) If any objects within the selected

bank have dependent RAM objects that exist in a different bank, you will be asked if you want

to save dependent objects. See page 13-28 for more on saving dependent objects.

Use one of the data-entry methods to select a bank to be saved. If you press the Cancel soft

button, you’ll return to the Disk-mode page. After you’ve selected the bank, press OK. The

following page will appear:

|||||||||||||||||||||||||<>KbdNaming:Off

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Save|as:||||||||||NEWFILE|||||||||||||||

||||||||||||||||||V|||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Delete|Insert|>>End||Choose||OK|||Cancel

You can now name the file according to the naming procedures outlined in Chapter 5. You can

enter up to eight characters. When you’ve entered a name, press OK to save the file as shown in

the display, or press Cancel to return to the file dialog. When the file is saved, the K2661 adds an

extension (.K26) to the filename. This enables the K2661 to recognize it as a Kurzweil file when it

examines the disk’s directory.

Saving Master and Everything Files

Among your choices in the Bank dialog are Master files and Everything files. Master files consist

primarily of the items on the Master-mode page and the three MIDI-mode pages. They also

include information like marked pages, view settings, and MIDI channel and program

assignment. In fact, saving Master files (or dumping them via SysEx) is a good way to configure

your K2661 (or another K2661) to your performance or sequencing needs. For example, you

might save different Master files with every sequence you create using an external sequencer.

Then, when you load the Master file, you would have all the correct programs assigned to the

appropriate MIDI channels.

Basic Disk Mode

Saving Files

13-25

Everything files consist of the Master file parameters and every other RAM object. Saving an

Everything file will literally save everything in RAM, including samples, into a single file.

Soft Buttons in the Save Selection Dialog

The meaning of the soft buttons in the “Save selection” dialog is as follows:

Export Save a sample or a song in an exported file format (that is, AIFF, WAVE,

MIDI Type 0 or Type 1). This feature is described in the Musician’s Guide.

Macro Save entries from the current macro table as a macro file (.MAC). This soft button is

displayed only if macro file recording is on.

Object Save selected objects from the K2661’s RAM.

NewDir Create a new directory on the current disk, and return to this dialog afterwards.

This is described previously in Creating Directories on page 13-11.

OK Save all the objects from the highlighted bank (for example, 200...299), and

optionally also save dependent objects.

Cancel Exit from the Save function.

Export, Macro, and NewDir are all explained in the Musician’s Guide. This section will describe

the process of saving K2661 objects into K2661 format disk files.

Saving Individual Objects

You can select any group of objects in the K2661’s RAM for saving into a single file.To save

individual objects, from the above dialog, press Object. The K2661 will display a scrollable list

of all the objects in RAM, very similar to the display for the Load Object feature (described

previously):

Func:SAVE|||||Sel:0/8||||||||Index:|||1

|||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||||||||||||||||||||

Sample||500|Lo|Vocal||||||||A|3S|||250K

Sample||501|Hi|Vocal||||||||G|4S|||179K

Keymap||500|VocalsMap||||||||||||||176|

Program|500|Dry|Vocals|||||||||||||270|

Select||Next|||Type|||Multi||OK||Cancel

The procedures for saving objects are essentially the same as the procedures described on

page 13-14 for loading objects.

Shortcuts when Saving Objects

Select All/Deselect All

Selecting or deselecting all of the objects at once can be done with the following double-presses

(two front-panel buttons simultaneously pressed):

•Left/Right cursor double-press: Select All Objects

•Up/Down cursor double-press: Clear All Selections

13-26

Basic Disk Mode

Saving Files

If you want to save most but not all of the items from a file (for example, if there are some songs

in RAM that you don’t want to be saved in the file), it may be fastest to first select all objects

using the Left/Right double-press, and then manually deselect any unwanted items.

Viewing Selected Objects

When there are lots of objects selected, but they are scattered in the objects list, it can be helpful

to be able to view a list of only the currently selected objects. Do this by double-pressing the

Chan/Bank buttons.

• Double-press of Chan/Bank buttons: View Selected Objects

For example, if there were 10 objects selected, and you pressed both Chan/Bank buttons

simultaneously, the K2661 would show a list similar to this:

View|Selected|Objects||10/134|||||||||||

Program|300|Biggest|Kit||||||||||||7124|

Program|301|Repercussions||||||||||7124|

Song||||300|Drum|Groove|7|||||||||12092|

Song||||301|Drum|Groove|8|||||||||24700|

Song||||421|Nasty|Funk|||||||||||||3122|

Song||||500|Beethoven||||||||||||||1024|

||||||||||||||||||||||||||||||||||||OK||

The top line shows 10 objects selected out of the 134 that are currently in RAM. If the number of

selected objects is larger than the 6 objects that fit on one page (as in this example), the list can be

scrolled to view all of the information.

Note that this feature is not available in the Load Object dialog.

More Features of the Save Dialog

The Choose File Name Function

When entering in a filename for saving, there is a Choose soft button. When Choose is pressed

from the file naming dialog, the K2661 will access the current disk directory and display the

following:

Dir:\||||||||||||Sel:0/10||||Index:|||1|

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Choose|file|name:BOTTLE|||.K26|||||48K||

|||||||||||||||||CLAV|||||.K26|||1207K||

|||||||||||||||||REGGAE|||||||(dir)|||||

|Total:664K||||||STICK||||.K26||||550K||

||||||||Root||Parent|||||||||OK|||Cancel

The function of this dialog is to grab the text of any filename on the current disk, and either use

it as a starting point in the file naming dialog, or else use the chosen filename exactly. This helps

when replacing files on the disk (where the name must exactly match the file being replaced), or

adding files to the disk that have similar names or appended revision numbers. You can save

time by not having to enter the entire filename on the K2661’s alphanumeric buttonpad.

Basic Disk Mode

Saving Files

13-27

The Open soft button is visible in the “Choose file name” dialog only when a subdirectory is

highlighted.

Traversing directories from the Choose function does not change the current default directory.

Selecting the Directory to use for Saving a File

After you specify the filename when saving any file, select where to put it: by default it goes in

the current directory, but you can specify any other directory on the current disk:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Use|current|directory|for|BOTTLE.K26?|||

(Path|=|\)||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||Change||OK|||Cancel

Pressing OK will accept the default path (the current directory), which in this example is the root

directory (represented by the backslash character). Pressing Change will allow you to view the

disk, traversing its directories, until you find the one in which you want to save the file. If you

choose a different directory from the default, it will become the new default directory. For more

information on selecting a directory, see The Directory Selection Dialog on page 13-13.

Saving Any File sets the File Index

After saving a file, you can go to any disk function (such as Load), and the just saved file will be

automatically highlighted. This makes it easy to find a file that you have just saved, in case you

want to delete it, add it to a macro, move it to a different directory, open it (if it is a .K26 or a

.MAC file), etc.

Auditioning Objects in RAM

When deciding which individual objects to save, it can be difficult to know if you are selecting

the correct ones. This is especially true if many objects have similar or identical names, or if the

names of the objects are not descriptive enough to know what they are. The K2661 has a feature

that allows auditioning of samples, keymaps, programs, and songs right from the Save Object

dialog (as well as all of the other object utility dialogs that are discussed later). To activate this

feature, scroll to an object of an appropriate type to be auditioned, and press either the Left or

Right cursor button. The display will blink, and the objects can now be heard as follows:

Samples play at their root key, as well as transposed across the keyboard. Stereo

samples will play in stereo. Auditioning samples in this way is similar to

listening to samples from the SampleMode page in Master mode. The samples are

auditioned using a “hidden” program set up according to the parameters

in Program 199 Default Program. This default program can be customized

if needed by editing and saving a new program 199.

If you audition any sample objects, the last one that you audition will become the

“preview” sample the next time you go to the SampleMode page in Master mode.

This can be a quick way to edit the sample without having to edit a program and a

keymap.

13-28

Basic Disk Mode

Saving Files

Keymaps are reproduced accurately, and are played according to the parameters in Program

199 Default Program. This default program in ROM is set up to have a 0% effects

level (dry). Therefore, auditioning keymaps can be a very convenient way to hear

them isolated from the effects.

Programs play exactly as they would if they were selected from the Program-mode page.

Songs start playing when either the Left or Right cursor button is pressed, and stop

playing when either cursor is pressed while the song is playing. The most recent

song that is auditioned from this page become the current song (as seen on the

Song-mode page).

Setups play exactly as they would if they were selected from the Setup-mode page.

Once auditioned, the above object types remain active on the keyboard until another object is

auditioned, or until Cancel is pressed. If a song is being auditioned, no other objects are

auditioned until the song audition is stopped (by pressing one of the Left or Right cursor

buttons).

Saving Dependent Objects

When you save a file, you may see a prompt as part of the Save dialog that asks you whether

you want to save dependent objects. A dependent object is simply an object that’s associated

with another object. The dependent object can be stored in a different memory bank—for

example, a RAM sample with ID 301 that’s used in a program with ID 402, or in the same bank

as the file being saved. Rather than forcing you to save dependent objects separately and to keep

track of them yourself, the K2661 gives you the option of automatically saving the dependent

objects as part of the file you save. When you load the file again, the dependent objects will be

loaded along with the objects to which they’re attached.

While the K2661 makes it easy for you to keep track of your dependent objects, you need to keep

aware of what happens with dependent objects when saving to disk and reloading. First of all,

make sure you have enough space available (on card or disk) to hold whatever RAM samples

you are saving. Consider this example. Suppose you create 30 new programs, each of which

uses a keymap containing four different RAM samples. If you save these programs to a disk file,

and save dependent objects with them, you’ve created a file containing 30 programs and 120

dependent RAM samples. So far, so good. Suppose you then load that file into the 300s bank.

The K2661 will load the 30 programs into the 300s bank just fine, but it will be able to load (at

most) only the first 100 dependent objects to the 300s bank (each memory bank can hold a

maximum of 100 objects of a given type). The remaining 20 dependent objects will be loaded

into the 400s bank. If there are no objects of the same type in the 400s bank, there’s no problem.

But if there are objects of the same type in the 400s bank, some or all of them will be replaced by

the newly loaded dependent objects.

The easiest way to prevent this is to make sure that you don’t create more than 100 dependent

objects attached to the other objects in a given memory bank. The easiest way to do this is to

avoid creating dependent objects when possible, by saving objects with IDs in the same memory

bank as the objects to which they’re related. For example, if you create a program that uses RAM

samples, and you save the program with ID 201, resaving the RAM samples used by that

program with IDs in the 200s will prevent dependent objects from being created for that

program. If you do this, you’ll minimize the number of dependent objects you create, and you’ll

be unlikely to force dependent objects to be loaded into a higher-numbered memory bank when

you load files.

Once you have selected objects for saving (either individually as just described or by bank

selection), the K2661 will determine if any of the items chosen to save have any dependent

objects in RAM that were not chosen. For example, if you select a program to be saved and

nothing else (using the Save Object feature), the program may have dependent effects, keymaps,

Basic Disk Mode

Saving Files

13-29

and samples that are in RAM. Dependent objects that are in ROM (for example, ROM samples

or keymaps) do not get saved to disk.

You will see the following dialog displayed if there are any dependent objects in RAM of any

objects that were selected for saving:

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Save|dependent|objects?|||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|||||||||||||||||||||Names|||Yes||||No||

Choosing Yes will cause any dependent objects to be saved in the file together with the selected

objects. Choosing No means that unselected dependents will not be saved. The Names button

creates a new kind of object to be stored in the file, called the name table.

The Name Table

A file’s name table is a list of any dependent objects that were not explicitly selected for saving

in the file. Each entry in the name table contains the object type, object ID, and the name of a

dependent object.

A file’s name table is used by the K2661 at only one time: when the file is loaded. At that time,

the K2661 will search for dependent objects that were not saved in the file originally. The search

matches dependent objects by name with objects that are already in RAM, and links them to the

“parent” object. The name-table data are then discarded when the file load is finished. This

search feature is referred to as Relink-by-Name.

Relink-by-name can help you work efficiently with K2661 objects and disk files. Careful use of

this feature can save you many megabytes of disk storage. It can also free up time for working

on music and production instead of waiting for sample data to be resaved.

Relink-by-Name allows you to save objects and their dependent objects separately (in multiple

files) and be able to link them up later on by loading the files in the correct order. This can be a

very efficient way of working with the K2661’s many levels of dependent objects. The most

common way in which Relink-by-Name speeds up development of sounds is when making

small adjustments to a program that has as its dependents a large amount of sample data. You

can separate the program and sample data, so that after changing a program parameter, only a

file containing the program and a name table need be resaved.

When loading a file that contains a name table, the following rules should be observed in order

for correct relinking to occur.

1. Use unique names for dependent objects at every level. For example, if you were going to be

relinking several samples from one file with a program and a keymap from another file,

each sample should have a different name. Otherwise, the dependent objects (the

samples) will not get relinked properly. This will create problems such as keymap ranges

that don’t play as they are supposed to.

2. The dependents to be relinked must already be loaded. Otherwise they will not be found and

relinked when the file containing the parent objects is loaded. This constraint on the order

of file loading can be made easier to work with by using the macro file feature (described

13-30

Basic Disk Mode

Saving Files

later). You can construct a macro file to automatically load the dependents files and the

parent files in the correct order, making sure that any files containing dependents are

loaded first. An alternative to loading the files with a macro would be to save the

dependent and parent files in the same disk directory with similar filenames such that

they will appear consecutively in the alphabetized file list. Once you have done this, it is

easy to select both files for loading in the correct order.

These rules may appear complicated at first, but they will seem natural once you have worked

out a few examples with your own files.

The search algorithm used for relinking dependent objects to their parent objects during loading

is as follows:

The search for a dependent object (whose name matches that of an entry in the name table) begins at the

beginning of the bank that is specified for loading the parent file. All possible IDs are then

consecutively searched. When the last ID of the 900s bank has been searched (typically 999), the

search will wrap around to ID 1 up until the end of the bank just before the specified bank. The

search stops once a dependent with a matching name has been found and relinked.

For example, if a file containing a one-layer program is loaded into the 400s bank, and the file

includes a name table that lists the layer’s keymap by name, then the K2661 will begin to look

through all possible keymap IDs starting at 400, until ID 999. The search then continues from

ID 1, stopping at ID 399. If the search does not successfully find a match, the dependent will be

unresolved, and in this example the program would show a value of “Object id not found” for

its Keymap parameter, where the object id is the value that was stored in the file.

The search is done in this “circular” manner so as to allow you to direct which dependent

objects get relinked. This may be necessary if you end up with multiple copies of dependent

objects with the same name; you can differentiate between them by loading the parent file into a

specific bank that is the same bank or “before” the bank containing the objects you wish to relink

to. Note that this can only be taken so far, since it would be impossible for the K2661 to

differentiate between objects with the same name within the same bank.

The relinking process happens in the background, without any notification or error messages if

items cannot be relinked.

Working with Relink-by-Name

Here are a couple of more in-depth examples that can show how Relink-by-Name works in a

practical situation.

Consider that your K2661’s RAM contains the following one-layer program and also its

dependent keymap and samples (the technique used in this example could well apply to any

programs with any number of layers):

Program:Program 317 Steinwave Piano

Keymap:Keymap 300 Steinwave Piano

Samples:Sample 300 StwaveG1 .......... Sample 310 StwaveC7

In this case you might wish to save the samples and the keymap in one file, and the program in

another file. So, from the Save Object dialog you could first select all the samples from 300-310,

and Keymap 300, for saving into a file, let’s say STWAVE1.K26.

You would then return to the Save Object dialog and save just Program 317 in a separate file in

the same directory, let’s say STWAVE2.K26…only this time, you will be asked the “Save

dependent objects” question pictured above. Answer this by pressing Names.

Basic Disk Mode

Saving Files

13-31

After saving, the file STWAVE2.K26 will contain two objects in it, Program 317 and a name

table. You can easily verify this by going to the Load function (or any other disk function) and

pressing Open on the file just saved (which should come up already highlighted). The display of

objects for the file will look like this:

Func:LOAD|||||Sel:0/2|||||||||||Index:|1

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Table||||36|Names|||||||||||||||||||334|

Program|317|Steinwave|Piano|||||||||274|

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Select||Next||Type||Multi|||OK|||Cancel|

The name table will always be the first object in the list. You can verify the exact contents of the

name table by using the “View Name Table” shortcut (as described on page 13-17); make sure

the name table is highlighted, and press either the Left or Right cursor button (as if you were

“auditioning” the name table). You would then see the following:

Name|Table|Contents|||||||||||||||||||||

Keymap||300|Steinwave|Piano|||||||||||||

Sample||300|StwaveG1||||||||||||||||||||

Sample||301|StwaveD2||||||||||||||||||||

Sample||302|StwaveB2||||||||||||||||||||

Sample||303|StwaveE3||||||||||||||||||||

Sample||304|StwaveB3||||||||||||||||||||

Sample||305|StwaveG4||||||||||||||||||||

||||||||||||||||||||||||||||||||||||OK||

The Name Table Contents list shows what would have been saved in the file had you answered

Yes to “Save dependent objects?” instead of answering by pressing Names. More importantly, it

allows you to see what objects need to be in the K2661’s RAM before loading this file.

The object IDs shown in the table are the same numbers that those dependent objects used at the

time this file was saved. (The ID numbers are necessary in order for Relink-by-Name to

function, since they are the “link” between the higher level objects and the names of the

dependents.)

An important thing to notice about this particular name table is that the sample names are not

needed by the K2661 for relinking purposes. In fact, the only information necessary for relinking

the dependent objects of this file is the keymap object. The reason for this is that when this file

containing the program is loaded, all of these dependent objects should already have been

loaded, and the keymap should already be correctly linked to the samples. Although the

samples’ names are redundant from the K2661’s point of view, they are included for free, so to

speak, and you may find them very helpful if you ever need to know exactly what the

dependents of this file were intended to be.

The Name Table Contents list is scrollable if there are more than seven objects in the name table.

Now that the two files STWAVE1.K26 and STWAVE2.K26 have been created using the name

table, they can be reloaded and correctly relinked. The files can be loaded into any bank— they

do not need to go back into the bank they were originally in—since the STWAVE2.K26 file will

search through all the banks to find the objects by name in order to relink them. In fact, if you

were to immediately reload just the file containing the program (STWAVE2.K26), into any bank,

13-32

Basic Disk Mode

Saving Files

you would find that it was automatically relinked to the correct keymap, since the keymaps and

samples are currently in memory.

Furthermore, you could edit the program and create more variations of it that reference the

Steinwave Piano keymap, add ROM layers, and/or effects if desired, and resave all of the

programs (and any effects) to the same or a new file (remember to press Names when you are

asked “Save dependent objects?”) You never have to resave the file STWAVE1.K26 that contains

the keymap and samples, if all you have done is edited the programs or added more of them.

This can be a tremendous time-saver.

If the keymap and sample files are found on a CD-ROM disk, then using Relink-by-Name is not

only a time-saver, but a disk-space saver as well. If you like the samples and keymaps from a

CD-ROM file, there is no need to duplicate the sample data on your own writable hard disk.

Instead, all you have to do is save a program file in the above manner, and then make sure the

CD-ROM file is loaded first before you load the program file.

If you needed to add some sample data to the file (for example, you want to add a root to the

keymap or process and reloop a sample from the CD-ROM), you can do this by explicitly

selecting the new sample data and the keymap for saving along with the program and the name

table. Then, the new sample would not be listed in the name table (it would be in the same file as

the name table), and the keymap would be relinked to all of the samples by name instead of the

program being relinked to the keymap (as before). What you put in the different files is up to

you, and there is no limit to where you can break up the objects in one file or another. The main

thing to be aware of are the two rules for Relink-by-name mentioned above:

1. Files containing dependent objects must be loaded first.

2. Always use unique names for like objects types. (NOTE: In cases where duplicate names exist

in different banks, load the file(s) containing dependent objects, then load the file that

contains the name table into the same bank or to the one just before it. This will prevent

relinking conflicts.

As you will see later, you can create a macro file that will automatically load both of the files in

the correct order, no matter what disks they are on or what disk directories they are in. By using

macro files in this way, you can avoid having to explicitly load multiple files and remember the

correct order each time.

You can also use the Multiple Object Selector (see page 13-34) to help in the process of

identifying dependent objects and parent objects that you want to place into separate files. For

example, you could easily select all dependent keymaps and samples of any group of programs,

to create a “dependents” file. Then, you could quickly select the programs and any other objects

that you wanted to be relinked later on, and save them in another file.

Here is another practical example using songs (sequences). Suppose you have loaded several

files into your K2661, such that you now have all your favorite instruments in RAM. Then, you

make a bunch of songs using a combination of ROM programs and the RAM programs you

loaded.

The dependent object structure of the songs would look something like this:

Songs 400 Wild Jam 401 Memphis Groove

Programs 600 Drawbarz

231 Funky GTR

50 Studio Kit 1 (from ROM)

245 FendJazzBass

400 ObieWarble Pad

Effects ROM Effects

Keymaps, Samples Lots of ‘em…

Basic Disk Mode

Saving Files

13-33

In this case you might want to save all of the songs in one file, and be able to automatically

relink the dependent programs used by the song tracks. All of the programs are presumably

already saved in separate files. The only file that needs to be created is one that contains all of

the song objects, plus a name table. Once again, this is done by selecting the songs from the Save

Object dialog, and answering Names to “Save dependent objects?” The contents of this file can

then be displayed by pressing Open (as was done for the previous example).

Func:LOAD||||Sel:0/2|||||||||||Index:||||1

||||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||||

Table||||36|Names|||||||||||||||||||||700|

Song||||400|Wild|Jam||||||||||||||||12114|

Song||||400|Memphis|Groove||||||||||34002|

||||||||||||||||||||||||||||||||||||||||||

Select||Next|||Type|||Multi|||OK||||Cancel

Also as shown in the previous example, you can display the contents of the name table:

Name|Table|Contents|||||||||||||||||||||

Program|231|Funky|GTR|||||||||||||||||||

Program|245|FendJazzBass||||||||||||||||

Program|400|Obie|Warble|Pad|||||||||||||

Program|600|Drawbarz||||||||||||||||||||

Keymap||220|Funk|Guitar|||||||||||||||||

Keymap||229|Jazz|Bass|||||||||||||||||||

|||||||||||||||||||||||||||||||||||||OK|

Notice that the ROM program 50 Studio Kit 1 will not be listed in the name table. Any

dependent objects that are in ROM do not need to be relinked by name. ROM objects are always

directly referenced by their object ID number, since they don’t get saved in any files.

Once the song file has been saved, it can be loaded at any time and correctly relinked, as long as

the other files containing the necessary programs have already been loaded.

For this type of situation, where you may be working on songs always using a consistent set of

programs, it is beneficial to make a macro file that can be loaded in one step to direct all of the

various program files to be loaded. After that, any time you load a song file containing a name

table referencing these programs, the songs should get relinked to the correct programs.

If you happen to have multiple copies of the necessary programs already loaded into different

banks, you can control which bank of programs will be linked to the songs by choosing a certain

bank to load the song file into. The relinked programs will be the first set encountered according

to the Relink-by-Name search algorithm defined above.

Not Loading the Name Table

There may be a time that you wish to load objects from a file containing a name table, but you

don’t want the K2661 to relink any dependent objects according to the name table. This can be

accomplished by “Opening” the file from the Load function, and selecting any desired objects

from within the file, except the name table. The selected objects will be loaded into the bank you

specify, however the Relink-by-Name mechanism will not function.

13-34

Basic Disk Mode

Storing Objects in the Memory Banks

Relink-by-Name Processing Time

Normally, the time taken to relink several dependent objects using the name search will be

insignificant, relative to the time it takes to load the data from the file. However, if you are

attempting to relink a very large amount of dependents by loading one file (say, 200 samples or

so), there may be a noticeable wait while the K2661 searches its object database for the

dependents. If this happens, it’s best to be patient.

Storing Objects in the Memory Banks

There is a separate bank of Object IDs for each object type. That is, you can store 999 programs,

999 samples, 255 songs, and so on. There are two groups of object types, based upon the number

of available Object IDs. Table 13-1 shows the number of IDs and ID ranges—in ROM and in

RAM—for both groups of object types.

The Multiple Object Selector Page

The Multiple Object Selector gives you several ways to select multiple objects for various

operations—for example, to load all setups with IDs between 250 and 299, to save all programs

in the 400s bank, including their dependent RAM keymaps (but not their dependent RAM

samples), or to delete all samples whose name includes “Gazonk.”

The Multiple Object Selector is available in two places:

• In Disk mode, in the Load and Save dialogs

• In Master mode, on the Object Utility pages—Move, Copy, Name, Delete, and Dump (see

page 11-15)

Each of these dialogs and utility pages has a Multi soft button. Pressing it takes you to the

Multiple Object Selector.

Object Type Total Available Object IDs ROM ID

Ranges

RAM ID

Ranges

Samples

Keymaps

Programs

Setups

999 1–99

100–199

200–299

300–399

400–499

500–599

600–699

700–799

800–899

900–999

Quick Access Banks

Songs

Velocity Maps

Pressure Maps

Intonation Tables

255 1–75

100–119

200–219

300–319

400–419

500–519

600–619

700–719

800–819

900–919

Table 13-1 Memory Banks: Object IDs Available for Different Object Types

Basic Disk Mode

The Multiple Object Selector Page

13-35

Using the Multiple Object Selector: An Overview

1. In Disk mode, press Load or Save, or in Master mode, press Object, then press Move,

Copy, Name, Delete, or Dump. You’ll see a list of objects that you can scroll through with

the Alpha Wheel. (If you’re in Disk mode and loading objects, you’ll need to navigate

through the directories and open a file before you’ll see the list and the Multi button.) This

list of objects—conveniently called the object list—is what the Multiple Object Selector

searches through.

2. Instead of scrolling through the object list manually and pressing Select for each object

you want to select, simply press Multi. The Multiple Object Selector appears.

3. Set the value of the Select parameter, which determines the operating mode for the

Multiple Object Selector.

4. Set the values of any other parameters that are visible. Different parameters are visible

depending on the value of the Select parameter. This step is called setting the selection

range. The selection range determines which objects get selected when you execute the

next step.

5. Press Set. In most modes, this selects every object in the selection range, and returns you

to the page you were on before you pressed Multi. Notice the asterisks between the IDs

and names of the selected objects.

6. Complete the operation you started in Step 1.

Operating Modes: The Select Parameter

The Multiple Object Selector has four operating modes, which determine how the Multiple

Object Selector defines the selection range within the object list. Use the Select parameter to set

the operating mode. There are four values:

Type/Range Restricts the selection range to a particular object type (like programs or

samples), and lets you specify a range of IDs (like 1–100).

Dependents Restricts the selection range to objects that are dependents of whatever

object(s) you specify.

Everything No restrictions; the entire object list becomes the selection range.

Search String (SearchStrg) Restricts the selection range to objects whose names contain

a string of characters that you specify (for example, all objects whose

names include “clav”).

The first two operating modes in the Multiple Object Selector have other parameters associated

with them. The following diagram shows what Type/Range mode looks like.

Multiple|Object|Selector||||||||||||||||

Select|:Type/Range||||||||||||||||||||||

Type|||:Sample||||||||||||||||||||||||||

Bank|||:200's|||||||||||||||||||||||||||

StartId:|200|||||EndId:|299|||||||||||||

||||||||||||||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

|All||||Type||Toggle|Clear|||Set||Cancel

13-36

Basic Disk Mode

The Multiple Object Selector Page

Use this mode for operations on a particular type of object (like loading all setups, or just Setups

250–299). The Type, Bank, StartId and EndId parameters let you specify which objects to work

with. See Type/Range Mode on page 13-39 for more information.

Change the value of the Select parameter to Dependents if you want to select objects based on

their dependencies (for example, when you want to save 20 programs and their dependent

keymaps). A different set of parameters appears.

Multiple|Object|Selector||||||||||||||||

Select|:Dependents||||||||||||||||||||||

Of|||||:Current|Item||||||||||||||||||||

Specify:All|||||||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Current|=|Program|205|Viola|Section|||||

||||||||||||||||||||||||||||||||||||||||

|All||||Type||Toggle|Clear|||Set||Cancel

You can’t use this mode with the Load function, since the K2661 can’t calculate dependencies on

objects that aren’t already in RAM. You can use this mode with all the other functions

mentioned at the beginning of the Multiple Objects Selector section.

Use the Of parameter to specify whether you want to select dependents of the current object, or

dependents of previously-selected objects. In the former case (with Of set to Current Item),

pressing Set selects the dependents of the object showing in the Current field

(Program 205 Viola Section in the display above—it’s always the object that was highlighted on

the previous page). In the latter case (with Of set to Selected Objects), pressing Set selects all the

objects that you marked for selection on the previous page (all objects with asterisks between

their IDs and names).

The Specify parameter determines what types of dependent objects get selected when you press

Set. This is handy when you want to save one type of dependent object, but not another. See

Dependents Mode on page 13-40 for more information.

If you set the Select parameter to a value of Everything or SearchStrg, all other parameters

disappear. In Everything mode, the K2661 selects every item in the list on the previous page.

When you press Set, you’ll return to that page, and see every object selected.

In SearchStrg mode, the K2661 selects every object whose name contains a user-defined string of

characters. In this case, when you press Set, the K2661 prompts you to enter a string of

characters using the alphanumeric buttonpad. Enter the characters, and press OK. The K2661

returns you to the page you were on before you pressed Multi, selecting the objects whose

names contain your string.

Multiple Object Selector Soft Buttons

The Multiple Object Selector has six soft buttons:

|||||||||||||||||||||||||||||||||||||||||

|All||||Type||Toggle|Clear|||Set||Cancel|

Cancel probably doesn’t need explanation; it takes you back to the previous page without

changing the current selection of objects. The other buttons fall into two groups.

Basic Disk Mode

The Multiple Object Selector Page

13-37

All and Type

The first two are short-cut buttons—one for selecting all objects (just like Everything mode), and

one for selecting or deselecting all objects of a particular type.

All Returns the Select parameter to Type/Range, if it was not already set that way. Sets

Type to All Types and Bank to All Banks, and also sets StartId to 0 and EndId to 999.

This is equivalent to using Everything mode. The advantage to using the All button is

that you can select all objects, but still be in Type/Range mode, where you can refine

the selection range (for example, all objects in the 400s bank, or all programs).

Type Returns the Select parameter to Type/Range, if it was not already set that way. Sets the

Bank parameter to All Banks, and also the StartId to 0 and the EndId to 999. The Type

parameter’s value matches the type of the object currently indexed from the object

list. For example, if you scrolled to a setup object then pressed Multi, pressing the

Type soft button would set up the Type parameter to Setup. This is usually used to

quickly select or deselect all objects of a particular type by scrolling to the first object

of that type, and then pressing Multi-> Type-> Set or Multi-> Type-> Clear. If you

don’t want to include all banks in the selection range, it is easy to adjust the Bank or

ID parameters to narrow the range.

Toggle, Clear, and Set

In most cases, these soft buttons select or deselect the objects in the selection range, then return

you to the previous page (the page you were on when you pressed Multi). The exception is

SearchStrg mode, in which case pressing any of these three buttons prompts you to specify the

string that determines the selection range.

Toggle For each of the objects in the specified range, toggle the selection status of the object. If

an object is not already selected, this selects it (an asterisk will appear between its ID

and name when you return to the previous page). If an object is already selected, this

deselects it (asterisk disappears).

Clear Deselects all objects in the selection range.

Set Selects all objects in the selection range.

Example: Toggle

Toggle is useful when you want to select all objects in the list except those that meet certain

conditions. For example, you may want to free up some RAM by deleting all objects that are not

being used by a song that you’re working on.

1. Go to Master mode, and press the Object soft button, then the Delete soft button. You’ll

see a list of RAM objects.

2. Highlight the song whose dependent objects you want to keep, then press Multi. The

Multiple Object Selector appears.

3. Set the value of the Select parameter to Dependents, the value of the Of parameter to

Current Item, and the value of the Specify parameter to All. This specifies that you want

to select all dependents of the highlighted song.

4. Press Set. This selects all of the song’s dependent objects, and returns you to the DELETE

page, showing the list of RAM objects. Note the asterisks between the IDs and names of

the selected objects.

5. Press Multi again, and set the value of Select to Everything (or press All).

13-38

Basic Disk Mode

The Multiple Object Selector Page

6. Press Toggle. This selects everything that wasn’t selected, and deselects everything that

was. The result is that everything not used by your song is selected.

7. Press OK. If the K2661 asks whether you’re sure, press Yes.

Example: Clear

Suppose you’re in Disk mode, and you want to save everything in RAM except programs.

1. Press the Save soft button to call up the Save dialog, then press the Object soft button.

2. Select the entire object list by pressing the Left/Right cursor buttons together.

3. Press Multi. Set the Select parameter to a value of Type/Range.

4. Set the value of Type to Program, and the value of Bank to All Banks.

5. Press Clear. The K2661 returns to the Save dialog. As you scroll through the object list,

you’ll notice that no programs are selected, and all objects that aren’t programs are

selected.

Example: Set

Suppose you wanted to save all keymaps and samples in the 300s bank to a single file.

1. In Disk mode, press Save, then press Object.

2. Set the Select parameter to Type/Range, the Type parameter to Keymap, and the Bank

parameter to 300’s.

3. Press Set. This selects all the keymaps in the 300s bank.

4. Press Multi again, change the Type parameter to Sample, and press Set again. Now all

keymaps and samples in the 300s bank are selected.

5. Press OK and continue with the Save operation.

Basic Disk Mode

The Multiple Object Selector Page

13-39

Entering Selection Criteria in the Multiple Object Selector

This section describes the operation of the selection modes provided on the Multiple Object

Selector page. These are accessed by scrolling the Select: parameter to different values, as

pictured above.

Type/Range Mode

This mode lets you select objects based on their type, and on a particular range of object IDs.

It is possible to set the EndId before the StartId. If this is the case, the selection range is empty.

Parameter Possible Values Function

Type Sample, Keymap,

Effect, Program,

Setup, QABank,

VelMap, PrsMap,

IntTbl, Song, Table, All

Types

Sets the desired object type. The value All Types will select all of

the other possible types.

Bank 000s, 100s, 200s,

300s, 400s, 500s,

600s, 700s, 800s,

900s, All Banks

Sets the desired bank. Changing this parameter causes the

StartId and the EndId to be set to the limits of the chosen bank (for

example, a value of 300s sets the StartId to 300 and the EndId to

399). A value of All Banks sets the StartId to 0 and the EndId to

999.

The actual range used for selections when Toggle, Set, or Clear is

pressed is taken from the setting of the StartId and EndId

parameters. For example, if you set the Bank to 200s and then

change the StartID to 300 and the EndID to 399, the 300s bank

will be selected, not the 200s.

The Bank parameter is used as a quick way to set up the ID range

for an entire bank, or all banks.

StartID 0–999 Sets the specific starting ID of the selection range.

EndId 0–999 Sets the specific ending ID of the selection range.

Table 13-2 Object Selection by Type / Range

13-40

Basic Disk Mode

The Multiple Object Selector Page

Dependents Mode

This mode is used to select a group of objects that are dependents of other objects. This is not

available when loading objects in Disk mode.

Everything Mode

Everything includes all objects in the list. You may prefer to use the All button for this purpose.

Search String (SearchStrg) Mode

This selection mode will ask for a search string to be entered, as soon as you press either the

Toggle, Clear, or Set button. The range for the selection/deselection will be any objects whose

names contain the search string, ignoring upper/lower case. As soon as you press the OK button

after entering a search string, the K2661 executes the toggle, clear, or set command that you

specified at the beginning of the search operation. SearchStrg mode is not available when

loading objects.

Working with the Multiple Object Selector

The Multiple Object Selector minimizes button presses and quickly allows you to select

whatever group of items you want from the K2661’s RAM. It’s available for all of the related

object management functions.

You may notice that the cursor positions and parameter settings are remembered whenever you

exit the Multi Selector dialog, even if you exit the dialog and choose a different function. For

Parameter Possible Values Function

Of Current Item,

Selected Items

If set to Current Item, selection range is confined to those objects

in the object list that are dependents of the currently indexed item

(Current =), including the currently indexed item itself.

If set to Selected Items, then the selection range includes any

objects in the object list that are dependents of any currently

selected objects (those with asterisks between their IDs and

names). The currently indexed item is ignored unless it is already

explicitly selected.

Specify All,

All->Keymap,

All->Program,

Keymap->Sample,

Samples Only

This parameter is used to limit which dependent objects are

included in the selection range for the appropriate objects included

via the Of parameter. The normal setting is All, which means all

dependents are included. The other settings are useful primarily

when separating objects into different files for reloading later using

macros and Relink-by-Name.

If set to All->Keymap, then the selection range includes all

dependent objects down to the level of keymaps. That is, samples

will be excluded from the selection range.

If set to All->Program, then the selection range includes any

dependent objects down to the level of programs and effects

(keymaps and samples are excluded from the selection range).

Keymap->Sample includes all keymaps and samples that are

dependent objects, and nothing else.

Samples Only includes all samples that are dependent objects,

and nothing else.

Current Type, ID, and name of

the currently indexed

object

Displays the object that will be used if Current Items is the value

of the Of parameter.

Table 13-3 Object Selection by Dependents

Basic Disk Mode

The Multiple Object Selector Page

13-41

example, if you end up doing a lot of selecting of samples, or of dependents at various levels, the

parameters will stay set up the way you left them as you move from function to function (for

example, from Copy to Delete to Save, etc.).

“Select Dependents” mode is very useful not just for saving dependents, but also for splitting up

groups of objects for placing in different files. By using the optional settings for the Specify

parameter (All-> Keymap, All-> Program, Samples Only etc.), you can separate the group of

objects that you want to save at any level of the object tree that is necessary.

Examples of possible operations using Multiple Object Selector:

• Select all the keymaps that are dependents of a block of programs.

• Select all the samples starting from ID 398.

• Select all the objects that have “piano” in their object name.

• Select the programs, setups, and effects that are dependents of song 200.

• Select all of the keymaps and samples that are dependents of songs 400-410.

13-42

Basic Disk Mode

The Multiple Object Selector Page

Sampling and Live Mode

Setting Up For Sampling

14-1

Chapter 14

Sampling and Live Mode

Setting Up For Sampling

Before you begin sampling, you’ll need to connect the proper cables from your sample source to

your K2661. The cables and input jacks you use depend on the sample format you choose, and

the output configuration of your sample source.

Note that sampling requires the K2661 sampling option. Even without the sampling option,

however, you still have access to all of the sample editing features covered in Chapter 14 of the

Musician’s Guide (on the CD-ROM). Samples can be loaded from disk, or dumped into the K2661

via MIDI Sample Dump Standard (SDS) or over SCSI using the SMDI protocol. See the

Musician’s Reference for information on the MIDI Sample Dump Standard and SMDI. Also see

SIMM Specifications in the Musician’s Reference for information about sample RAM requirements.

Cables and Input Jacks

If you’re going to be sampling from an analog source, you have two options:

• For unbalanced signals, use a 1/4-inch mono or stereo cable connected to the 1/4-inch (HiZ)

stereo analog input jack

• For balanced signals, use balanced XLR (cannon) cables connected to one or both of the XLR

mono analog inputs

Although it’s possible to send a balanced signal on a 1/4-inch cable, avoid sending a balanced

signal to the 1/4-inch jack when you’re making stereo samples, since doing so can cause phase

cancellation in your signals.

Using a mono cable sends the signal to the K2661’s left channel. If you use a mono cable, be sure

to set the Mode parameter on the SampleMode page to a value of Mono(L).

If you will be sampling from a digital source in AES digital format (either AES/EBU or S/PDIF),

connect the input cable to the AES/SPDIF In jack in the sampling section of the rear panel. This

jack is covered by a small plug which is easily removed before connecting the cable. This plug

should be left in place whenever the optical input is not in use, since dust and dirt can cause the

optical input to malfunction.

Entering The Sampler

There are two different ways to get to the SampleMode page. The method you choose depends

on the type of sampling you are doing—how many samples you are making and whether you

need custom keymaps.

The difference between the two methods is primarily a matter of ease of access to the Keymap

Editor. Once you have made your samples, you need to assign to a keymap and assign that

keymap to a layer in a program. Refer to the Musician’s Guide for a step-by-step explanation of

how to create keymaps.

14-2

Sampling and Live Mode

Sampling Analog Signals

From Program, Setup, Master, or Quick Access Mode

The simplest way to get to the SampleMode page is from Program, Setup, Master, or Quick

Access Mode. Press the soft button labelled Sample on any of these pages. This is a good

method to use if you are making only a couple of samples, or if you want to assign each sample

to its own keymap and program. Once you have created and saved your sample, you can press

the Preview soft button. This button provides a quick way to create a program and keymap,

with your sample assigned across the entire range of the keyboard. The program is a one-layer

program that uses the settings from the Program 199 Default Program.

From the Keymap Editor

This is a better method to use if you’re going to be doing lots of multi-sampling, or if you need

to create custom keymaps in which you have your new samples assigned across the keyboard in

one keymap. Call up Program 199 Default Program. Press Edit, then Keymap. Select Keymap

168 Silence, then press Edit again. This brings you to the Keymap Editor. (In fact you can choose

any program and keymap you want to start with, but by choosing these, you are starting with a

“blank slate.”) Now from the Keymap Editor, press the MIDI mode button. This takes you to the

SampleMode page. Once you have created and saved your samples, press Exit. You will now

return to the Keymap-editor page, where you can immediately assign those samples across the

keyboard. Once you have created and saved your keymap, you can either exit the Keymap

Editor and create a program that uses your new keymap, or you can return to the SampleMode

page for another round of sampling.

Sampling Analog Signals

The K2661’s analog sampling input is optimized for a low-impedance line level signal

(-10 dBm). With a line-level signal, an input gain setting of 0 dB should prevent any clipping of

the sample even at maximum output from the source. You can compensate for lower input

levels with the Gain parameter on the SampleMode page.

If you’re sampling through a microphone, you’ll probably want to use a preamp to optimize

your signal-to-noise ratio. If you don’t have a preamp, you can adjust the Gain parameter on the

SampleMode page. A setting of 21 dB will give you reasonable results for many applications.

This will increase the noise level as well, however.

Running your sample signal through a mixer before sending it to the K2661 will give you the

most flexibility in controlling your signal level, since you can use its gain or pad if needed. This

may add noise to the signal, however. For the cleanest possible signal, you’ll want to connect

your sample source directly to the K2661. The best results will be achieved by sampling from a

digital source, using one of the K2661’s digital sample inputs.

Assuming your connections are made, you’re ready to set up your first sample recording. Select

the SampleMode page (refer to Entering The Sampler above). The top line of the SampleMode

page gives you the amount of free sample memory, and the amount of free program memory.

Sampling and Live Mode

Sampling Analog Signals

14-3

Input

On the SampleMode page, you’ll set the conditions for your sample recording. Depending on

the input type you select, a different set of parameters will appear on this page. When you’ve

selected analog input, the page appears as in the diagram below. The differences between analog

and digital sampling are discussed in the section called Sampling Digital Signals on page 14-8.

SampleMode||Samples:131072K|Channel=2|||

Sample:None||||||||||||||||||||||Src:Ext

Input|:Analog|||Time:1s||||||||||Mon:Off

Gain||:0|dB|||||||||||||||||||||||||||||

Rate||:48.0KHz|||||L||||||||||||||||||||

Mode||:Stereo||||||R||||||||||||||||||||

Thresh:Off||||||-dB|60||40||*|16|*|8|4|0

Record||Auto||Timer||Preview||||||||||||

The digital meters at the lower right of the display give a good indication of your sample level.

When you send a signal from your sample source, you should see the meters respond.

Src

The possible values for the Src parameter are Internal (Int) or External (Ext). Choose a value of

Ext when you want to sample the signal from an external source that’s connected to one of the

K2661’s sampling inputs. Use a value of Int if you want to sample the K2661’s own output.

Gain

The meters are calibrated in -dB units. A level of 0 dB indicates the maximum signal without

clipping. The sample will be free of clipping as long as the meter levels don’t exceed 0 dB. For

optimum results, you should adjust the K2661’s Gain parameter (or the gain from your sample

source) so that the signal stays below 0 dB. Otherwise, the signal will be clipped, causing the

loss of sample data, and usually resulting in audible distortion of the resulting sample. A few

clips (fewer than 100) may not cause any appreciable distortion. You’ll get the best signal-to-

noise ratio with meter levels as close to 0 dB as possible, although you’ll find that samples with

maximum meter readings as low as -12 dB can sound remarkably noise-free.

The relatively slow LCD output of the meter levels cannot show every peak in the incoming

signal. Therefore, you won’t necessarily see every transient in every sample you take. You will

be able to see any transient that is clipped, however, since whenever a clip occurs, the K2661 will

display the word “CLIP” above the meters, and will flash the Master-mode LED. It will also give

you the number of clips in each sample before you save it.

Rate

After you’ve set your levels, you need to select the sample rate. You have four rates to choose

from. The tradeoffs that determine your best sampling rate are frequency response and storage

requirements. Higher sample rates capture more frequency content from your samples, but take

up more memory. Lower rates give you more sample time, but don’t give the same frequency

response as higher rates. Rates of 29.4 or 32 KHz yield a flat response up to about 14 and 15 KHz,

respectively. 44.1 and 48 KHz yield a flat response up to 20 KHz, which is the upper limit of

audibility for most humans. The lower rates may be adequate for most sounds, since many

sounds have little content above 15 KHz. Sounds with a great deal of high-frequency content,

such as cymbals, should probably be sampled at the higher rates. You can save memory by

using lower sample rates for sounds without much high-frequency content—acoustic or electric

bass, for example.

14-4

Sampling and Live Mode

Sampling Analog Signals

Another consideration in selecting sample rate is the K2661’s transposition range during sample

playback. The K2661 transposes samples by changing the sample playback rate; the higher the

playback rate, the higher the pitch of the sample. The K2661 can achieve a maximum sample

playback rate of 96 KHz. Normally, a sample made at 48 KHz can be transposed up a maximum

of one octave, since the playback rate doubles for every octave of upward transposition. If you

set the SmpSkp (sample skipping) parameter (on the KEYMAP page in the Program Editor) to

Auto or On, you can transpose up two octaves at 48 KHz. A sample made at 29.4 KHz can be

transposed up approximately 21 semitones (an octave and a sixth)—or 42 semitones with

SmpSkp set to Auto or On. There is no limit on downward transposition, regardless of the

sample rate.

Each portion of a sample (each individual sample element made by the K2661 during the

sampling process) takes up two bytes of sample memory. A one-second stereo sample at 48 KHz

consists of 96,000 individual samples (48,000 x 2), taking up 192,000 bytes (about 188K) of

sample memory. The same sample taken at 32 KHz takes up about 125K. A one-second mono

sample taken at 32 KHz takes up about 63K.

If you plan to do a lot of sampling, you may be able to add more sample memory to your K2661

(if it’s not already maxed out at 128 MB). SIMMs (Single In-line Memory Modules) are available

at your dealer, or at most computer stores or mail-order houses. Be sure to read Choosing and

Installing SIMMs for K2661 Sample Memory in the K2661 Musician’s Reference before you go SIMM

shopping, though.

At a sampling rate of 44.1 KHz, each megabyte of sample RAM that you add increases your

sample time by about 11.5 seconds (5.5 seconds for stereo samples). At 48KHz, each megabyte

gives you about 10 seconds of mono sampling, and about 5 seconds of stereo sampling.

Table 14-1 lists the most common sample RAM configurations and their total sample time

capacity (in seconds) at various sample rates.

Mode

Use the Mode parameter to select mono or stereo sampling. (Keep in mind that stereo samples

take up twice as much memory as mono samples.) Use a value of Mono for a mono signal. You

can use either Mono(L) or Mono(R) to isolate either the left or right side of a stereo signal.

Audio sampling input doubles as a two channel “drum” trigger, allowing audio signals to

trigger samples. On the SampleMode page, set Mode to Trigger. Adjust Thresh to control

triggering sensitivity. This triggers the currently assigned click program. The left input will

trigger click key note number +1, right input will trigger click key +2. The click key and click

program can be accessed on the Song-mode MISC page.

There’s also Live mode, which lets you connect any audio source to any of the K2661’s sampling

inputs (assuming you have the Sampling Option), and use that input just like a regular VAST

program (the input goes through a DSP algorithm, then through KDFX, then to the audio

Total

RAM

Sampling

Mode

Sampling Rate in KHz

29.4 32.0 44.1 48.0

64M Mono 18:40 17:04 12:16 11:12 Total

Sampling

Time

(min:sec)

Stereo 9:04 8:32 5:52 5:20

128M Mono 37:20 34:08 24:32 22:24

Stereo 18:08 17:04 11:44 10:40

Table 14-1 RAM and Sampling Capacity

Sampling and Live Mode

Sampling Analog Signals

14-5

outputs). Set Mode to LiveIn to use Live mode. See page 14-10 for more information about Live

mode.

Threshold (Thresh)

The Thresh parameter controls when the K2661 actually begins sampling incoming signals. If

you set it to a value of Off, sampling begins immediately when you press the Record soft

button. Otherwise the K2661 waits for the incoming signal to exceed a specified threshold before

beginning to record. You can set the threshold from -90 to 0 dB, in 6 dB increments.

Sampler recording can also be triggered via the keyboard. Set Thresh to Key, then press Auto.

Striking a MIDI note event now will trigger the sampler and assign the sample root to the key

you struck, all in one easy step—making sample mapping easy and intuitive.

Time

The Time parameter lets you determine how long the sample will be. The available sample time

is a function of the sample rate and the amount of available sample memory. The K2661

calculates this automatically, and limits the maximum value of the Time parameter accordingly.

At a value of 0 for this parameter, the K2661 will not record. (Of course, you can always stop

sampling before the specified time by pressing the Stop soft button.)

Sample

The Sample parameter lets you select any sample in memory for auditioning. This is a

convenient way to listen to the samples you’ve made without having to create keymaps and

programs for them manually. With a value of None for this parameter, the K2661 plays the last

program or setup you selected before entering Sample mode. The list of values includes all ROM

and RAM samples.

When you select a sample for auditioning, the K2661 automatically creates a temporary keymap

and program, based on the settings for Program 199—which is a simple single-keymap program

with few controller assignments—and the effects set to 0% wet (100% dry). Any edits you’ve

made to Program 199 are reflected in the sample you audition. When you exit the SampleMode

page, the temporary keymap and program disappear until the next time you audition a sample.

You can create regular RAM keymaps and programs using the Preview soft button; see the

discussion of the Preview button in the section called Recording Samples on page 14-5.

If you don’t have enough free program RAM, you may be unable to audition samples, since the

K2661 won’t have enough RAM to create the temporary keymap and program. In this case,

deleting a few objects from RAM will restore the audition feature.

Monitor (Mon)

The Monitor parameter provides a convenient way to listen to what you’re recording. When set

to a value of On, any signal received at the analog sample input will appear at the K2661’s Mix

outputs and the headphone jack. Adjusting the input gain will affect the monitor gain as well. A

clean monitor signal, however, does not guarantee a distortion-free sample. Always check the

meters on the SampleMode page and look for the CLIP indicators to ensure that your sample is

free of clipping. Note that the Mon parameter is not available when the Input parameter is set to

a value of Digital. The Monitor feature applies only to the analog sampling inputs. You should

monitor digital sources from the sources themselves.

Recording Samples

Press the Record soft button to begin the sample recording process. If the Thresh parameter is

set to a value of Off, recording will begin immediately, and will continue for the number of

14-6

Sampling and Live Mode

Sampling Analog Signals

seconds indicated by the Time parameter. The display will indicate that recording is in process.

Any other value for the Thresh parameter will cause the K2661 to wait until the specified

threshold is exceeded, then recording will proceed normally. The display will indicate that

you’re making a threshold recording, but won’t actually begin recording until the threshold is

exceeded.

End the sampling process (either to save what you’ve done, or to abort) by pressing the Stop

soft button.

When recording is complete, and you’ve pressed the Stop button, the K2661 will prompt you to

strike a root key. The sample is assigned to the key you strike. This “root” is the key at which the

sample will be played back without transposition. When sampling pitched sounds, it generally

makes sense to assign a root key that matches the pitch of the original sample, although you can

set the root key anywhere you like. If you press the Default soft button, the K2661 uses C 4. You

can change the root key at any time on the MISC page in the Sample Editor.

When the root key has been assigned, the K2661 asks you if you want to save the sample. At this

point the display will show one of two things—the number of clips, or if no clips occurred, the

maximum level (in dB) of the sample signal.

You can listen to the sample before deciding whether to save it. If you decide not to keep the

sample, press the No soft button, and you’ll return to the SampleMode page. If you press Yes,

you’ll see the normal Save dialog. When you’ve saved the sample, you’ll return to the

SampleMode page. You’ll also have the opportunity to name the sample. A recommended

convention for naming samples is to include the root key as part of the name. This is particularly

useful for pitched samples. Including the root key in the sample name helps when you are

creating a keymap, because it tells you how much transposition of the sample you will hear

depending on its key assignment.

Once the sample is recorded and saved, you may want to edit it, using the TRIM page, LOOP

page, or any of the sample DSP functions.

The Auto Soft Button

To save time when sampling with either the analog or digital inputs, you can use the Auto soft

button. If the Thresh parameter is set to Off, sampling begins immediately. Once sampling is

complete and you’ve pressed Save, the K2661 automatically assigns a root key of C 4, and saves

the sample to the first available ID above 199.

If Thresh is set to a dB value, sampling begins when the incoming signal exceeds the Thresh

level. If Thresh is set to Key, sampling begins when you strike a key.

Auto sampling is useful when you’re making a series of samples that you expect to have the

same approximate signal level. Since auto sampling doesn’t show you the maximum signal level

or the number of clips in the sample, it’s a good idea to make your first sample in the series

using the Record button. Once you have the input signal at the right level, you can make the rest

of the samples in the series with fewer button presses.

The Timer Soft Button

If you need to delay the beginning of your sample recording, you can press the Timer soft

button instead of the Record or Auto soft buttons. This will begin a ten-second countdown

before sample recording actually starts. The display will show the countdown. When the

countdown reaches zero, The Program, Setup, MIDI, and Master-mode LEDs will flash three

times.

If you have the Thresh parameter set to a value of Off, sample recording begins immediately

after the LEDs flash. If you have the Thresh parameter set to a dB value, sampling begins when

Sampling and Live Mode

Sampling Analog Signals

14-7

the incoming signal exceeds the Thresh level. If Thresh is set to Key, sampling begins when you

strike a key.

The Preview Soft Button

When you’ve finished taking a sample, you can press the Preview soft button to automatically

create a keymap and program using the new sample. It uses the settings for the Program

199 Default Program as a template. Unlike the temporary keymap that’s created when you

audition a sample (and disappears when you select another sample), the preview keymap and

program are stored in RAM and can be selected at a later time. The program and keymap will

have the same name as the sample.

When you press the Preview soft button, the Bank dialog appears, prompting you to select a

bank where the preview program will be stored. Select a bank, then press the OK soft button.

The K2661 creates a keymap and a program, using the lowest available ID numbers in that bank

for both the keymap and the program. The display tells you the ID of the new program.

Multiple Sample Previews

The Multi soft button starts a process that lets you automatically build a program for

previewing just about as many samples as you want (104 to be exact).

1. Press Multi. You’ll see a list of available samples (keep in mind that these sample objects

may consist of multiple sample roots). This list of sample objects is another version of the

multiple object selector described on page 13-34.

2. Use the Up/Down cursor buttons and the Select soft button to highlight and select sample

objects. The asterisk that appears indicates that the sample is selected. If you don’t select

any, the K2661 assumes you want to preview them all.

3. Press OK. If you’ve selected more than one sample, the K2661 asks you if you want to

combine the sample objects into a single keymap and program. (If you’ve selected only

one sample —one that doesn’t consist of multiple sample roots—the K2661 returns to the

Bank dialog, where you can select a different bank if you want, then press OK. The K2661

creates a keymap and program, tells you what the ID of the program is, and returns to the

SampleMode page.)

4. At the “Combine into…” prompt, press Yes The K2661 asks you if you want a tuned

layout. (If you press No, at the “Combine into…” prompt, you return to the Bank dialog,

where you can select a different bank if you want, then press OK. The K2661 creates a

keymap and program for each sample root. If you’re previewing a number of sample objects

that consist of multiple sample roots, the list of programs can get quite long. In most cases

it’s much more convenient to combine the samples into one program.

5. At the “Tuned Keymap Layout” prompt…decide how you want the sample objects to be

laid out in the preview program. Pressing Yes maximizes the use of the keyboard. First

you’ll see the Bank dialog again. Press OK, and the K2661 takes the list of sample objects

you selected in Step 2, and in order of their IDs, starts assigning them to their normal root

keys. If two or more samples use the same root key(s), the most-recently assigned sample

gets assigned to the next highest available key, and its coarse tune is adjusted so it plays at

its root pitch. When all the roots are assigned to keys, the K2661 fills in between the roots,

so all keys play one of the samples. The number of keys playing each sample depends on

the total number of sample roots you’re previewing. Tuned layouts are useful for

previewing pitched samples.

14-8

Sampling and Live Mode

Sampling the K2661’s Output

Pressing No at the “Tuned Keymap Layout” prompt is useful for previewing large

numbers of samples, or percussion samples. When you press No, you’ll see the Bank

dialog. Press OK, and the K2661 takes the list of sample objects you selected in Step 2, and

in order of their IDs, starts assigning them to keys, beginning at C 2, one root per key. The

coarse tune gets adjusted so they all play at their root pitches.Keys below C 2 play the

sample assigned to C 2, transposed accordingly. Above the highest key used, you’ll hear

the sample with the highest key assignment, transposed accordingly up to the upper

transposition limit.

In either case, after the K2661 finishes processing the samples, it tells you the ID of the

preview program (or the lowest ID if it created more than one program), then returns to

the SampleMode page, with the preview program as the current program.

Sampling the K2661’s Output

You can sample the K2661’s own sounds when in Analog sampling mode. To do so, set the Src

parameter on the SampleMode page to a value of Int. Then, just press the Record soft button

and start playing.

The K2661’s “sample-while-play” capabilities offer a number of useful possibilities. It allows

you, for example, to create composite sounds made up of several K2661 sounds or even

sequences. This can help you make efficient use of the K2661’s polyphony. By building

composite sounds from other composite sounds, you could actually cause a frighteningly large

number of K2661 sounds to become a single sample. The only constraints are your

imagination—and the amount of sample RAM installed in your K2661.

You can also sample the K2661 directly into songs, using the RAM Tracks feature. See

page 12-17.

Sampling Digital Signals

The process for sampling through either of the digital inputs is essentially the same as that for

sampling analog signals, although there are a few additional parameters associated with digital

sampling formats.

You’ll notice that the SampleMode page changes considerably when you change the value of the

Input parameter from Analog to Digital. There are a few more settings to be made before you

start recording.

SampleMode||Samples:131072K|Channel=2|||

Sample:None||||||||||||||||||||||Src:Ext

Input|:Digital||Time:1s|||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

Format:AES/EBU|||||L||||||||||||||||||||

Mode||:Stereo||||||R||||||||||||||||||||

Thresh:Off||||||-dB|60||40||*|16|*|8|4|0

Record||Auto||Timer||Preview||||||||||||

The first difference is the fact that there are no parameters for gain and sample rate. There’s no

need for a gain parameter because with digital sampling, since you’re making an exact digital

copy of the source signal. The Rate parameter is excluded because the K2661 automatically

recognizes the source sample’s rate and sets its own rate accordingly. Also, the Mon parameter

does not appear when sampling digitally. Any monitoring you wish to do must be done from

the sample source.

Sampling and Live Mode

Sampling Digital Signals

14-9

Format

Use the Format parameter to tell the K2661 the format of the incoming sample. Most consumer

products use SPDIF (Sony/Philips Digital Interface Format), while most professional machines

use the AES/EBU (Audio Engineering Society/European Broadcast Union) format. Refer to the

owner’s manual of your sample source for information regarding its digital format.

The Mode, Time, and Thresh parameters function for digital sampling just as they do for analog

sampling.

If the K2661 detects an incoming clock signal, the display shows LOCK, and the sample rate of

the signal. If you don’t see LOCK, you’re not getting signal, and you won’t be able to sample.

The K2661 automatically sets itself to the clock rate it detects. (For sample rates other than 48,

44.1 and 32, the rate doesn’t show in the display, but the K2661 still samples the input correctly.

You might need to adjust the coarse tune to get the proper root pitch.)

Src

The possible values for the Src parameter are Internal (Int) or External (Ext). Choose a value of

Ext if you want to sample the signal from an external source that's connected to the AES/SPDIF

In optical jack. Use a value if Int if you want to resample K2661 internal audio data. Note that

the digital internal sampling source corresponds to output A from KDFX. Other outputs will

not be sampled digitally.

14-10

Sampling and Live Mode

Live Mode

Live Mode

If you have the sampling option, you can use what we call Live mode. In Live mode, the K2661

takes any input signal and routes it through the VAST DSP algorithms and KDFX. You can

connect any audio source—synths, mics, CD players, anything—to any of the K2661’s sampling

inputs, and treat that input as if it were a regular VAST program.

The easiest way to use Live mode is to use one of the factory programs (740–749).Some of the

programs are optimized for certain applications (for example, guitar cabinet simulations), while

others are meant to be used as templates.

You can’t use Live mode and make samples at the same time, since both features use the same

internal components.

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 K2661’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 at C 4 and 198 Live Input R,

also at C 4. The soft buttons on this page are disabled when you set Mode to LiveIn.

4. Use one or both of the live-input keymaps (197 and 198) in an existing LM program, or in

one you create.

For a stereo program, set Stereo to On on the KEYMAP page in the Program Editor.

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

6. Play C 4, then input the audio source that you want to run through Live mode.

Hint: Set VelTrk on the EditProg F4 AMP page to 0 dB; otherwise the velocity with which

you strike C 4 will affect your output. For alternative ways of triggering the sound (for

example, with assignable controller buttons or pedals), edit the control setup.

You should now hear your VASTed audio source through the K2661’s Mix outputs.

Sampling and Live Mode

Live Mode

14-11

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 (C 4, unless you’re going for a special effect) for

the inputs to run through VAST. An alternative way to trigger the sound is to edit the control

setup found in the MIDI-mode TRANSMIT page. For example, on the SWITCH page in the

Setup Editor, you could set the switch type (SwType) to note toggle (Note T), and set the

destination (Dest) to C 4. This allows you to turn the program on and off via a button press, and

keeps sound sustaining while the button is on. 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 want to use the keyboard to

activate Live mode.

You cannot sample and use Live mode together, the two functions use the same components.

Some Ideas for Using Live Mode

If you’ve 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 filters, envelopes,

modulators, etc. Live mode brings that concept to digital synthesis, and lets you use all of the

power of the K2661 on any kind of input signal.

For starters, you can simply hook up a CD player to one of the K2661’s sampling inputs, 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 K2661 makes it possible to alter the pitch of the incoming

signal in real time. But the K2661 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 (C 4), using a VAST function,

it slows the playback of the incoming signal, but it doesn’t change the rate at which the signal is

coming in—your CD is still spinning, and putting out a constant audio signal. So as you lower

ID Program Name

740 LM VirtualDesk 1

741 LM VirtualDesk 2

742 LM EQ Room Hall

743 LM TubeAmp_ Gtr

744 LM Synth Sliders

745 LM EQ StIm Hall

746 LM ParaFlange

747 LM EQ Overload

748 LM Filters

749 LiveMode Default

14-12

Sampling and Live Mode

Live Mode

the pitch, the playback lags behind, and when you return the pitch to normal, the playback

snaps back to the present—which 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 fills 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.

When you bend pitch upward, the K2661 plays buffered data from the input source, which

enables the K2661 to “play ahead” of the input. You may hear some of the input data repeat

when you release the pitch bend.

These details aside, all kinds of wonderful pitch effects are achievable. Here’s an example.

1. Start with Program 749 LiveMode Default.

2. Go to the PITCH page.

3. Assign LFO1 to Src1, with a depth of -200ct.

4. 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 LFO1’s MnRate to .50Hz, MxRate to 20.00, and

RateCt to Data.)

DptCtl MWheel

MinDpt 0ct

MaxDpt 1200ct

Sometimes the Live-mode audio will sound discontinuous as 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:

1. Duplicate the layer.

2. Clear all the settings on the PITCH page.

3. Go to the OUTPUT page and set Crossfade to MWhl on both layers.

4. On layer 1, set XFadeSense to Rvrs; on layer 2, set XFadeSense to 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 744 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 to Rvrs.

Sampling and Live Mode

Live Mode

14-13

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, you’re

“borrowing” the audio from a few seconds previous.

1. Go to Setup mode and select 97 Control Setup.

2. Press Edit, and on the CH/PRG page, set the program to 749 LiveMode Default.

3. With the program highlighted, press Edit and go to the AMPENV page.

4. To make the crossfading less choppy, you want short attack and release segments: set Att1

to 0.06/100% and Rel1 to 0.10/0%.

5. Press Exit and save the program to some new ID.

6. Now go to the ARPEG page and set the Active parameter to On.

7. Set the Duration parameter to 99%.

8. For this example, set Order to Simultaneous and Beats to 1/32.

9. Tempo should already be 120.

Now play C 4 and you’ll hear the live signal at the correct pitch. Play G 3 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 finally, try setting Glissando to On.

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 hasn’t 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 K2661

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 retriggering the notes, perhaps using the

arpeggiator, at some appropriate tempo.

If the passage you want to play is long, and the input signal isn’t so long—say, the sax player

needs to take a breath—you may run into a problem as the K2661 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 “hold” the signal. The delay line could be part of VAST, or it could be an

external device, but either way its output is sent back to the K2661 through the unused Live

mode input channel.

14-14

Sampling and Live Mode

Live Mode

Chord Progressions

Record a few bars of block chords—all notes under C 4—into the sequencer, using a simple

quarter-note or half-note pattern. What sound you use doesn’t matter. Now replace the program

on the recorded track with the Live mode 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 K2661, at 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 as low as you can.

Now go to the Sample page and set Source to Internal. Go to a multi-layer ROM program of

your choice, and go to the Import page. Import Layer 1 from the Live-mode default program.

Play one note, then a few. As you play more notes, the noise will build up. You’ll 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 started—and you are instantly transported to an alien dimension.

For more complexity, split the incoming signal and run it through multiple VAST layers in

parallel—you 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.

Audio Outputs

Audio Configurations

15-1

Chapter 15

Audio Outputs

Audio Configurations

There are several ways to get audio output from the K2661. The most common configuration is a

pair of mono or stereo 1/4-inch cables connecting the Mix outputs of the K2661 to inputs on a

mixer or keyboard amp. The Mix outputs carry the sum of all the signals routed to the separate

analog outputs (A and B), including effects. Another common configuration is to use one or

more of the separate analog outputs. Connecting to one of the separate outputs does not remove

the corresponding portion of the signal from the MIX outputs (for example, if you connect

cables to the A pair, you’ll get the Output A signal at both the A outputs and the Mix outputs).

The audio output routing of the K2661 depends primarily on two parameters:

• The Pair parameter on the OUTPUT page in the Program Editor; this routes the signal from

programs to Inputs A–D in KDFX

• The Output parameters (A–D) on the OUTPUT page in the Studio Editor; this routes the

KDFX output to the physical audio outputs (optionally bypassing KDFX, or adding effects

from the KDFX Aux bus)

In other words, individual programs route the audio signal from the K2661’s sound engine into

the effects processor (KDFX), while the studios assigned to those programs route the signal from

KDFX to the jacks on the rear panel.

Of course, there are other options: you can set the value of the Outpair parameter (on the

CHANNELS page in MIDI mode) to KDFX-A, KDFX-B, KDFX-C, or KDFX-D. If you set

Outpair for Channel 1 to KDFX-A, for example, then every program on Channel 1 sends its

audio signal from the sound engine to Input A of KDFX—overriding the program’s routing.

You can also use the Out parameter on the CH/PRG page in the Setup Editor in the same way,

forcing each zone of a setup to send its output to a particular KDFX input, overriding the

settings of the programs in each zone.

Note: we recommend that you make the cable connection to the K2661 (or any instrument) after you’ve

made your other audio connections, since this reduces the chance of creating static electricity that can

cause an audible “pop” (and, in extreme cases, cause equipment damage).

15-2

Audio Outputs

Audio Routing: Programs to KDFX

Audio Routing: Programs to KDFX

1. In any mode (typically Program mode), highlight a program name with the cursor, then

press Edit to enter the Program Editor. Note how many layers there are in the program.

2. Press one of the more soft buttons until you see OUTPUT at the bottom of the display.

Press the corresponding soft button to view the OUTPUT page for the current layer.

3. Set the value of the Pair parameter as desired. This value determines which KDFX input

(A–D) gets the output from the current program layer.

4. Repeat this process for each layer in the program (or, if you’re editing a setup, for every

layer of every program in the setup).

Audio Routing: KDFX to Audio Outputs

Every program that uses KDFX has a studio assigned to it. The studio defines the KDFX

parameters for the program to which it’s assigned.

1. In the Program Editor, press one of the more soft buttons until you see KDFX at the

bottom of the display. Press the corresponding soft button to view the KDFX page for the

current layer.

2. Highlight the Studio parameter, then press Edit to enter the Studio Editor.

3. Press the OUTPUT soft button to view the OUTPUT page for the current studio. Note that

it controls all layers of the program.

4. Set the values for each of the four Output parameters. These parameters represent the four

pairs of outputs; the parameters’ values specify which KDFX output bus gets routed to

each of the analog outputs.

Audio Outputs

Using the Digital Outputs

15-3

Using the Digital Outputs

Digital audio output is available at the ADAT/AES Out optical jack on the rear panel of the

K2661. The format of the digital output stream can be chosen to match your other digital audio

equipment. Formats supported by the K2661 include ADAT 8-channel, AES/EBU Professional

2-channel, and AES Consumer (also known as S/PDIF) 2-channel.

In ADAT digital format, the 8 channels correspond to the 4 stereo outputs found on the KDFX

Output page. The AES 2-channel formats correspond to the output A stereo pair.

The table below summarizes the K2661’s digital outputs:

Note: To use ADAT In, the ADAT Out cable must be connected to the sending device.

The word length of the digital data can be set to match your other equipment. It is generally best

to use 24-bit digital formats, since it increases dynamic range and reduces the effects of noise.

However, some older equipment may not be compatible with 24-bit data and therefore the

K2661 supports 16 and 20 bit digital word lengths.

Choosing digital format and word length is done in Master Mode. See Digital Output

Format on page 11-11 for details.

The output sample rate is fixed at 48KHz. In any situation requiring different sample rates,

you’ll need to use a sample rate converter (like the DMTi). When you need a clock signal to

synchronize two or more instruments, there are two options:

• Make the K2661 the master; it can’t be slaved to an external clock signal. Use a sample rate

converter, if necessary, to match the sample rates of your other instruments.

• Make another instrument the master. The K2661 won’t respond to the clock signal. Use a

sample rate converter, if necessary, to match the K2661’s output rate to the master’s rate.

When you need to slave one or more instruments or devices to an external master clock, the

K2661 is necessarily the master, because it can’t be slaved to an external clock.

A Left A Right B Left B Right C Left C Right D Left D Right

ADAT12345678

AES 1 2

15-4

Audio Outputs

Using the Digital Outputs

K2661 Boot Block

Starting the Boot Block

A-1

Appendix A

K2661 Boot Block

The Boot Block is a part of the K2661 software that lets you update the K2661 operating system

and objects from either a SCSI device or the SmartMedia drive. The Boot Block also provides

diagnostics options for service personnel and a reset option.

Note: Your K2661 comes from the factory with the operating system and ROM objects already installed.

You do not need to run the K2661 Boot Block to start up a new K2661.

Starting the Boot Block

When you start the K2661, it displays a “Please wait...” message and waits for approximately

two seconds. Press and release the Exit button while the “Please wait...” message is displayed to

start the Boot Block. Otherwise, the K2661 will start up normally.

When the Boot Block starts, it will test the K2661's files to make sure they are valid. Press the OK

soft button to invoke the highlighted menu option.

Boot|Block|Main|||||||||||||||||||||||||

||||||||||||||||||||||||||||||||||||||||

K2661|Boot|Block|v1.00|||||||||||||Valid

K2661|Hardware|Config|v1.00||||||||Valid

K2661|Engine|v1.00|||||||||||||||||Valid

User|Objects|||||||||||||||||||||||Valid

||||||||||||||||||||||||||||||||||||||||

Install||Run||Reset|DIAGS||||||||||||||||

Boot Block Main Menu

The Main Menu looks and functions similarly to other K2661 menus. Press one of these soft

buttons to access a function:

•Install – lets you update the K2661’s operating system, Boot Block, and/or objects from a

SmartMedia card or disk drive connected via SCSI.

•Run – starts the K2661 in its regular operating mode.

•Reset – performs a hard reset.

•DIAGS – runs diagnostic tests for troubleshooting issues with the K2661.

Updating K2661 Software

From time-to-time, Kurzweil Music Systems may release updates to the K2661’s operating

system, Boot Block, and/or objects. Generally, these will be posted at our web site:

http://www.kurzweilmusicsystems.com/

A-2

K2661 Boot Block

Updating K2661 Software

Use the Boot Block, as described in this section, to install any software update. Updates can

include:

• K2661 Operating System

• K2661 Objects (programs, setups, songs, FX studios, etc.)

• K2661 Boot Block

To load from a SmartMedia card you’ll first need a way to copy files (e.g., updates that you’ve

downloaded from the Kurzweil web site) to a SmartMedia card. Fortunately, SmartMedia

drives are readily and inexpensively available from a variety of sources.

File types

There are three different types of files, each distinguished by a unique three-character

extension, that you may encounter when loading software into the K2661:

•.KOS – K2661 operating system files

•.K26 – K2661 object files

•.KBB – K2661 Boot Block files

Always check for special instructions that may be included with a software update, since some updates

may require a hard reset or other action.

To load new K2661 software:

1. Press the Install soft button on the Boot Block Main Menu.

2. The K2661 will display a screen that lets you indicate the device from which you are installing.

Use the alpha wheel to scroll to the device name (either SMedia if you are installing from

SmartMedia, or a SCSI ID if you are installing from a SCSI device).

If you are installing from a SCSI device, you may also need to set the SCSI ID of the K2661 on

this page (SCSI ID 6 will be selected by default; if you’ve never changed the SCSI ID of your

K2661, this should be alright).

3. After you press the OK button, the K2661 will list all the files in the top level directory on the

SmartMedia card or SCSI device. You can use the alpha wheel, or the up, down, increment (+),

or decrement (-) keys to navigate to the file(s) you want to load.

4. Use the Root, Parent, and Open soft buttons to move between directories:

•Root takes you to the top level directory on the card.

•Parent moves you up one directory level.

•Open opens the currently selected directory.

K2661 Boot Block

Running Diagnostic Tests

A-3

5. Highlight a filename, then press the Select button. Press Select a second time to deselect an

item.

You can select multiple files from the selection list. The status line at the top of the screen will

show the current directory, how many files are in this directory, and how many files you have

currently selected. An index counter shows you where in the list the cursor is currently located.

You can also double press the left and right cursor keys to select all the files in the current

directory, with one exception. The exception is KBB files; if there is a single KBB file in the

current directory, then it will be highlighted along with all the other files when you perform the

double press. If there are several KBB files in the current directory, however, then the select-all

double press will not select any of the KBB files.

6. Press the OK soft button when you’re ready to load the selected file(s). The Boot Block will first

test each segment of an OS or Object file before loading. If any problem is detected it will report

that segment as corrupt.

When the load is complete, press the Done soft button, then press the Run soft button to start

the K2661 in its regular operating mode.

Note: When you install a KBB file (Boot Block) the unit automatically restarts, running the new

Boot Block.

Running Diagnostic Tests

The DIAGS soft button from the Boot Block Main Menu provides a list of available diagnostic

tests. Since these tests are intended for service personnel, they are not described in this manual.

Resetting the K2661

Press the Reset soft button to perform a hard reset. This will restart your K2661, reset

everything, and empty the unit’s memory of any objects (program, setups, songs, etc.) you may

have created. Therefore, you want to be absolutely sure that you want to perform a hard reset

before you confirm this operation.

This option is the same as the Hard Reset option available from the Master page. There is also a

less severe “soft” reset available by pressing +/-, 0, and Clear simultaneously.

A-4

K2661 Boot Block

Resetting the K2661

Standard K2661 ROM Objects

Groove Setups

B-1

Appendix B

Standard K2661 ROM Objects

The preset programs in the K2661 are organized by instrument category. You’ll find a few

representatives of each instrument sampled, as well as synthesized instrument emulations,

commonly used synthesizer timbres, and templates for new programming. We hope you find it

a good starting point for your own work.

Groove Setups

Setups 1–30 are Groove Setups. Once you’ve installed the objects, you can access the setups by

pressing the Setup button on the front panel of your K2661.

When you are playing a Groove Setup, you can activate a drum pattern (actually a song file) by

pressing any key below C3 (C below middle C). Once triggered, the drum pattern is

automatically held or latched (in other words, you do not need to keep holding the key down

for the groove to continue playing). Most grooves have a bass sound assigned to the left hand

keyboard region, as well as some sounds for right hand playing.

Use your K2661’s large ribbon to activate a fill for the groove. (There is one groove that does not

follow this convention, #2, where there is no fill on the ribbon. Instead, a 'toms fill' is activated

when you play between C3 and C4 on the keyboard.)

Note: After pressing panic, grooves won't trigger; you must scroll away and then back for the

setup to get the correct entry value.

Special Purpose Setups

There are three special setups at the end of the Zeros bank:

97 Control Setup Lets you define controller assignments in Program mode. Customize and

select the control setup on the MIDI-mode TRANSMIT page.

98 Clear Setup A template for creating your own control assignments from a clear palette.

99 Default Setup Lets you create your own setups from our common settings (shown below).

The NewZn parameter uses this setup as its template to create new zones.

Slider A: Data Continuous Controller Pedal 1: Foot (MIDI 4)

Slider B: MIDI 22 Continuous Controller Pedal 2: Breath (MIDI 2)

Slider C: MIDI 23 Small Ribbon Position: Aux Bend 2

Slider D: MIDI 24 Small Ribbon Pressure: Mono Pressure

Slider E: MIDI 25 Large Ribbon: Aux Bend 1

Slider F: MIDI 26 Pitch Wheel: BendUp

Slider G: MIDI 27 Mod Wheel: MWhl

Slider H: MIDI 28 Panel Switch 1: Arpeggiator On/Off

Footswitch 1: Sustain Panel Switch 2: MIDI 29

Footswitch 2: Sostenuto Mono Pressure: MPress

Footswitch 3: Soft Pedal

Footswitch 4: TapTempo

B-2

Standard K2661 ROM Objects

Setups

Setups

See Groove Setups (above) for information about setups 1–30.

id setup long ribbon function

1 Tripped Up Fonk Fill

2 Like Groovay Clear Setup

3 1984 Funkhouse Fill

4On The Bell Fill

5 FilteredFreak Fill

6 MakinSweetLove Fill

7 Tomsemble Fill

8 Salsa-esque Fill

9 Pickin&Grinnin Fill

10 Funk Street Fill

11 Rockin'Redneck Fill

12 OldSkool SynJam Fill

13 Progresso Fill

14 Trio 4 Groovin Fill

15 Fresh Tracks Fill

16 Survival Fill

17 SUV Ad? Fill

18 80's LoveJam Fill

19 Hoe Down! Fill

20 FrEaKeD OuT Fill

21 303/808 Madness Fill

22 Dance Madness Fill

23 Rave Madness Fill

24 StrangeMixstriss Fill

25 808Flangelicious Fill

26 Surreal Groove Fill

27 Hickup Groove Fill

28 Newjack Groove Fill

29 Nonlinear Jam Fill

30 We Be JahMon Fill

31 Nogorov Arp pitch bend

32 Desert Rose pitch bend

33 Arp Bell Pad arp shift limit

34 Intergalactica arp note shift

35 Flute Arps pitch bend - flute arp layer only

36 Pad/Arp Rbn Walk env ctl arp zone

37 Arp Bell Pad 2 delay feedback level

38 Hold & Tap "percussion trigger, fx"

39 Aqua Ribbon filter freq

40 Slo Wood Pad LP Freq

41 Jazz Guitar Trio pitch bend

42 Folk Rhythm Sect pitch bend - bass only

43 Shades of Bombay mark tree trigger

44 Jazz Ensemble pitch bend

45 Stevie Bass/EP pitch bend - bass only

46 Polar Reverie pitch bend

47 Triple Trip LP Freq

48 Vortex Coil pitch bend

49 Barren Landscape Lunar Wind trigger

50 Otherworldly LP freq

51 Super Lush pitch bend

52 Pad Soundscape BP Freq

53 Glassy Eyed pitch bend

54 Expansive LP Freq

55 Ethereal Shadows flanger feedback level

56 Sparkle & Bass pitch bend

57 Vintage Poly pitch bend

58 Big Analog LP Resonance

59 Searing Lead pitch bend

60 Poly Pitcher pitch bend

61 Liquid Guitars pitch bend

62 Roto 12 String pitch bend

63 Nylon & Steel pitch bend

64 Layered Guitars pitch bend

65 We're Plucked pitch bend

66 Cathedral pitch bend

67 RbnSpltB3+MIDIPd Splits (via zone mutes)

68 Registrations pitch bend

69 Pipes & Choir pitch bend

70 Elegant Grandeur pitch bend

71 Cinematic Strngs pitch bend

72 Chamber Players pitch bend

73 18th Century pitch bend

74 Harp/Fl & Str pitch bend

75 Tutti Orch pitch bend

76 Chorused Piano pitch bend

77 Funky Keys pitch bend

78 Piano & Vibes pitch bend

79 FM & Tines EP pitch bend

80 Ballad Keys pitch bend

81 Gnu Age Piano pitch bend

82 Digi Keys pitch bend

83 FM & Tines EP 2 pitch bend

84 Big Key Stack pitch bend

85 Dynamic Stack pitch bend

86 Organ/Synth Solo pitch bend - synth lead only

87 Guitar / Flute pitch bend

88 Puffy Winds pitch bend

89 Real & Syn Str pitch bend

90 Ruggratts pitch bend

91 Orchestral Keys pitch bend

92 Tutti Strings pitch bend

93 Orch Pno & Pizz pitch bend

94 Press Roll Timps pitch bend

95 Dreamy Fairlite Filter Freq

96 Pad W/ Rotor pitch bend

97 ControlSetup pitch bend

98 Clear Setup none

99 Default Setup pitch bend

id setup long ribbon function

Standard K2661 ROM Objects

Programs

B-3

Programs

id name ctrl function

1 Concert Piano

MIDI25 (aux) Hall Lvl+Time

MIDI29 Soundboard W/D

Soft Pedal is active

2 Stereo Solo Pno

Data InEQ: Treb

MIDI25 (aux) Hall Lvl+Time

MIDI29 Soundboard W/D

Soft Pedal is active

3 Piano & Strings

MWheel String Balance - softer

Data String Balance - louder

MIDI25 (aux) Hall Lvl+Time

Soft Pedal is active

4 Pno & Syn String

MWheel String Fade

Data String Swell

MIDI23 SRS Space

MIDI25 "Room Rev Time, Wet/Dry"

5 Rock Grand

MIDI25 (aux) Hall Lvl+Time

MIDI29 Soundboard W/D

Soft Pedal is active

6 Dyn Epiano

MWheel Tremolo/ Vibrato

Data

Chorus LFODepth+Rate,

(aux) Plate Lvl cut+PreDly

adj

MIDI22 Chorus W/D

MIDI23 Chorus LFODepth

MIDI24 Chorus Xcouple

MIDI25 (aux) Plate W/D+Decay

Time

MIDI26 Plate Room Size

MIDI27 Chorus FB

MIDI28 Chorus Tap Lvl

MIDI29 Chorus Rate adj

7 Studio Class EP

MWheel Stereo Tremolo

Data Tremolo Rate

MIDI22 Phaser Rate

MIDI23 Reverb Hi Freq Dampen-

ing (Brightness)

MIDI24 PhaserWet/Dry

MIDI25 Reverb Wet/Dry

MIDI26 Distortion Warmth

MIDI27 Distortion Drive

MIDI28 Reverb Density

MIDI29 Lo Freq Cut

8 The Phase EP

MWheel Enables Stereo Tremolo

Data Tremolo Rate

MIDI 22 Phaser Rate

MIDI 23 Phaser Center Freq (Tone)

MIDI 25 Reverb Wet/Dry

9 Classic FM EPno

MWheel "LFO Detune, Layer Delay"

Data Tine Overtones (modulator

pitch)

MIDI22 FM Depth

MIDI23 Attack Rate

MIDI24 LFO Pan Depth

MIDI25 (Aux) Hall level

MIDI26 FX3 Rev Time, Aux Hall

Time

MIDI27 Chorus Feedback

MIDI28 Reverb Predelay

MIDI29 Reverb in/out

10 Funk Clav

MWheel Vibrato

Data Defeat release layer

MIDI25 (Aux) Hall Level

MIDI26 (Aux) HF Damping

MIDI27 Compression Ratio &

MakeUpGain

MIDI28 (Aux) Pre-Delay

11 VAST B3

MWheel Leslie Depth

Data Drawbar 1

MIDI22 Drawbar 2

MIDI23 Drawbar 3

MIDI24 "Drawbar 4, EnvCtl: Imp"

MIDI25 "Drawbar 5,6"

MIDI26 Drawbar 7

MIDI27 Drawbar 8

MIDI28 Drawbar 9

MIDI29 toggle: Vib/Chorus I/O

Breath "(aux) Plate Lvl, Dist

Drive+adj, EQ Bass+Treb"

12 Gospel Organ

MWheel Leslie Depth

Data Drawbar 1

MIDI22 Drawbar 2

MIDI23 "Drawbar 3, (aux) Plate Lvl"

MIDI24 "Drawbar 4, Plate Time"

MIDI25 KeyClick

MIDI26 Perc Harmonic (Hi/Low)

MIDI27 "HFDamp, Perc Decay"

MIDI28 Cabinet Dist Drive + Lopass

adj

MIDI29 toggle: VibeChorus I/O

13 Overdrive Organ

MWheel Leslie Depth

Data Drawbar 1

MIDI22 Drawbar 2

MIDI23 "Drawbar 3, (aux) Plate Lvl"

MIDI24 "Drawbar 4, Plate Time"

MIDI25 KeyClick

MIDI26 Perc Harmonic (Hi/Low)

MIDI27 "HFDamp, Perc Decay"

MIDI28 Cab Dist Drive+Lopass adj

MIDI29 toggle: VibeChorus I/O

id name ctrl function

B-4

Standard K2661 ROM Objects

Programs

14 Chorus Organ

MWheel Leslie depth

Data Timbre

MIDI22 Vibrato/Chorus

MIDI25 Reverb Time

MIDI26 Trem Rate

MIDI27 HF Damping

MIDI29 Percussion

15 Chapel Organ

MWheel Layer Detune

Data Switch Organ Stops

MIDI22 All Pass Freq

MIDI23 InEQ: Bass

MIDI24 InEQ: Treble

MIDI25 (Aux) Hall Level

MIDI26 "FX1, (Aux) Size Scale"

MIDI27 "FX1, (Aux) HF Damping"

MIDI28 "FX1, (Aux) Pre-Delay"

16 Fast Strings

MWheel Low pass filter cutoff

(duller)

MIDI25 Reverb Wet/Dry

MIDI26 Reverb Time

MIDI29 toggle: Room Ambience

17 Ster Slo Strings

MWheel Lo Pass Res Filter Cut Off

(duller)

Data Lo Pass non res filter Cut

Off (duller)

MIDI22 Lo Pass Res Filter Cut Off

(Brighter)

MIDI23 Env Atk Ctl

MIDI24 Env Release Ctl

MIDI25 (Aux) Hall Level

MIDI26 (Aux) Hall Rev Time

MIDI27 FX1 Reverb Wet/Dry

(dryer)

MIDI28 FX1 Reverb Time (shorter)

18 Solo Arco Violin

MWheel Envelope Attack Rate

Data Low pass filter cutoff

(duller)

MIDI25 (Aux) Hall Level

MIDI26 (Fx1) Room Wet/Dry

(dryer)

MPress "Vibrato Rate, Depth"

19 Pachelbel Strngs

MWheel Fade Solo Strings

Data Fade Ensemble Strings

MIDI25 (Aux) Rev Time (ensemble

strings)

MIDI26 (Fx1) Rev Time (solo

strings)

20 Grand Strings

MWheel Sweeping Notch

Data Timbre (duller)

MIDI25 (Aux) Hall Level

MIDI26 (Aux) Rev Time

21 Cathedral Voices

MWheel Timbre (brightness)

Data Enables Octave Layer

MIDI25 (Aux) Hall Level

MIDI26 "(Aux, FX1) rev time"

id name ctrl function

22 Unearthly Vox

MWheel Slow Vibrato depth

Data Low Pass Cutoff

MIDI22 Xfade

MIDI23 Panning

MIDI25 (FX1) Room Wet/Dry

MIDI26 (Aux) Hall Level

23 Air Voices

MWheel Slow Vibrato Depth

Data Bandpass Center Freq

MIDI22 Bandpass Width

MIDI25 (Aux) Wet/Dry (dryer)

MIDI26 "(Aux) HF Damping, Bass

Roll-off"

MIDI27 (Aux) Reverb Time

MIDI28 (Aux) Treble Shelf Freq

24 Cath-

drVox^8veVox

MW "Vibrato+Rate (CathV), Sin

Tremolo Rate (8veV)"

Data toggle: CathedralVox ^

8veVox

MIDI22 "EnvCtl: Att, LoPass Freq,

Xfade Lo/Hi Vox(8veV)"

MIDI23 "EnvCtl: Rel, Panner pos,

8ve jump(CathV)"

MIDI24 InEQ: Treb cut

MIDI25 (aux) Hall Lvl

MIDI26 (aux) Hall Time+build Time

MIDI27 Delay Mix+FB

MIDI28 Flange Mix+FB

MPress "Vibrato+Rate (CathV), Sin

Tremolo Rate (8veV)"

25 Choir Strings

Data LoPass Freq cut+Res

(string)

MIDI22 LoPass Freq cut (vox)

MIDI23 "Lyr detune, LoPass Res"

MIDI24 Panner Width

MIDI25 (aux) Room Lvl

MIDI26 (aux) Room Time

MIDI27 Flange Lvl

MIDI28 Flange Tempo

MIDI29 toggle: Room+Flange

(string), ChHall+Hall (vox)

Mpress InEQ Bass & Treble

26 Aaron's Finale

MWheel defeats vel. Crash

Data Layer Xfade Timpani and

Orch Bass Drum

MIDI22 Fade Octave String Layer

MIDI23 Fade Trumpet Layer

MIDI25 Reverb Time (all reverbs)

MIDI26 (Aux) Wet/Dry

27 Fiery Orchestra

MWheel defeats vel. Crash

Data Layer Xfade Timpani and

Orch Bass Drum

MIDI22 Fade Octave String Layer

MIDI23 Fade Octave Brass Layer

MIDI25 (Aux) Hall Level

MIDI26 (FX1) Rev Time

id name ctrl function

B-5

Standard K2661 ROM Objects

Programs

28 Total Cntrl Orch3

MWheel defeats vel. Crash

Data Swaps Fr Horns for Trum-

pets

MIDI25 (Aux) Hall Level

MIDI26 Reverb Time (all verbs)

Mpress Swell

29 Jazz Band

MW Tremolo (guitars)

Data toggle: Guitars + Horns

MIDI22 toggle: Band and Drums

MIDI23 Tremolo Rate

MIDI25 "(aux) rvb Lvls, W/D"

MIDI26 SRS Parameters (guitar

Lyrs)

MIDI27 (aux) rvb Times

MIDI28 Early refl Lvl, Late Lvl cut

30 Rock Trio

MW Leslie Depth

Data Defeats Ride Cymbal

MIDI22 Vibrato/Chorus

MIDI23 Swap Guitar for Organ

Mpress Pitch Bend on Guitar Layer

31 Steel Str Guitar

MWheel Vibrato

Data Lyr Enable

MIDI22 EnvCtl: Imp

MIDI23 EnvCtl: Att+Dec

MIDI24 EnvCtl: Rel

MIDI25 (aux) Chamber W/D

MIDI26 Chamber Time

MIDI27 Chamber HFDamp

MIDI28 Comp Ratio

MIDI29 toggle: Pitch I/O

32 12 Str Guitar

MWheel Chorusy Vibrato

Data Exciter gain

MIDI25 (Aux) Wet/Dry

MIDI26 (Aux) Reverb Time

MIDI27 (Aux) Compression Ratio

33 Nylon Gtr & Str

MWheel Vibrato (Guitar)

Data Fade Strings

MIDI22 (FX1) Reverb Wet/Dry

MIDI23 (FX1) Reverb Time

MIDI25 (Aux) Reverb Level (Guitar)

MIDI26 (Aux) Reverb Level

(Strings)

34 Jazz Archtop Gtr

MWheel Vibrato

Data Defeats Release Layer

MIDI24 (Aux) Room Pre-Delay

Miidi25 (Aux) Room Level

MIDI26 (Aux) Rev Time

MIDI27 Compression MakeUp Gain

MIDI28 Compression Ratio

id name ctrl function

35 Slow Chorus Gtr

MWheel Tremolo Depth

Data Tremolo Rate

MIDI22 Para EQ (VAST)

MIDI23 Layer Detune

MIDI24 Env Ctl (decay & release)

MIDI25 (aux) Hall Lvl

MIDI26 "Hall Time+HFDamp, Cho-

rus W/D"

MIDI27 "Enhc Lo Mix, Chorus FB"

MIDI28 Enhc Hi Mix+Drive

MIDI29 "toggle: Enhc + Chorus,

Hall + Room"

MPress Vibrato

36 Tele In Room

MWheel Vibrato

Data Tremolo Depth

MIDI22 Tremolo Rate

MIDI25 (Aux) Hall Level

MIDI29 Toggle: Flanger

37 Guitar Mutes 1^2

MWheel Vibrato

Data Toggle: to Stereo Guitar

Mutes

MIDI22 Para EQ (VAST)

MIDI25 (Aux) Reverb Wet/Dry

MIDI26 (Aux) Reverb Time

MIDI27 (Aux) HF Damping

MIDI28 (Aux) Compression Ratio

Mpress Vibrato ^2

38 Spark Guitar

MWheel Vibrato

Data HFStim adj

MIDI22 EnvCtl: Imp+Att

MIDI23 EnvCtl: Dec

MIDI24 EnvCtl: Rel

MIDI25 (fx1) Room Mix, (aux) Hall

Lvl

MIDI26 Hall PreDly+Time

MIDI27 Delay Mix (sys)

MIDI28 Chorus Dly

MIDI29 Chorus FB

MPress Vibrato

39 Wah Crunch

MWFT

MWheel Wah wah

Foot Wah wah

Data Cabinet Type

MIDI25 (Aux) Room Level

MIDI27 FX2 Delay Wet/Dry (dryer)

40 Crunchy Lead

MWheel Vibrato

Data Lyr Enable

MIDI22 (KDFX)Dist Drive

MIDI23 (KDFX)Dist Freq

MIDI24 EnvCtl: Dec+Rel

MIDI25 "(aux) FDR Lvl, Hall Time"

MIDI26 Flange FB

MIDI27 Flange Tempo

MIDI28 Delay Mix

MIDI29 Delay FB

MPress Lyr Balance

id name ctrl function

B-6

Standard K2661 ROM Objects

Programs

41 String Bass

MWheel Vibrato

Data Ride Layer Enabled

MIDI25 (FX1) Room Wet/Dry

MIDI26 (Aux) Hall Level

Mpress Vibrato

42 Piano Trio

MWheel Vibrato

Data Ride Cymbal Fade

MIDI24 Treble EQ (KDFX)

MIDI25 "(Aux) Hall Level, (FX1)

wet/dry (dryer)"

Mpress Vibrato

43 Warm Bass 1^2

MWheel Vibrato

Data toggle: Lyrs

MIDI22 "LoPass adj, Shaper amt,

EnvCtl: Imp+Att"

MIDI23 "EnvCtl: Imp, Para-

Bass+HighPass Freq"

MIDI24 "EnvCtl: Rel, InEQ: Bass"

MIDI25 (aux) Room Lvl

MIDI26 Room Absorption

MIDI27 Comp Ratio

MIDI28 Comp: Att+Rel Time

MIDI29 add EQ Morph

MPress Vibrato

44 Pick It Bass

MWheel Vibrato

Data "Shaper, Para Treble boost"

MIDI25 (Aux) Hall Level

MIDI27 Compression Ratio &

MakeUp Gain

MIDI29 "Switch to FX2, Eq Morph"

Mpress Vibrato

45 Dual Bass Guitar

MWheel Vibrato

Data Enable Mute at Medium

Velocities

MIDI25 (Aux) Hall Level

MIDI27 Compression Ratio &

MakeUp Gain

MIDI29 "Switch to FX2, Eq Morph"

Mpress Vibrato

46 Moogy Bass One

MWheel Vibrato

Data LoPass Freq

MIDI22 LoPass Res

MIDI23 Env Ctl: Attack & Impact

MIDI24 Env Ctl: Release

MIDI25 "(aux) Chorus Lvl+W/D,

(fx2) Room Cut"

MIDI26 "(fx2)Chorus Mix, Enhc

Crossover 1"

MIDI27 "Chorus FB, Enhc Cross-

over 2"

MIDI28 "Room HFDamp, Enhc

Drive adj"

MIDI29 toggle: ChorVerb + Enhc;

Enhc Lo+Mid+Hi Drive

MPress Vibrato

id name ctrl function

47 Mono Bass

MW Vibrato

Data LoPass Freq

MIDI22 "LoPass Freq, Impact"

MIDI23 Env Ctl: Attack

MIDI24 Env Ctl: release

MIDI25 (aux) CDR Lvl+Hall Time

MIDI26 Delay Mix

MIDI27 Phaser FB Cut

MIDI28 Phaser LFO Rate, Hall Mix

MIDI29 "Chorus-Delay Cut, Phase

Notch adj"

MPress Vibrato

48 Tee Bee This

MW

MWheel LoPass Freq

Data LoPass Res

MIDI22 EnvCtl: Imp

MIDI23 EnvCtl: Att

MIDI24 EnvCtl: Rel

MIDI25 (aux) Hall Lvl+adj

MIDI26 Chorus W/D

MIDI27 Chorus FB

MIDI28 Chorus Tap Pan

MIDI29 add Enhc

MPress Vibrato

49 Sequenting

MWheel Vibrato

Data "Low Pass Freq, Low Pass

Separation, Env Decay Ctl"

MIDI22 Low Pass Resonance

MIDI23 Low Pass Separation

MIDI25 (FX1) Wet/Dry (dryer)

MIDI26 (FX1) Reverb Time

MIDI27 (Aux) Hall Level

MIDI28 "(FX1) HF Damping, Bass

Shelf EQ"

MPress Vibrato

50 Trent Bass

MWheel LPGate Freq

Data "Saw+Shp Pitch, Atk Ctl"

MIDI25 (FX1) Wet/Dry (dryer)

MIDI26 (FX1) Reverb Time

MIDI27 (Aux) Hall Level

MIDI28 "(FX1) HF Damping, Bass

Shelf EQ"

51 2 Live Kits 2 MW

MWheel Multiple Layer toggle

Data "Pitch: Kicks, Toms"

MIDI22 Pitch: Snares

MIDI23 HF Stimul: Cymbal, HiHats

MIDI24 "EnvCtl: Kicks, Snares,

Toms, Cymbal"

MIDI25 "(FX1)-(aux) Hall Lvl, (FX2)

Plate PreDly"

MIDI26 (FX2)-(aux) Hall Lvl

MIDI27 (FX1) GateRvb W/D+Gate

Threshold

MIDI28 "Hall Time, Plate W/D"

MIDI29 toggle: Plate RvrbTime

boost-Megaverb!

id name ctrl function

B-7

Standard K2661 ROM Objects

Programs

52 Jazz Kit II

MWheel Pitch: AuxPerc

Data "Pitch: Kicks, Toms"

MIDI22 Pitch: Snares

MIDI23 "Gain: HiHats, Crash Cym"

MIDI24 "EnvClt: Kicks, Toms"

MIDI25 (FX1+2) Rooms W/D+Time

MIDI26 "(FX1+2)- (aux) Hall Lvl,

(FX2)- Mix Lvl"

MIDI27 (FX2) In EQ: Treb cut

MIDI28 (aux) Hall TrebShlf

Freq+cut

53 Retro Skins MW

MWheel Multiple Layer toggle

Data Pitch: Kicks

MIDI22 Pitch: Snares

MIDI23 "Filter Freq: Kicks, Toms,

Ride, AuxPerc "

MIDI24 EnvCtl: Kicks+Snares

MIDI25 (FX1+2) Rooms W/D

MIDI26 (aux) Room W/D

MIDI27 (aux) Compressor Attack

Time

MIDI28 (FX1) InEQ: Bass+Treb

MIDI29 toggle: Alien Skin Effect

54 Lo-Fi Vinyl Kit

MWheel Pitch for most Needle FX

and other SFX

Data "Pitch: Kicks, Toms,

HiHats"

MIDI22 "Pitch: Snares, Crash1"

MIDI23

Assorted Filters: Kick,

Toms, Snares, HiHats,

Crashes, Ride (Resonant)

MIDI24 "EnvClt: Kick, Toms,

Snares"

MIDI25 (FX1) Booth W/D

MIDI26 (aux) Hall Lvl

MIDI27 "(FX2) Pitcher W/D, (FX3)

LaserVerb W/D"

MIDI28 "(FX2) Pitcher Pitch, (FX3)

LaserVerb Delay"

MIDI29 toggle: Pitcher + LaserVerb

id name ctrl function

55 VAST Sliders 808

MWheel "AltStart control, Impact on

most elements"

Data "Pitch: Kicks, Toms"

MIDI22 "Pitch: Snares, NoizeToms"

MIDI23 "EnvCtl: Kicks, Toms"

MIDI24 "EnvCtl: Snares, HiHats,

Crash2, NoizeToms"

MIDI25 (FX1) Hall W/D

MIDI26 (FX4)- (aux) Room Lvl (dry

at very top)

MIDI27 "Hall Time, Room Decay

Time+HFDamp"

MIDI28 "(FX2) Flange W/D+FB,

(FX3) 8-Tap W/D"

MIDI29 "toggle: 8-Tap I/O (Sys),

Room Lvl adj"

56 Perc Section

MIDI22 "(FX1, FX3) Wet/Dry"

MIDI23 (Fx2) Wet/Dry

MIDI24 "Reverb Time FX1, FX2"

MIDI25 (Aux) Reverb Time

MIDI29 "Switch FX1, FX2"

57 Touch Drums

MWheel Vibrato

Data Volume

MIDI25 "(FX1) Wet/Dry, Absorb-

tion"

MIDI27 (FX2) Quantize Wet/Dry

MIDI28 (FX2) Headroom (less)

MIDI29 "Switch to FX bus 2, Quan-

tize/Flange"

Mpress "Pitch Bend, Vibrato"

58 Vibraphone

MWheel Tremolo Depth

Data Tremolo Rate

MIDI22 "Partial Pitches, Layer

Delay"

MIDI23 InEQ: Bass

MIDI24 InEQ: Treble

MIDI25 (Aux) Reverb Level

MIDI26 "(Aux) Reverb Time, Treble

Shelf Gain"

MIDI27 Chorus Mix

MIDI28 Chorus Depth

59 Marimbae

MWheel "EnvCtl: Rel, Tremolo"

Data Fade in Percussive Layer

MIDI22 LP / HPass freq, HFStim

Drive

MIDI23 Timbre - Duller

MIDI25 "(aux) Hall Lvl, Room W/

D"

MIDI26 Hall+Room Times

MIDI29 toggle: Room + Compres-

sor/Hall ^ Room I/O

id name ctrl function

B-8

Standard K2661 ROM Objects

Programs

60 Dynamic Perc

MWheel Switch Conga Layers

Data Conga Pitch when MW up

MIDI25 "FX1,3 Wet/Dry"

MIDI26 FX2 Wet/Dry

MIDI27 "FX1,2 Rev Times"

MIDI28 "(Aux) Wet/Dry, Rev Time"

MIDI29 toggle; Reverbs FX1 & 2

61 Dynasax

MWheel "Vibrato, LoPass Freq"

Data Lyr enable

MIDI22 "Lyr AltCtl, LoPass Freq,

Notch Freq, ParaTreb Freq"

MIDI23 "Notch Width, LoPass Res,

EnvCtl: Imp+Att"

MIDI24 EnvCtl: Dec+Rel

MIDI25 (aux) Hall Lvl

MIDI26 Hall HFDamp+Decay Time

MIDI27 Chorus Mix

MIDI28 Delay (sys) Mix

MIDI29 Hall PreDly + room size adj

MPress "Vibrato, LoPass Freq+Res,

Shape adj"

ChanSt "Lyr AltCtl, EnvCtl: Rel"

62 Soft Alto

MWheel "Vibrato, Env Ctl Atk"

MIDI25 "FX1 Wet/Dry, Reverb

Time"

MIDI26 (Aux) Hall Level

MPress Vibrato Depth & Rate

63 DynTrum-

pet^Miles

MWheel "swell, Vibrato"

Data toggle: DynTrumpet ^

Miles

MIDI22 LoPass Freq+Res

MIDI23 "EnvCtl: Imp, InEQ: Bass"

MIDI24 "EnvCtl: Rel, InEQ: Treb"

MIDI25 "(fx1) Chamb W/D, (aux)

Room Lvl"

MIDI26 Chamb + Room Times

MIDI27 "Chamb + Room HFDamp,

Dist Drive"

MIDI28 Dist LoPass Freq

MIDI29 toggle: Chamb + Dist

MPress Vibrato

64 Harmon Mute

Trp

MWheel Vibrato

Data Low Pass Freq

MIDI22 Bandpass Ctr Freq

MIDI23 Bass Shelf EQ Gain (KDFX)

MIDI24 Treble Shelf EQ Gain

(KDFX)

MIDI25 FX1 Wet/Dry, (Aux) Hall

Level

MIDI26 "FX1, Aux Reverb Time"

MIDI27 "FX1, Aux HF Damping"

MPress Vibrato

id name ctrl function

65 French Horn

MWheel Swell

Data Low Pass Freq

MIDI22 Resonance (Sliders A&B up

full = Stopped [+] Mute

MIDI25 FX3 Room Wet/Dry

MIDI26 (Aux) Reverb Time

Mpress Vibrato

66 Big Band

MWheel LoPass adj

MIDI25 (aux) Room W/D

MIDI26 Room Time

MIDI27 Room PreDly

MIDI28 Room HFDamp

MIDI29 Enhc I/O

MPress Vibrato

67 Hip Brass

MWheel Vibrato

Data Low Pass Freq

MIDI25 FX1 Wet/Dry

MIDI26 (Aux) Hall Level

MIDI27 (Aux) HF Damping

MIDI29 Sweep Filt I/O

MPress Swell

68 Brt Saxy Section

MWheel Vibrato

Data "InEQ: Bass, LoPass Freq"

MIDI22 InEQ: Treb

MIDI23 "EnvCtl: Imp, Att+Dec"

MIDI24 EnvCtl: Rel

MIDI25 (aux) Room Lvl

MIDI26 "Room W/D + HFDamp,

InEQ: Treb Freq"

MIDI27 Dist tube Drive

MIDI28 Dist Warmth+Tone

MIDI29 "toggle: Dist+EQ I/O,

Room type"

MPress Vibrato

69 Brass Fanfare

MWheel Vibrato

Data Fade in French Horn layer

MIDI25 FX1 Room Wet/Dry

MIDI26 "(Aux) Hall Level, FX1

Reverb Time"

MIDI27 (Aux) HF Damping

MIDI29 toggle: Hall

MPress Brass Swell

70 Pesante Horns

MWheel Vibrato

Data Enable and Fade in Fr Hrn

Section

MIDI25 (Aux) Hall Level

Mpress Swell

71 Wendy's Flute

MWheel Low Pass Freq

Data toggle: Flute Variation

MIDI25 "(aux) Hall Level, Rev

Time"

MIDI29 toggle: Hall

id name ctrl function

B-9

Standard K2661 ROM Objects

Programs

72 Crimson Flute

MWheel Tremolo

Data HF Stimulator Drive

MIDI22 FX1 Mix Delay

MIDI25 FX1 Wet/Dry

MIDI26 "(Aux) Wet/Dry, Decay

Time"

MIDI27 (Aux) Pre-Delay

MIDI28 (Aux) HF Damping

73 Horn & Flute w/

Str

MWheel "Vibrato, LoPass sep

(expression / dynamic ctl)"

Data toggle: Horn ^ Solo String

MIDI22 LoPass Freq+Res cut

MIDI23 Ens Strings Vol cut

MIDI24 Ens Strings EnvCtl: Att

MIDI25 (aux) Hall Lvl

MIDI26 Hall Time

MIDI27 (FX1) Chapel W/D

MIDI28 Chapel Time

MIDI29

toggle: (Lyr 3+4)

Chapel+Hall, (Lyr 1)

Hall+Chapel

MPress Ens Strings Vibrato

SostPd toggle: Solo Strg I/O

74 Brahms Quintet

MWheel Vibrato/Tremolo

Data Fade out Pizz Basses

MIDI22 Fade out Brass

MIDI25 "FX1 Wet/Dry, (Aux)

Reverb Level"

MIDI26 (Aux) Reverb Time

75 Kurz'd Pipe

MWheel Vibrato

Data Fade Chiff Layer

MIDI25 (Aux) Chamber Level

MIDI26 (Aux) Reverb Time

MIDI29 toggle: Pitcher

Mpress Vibrato

76 Synth Strings

MWheel "Vibrato, modulation"

Data toggle: Lyr 1 ^ Lyr 3

MIDI22 Lyr 1 up p5th ^ Lyr 3 up

8ve

MIDI23 EnvCtl: Att

MIDI24 EnvCtl: Imp+Rel

MIDI25 (aux) Plate Lvl

MIDI26 "Chorus W/D, Dist Drive"

MIDI27 Chorus FB

MIDI28 Dist Bass+Treb tone

MIDI29 toggle: Chorus + Distortion

MPress "Vibrato, modulation"

id name ctrl function

77 ABCD = ADSR !

MWheel Vibrato

Data Filter Envelope Attack

MIDI22 Filter Envelope Decay

MIDI23 Envelope Sustain Level

MIDI24 Envelope Release

MIDI25 Reverb Wet/Dry

MIDI26 Reverb Time

MIDI27 Chorus Delay Wet/Dry

(dryer)

78 Memorymoog

MWheel Vibrato

Data "Low Pass Freq,Env Ctl

Attack & Release"

MIDI23 (Aux) Lazerverb spacing

MIDI24 (Aux) Lazerverb Contour

MIDI25 FX1 Hall Wet/Dry

MIDI26 FX1 Reverb Time

MIDI27 "(Aux) Lazerverb Level,

Feedback level"

MIDI28 (Aux) Dly Coarse

Mpress Vibrato

79 OB Pad

MWheel Vibrato

Data LoPass Freq, EnvCtl:

Att+Rel

MIDI22 LoPass Res

MIDI25 (aux) Plate Lvl+Time

MIDI26 "Enhc Lo Drive+Mix, Cho-

rus W/D "

MIDI27 "Enhc Mid Drive, Mid Mix"

MIDI28 "Enhc Hi Drive, Hi Mix,

InEQ: Treb"

MIDI29 toggle: Enhancer + Chorus

MPress Vibrato

80 TeknoBallCrushe

r

MWheel Vibrato

Data "EnvCtl: Att, Notch Freq"

MIDI22 saw 8ve jump (Lyr 1)

MIDI23 EnvCtl: Impact

MIDI24 EnvCtl: Rel

MIDI25 (aux) Room Lvl

MIDI26 Chorus W/D; Dist Drive

cut

MIDI27 Chorus Rate; Dist warmth

cut

MIDI28 Chorus FB; Dist cab LoPass

MIDI29 toggle: Chorus + Distortion

MPress Vibrato

id name ctrl function

B-10

Standard K2661 ROM Objects

Programs

81 AlaZawi Take 2

MWheel Vibrato

Data LoPass Freq+Res

MIDI22 LoPass Freq cut

MIDI23 InEQ: Bass

MIDI24 InEQ: Treb

MIDI25 (aux) Hall Lvl+Decay Time

MIDI26 Hall PreDly+HFDamp

MIDI27 Chorus W/D+Pan

MIDI28 MDelay W/D

MIDI29 toggle: Clean +MDelayCho-

rus

Breath LoPass Freq+Res adj

MPress Vibrato

82 Round Lead

MWheel Vibrato

Data FM Depth (timbre)

MIDI22 Layer Delay

MIDI23 "Env Ctl, atk & decay"

MIDI24 Release Rate

MIDI25 (Aux) Hall Level

MIDI26 (Aux) Flanger Level

MIDI27 (Aux) Delay Level

MIDI28 (Aux) All effects on/off

MPress "Vibrato, FM Depth (tim-

bre)"

83 Mono Triple

Lead

MWheel Vibrato

Data Shaper Gain

MIDI22 Low Pass Freq

MIDI23 Non-Linear Mixer Gain

MIDI25 FX3 Wet/Dry

MIDI26 FX3 and Aux Rev Times

MIDI27 Chorus Mix

MIDI28 Delay Mix

MIDI29 (Aux) Level

MPress Vibrato

84 Jordan's Lead

MWheel Vibrato

Data Low Pass Freq & Res

MIDI22 Resonance Layer 2

MIDI25 (Aux) Level and Rev Time

MIDI26 "Delay Mix, Mid EQ"

MIDI27 (Aux) Flanger Feedback

MIDI28 (Aux) Flanger Tempo

MIDI29 Distortion Drive

MPress Fade in Feedback Layer

85 Dist Saw Lead

MWheel Xfade Octave Feedback,

Vibrato

Data Low Pass Freq

MIDI22 4P Low Pass Separation

and Resonance

MIDI25 (Aux) Hall Level

MIDI26 (Aux) Wet/Dry

MPress Vibrato

id name ctrl function

86 Instant Enya

MWheel Vibrato

Data Lyr 1 Octave Pitch Shift

MIDI22 Lyr 2 Low Pass Freq

MIDI23 Bass Shelf EQ Gain (KDFX)

MIDI24 Treble Shelf EQ Gain

(KDFX)

MIDI25 (Aux) Hall Level

MIDI26 Chorus Delay

MIDI27 Chorus Depth

MIDI28 Mix Delay

MIDI29 (Aux) Pre-Delay, Decay

Time

MPress Vibrato

87 SynKey

MWheel Vibrato

Data Modulator Pitch (timbre)

MIDI22 Layer enable

MIDI23 "Env Ctl Atk Rate, Decay

Rate"

MIDI24 Release Rate

MIDI25 (Aux) Hall Level, Hall Size

Scale

MIDI26 (Aux) Flanger feedback

level

MIDI27 "(Aux) Delay level, Delay

Feedback leve"

MIDI28 (Aux) Delay Time

MIDI29 (Aux) Delay Level (off/on)

MPress Vibrato Rate

88 Tubular Bells

MWheel Tremolo

Data Pitch

MIDI22 Modulator Pitches

MIDI23 Attack Rate

MIDI24 Release Rate

MIDI25 "(FX3) Delay amount, (FX2)

Phaser wet/dry"

MIDI26 Flanger Depth

MIDI27 (Aux) Reverb Decay Time

MIDI28 "(FX2, FX3) Aux send, (FX3)

Wet/Dry"

MIDI29

Toggle FX3 (Flange/decay/

verb)–

FX2 (Phaser)

id name ctrl function

B-11

Standard K2661 ROM Objects

Programs

89 Digicomp

MWheel Vibrato

Data "Env Ctl: Atk Rate, Dec

Rate"

MIDI22 (FX2) Env Follower Thresh-

old

MIDI23 (FX2) Freq Sweep

MIDI24 (FX2) Resonance

MIDI25 (FX2) Filter Type

MIDI26 (FX2) Minimum Freq

MIDI27 (FX2) Release Rate

MIDI28 "(FX3) Feedback Level, LF

Damping"

MIDI29 Switch FX2 (env follower)

to FX3 (Spectral 4Tap

Mpress Vibrato

90 New Highbells

MWheel Vibrato

Data Pitch (sine+)

MIDI25 "(FX1) Wet/Dry, Rev Time"

MIDI26 (Aux) Reverb Level

MIDI29 toggle: FX1 (Plate) - FX2

(Flange)

Mpress Vibrato

91 Portal

MWheel none

Data High Pass Freq

MIDI22 Saw+ Pitch

MIDI23 LFO depth - LP Freq

MIDI24 Resonance

MIDI25 (Aux) Hall Level

MIDI26 (Aux) Reverb Time

MIDI27 Flange Wet/Dry

92 Beauty Pad

MWheel Vibrato Depth

Data "All Pass Freq, Lyr 2

Detune"

MIDI22 Lyr 3 Pan Position

MIDI25 (Aux) Wet/Dry (dryer)

MIDI26 (Aux) Reverb Time (less)

Mpress Vibrato Depth

93 Amp Mod Pad

MWheel Vibrato

Data Low Pass Freq

MIDI25 (Aux) Hall Wet/Dry (dryer)

MIDI26 (Aux) Reverb Time

MIDI27 (Aux) HF Damping

94 Light Mist

MWheel Vibrato

Data Low Pass Freq

MIDI22 Pitch adj

MIDI23 InEQ: Bass

MIDI24 InEQ: Treb

MIDI25 (aux) Hall Lvl

MIDI26 Chorus Delay Time

MIDI27 Chorus Delay Depth

MIDI28 Delay Mix (sys)

MIDI29 Hall Time+PreDly adj

MPress Vibrato

id name ctrl function

95 Soft Pad

MWheel 7 step LFO depth - pitch

Data Low Pass Freq

MIDI22 Resonance

MIDI23 4P Low Pass Separation

MIDI24 Octave Shift Lyr 1

MIDI25 FX1 & 2 Wet/Dry (dryer)

MIDI26 FX2 Chorus Feedback Level

MIDI27 FX2 LFO Depth

MIDI28 FX2 LFO Rate

96 Eyes Wired Shut

MWheel Vibrato Depth

Data ShapeModOsc Pitch

MIDI25 FX1 Wet/Dry, FX2 Hall

Level

MIDI26 FX1 HF Damping

MIDI27 "FX2 Frequency, Out Gain"

MIDI28 FX2 Resonance

MIDI29 toggle: Hall to Resonant Fil-

ter

Mpress Vibrato

97 Ethereal Strings

MWheel Band Pass Freq, Width,

Amplitude

Data Lyr enable

MIDI22 BandPass Freq + Width -

Lyr 2

MIDI23 BandPass Width - Lyr 3

MIDI24 InEQ: Treb

MIDI25 (aux) Hall Lvl

MIDI26 Hall Decay Time

MIDI27 Flange W/D

MIDI28 Flange FB

MIDI29 "toggle: Flange + CDR,

InEQ: Bass"

MPress BandPass Freq

98 Sync Waves

MWheel Slow pitch mod Master

Sync Osc

Data Pitch Slave Sync Osc

MIDI22 Low Pass Freq

MIDI23 4P Low Pass Separation

MIDI24 Hi Pass Freq

MIDI25 "SRS Out, (Aux) Wet/Dry

(dryer)"

MIDI26 (Aux) Reverb Time

MIDI27 (Aux) HF Damping

MIDI28 SRS Center Ctl

99 Tripoli 2

MWheel Vibrato

Data Pitch

MIDI22 Resonance

MIDI23 Xfade

MIDI24 Low Pass Freq

MIDI25 Shaper

MIDI26 LP2 Res Gain

MIDI27 "Bass EQ Freq, Gain"

id name ctrl function

B-12

Standard K2661 ROM Objects

Programs

100 Monolith

MWheel Vibrato

Data Low Pass Freq

MIDI25 (Aux) Wet/Dry

MIDI26 (Aux) HF Damping

Mpress Pitch Layer 2

101 Soft Piano MIDI25 (aux) Hall Lvl+Time

Soft Pedal is active

102 Piano for Lyrs

MIDI25 (aux) Hall Lvl

MIDI26 Hall Time

MIDI29 Soundboard W/D

103 Grand & Electric

MWheel E Pno Vibrato + ParaTreb

MIDI23 InEQ: Bass

MIDI24 InEQ: Treb

MIDI25 (aux) Hall Lvl

MIDI26 Chorus W/D

MIDI27 Chorus FB

MIDI28 Chorus XCouple

MIDI29 (aux) Early Ref Lvl

Soft Ped Softens Elec Piano

104 E Grand Stack

MWheel String Lvl

Data InEQ: Treb boost

MIDI25 (aux) Room Lvl, (aux) FDR

W/D

MIDI26 Flange Mix

MIDI27 Flange Tempo

MIDI28 Enhc Lo/Mid Drive

MIDI29 FDR Delay Mix adj

105 ClassicPi-

ano&Vox

MWheel Vox Lvl

Data Vox Balance, Piano Treb

boost

MIDI22 Vox EQ Bass

MIDI23 "Vox EQ Treb, St Image

Mix"

MIDI25 "(aux) Hall Lvl, Room W/

D"

MIDI26 Room and Hall Times

MIDI27 St Image In Gain

MIDI28 St Image CenterGain

MIDI29 Vox St Image L/R Delay

106 Brt Concert Pno

Data InEQ: Treb

MIDI25 (aux) Hall Lvl+Time

MIDI29 Soundboard W/D

Soft Pedal is active

107 Modified Piano

Data InEQ: Treb

MIDI25 (aux) Hall Lvl+Time

MIDI29 Soundboard W/D

Soft Pedal is active

108 Studio Grand

MIDI25 (aux) Hall Lvl+Time

MIDI29 Soundboard Rvb Enable

Soft Pedal is Active

109 Orchestral Piano

MIDI25

(aux) Hall Level + Time +

HF Damp (less), FX1 Wet/

Dry (less)

MIDI29 Soundboard Rvb Enable

Soft Pedal is Active

id name ctrl function

110 Honky-Tonk

MWheel Tremolo

MIDI25 (aux) Hall Time

MIDI26 (aux) Chorus Mix

MIDI27 Chorus FB

MIDI28 (aux) Delay Mix

MIDI29 Delay Time adj

111 Fonk Epno MW

MWheel Wah Filter

Foot Wah Filter

Data Tremolo Depth

MIDI22 Tremolo Rate

MIDI23 Env Ctl: Atk

MIDI24 "EnvCtl: Rel, Bass EQ

(KDFX)"

MIDI25 (aux) Hall Lvl

MIDI26 Hall Time

MIDI27 4Tap W/D

MIDI28 4Tap FB

MIDI29 4Tap I/O

112 Trip Wah Clav

MWheel Wah Filter

Foot Wah Filter

Data Enable Release Layer

MIDI22 Low Pass Freq

MIDI25 "(Aux) Hall Level, Rev

Time"

MIDI26 (Aux) HF Damping

MIDI27 Compression Ratio &

MakeUpGain

MIDI28 (Aux) Pre-Delay

113 FM E Piano

MWheel Chorusy Vibrato

Data Layer 1 Pitch

MIDI22 Modulator Pitch Lyr 2

MIDI23 Modulator Pitch Lyr 3

MIDI25

"(FX1) Enhancer In/Out,

(FX2) Chorus Wet/Dry,

(FX3) CDR Wet/Dry"

MIDI26 Enhancer Crossover

MIDI27 Chorus Feedback Level

MIDI28 Chorus Depth

114 Stage EP

MWheel Tremolo Depth

Data Tremolo Rate

MIDI22 Low Pass Freq & Res

MIDI23 Bass EQ Gain (KDFX)

MIDI25 (FX1) Wet/Dry

MIDI26 (FX1) Rev Time

MIDI27 (FX1) HF Damping

115 Growlin' EP

MWheel Tremolo Depth

Data Tremolo Rate

MIDI22 Resonance

MIDI25 "(Aux) Room Level, Wet/

Dry"

MIDI26 "(Aux) Rev Time, Size

Scale"

MIDI27 (Aux) HF Damping

MIDI28 "(FX3) Cabinet LP, Warmth"

MIDI29 Alt Sample Start

id name ctrl function

B-13

Standard K2661 ROM Objects

Programs

116 Ballad Organ

MWheel Leslie Depth

Data Drawbar 1

MIDI22 Drawbar 2

MIDI23 "Drawbar 3, (aux) Plate Lvl"

MIDI24 "Drawbar 4, Plate Time"

MIDI25 KeyClick

MIDI26 Perc Harmonic (Hi/Low)

MIDI27 "HFDamp, Perc Decay"

MIDI28 Cabinet Dist Drive+Lopass

MIDI29 toggle: VibeChorus I/O

117 Cookin Bee

MWheel Leslie Depth

Data Distortion Drive

MIDI22 Vibrato/Chorus

MIDI23 "(FX2) Hi,Lo Gain"

MIDI24 "(FX2) Hi,Lo Trem"

MIDI25 (Aux) Plate Level

MIDI26 (Aux) Rev Time

MIDI27 (Aux) HF Damping

118 Dance Perc Bass

MWheel Vibrato

Data Disable Layer 2

MIDI22 "Disable Layer 3, Para EQ

Width Lyr 2"

MIDI23 "Hi Pass Separation, Para

EQ"

MIDI24 Hi Pass Resonance, Env Ctl:

Atk

MIDI25 (Aux) Hall Wet/Dry

MIDI26 (Aux) Rev Time

MIDI27 (Aux) HF Damping

MIDI28 Treble Shelve Freq

119 Chiffy Pipes

MWheel Decrescendo

Data LoPass Freq

MIDI22 Key Click

MIDI23 Vibrato

MIDI25 (aux) Hall Lvl+W/D

MIDI26 Hall Time

MIDI27 Hall Early Ref Lvl

MIDI29 "toggle: Chorus I/O, Hall

HFDamp+PreDly"

120 Pipe Organ 4

Data Subtle Pitch and LP Filter

modulation

MIDI25 (FX1) Rev Time

MIDI26 (Aux) Rev Time

121 Marcato String

Orch

MWheel Alt Attack: switched

Data Enable Octave Layer

MIDI22 Treble Shelve EQ

MIDI23 Bass Shelve EQ

MIDI25 Hall Wet/Dry

MIDI26 Reverb Time

122 Adagio Strings

MWheel none

Data Treble Shelf EQ

MIDI22 Bass Shelf EQ

MIDI25 Hall Wet/Dry

MIDI26 Reverb Time

id name ctrl function

123 Brighter Pizz

MWheel EQ Duller

Data Shaper

MIDI25 "Hall Wet/Dry, Rev Time"

MIDI26 HF Damping

124 Slo Solo Cello

MWheel 4P Low Pass Separation

Data "Low Pass Freq, Resonance"

MIDI22 Env Ctl: Decay

MIDI23 Env Ctl: Attack

MIDI25 (Aux) Hall Level

MIDI26 "(Aux) Reverb Time, HF

Damping"

MIDI27 (FX1) Wet/Dry

MIDI28 (FX1) HF Damping

MIDI29 "toggle: Aux off, FX1

change Room preset"

Mpress Increase Vibrato Depth

125 Arco Bass

MWheel Vibrato

Data Env Ctl: Attack

MIDI22 Para Bass EQ

MIDI25 (Aux) Hall Level

MIDI26 (FX1) Wet/Dry

Mpress Vibrato

126 Solo Strings

MWheel Env Ctl: Attack

Data Low Pass Freq

MIDI22 Shaper

MIDI25 (Aux) Hall Level

MIDI26 "(Aux) Reverb Time, HF

Damping"

MIDI27 (FX1) Wet/Dry

Mpress Vibrato

127 Touch Strings

MWheel Vibrato

Data Env Ctl: Atk & Release

MIDI25 FX1 Wet/Dry

128 Mixed Choir

MWheel Vibrato+Rate

Data Lyr XFade

MIDI22 "EnvCtl: Rel, Notch +

ParaTreb Freq"

MIDI23 "InEQ: Bass, ParaTreb,

Notch Width"

MIDI24 InEQ: Treb

MIDI25 (aux) Hall Lvl

MIDI26 Room W/D

MIDI27 Room Time

MIDI28 Infinite Decay on Keydown

MIDI29 Infinite Decay

MPress Vibrato+Rate

129 Bamboo Voices

MWheel "Vibrato, Para EQ Freq"

Data Boost Vox Layer

MIDI23 Bass EQ (KDFX)

MIDI24 Treble EQ (KDFX)

MIDI25 (Aux) Hall Level, FX1 Wet/

Dry

MIDI26 FX1 Rev Time

MPress Vibrato

id name ctrl function

B-14

Standard K2661 ROM Objects

Programs

130 Syn Orch Power

MWheel Vibrato+Rate

Data LP2Res Freq

MIDI22 Env Ctl: Release (faster)

MIDI25 (Aux) Reverb Time

MIDI26 FX2 Chorus Wet/Dry

MIDI27 FX2 Chorus Feedback Level

MIDI28 FX2 Chorus LFO Rate

MIDI29 Switch to FX2 Chorus

MPress Vibrato+Rate

131 Strummer Guitar

MWheel Vibrato

Data Enhancer Drive & Gain

(less)

MIDI25 (Aux) Reverb Wet/Dry

MIDI26 (Aux) HF Damping

MIDI27 (Aux) Compression Ratio

MIDI29 Switch to FX2 Pitcher

MPress Vibrato

132 Blue Moods

MWheel Slight Vibrato, String Bal-

ance

Data String Balance, Gtr Hi Freq

Cut

MIDI22 EnvCtl: Imp+Att

MIDI23 EnvCtl: Dec

MIDI24 EnvCtl: Rel

MIDI25 (aux) Hall Lvl

MIDI26 Hall Time+HFDamp

MIDI27 "Enhc Lo Mix, Chorus W/

D"

MIDI28 Enhc Hi Mix+Drive, Cho-

rus FB

MIDI29 "toggle: Enhc + Chorus,

Hall + Room"

MPress Vibrato

133 ES335

MWheel Notch Filt Tremolo

Data Para Mid Freq

MIDI22 "Para Mid Amp (ES335), "

MIDI23 EnvCtl: Att

MIDI24 EnvCtl: Rel

MIDI25 (aux) Hall Mix

MIDI26 "Hall HFDamp, InEQ:

Bass+Treb (Abercrmbie)"

MIDI27 Chorus Mix

MIDI28 Delay Mix

MIDI29 Turns off Semi-Tone Pitch

Bend

MPress Vibrato

PWheel Simulates Fretboard Slide

(ES335)

id name ctrl function

134 Kotolin

MWheel Para EQ AMP

Data "Para EQ Freq, Width,

Depth"

MIDI22 EnvCtl: Imp

MIDI23 EnvCtl: Att

MIDI24 EnvCtl: Rel

MIDI25 "(aux) Hall Lvl, (Fx3) Rvb

Time"

MIDI26 (Fx2) Phase W/D

MIDI27 "Phase L/R LFO, (Fx3)

Flange Mix"

MIDI28 Delay Mix

MIDI29 "Buss toggle:, Phaser LFO

Rate"

MPress Vibrato

135 Dreamguitar

MWheel Vibrato

Data Octave Pitch shift Pad layer

MIDI22 Notch Freq

MIDI25 "FX1 Rev Mix, (Aux) Hall

Level"

MIDI26 "(Aux) Pre-Delay, Rev

Time"

MIDI27 "FX1 Rev W/D, Delay Mix"

MIDI28 Chorus Delay

MIDI29 Chorus Feedback

MPress Vibrato

136 Hyper Guitar

MWheel Vibrato

Data Enhancer Amplitude

MIDI22 Env Ctl: Decay

MIDI23 Treble Shelf EQ Gain

MIDI25 (Aux) Hall Level

MIDI26 FX2 Wet/Dry

MIDI27 FX2 LFO Rate

MIDI29 Toggle: effect to Stereo

Image

MPress Vibrato

137 SliderDistJazzGt

MWheel Vibrato/Tremolo

Data Enables Dist Gtr Lyrs

MIDI22 "Para EQ ^ Hi Freq Stim

Drive, Dist EQ"

MIDI23 "EnvCtl: Imp, Dist Drive"

MIDI24 EnvCtl: Rel

MIDI25 (aux) FDR Hall Lvl, Rvb

Time

MIDI26 Flange FB

MIDI27 Flange Tempo

MIDI28 Delay Mix

MIDI29 Delay FB

MPress "Vibrato, Harmonics Lvl"

PWheel (Dist Lyr) +2/-12 Pitch

Bend

id name ctrl function

B-15

Standard K2661 ROM Objects

Programs

138 Liquid T Lead

MWheel Vibrato

Data EnvCtl: Att, LoPass

Freq+Res

MIDI22 "Lopass Freq+Res, Steep

Bass Freq"

MIDI23 EnvCtl: Imp

MIDI24 EnvCtl: Rel

MIDI25 (aux) Hall Lvl

MIDI26 "Hall Time+HFDamp, Cho-

rus FB"

MIDI27 "Delay Mix, SRS EQ"

MIDI28 "Delay FB, SRS Center-

space"

MIDI29 toggle: CHDelay + SRS

MPress Vibrato, Lyr Enable (Har-

monics)

139 Hammeron

Synth

MWheel Steep Resonant Bass Freq

Data "Cabinet Preset, Out Gain

(KDFX)"

MIDI22 (Aux) Hall Level

MIDI23 MD Wet/Dry

MIDI24 Chorus Wet/Dry

MIDI25 Bass Tone

MIDI26 Mid Tone

MIDI27 Treble Tone

MIDI28 FX1 Aux Level

MIDI29 toggle FX

MPress "Steep Resonant Bass Freq,

Tube Drive"

140 CeeTaur

MWheel Vibrato

Data Low Pass Freq

MIDI22 EnvCtl: Imp

MIDI23 EnvCtl: Att

MIDI24 EnvCtl: Rel

MIDI25 (aux) Hall Lvl, (Fx3) Rvb

Time

MIDI26 (Fx2) Phase W/D

MIDI27 Phase L/R LFO, (Fx3)

Flange Mix

MIDI28 Delay Mix

MIDI29 Bus toggle:, Phaser LFO

Rate

MPress Vibrato

141 Brite Stand-up

MWheel Vibrato

Data "Octave Pitch Shift Layer 2,

(Aux) Ambience Level"

id name ctrl function

142 DualBass^Slp-

Bass

MWheel Vibrato

Data toggle: DualBass + SlpBass

MIDI22 "EnvCtl: Dec, BandPass adj,

ParaTreb"

MIDI23 EnvCtl : Att+Imp

MIDI24 EnvCtl: Rel

MIDI25 (aux) Room Lvl+Time

MIDI26 Phaser Notch/ BP ^ Enhc

LoDrive+Delay

MIDI27 Phaser Center Freq L ^

Enhc Hi Mix

MIDI28 Phaser Center Freq R ^

Enhc Mid Mix

MIDI29 Phaser FB boost * Enhc

Crossover Freq

MPress Vibrato

143 Sust Bass

MWheel Vibrato

Data "BandPass Freq+Width,

EnvCtl: Imp, LoPass adj"

MIDI22 EnvCtl: Imp

MIDI23 EnvCtl: Rel

MIDI24 In EQ: Bass

MIDI25 Comp Att Time

MIDI26 Comp Rel Time

MIDI27 Comp Ratio

MIDI28 Comp ThReshhold

MIDI29 "toggle: Comp I/O, (aux)

Room I/O"

MPress Vibrato

144 Fonkin Bass

MWheel Vibrato

Data Low Pass Freq

MIDI24 Bass EQ Gain (KDFX)

MIDI25 Comp Att Time

MIDI26 Comp Rel Time

MIDI27 Comp Ratio

MIDI28 Comp ThReshhold

MIDI29 (Aux) Room Level

145 Synth Fretless

MWheel Vibrato

Data "Shaper amt, HiPass Freq"

MIDI22 InEQ: Bass

MIDI23 EnvCtl: Imp

MIDI24 EnvCtl: Rel

MIDI25 (aux) Hall Lvl

MIDI26 "Flange W/D, Chorus W/

D"

MIDI27 "Flange FB, Chorus FB"

MIDI28 "Flange L/R Phase, Chorus

Rate"

MIDI29 toggle: Flange + Chorus

MPress "Vibrato, Shaper adj, Flange

W/D"

id name ctrl function

B-16

Standard K2661 ROM Objects

Programs

146 SquashStudio Kit

MWheel AltControl: Toms

Data "Pitch: Kicks, Snares, Toms,

HiHats"

MIDI22 Snare Filters

MIDI23 Kick Filters

MIDI24 "EnvCtl: Kicks, Snares,

Toms"

MIDI25 "(FX1+2)- (aux) Room

Lvl+Time, (FX2)- Mix Lvl "

MIDI26 (FX2) Compressor

Ratio+Gain

MIDI27 Room HFDamp

MIDI28 "toggle: Enhancer HiDrive,

Room PreDly"

MIDI29 Enhancer Hi Delay Time

147 Garage Kit II

MW

MWheel Multiple Layer toggle

Data "Pitch: Kicks, Toms"

MIDI22 "Pitch: Snares, Crash2"

MIDI23 "EnvCtl: Kicks, Toms"

MIDI24 "EnvCtl: Snares, HiHats"

MIDI25 (aux) RoomGate Absorp-

tion+Gain

MIDI26 (FX3) Compression control

MIDI27 (FX3) InEQ: Treb

MIDI28 (FX3) InEQ: Bass

MIDI29 "toggle: (aux) Room type,

Lopass adj"

148 Studio Kit II MW

MWheel Multiple Layer toggle

Data "Pitch: Kicks, Toms"

MIDI22 "Pitch: Snares, Crash2"

MIDI25 "FX1 Wet/Dry, FX1+2 Aux

Levels, Aux Rev Time"

MIDI26 "FX1 Rev Time,FX2 Wet/

Dry"

149 General MIDI Kit

MWheel "Assorted Filters, on most

elements"

Data "PItch: Kicks (B1, C2), and

Toms"

MIDI22 "Pitch: Snares (D2, E2),

HiHats, Ride, Crash (C#3)"

MIDI23 "Pitch: Congas, Timbales,

many other elements"

MIDI24

EnvCtl / ASR Amp Env:

Kicks (above), Snares

(above) Toms, Crashes,

Ride, Triangle, Ding (A#1)

MIDI25 (FX1) Room W/D

MIDI26 Room Rvrb Time

MIDI27 "(aux) Hall Lvl, (FX1) Mix

Lvl"

MIDI28 (FX1) Compressor

Ratio+Threshold+Rel Time

MIDI29

"toggle: (FX1) Room+Booth,

(aux) Hall+""Slither

Booth"""

id name ctrl function

150 ElectroDrum-

setGM

MWheel (FX2) Resonant Filter Freq

Data "Filter: Kicks, Toms,

assorted other elements"

MIDI22 "Pitch: Snares, some Toms,

Cymbals,+other elements"

MIDI23 "Filter: Snares, Cymbals,

HiHats, Synth Boing"

MIDI24 EnvCtl: most elements

MIDI25

"(FX1) Room W/D, (FX3)

Echo W/D, (aux) Hall W/

D+Lvl"

MIDI26 "Room Time, (aux) Hall

Lvl"

MIDI27 Hall Late Rvrb Time

MIDI28 (FX3) Delay Feedback (only

a few elements)

MIDI29 "toggle: Room + ResFilt,

Delay + Room"

151 QuestHipKit

MWheel EP Chord Tremolo

Data Low Pass Freq Snare

MIDI22 EP Chord Low Pass Freq

MIDI23 EP Chord Resonance

MIDI25 "FX1,2,3 Aux Level, FX3

Reverb Mix"

MIDI26 Aux Rev Time

MIDI27 FX3 Flanger Feedback Level

MIDI29 "Toggle FX3, FX2"

152 e Drums

MWheel none

Data "Pitch Toms, Kicks"

MIDI22 Pitch Snares

MIDI23 Para EQ Toms

MIDI25 (aux) Hall Level

MIDI26 "FX1 Wet/Dry, Rev Time"

MIDI27 (aux) Reverb Time

153 SmallKit+Perc

MW

MWheel Cowbell + Shaker Enable

Data

Pitch: Kit elements (Kick,

Snare, HiHats, Toms, Cym-

bals)

MIDI22

Pitch: Congas, Timbales,

Agogo, Clave, Cowbell

(MW)

MIDI23

Filters: Cabasas, Tambou-

rines, Clave, Agogo, Tim-

bales, Kick, Snare, HiHats,

Toms, Cowbell (MW)

MIDI24

Pitch+Filter: Cabasas,

Shaker (MW), Tambourine

(F#3, F#4)

MIDI25 (FX1+2) Rooms W/D

MIDI26 Rooms' Times

MIDI27 "(aux) Plate Lvl, (FX4) Mix

Lvl, (FX3) Hall W/D"

MIDI28 Plate Time

MIDI29 toggle: Room + Hall

id name ctrl function

B-17

Standard K2661 ROM Objects

Programs

154 Steel Drumz

MWheel Vibrato

Data Low Pass Freq

MIDI 22 Resonance

MIDI25 FX1 Wet/Dry

MIDI26 FX2 Wet/Dry

MIDI27 FX2 Flanger Feedback Leve

MIDI28 FX2 LFO Tempo

MIDI29 toggle: to Flanger

155 Trumpet Flourish

Wheel Shaper

Data Low Pass Freq

MIDI25 "FX1, Aux Reverb Time"

MIDI26 Aux HF Damping

156 Mr. Parker

MWheel Vibrato

Data LoPass Freq

MIDI22 LoPass Res

MIDI23 LoPass Freq

MIDI24 EnvCtl: Att+Rel

MIDI25 (aux) Plate W/D

MIDI26 Plate Time

MIDI27 Chorus Mix

MIDI28 Delay Mix (sys)

MIDI29 "Plate LFO adj, Delay FB"

MPress Pitch Bend down

157 Almost Muted

(MW)

MWheel "Vibrato, mute adj"

Data LoPass Freq

MIDI22 HiPass Freq

MIDI23 EnvCtl: Imp

MIDI24 EnvCtl: Rel

MIDI25 (fx1) Room W/D+Time

MIDI26 Room HFDamp

MIDI27 InEQ: Bass

MIDI28 InEQ: Treb

MIDI29 EQMorph I/O

MPress Vibrato

158 Solo Trombone

MWheel "Vibrato, Low Pass Freq"

Data Low Pass Freq

MIDI23 Env Ctl: Release

MIDI24 Treble Shelf EQ

MIDI25 FX1 Wet/Dry, (aux) Hall

Level

MIDI26 FX1 HF Damping

Mpress "Vibrato, volume"

159 Trumpets

MWheel Vibrato

Data Low Pass Freq

MIDI22 InEQ:Bass

MIDI23 EnvCtl: Imp

MIDI24 EnvCtl: Rel

MIDI25 (aux) Chamber Lvl

MIDI26 Chamber Time+HFDamp

MIDI27 InEQ: Treb

MIDI28 Chorus FB

MIDI29 Chorus I/O

MPress Swell

id name ctrl function

160 Flute^WWind

Sect

MWheel Low Pass Freq - Flute

Data toggle: Flute^WWind Sect

MIDI22 Fade in Chiff Layer - Flute

MIDI25 (Aux) Hall Level (less)

MIDI26 "FX1 Absorption, HF

Damping, Wet/Dry"

MIDI27 FX3 Wet/Dry, Feedback

Level

MIDI28 FX3 Tempo

MIDI29 toggle 4tap

MPress "Vibrato, WWind Sect"

161 Oboe ^ Eng Hrn

MWheel Low Pass Freq

Data toggle: Oboe ^ Eng Hrn

MIDI25 "FX1, (aux) Reverb Time"

MIDI26 (aux) HF Damping

MPress Vibrato

162 Clarinet

MWheel Vibrato

Data Low Pass Freq

MIDI25 FX1 Wet/Dry

MIDI26 "FX1, Aux Reverb Time"

MPress Vibrato

163 Bassoon

MWheel Vibrato

Data Low Pass Freq

MIDI25 FX1 Wet/Dry

MIDI26 "FX1, Aux Reverb Time"

MPress Vibrato

164 Accordion

MWheel Vibrato

Data Enable Layer 3&4

MIDI22 fade out layer 2

MIDI23 InEQ: Bass

MIDI24 InEQ: Treble

MIDI25 FX1 Wet/Dry

MIDI26 "FX1 Reverb Time,FX2

Feedback Level"

MIDI27 "FX2 Ctr Freq, LFO Dpth"

MIDI28 (Aux) HF Damping

MIDI29 toggle: Room^Phaser

MPress Vibrato

165 Matrix 12

MWheel Vibrato

Data Low Pass Freq, Env Ctl: Att,

Dec

MIDI22 Octave Shift Saw+

MIDI23 Env Ctl: Release

MIDI24 Impact

MIDI25 (Aux) Plate Level

MIDI26 Delay Feedback

MIDI27 Delay HF Damping (FX3)

MIDI28 (aux) HF Damping

MIDI29 Switch in Delay

MPress Vibrato

id name ctrl function

B-18

Standard K2661 ROM Objects

Programs

166 OB Brass

MWheel Vibrato

Data LoPass Freq

MIDI22 LoPass Freq

MIDI23 "EnvCtl: Attack, Release"

MIDI24 EnvCtl: Impact

MIDI25 (aux) Plate Lvl+Time

MIDI26 Enhc Lo Drive+Mix, Cho-

rus W/D

MIDI27 "Enhc Mid Drive, Mid Mix"

MIDI28 "Enhc Hi Drive, Hi Mix,

InEQ: Treb"

MIDI29 toggle: Enhancer + Chorus

MPress Vibrato

167 PWM Comper

MWheel Vibrato

Data Env Ctl: Attack

MIDI22 Env Ctl: Release

MIDI25 FX1b Reverb Wet/Dry

MIDI26 (Aux) Hall Level

MIDI27 FX1a Chorus Wet/Dry

MIDI28 FX1a Chorus Feedback

Level

168 Soft Matrix 12

MWheel Vibrato

Data LoPass Freq

MIDI22 Pitch Shift - Fifths

MIDI23 EnvCtl: Decay

MIDI24 EnvCtl: Release

MIDI25 (aux) Hall Level

MIDI26 "(aux) Decay Time, Room

Size, HF Damp"

MIDI27 FX3 Delay Wet/Dry

MIDI28 FX3 Delay Feedback

MIDI29 Switch in Delay

MPress Vibrato

169 Synth Brass

MWheel Vibrato

Data Low Pass Freq

MIDI23 Env Ctl: Attack

MIDI24 Env Ctl: Release

MIDI25 (Aux) Hall Level

MIDI26 Chorus Mix

MIDI27 Delay Mix

MIDI28 Delay Time

MIDI29 "toggle Chorus, Env Fol-

lower"

MPress Low Pass Freq Lyr 1

170 Moogy Bass Too

MWheel Vibrato

Data "Low Pass Freq, Impact"

MIDI22 Resonance

MIDI24 Env Ctl: Release

MIDI25 "(aux) Hall Level, Aux Wet/

Dry"

MIDI26 Chorus Mix

MIDI27 Chorus Feedback

MIDI28 FX2 Rev HF Damping

MIDI29 toggle: Chorus^ Enhancer

MPress Vibrato

id name ctrl function

171 Chirp Bass

MWheel Vibrato

Data HiPass Freq

MIDI22 LoPass Res

MIDI23 Env Ctl: Impact

MIDI24 EnvCtl: Att+Rel

MIDI25 (aux) Room Lvl

MIDI26 "Flange W/D, Chorus W/

D"

MIDI27 "Flange FB, Chorus FB"

MIDI28 "Flange LFO Period, Cho-

rus Tap Delay"

MIDI29 toggle: Flange + Chorus

PW Octave Shift

172 Pulsepluck

MWheel Vibrato

Data Pulse Width

MIDI22 Env Ctl: Attack

MIDI23 Env Ctl: Impact

MIDI24 Disable Layer 3

MIDI25 (Aux) Wet/Dry

MIDI26 (Aux) Reverb Time

MIDI27 (Aux) HF Damping

MIDI28 (Aux) Treble Shelf Freq

173 Resoshape

MWheel Pitch Modulation

Data Shaper Layer 1

MIDI22 Shaper Layer 2

MIDI23 Bandpass Width

MIDI24 Global LFO Rate

MIDI25 FX1 Wet/Dry, (aux) Wet/

Dry

MIDI26 FX1 Course Xcursion

MIDI27 FX1 Flange Feedback Level

MIDI28 FX1 HF Damping

174 Solar Lead

MWheel Vibrato

Data Low Pass Freq

MIDI22 Resonance

MIDI25 (Aux) Wet/Dry

MIDI26 (Aux) Reverb Time

MIDI27 (Aux) HF Damping

MPress Vibrato

175 Flutey Leads

MWheel Vibrato

Data Pitch - Octave Shift

MIDI22 InEQ: Bass

MIDI23 InEQ: Treb

MIDI24 EnvCtl: Rel

MIDI25 (aux) Hall Lvl, (FX3) Hall

Mix

MIDI26 (aux) Hall

HFDamp+PreDly

MIDI27 Chorus Mix

MIDI28 Chorus Depth

MIDI29 toggle: CDR + Room

MPress Vibrato

id name ctrl function

B-19

Standard K2661 ROM Objects

Programs

176 TM Lead

MWheel Octave Harmonic Feedback

Data Low Pass Freq

MIDI22 Resonance

MIDI24 ! Gain

MIDI25 (Aux) Hall Level

MIDI26 (Aux) Wet/Dry

MIDI27 FX3 Delay Time

MPress Vibrato

177 Modular Lead

MWheel Vibrato

Data Octave Pitch Shift Layer 1

MIDI22 Low Pass Freq, fade Layer 1

MIDI23 EnvCtl: Att

MIDI24 EnvCtl: Rel

MIDI25 (aux) Level

MIDI27 Chorus Feedback

MPress Vibrato

178 BrassyFluty Lead

MWheel Vibrato

Data Low Pass Freq

MIDI22 Resonance

MIDI24 Env Ctl: Release

MIDI25 (Aux) Hall Level

MIDI26 (Aux) Decay Time, HF

Damping

MPress Swell

179 Retrosiren

MWheel Vibrato

Data Low Pass Freq

MIDI22 Env Ctl: Attack

MIDI23 Env Ctl: Impact

MIDI24 Env Ctl: Release

MIDI25 FX1 Wet/Dry

MIDI26 (Aux) Hall Level

MIDI27 (Aux) Reverb Time

MPress Vibrato

180 Odysseus

MWheel Vibrato

Data Bandpass Freq

MIDI22 Low Pass Freq

MIDI23 Sine + Freq

MIDI24 Low Pass Freq

MIDI25 FX1 (aux) Wet/Dry

MIDI26 FX1 Loop Level

MIDI27 (Aux) Spacing

MIDI28 (Aux) HF Damping

id name ctrl function

181 Synth Caliopies

MWheel Vibrato

Data Lyr disable(up); LoPass Res

MIDI22 BandPass Freq; LoPass Freq

MIDI23 "LoPass Freq+Res, Hipass

Freq, Treb boost"

MIDI24 EnvCtl: Att+Rel

MIDI25 "(aux) Hall Lvl, Room W/

D"

MIDI26 Phaser FB

MIDI27 Phaser LFO Rate

MIDI29

"toggle: Room+Phaser(Lyr

1+3), Phaser+CDR(Lyr

2+4)"

MPress Vibrato

182 Harmonica

MWheel Vibrato

Data InEQ: Bass

MIDI22 InEQ: Treb

MIDI23 Env Ctl: Attack

MIDI24 Env Ctl: Release

MIDI25 (Fx1) Room W/D, (aux)

Hall Lvl

MIDI26 "Room Time, Phase FB"

MIDI27 "(aux) Hall adj, Phase Cen-

ter Freq+LFODepth"

MIDI28 (aux) Hall HFDamp

MIDI29 toggle: Room + Phaser

MPress Vibrato

183 Space Log

MWheel Vibrato

Data Pitch Shift

MIDI25 (Aux) Wet/Dry

MIDI26 (Aux) Rev Time

Mpress Vibrato

184 Brite Bells

MWheel Vibrato

Data Gain

MIDI22 Sine+ Pitch

MIDI23 Env Ctl: Decay

MIDI25 FX1 Wet/Dry, (Aux) Room

Level

MIDI29 toggle Hall^Chorus

Mpress Vibrato

185 Glasswaves

MWheel Vibrato

Data Non Lin Gain, Low Pass

Freq

MIDI22 InEQ: Bass

MIDI25 FX1 Wet/Dry, (Aux) Hall

Level

MIDI29 toggle Hall^Chorus

Mpress Vibrato

id name ctrl function

B-20

Standard K2661 ROM Objects

Programs

186 Meditator

MWheel Vibrato

Data Low Pass Freq + Res

MIDI22 "HFstim adj, Lyr Pitch adj"

MIDI23 Bandpass Freq

MIDI25 (aux) Hall Lvl + Decay Time

^ Miniverb Lvl

MIDI26 Flang W/D ^ Minivrb Time

+ PreDly

MIDI27 Flange FB

MIDI28 Delay FB

MIDI29 toggle: Flange + CDR

MPress Vibrato

187 Chariots

MWheel Vibrato

Data Octave Pitch Shift

MIDI23 Env Ctl: Attack

MIDI24 Env Ctl: Release

MIDI25 (Aux) Hall Level

MIDI26 (Aux) Reverb Time

MIDI29 (Aux) Hall Level

188 Heaven Stack

MWheel Vibrato

Data Hi Freq Stimulator Drive

(less)

MIDI22 Fade Out Layer 1

MIDI24 Env Ctl: Release

MIDI25 (Aux) Room Level

MIDI26 "(Aux) Reverb Time, FX2

Chorus Wet/Dry"

MIDI27 FX2 Chorus LFO Rate

MIDI28 FX2 Chorus Feedback Level

MIDI29 Switch in FX2 Chorus

MPress Vibrato

189 Vortex Rev

MWheel Vibrato

Data HiPass Freqs+Width

MIDI22 Lyr Xfade

MIDI23 InEQ: Bass

MIDI24 "InEQ: Treb, EnvCtl:

Att+Rel"

MIDI25 (aux) Hall Time

MIDI26 Hall PreDly

MIDI27 Chorus Depth+Delay

MIDI28 Delay Mix+FB

MIDI29 Hall HFDamp

MPress Vibrato

id name ctrl function

190 Luscious

MWheel Vibrato

Data "Panner LFO Rate, Lyr

Delay, Lyr Xfade"

MIDI22 EnvCtl: Imp+Att

MIDI23 "InEQ: Bass, EnvCtl: Dec"

MIDI24 "InEQ: Treb, EnvCtl: Rel"

MIDI25 (aux) Hall

Time+PreDly+HFDamp

MIDI26 Flange Mix

MIDI27 Flange Rate

MIDI28 Flange FB

MIDI29 Hall PreDly adj

MPress Vibrato

Tempo LoPass Freq

191 Sphaerique

MWheel Vibrato

Data High Pass Freq

MIDI22 All Pass Freq

MIDI23 Octave Shift Layer 2

MIDI24 Env Ctl: Attack

MIDI25 (Aux) Wet/Dry

MIDI26 (Aux) Reverb Time

MIDI27 (Aux) HF Damping

MIDI28 InA Bass EQ

192 Padifier

MWheel Vibrato

Data Low Pass Freq

MIDI22 Env Ctl: Attack

MIDI23 Env Ctl: Release

MIDI24 FX3 Delay Mix

MIDI25 "(Aux) Hall Level, FX3

Reverb Mix"

MIDI26 "(Aux), FX3 Reverb Time"

MIDI27 FX3 Chorus Mix

MIDI28 FX3 Chorus Depth

MIDI29 toggle: Chorus^Room

Mpress Vibrato

193 Tang Vox Pad

MWheel Vibrato

Data Pitch Layer 2

MIDI22 Low Pass Freq

MIDI23 "Env Ctl: Att, Rel"

MIDI24 Env Ct: Decay

MIDI25 (Aux) Wet/Dry

MIDI26 (Aux) Reverb Time

MIDI27 (Aux) HF Damping

MIDI28 (Aux) Treble Shelf Freq

Mpress Vibrato

194 Interference

MWheel Wrap

Data Shaper

MIDI25 (Aux) Room Level

MIDI26 (Aux) HF Damping

MIDI27 FX1 4 Tap Mix

id name ctrl function

B-21

Standard K2661 ROM Objects

Programs

195 One Shot

MWheel Vibrato

Data LPGate Freq

MIDI22 Saw+ Pitch Layer 1

MIDI23 Saw+ Pitch Layer 2

MIDI24 Env Ctl: Release

MIDI25 "FX3, Aux Wet/Dry

(dryer)"

MIDI26 (Aux) Hall Level (less)

MIDI27 FX3 Tap Delays, Loop

Length

MIDI28 FX3 HF Damping

196 Integrated Cir-

cuit

MWheel Saw+ Pitch

Data Hi Pass Freq

MIDI22 Saw+ Pitch

MIDI23 Low Pass Freq

MIDI24 Env Ctl: Attack

MIDI25 (Aux) Hall Level

MIDI26 (Aux) Rev Time

MIDI27 Chorus Feedback

MIDI28 Chorus Depth

197 Doomsday

MWheel "Pitch, Shaper Layer 2"

MIDI25 (Aux) Hall Level

MIDI26 (Aux) Decay Time

198 Click

199 Default Program

730 L'il Nipper Kit

MWheel SFX Pitch

Data "Pitch: Kick, Toms"

MIDI22 "Pitch: Snares, AuxPerc"

MIDI23 "Filter: Hihats, Cymbals"

MIDI24 "EnvCtl: Kicks, Snares"

MIDI25 (aux) Plate Time

MIDI26 (FX3) Laserverb Spacing

MIDI27 (FX2) Pitcher Pitch, Pitcher

W/D

MIDI28 Pitcher control

MIDI29 Laserverb Delay+Con-

tour+FB

MPress AuxPerc Pitch

id name ctrl function

731 Industry Set II

MWheel Filter Resonance (A#4-C5)

Data

"AltControl on some lay-

ers,"

Pitch on Kick-like elements

and some Toms

MIDI22 Various Pitch controls on

many elements

MIDI23 Filters or Modulation Pitch

on many elements

MIDI24 EnvCtl: assorted kinds of

control on many elements

MIDI25 (FX2) Flange W/D, InEQ:

Bass

MIDI26 "(aux) Hall Lvl, (FX2) Mix

Lvl"

MIDI27 (FX3) DistEQ W/D+Gain

Adjust

MIDI28 Distortion Warmth

MIDI29 toggle: RoomType: Hall +

Delay

MPress Filter Resonance (A#4-C5)

732 Technoo Kit

MWheel Alternate Kick (B2-C3)

Data Pitch: nearly all elements

MIDI22 "Filter: Kicks, AuxPerc"

MIDI23 "Filter: Snares, Toms, Ride,

Crashes, HiHats (A#1-B1)"

MIDI24

"EnvCtl: Kicks, Snares (not

G#1-A1), Ride, Choke

Cym"

MIDI25 (FX1) Gated Reverb W/D

MIDI26 Gated Reverb Time

MIDI27 (FX1+2) (aux) LaserVerb Lvl

MIDI28 (FX4) LaserVerb Lvl

MIDI29 toggle: GateRvb

HFDamp+Gate Threshold

id name ctrl function

B-22

Standard K2661 ROM Objects

Programs

733 Geo-Kit MW+22

MWheel Multiple Layer toggle

Data "Pitch: Kicks, Snares, Toms,

""Shaker"""

MIDI22 Crossfade to tertiary Kicks;

Pitch: Elec. Snare only

MIDI23

Filter: Kicks, Snares,

HiHats, Crashes, Ride,

Shaker Amp LFO: SFX (A6-

B6)

MIDI24

EnvCtl: most Kicks, Snares,

Toms, Shaker, Elec HiHat

LFO Rate: SFX (A6-B6)

MIDI25 (FX3) Mix Lvl, (aux)

GateRvb Lvl

MIDI26 "(FX4) Mix Lvl, GateRvb

Lvl"

MIDI27 (FX3) Compressor Smooth-

Time+MakeUpGain

MIDI28

(FX2) EnvFlt Freq

Sweep+Threshold, (FX1)

Delay Lvl

MIDI29 toggle: Compressor +

ChorDelay

734 Slam 'n Drums I

MIDI25 "(FX1) Rev Time, Wet/Dry,

HF Damping"

MIDI26 "(FX1) Aux Level, InA EQ

Treb"

MIDI27 "(FX2, FX4) Aux Level"

MIDI28 (FX2) Wet/Dry

735 Bottom-

Feed^Pulse

MWheel Vibrato

Data toggle: BottomFeed ^ Pulse

MIDI22 "LoPass Gate+Freq, EnvCtl:

Imp+Att"

MIDI23 EnvCtl: Att+Dec, Saw Pitch

adj

MIDI24 EnvCtl: Rel

MIDI25 (aux) Room Lvl, (FX3)Hall

Mix

MIDI26 Chorus Mix

MIDI27 Chorus Rate

MIDI28 Chorus FB

MIDI29 toggle: Chorus(4Tap) +

Flange

MPress Vibrato

id name ctrl function

736 Lowdown Bass

MWheel "Vibrato, HiPass Freq

(Chirp)"

Data LoPass Gate

MIDI22 EnvCtl: Imp

MIDI23 EnvCtl: Att

MIDI24 "Lyr Enable, EnvCtl:

Dec+Rel"

MIDI25 (aux) Dist Lvl

MIDI26 "Dist Drive, Mid EQ cut,

Flange W/D"

MIDI27 "InEQ: Bass, Flange FB"

MIDI28 Cab HiPass

MIDI29 toggle: EQ + Flange

MPress Vibrato

737 SustBass^Mix-

Bass

MWheel "Vibrato, LoPass Freq"

Data toggle: SustBass + MixBass

MIDI22 "BandPass Freq+Width,

EnvCtl: Imp, LoPass adj"

MIDI23 EnvCtl: Rel

MIDI24 In EQ: Bass

MIDI25 Comp Att Time

MIDI26 Comp Rel Time

MIDI27 Comp Ratio

MIDI28 Comp Threshhold

MIDI29 "toggle: Comp I/O, (aux)

Room I/O"

MPress Vibrato

738 SkoolBass^SIm-

ple

MWheel Vibrato

Data toggle: SkoolBass ^ SImple

MIDI22 "Pulse Width+Freq, Pitch

adj, EnvCtl: Imp+Att"

MIDI23 "Dist Drive adj, EnvCtl:

Dec"

MIDI24 EnvCtl: Rel

MIDI25 (aux) Room Lvl

MIDI26 Phase Notch/ Dry, Dist W/

D"

MIDI27 "Phase Center Freq, Dist

Drive adj

MIDI28 Phase LFO Depth, Dist Bass

adj

MIDI29 "toggle: Phase + Dist, Room

Time adj"

MPress Vibrato

AttVel LoPass gate

GKey-

Num L/R Phase

739 Default Triple

id name ctrl function

B-23

Standard K2661 ROM Objects

Programs

770 Mellostr^Shin-

eOn

MWheel Vibrato

Data toggle: Mellostr ^ ShineOn

MIDI22 LoPass+BandPass

Freq+Width

MIDI23 "EnvCtl: Att, LoPass Res"

MIDI24 EnvCtl: Rel

MIDI25 (aux) Room Lvl, Hall

absorption

MIDI26 "Filt Res, Chorus FB"

MIDI27 "Filt Freq, Chorus Rate"

MIDI28 "Filt Vibrato, Delay Mix"

MIDI29 toggle: Res Filt + ChorDelay

(Mellostr only)

MPress "Vibrato, HiPass Freq"

771 Arys-

tal^InTheAir

MWheel Vibrato

Data toggle: Arystal ^ InTheAir

MIDI22 Lyr Pitch adj ^ LoPass adj

MIDI23 "LoPass Freq ^ Saw Pitch,

Lyr detune"

MIDI24 "Lyr Pitch adj, Lyr Xfade"

MIDI25 (aux) Hall Lvl+Time

MIDI26 Chorus W/D

MIDI27 Chorus FB

MIDI28 Chorus Rate

MIDI29 "ChorusDelay I/O (sys),

InEQ: Treb boost"

MPress Vibrato

ControlD amp cut

772 Padify

MWheel Vibrato

Data none

MIDI22 LoPass Freq

MIDI23 InEQ: Bass

MIDI24 InEQ: Treb

MIDI25 (aux) Hall Lvl

MIDI26 Chorus Delay Time

MIDI27 Chorus Delay Depth

MIDI28 Delay Mix (sys)

MIDI29 Hall Time+PreDly adj

MPress Vibrato

773 Oronico-

Kno^Shift

MWheel Vibrato

Data toggle: OronicoKno + Shift

MIDI22 "HFstim adj, Pan adj"

MIDI23 "InEQ: Bass, Lyr Xfade"

MIDI24 InEQ: Treb, Pan adj, EnvCtl:

Rel

MIDI25 (aux) Hall Lvl

MIDI26 Hall Decay Time+PreDly

MIDI27 Delay Mix (sys)

MIDI28 Chorus Delay Time

MIDI29 Chorus Depth adj

MPress Vibrato

AttVel AltCtl

id name ctrl function

774 WispSin-

grs^Glass

MWheel "Vibrato, LoPass Res"

Data toggle: WispSingrs + Glass

MIDI22 LoPass Freq+Res, HiPass

Freq

MIDI23 "LoPass Freq, HiPass

Res+Freq, Lyr Lvls"

MIDI24 EnvCtl: Att+Rel

MIDI25 (aux) Hall + (fx1) Hall W/D

MIDI26 Hall Times+HFDamp

MIDI27 Chorus W/D

MIDI28 Delay W/D (sys)

MIDI29 toggle: Hall + CDR

MPress Vibrato

775 Cymbal Singers

MWheel Vibrato

Data Lyr 3 volume (ride cymbal)

MIDI22 BandPass Wdth, HiPass Res

MIDI23 Pan LFO adj

MIDI24 InEQ: Treb cut

MIDI25 (aux) LaserVrb Lvl

MIDI26 LaserVrb contour

MIDI27 Pitch LFO Rate

MIDI28 Flange FB

MIDI29 toggle: Pitcher + Pitcher-

Flange

MPress "Vibrato, BandPass Freq"

KeyNum EnvCtl: Att+Dec

GKeyNum

Pitcher Pitch+Weights

PWheel BandPass Freq

776 Mad Three-O

MWheel Vibrato

Data Low Pass Freq

MIDI22 "Resonance, 4Pole LP Sepa-

ration, Distortion"

MIDI23 Low Pass Freq

MIDI24 Env Ctl: Decay

MIDI25 Xfade

MIDI27 (Aux) Level

MIDI28 FX3 Delay Mix

MIDI29 "FX3 Flange Mix, Rvb Mix"

MPress Vibrato

777 AlaskaGlide

(MW)

MWheel toggle: Alaska + Glide

Data EnvCtl: Imp

MIDI22 EnvCtl: Att

MIDI23 EnvCtl: Dec

MIDI24 EnvCtl: Rel

MIDI25 (aux) Hall Lvls

MIDI26 FDR W/D

MIDI27 InEQ: Bass

MIDI28 InEQ: Treb

MIDI29 FlgDelayrvb I/O

MPress Vibrato, Lyr detune, LoPass

Freq, Flange XCurs + FB

id name ctrl function

B-24

Standard K2661 ROM Objects

Programs

778 Detooner^BigPM

W

MWheel Vibrato

Data toggle: Detooner ^

BigPMW

MIDI22 "P5th jump ^ LoPass Freq,

EnvCtl: Att+Rel"

MIDI23 "Notch Freq ^ Dist drv,

EnvCtl: Imp"

MIDI24 "PWM Width, Dist drv"

MIDI25 (aux) Laser Lvl

MIDI26 (aux) Laser contour+FB

MIDI27 "Flange FB+L/R phase,

Phaser Ctr Freq"

MIDI28 Flnge W/D cut, Phser W/D

MIDI29 toggle: Flange + Phaser

MPress Vibrato

779 Razor Saw

MWheel Vibrato

Data "LoPass LFO Rate, Shaper

amt, EnvCtl: Att+Dec "

MIDI22 EnvCtl: Rel

MIDI23 InEQ: Bass

MIDI24 InEQ: Treb

MIDI25 (aux) Hall

Lvl+PreDly+Time+HFDmp

MIDI26 Delay FB+Mix

MIDI27 Chorus Depth+Rate

MIDI28 Chorus FB

MIDI29 toggle: Delay I/O

MPress Vibrato

780 DynOrch^WTel-

lOrc

MWheel string and brass balance

Data toggle: DynOrch ^ WTel-

lOrch

MIDI22 "ParaMid and LoPass Freq,

Shaper Drive"

MIDI23 "Shaper amt, LoPass Freq"

MIDI25 (aux) Hall Lvl cut

MIDI26 Chapel + Hall Times

MIDI29 toggle: Chapel/Hall +

Hall/Room

MPress "(DynOrch) Volume swell,

shaper amt"

SostPd "Lyr enable, Room Time"

781 OrcBrs^French-

Bone

MWheel Vibrato

Data toggle: OrcBrs ^ French-

Bone

MIDI22 InEQ: Bass

MIDI23 "InEQ: Treb, LoPass Freq"

MIDI24 EnvCtl: Imp + Rel

MIDI25 (aux) Hall Mix

MIDI26 "Hall Time, Mix adj, Pan

Rate(Fx3)"

MIDI27 Chorus Mix

MIDI28 Delay Mix

MIDI29 "Hall PreDly, Pan I/O"

MPress "Swell, Vibrato Depth"

id name ctrl function

782 Synth Bell 1^2

MWheel Vibrto, Pan adj, LoPass Res

Data "toggle: Synth Bells 1 + 2,

AltCtl adj"

MIDI22 "LoPass Res, BandPass

Width, EnvCtl: Rel"

MIDI23 Pan adj

MIDI24 Pitch LFO adj

MIDI25 aux Hall Lvl, (fx1) Chapel

W/D

MIDI26 "Hall HFDamp+Time,

Chapel Time"

MIDI27 "Chapel preDelay, SRS cen-

ter Freq adj"

MIDI28 "Chapel EarlyRef+Late

Lvls, SRS EQ adj"

MIDI29 toggle: Chapel + SRS

BKeyNu EnvCtl: Att+Dec+Rel

MPress Vibrato

783 Crystaline^RX7

MWheel Shaper ctl, Vibrto ^ Pan adj

Data toggle: Crystaline ^ RX7

MIDI22

"ShapeMod osc Pitch,

Shape amt ^ LoPass Freq,

Pitch adj"

MIDI23 "LoPass Res, EnvCtl: Att"

MIDI24 EnvCtl: Rel

MIDI25 (aux) Room Lvl

MIDI26 Room Decay

Time+HFDamp

MIDI27 "Chorus W/D, Echo W/D"

MIDI28 "Chorus FB, Echo FB"

MIDI29 toggle: Chorus + Echo

MIDI70 Lyr AltCtl

784 Enter-

prize^MTree

MWheel "Vibrato, Tremolo"

Data toggle: Enterprize ^ MTree

MIDI22 "Pitch jump, HFStim ^

EnvCtl: Att+Dec"

MIDI23 HiPass Freq, Dist Drive

MIDI24 DSP XFade, Pitch adj,

EnvCtl: Rel

MIDI25 (aux) Acid Room Lvl

MIDI26 "Acid dry Lvl cut, Dist

Drive adj ^ LasrVrb W/D"

MIDI27 Dist warmth ^ LasrVrb

Delay Time

MIDI28 Dist Freq adj ^ LasrVrb cntr

MIDI29 Distortion I/O

MPress "Vibrato, Tremolo"

AttVel EnvCtl: Rel

id name ctrl function

B-25

Standard K2661 ROM Objects

Programs

785 RaveStrg^Solina

MWheel "Vibrato, Lyr detune(Sol)"

Data toggle: RaveStrg ^ Solina

MIDI22 EnvCtl: Att+Rel

MIDI23 "EnvCtl: Dec ^ Ptch mod,

Notch LFO Rate"

MIDI24 "Flange Mix, Spin W/D"

MIDI25 (aux) Room Lvl

MIDI26 Spin Pitcher Mix ^ MovDe-

lay W/D

MIDI27 Spin Pitcher Weights

MIDI28 Spin Pitcher ptch (rapid

echo Rate)

MIDI29 "toggle: Spin I/O, Room

HFDamp+Time"

MPress Vibrato

786 Mellotron (MW)

MWheel "3-way toggle: Ens Strg,

Solo Strg(dwn 8ve), Flute"

Data Octave jump

MIDI22 LoPass Freq; ParaTreb Freq

; HiFreqStim Freq

MIDI23

"Dist Drv, Xfade dpth;

ParaTreb dpth; HFStim

Drv"

MIDI25 (aux) Hall Lvl

MIDI26 Hall Time

MIDI27 Room Lvl

MIDI28 Room Time

MPress Vibrato

787 Funk O Matic

MWheel "Vibrato, Vibrato Rate"

Data LoPass Freq

MIDI22 Shaper amt, LoPass Freq

cut

MIDI23 Dist Drive

MIDI24 (Lyr 1+3) 8ve drop

MIDI25 Env Filt thReshold

MIDI26 Env Filt min Freq

MIDI27 (aux) Sweep Filt W/D

MIDI28 (aux) Sweep Filt min Freq

MIDI29 toggle: Env Filt - BandPass

and HiPass

MPress "Vibrato, Lyr detune"

788 Buzz Kill

MWheel Pitch modulation

Data LoPass Freq

MIDI22 LoPass Res cut, Dist Drv cut

MIDI23 "EnvCtl: Att, Flange LFO"

MIDI24 EnvCtl: Rel, Flnge L/R phse

MIDI25 Flange Delay Tempo

MIDI26 Flange FB

MIDI27 (aux) CDR Lvl cut

MIDI28 (aux) Delay Mix

MIDI29 (aux) Hall W/D+Time adj

MPress LoPass Freq

789 Grand+Elec 1 MWheel Lyr Balance

MIDI25 (aux) Hall Lvl, Room W/D

id name ctrl function

790 Fluid Grand

Data Wet/Dry Mix

MIDI25 (Aux) FDR Level

MIDI26 (Aux) Wet/Dry, Delay Mix

MIDI27 (Aux) Flanger Mix

MIDI28 (Aux) Flanger tempo

791 Haunted Piano

MWheel Harp Balance

MIDI25 (Aux) FLRev Lvl, Rev Time

MIDI26 Flange Tempo

MIDI27 (FX3) Wet/Dry

792 DrkPno^Arak-

isPno

MWheel Vibrato (ArakisPno)

Data toggle: DrkPno ^ Arak-

isPno

MIDI22 detune

MIDI25 (aux) Chorus/Plate Lvl +

W/D

MIDI26 Plate Time

MIDI27 Chorus FB

MIDI28 Chorus Mix

MPress Vibrato (ArakisPno)

793 Funky Piano

MWheel ParaEQ LFO Depth

MIDI23 InEQ: Bass

MIDI24 InEQ: Treb

MIDI25 (aux) Room Lvl+Time

MIDI26 Flange W/D

MIDI27 Flange FB

MIDI28 Flange XCouple

MIDI29 Flange LFO Tempo

MPress ParaEQ Depth

794 Water Piano

MWheel Vibrato

MIDI25 (Aux) FDR Level

MIDI26 (Aux) Wet/Dry, Delay Mix

MIDI27 (Aux) Flanger Mix

MIDI28 (Aux) Flanger tempo

Mpress Vibrato

795 Piano Chase

MWheel Vibrato (Strings)

MIDI23 InEQ: Bass

MIDI24 InEQ: Treb

MIDI25 (aux) Plate Lvl+Time

MIDI26 Flange W/D

MIDI27 Flange FB, aux Decay Time

MIDI28 Flange LFO Tempo

MIDI29 Flange XCouple

MPress Vibrato (Strings)

Sost Ped Disables Strings

id name ctrl function

B-26

Standard K2661 ROM Objects

Programs

796 Noise Toys

MWheel "Pitch LFO, Shaper amt"

Data "Pitch (Sine+) adj, BandPass

Freq, Dist amt"

MIDI22 "Pitch adj, Shaper LFO,

HiPass Freq"

MIDI23 LoPass + HiPass Freq,

EnvCtl: Att

MIDI24 EnvCtl: Rel

MIDI25 (aux) Hall Lvl

MIDI26

LrsDelay W/D, Pitch W/D

MIDI27 "LsrDelay contour, Pitch

pair weights"

MIDI28 Pitch odd weights

MIDI29 toggle: Laser + Pitch

MPress "Vibrato, Pitch LFO adj"

PWheel Shaper adj

Tempo LsrDelay Delay coarse +

spacing

797 Environments

MWheel "hi bird" LFO Rate, Pan adj

Data "lo bird" LFO Rate"

MIDI22 "ParaEQ Freq, shaper amt"

MIDI23 "Pitch adj, LoPass Freq,

BandPass Freq+Width"

MIDI24 "HiPass Freq, Pitch (sine)"

MIDI25 Chorus Lvl, rvb Lvl, CDR

W/D

MIDI26 (fx2) Chorus W/D

MIDI27 Phaser W/D

MIDI28 CDR W/D

MIDI29 Chorus Rate

MPress InEQ: Bass

MIDI70 AltCtl

798 Lunar Wind

MWheel LoPass Freq+Res

Data Pitch adj

MIDI22 "LoPass Res, Pan adj"

MIDI23 Panner sweep

MIDI25 (aux) Room Lvl

MIDI26 Pitcher W/D

MIDI27 Flange Mix (sys)

MIDI28 Pitcher Pitch

MIDI29 toggle: Pitcher I/O

MPress "LoPass Freq, Pan LFO"

ChanS EnvCtl: Rel

Breath LoPass adj

id name ctrl function

799

Gremlin Groupies

MWheel Lyr Pitch, LoPass Freq+Res,

Wrap adj

Data "Lyr Pitch, LoPass LFO adj"

MIDI22 "Lyr Pitch, Pitch (Sine) adj"

MIDI23 Lyr Pitch adj

MIDI24 "Lyr Pitch, Wrap adj"

MIDI25 (aux) Hall Lvl

MIDI26 Pitcher W/D, LsrDelay

Time+W/D

MIDI27 Ptcher wts pair, Lsr Spacing

MIDI28 Ptcher wts odd, Lsr Contr

MIDI29 toggle: Pitcher + LaserDly

id name ctrl function

Contemporary ROM Block Objects

C-1

Appendix C

Contemporary ROM Block Objects

This Appendix describes the Contemporary ROM objects provided with your K2661.

C-2

Contemporary ROM Block Objects

Programs

Programs

Ethnic / World Instruments

800 Jungle Jam

801 Mbira Stack

802 Ritual Metals

803 Prepared Mbira

804 Balinesque

805 Ambient Bells

806 World Jam 1

807 World Jam 2

808 India Jam

809 Slo Wood Flute

810 Hybrid Pan Flute

811 Chiff Brass Lead

812 Bell Players

813 Prs Koto

814 Medicine Man

815 Mbira

816 Kotobira

817 Cartoon Perc

818 CowGogiBell

819 Perc Pan Lead

820 Trippy Organ

821 Koto Followers

822 Hybrid Horn

Keyboards

823 Dyno EP Lead

824 ParaKoto

825 Super Clav

826 StrataClav

827 Touch Clav

828 Bad Klav

829 Rad Rotor

830 B-2001

831 Perc Organ

832 Drawbar Organ CS

Brass and Reeds

833 Bebop Alto Sax

834 Soft Alto Sax

835 Soprano Sax

836 Low Soft Sax

837 Air Reeds CS

838 Jazz Muted Trp

839 Jazz Lab Band

840 Harmon Section

841 Sfz Cres Brass

842 Neo Stabs

843 Gtr Jazz Band

844 Full Rock Band

Drum Kits

845 World Rave Kit

846 Punch Gate Kit

847 Shadow Kit

848 Fat Traps

849 Generator Kit

850 Shudder Kit

851 Crowd Stomper

852 Econo Kit

853 EDrum Kit 1

854 EDrum Kit 2

Loops

855 Dog Chases Tail

856 Saw Loop Factory

Basses

857 Two Live Bass

858 Dual/Tri Bass

859 Clav-o-Bass

860 Chirp Bass

861 DigiBass

862 Mono Synth Bass

863 Touch MiniBass

864 Ostinato Bass

865 House Bass

866 Dubb Bass

Guitars

867 Straight Strat

868 Chorus Gtr

869 Strataguitar

870 Elect 12 String

871 Dyn Jazz Guitar

872 Pedal Steel

873 Strummer DistGtr

874 Rock Axe

875 Hammeron

876 Rock Axe mono

Synths

877 Attack Stack

878 Skinny Lead

879 Q Sweep SynClav

880 Anna Mini

881 Ballad Stack

882 Big Stack

883 BrazKnuckles

884 Hybrid Breath

885 Hybrid Stack

886 Eye Saw

887 Mello Hyb Brass

888 Sizzl E Pno

889 My JayDee

890 Slo SynthOrch

891 SpaceStation

892 Glass Web

893 Circus Music

894 Mandala

895 Slow Strat

896 Fluid Koto

897 Koreana Pad

898 Tangerine

899 Planet 9

Setups

800 HyperGroov<-C4->

801 PianoPad w/Percs

802 Slo Held Arper

803 Don'tGetFooled

804 Touch Game

805 BeatBoy E1

806 ZawiClav Split

807 Dyn Piano Pad

808 Pulsar Stack

809 Mt Chicorora C2

810 Hold Low 3sec Rb

811 Mettlorfus Pad

812 Black Keys xtra

813 Jungle Jammer

814 Huge Rock Band

815 Rock Ballad

816 Jazz Setup

817 Two Touchers

818 Frontier prs

819 Eclectric Grand

820 Bad Trip FtSw/MW

821 WhirliToys

822 PluckSynths Perc

823 SusPed RhythmJam

824 Ballad Piano Pad

825 Big AnaLoveVibe

826 ShockBreaks PSw1

827 Four Pluckers

828 WaterPiano Pad

829 Padded Room

830 AtmosPolySphere

831 Breath Pad

832 Trippy Jam

833 MeditationGuits

834 Cool Down Funk

835 Tek`Groov C5->

836 Big Fat Split

837 The Pump C2

838 Ana Basses

839 Multi Followers

840 Plucksynths

841 10 Leagues Under

842 Gremlin Arps

843 Broken Toys

844 Two Synth

845 Machine Shop

846 Farawaway Place

847 BehindEnemyLines

848 Tunnel Visionprs

849 Seismic Trance

850 Medal

QA Banks

800 Bands

801 Grooves

802 World

803 Pop

804 More Keys

805 More Analog

806 Leads

807 Trio Parts

808 Techno

809 Texture

Contemporary ROM Block Objects

Keymaps

C-3

Keymaps

800 Hybrid Pan

801 Glass Rim Tone

802 Synth Vox

803 Orch Pad

804 Koreana

805 Heaven Bells

806 MIDI Stack

807 Synth Brass

808 DigiBass

809 AnaBass

810 Mini Saw

811 EBass Pick

812 EBass Slap

813 Clean Elec Gtr

814 Distorted Guitar

815 Dist Harmonics

816 Clav

817 Tone Wheel Organ

818 Muted Trumpet

819 Soft Alto Sax

820 Koto

821 Mbira

822 Tabla Ta

823 Tabla Tin

824 Tabla Dhin

825 Tabla/Bayan Dha

826 Bayan

827 Ghatam Bass Tone

828 Small Ghatam

829 Ghatam Shell

830 Ghatam Slap

831 Dumbek Open Tone

832 Dumbek Brt Tone

833 Dumbek Tek

834 Dumbek Snap

835 Dumbek Dry Dum

836 Djembe Tone

837 Djembe Cl Slap

838 Djembe Open Slap

839 Djembe Finger

840 Djembe w/ Stick

841 Muzhar

842 Talking Drum Lo

843 Talking Drum Hi

844 Luna Drum Dry

845 Luna Drum Hi

846 Log Drum Lo

847 Log Drum Hi

848 Shakers/Tamborim

849 Gankogui Bell Lo

850 Gankogui Bell Hi

851 Tibetan Cymbal

852 Tibetan Bowl

853 Indo Bowl Gong

854 Prev Ethnic Perc

855 Cartoon Perc

856 Prev EDrum Map

857 Toms Map

858 ProcKick/Snr Map

859 EDrum Kit 1

860 EDrum Kit 2

861 1 Lyr Proc Kit

862 Industry Perc

863 Tuned Loops

870 PreparedMbira L1

871 PreparedMbira L2

872 World Jam 1 L1

873 World Jam 1 L2

874 World Jam 1 L3

875 India Jam L1

876 India Jam L2

877 World Jam 2 L1

878 World Jam 2 L2

879 World Jam 2 L3

880 World Jam 2 L4

881 World Jam 2 L5

882 World Jam 2 L6

883 World Jam 2 L7

884 World Jam 2 L8

885 CowGogiBell L1

886 Dual Log Drum

887 Jungle ProcDrms

888 JungleBrushTip1

889 JungleBrushTip2

890 Jungle Birds

891 Jungle Ghtm rel

892 Jungle Tabla

893 Jungle Dumbek

894 Jungle ProcDrms2

895 Jungle GhtmStrgt

896 Syn Bass Pick

897 ARP SAW

898 ARP PW30%

899 OB PW25%

Samples

800 Hybrid Pan

801 Glass Rim Tone

802 Synth Vox

803 Orch Pad

804 Koreana

805 Heaven Bells

806 MIDI Stack

807 Synth Brass

808 DigiBass

809 AnaBass

810 Mini Saw

811 EBass Pick

812 EBass Slap

813 Clean Elec Gtr

814 Distorted Guitar

815 Dist Harmonics

816 Clav

817 Tone Wheel Organ

818 Muted Trumpet

819 Soft Alto Sax

820 Koto

821 Mbira

822 Tabla Ta

823 Tabla Tin

824 Tabla Dhin

825 Tabla/Bayan Dha

826 Bayan

827 Ghatam Bass Tone

828 Small Ghatam

829 Ghatam Shell

830 Ghatam Slap

831 Dumbek Open Tone

832 Dumbek Brt Tone

833 Dumbek Tek

834 Dumbek Snap

835 Dumbek Dry Dum

836 Djembe Tone

837 Djembe Cl Slap

838 Djembe Open Slap

839 Djembe Finger

840 Djembe w/ Stick

841 Muzhar

842 Talking Drum Lo

843 Talking Drum Hi

844 Luna Drum Dry

845 Luna Drum Hi

846 Log Drum Lo

847 Log Drum Hi

848 Shakers/Tamborim

849 Gankogui Bell Lo

850 Gankogui Bell Hi

851 Tibetan Cymbal

852 Tibetan Bowl

853 Indo Bowl Gong

854 EDrum1 Kick

855 EDrum1 Snare

856 EDrum1 Rim

857 EDrum1 Hi Tom

858 EDrum1 Crash

859 EDrum1 Cowbell

860 EDrum1 Clave

861 EDrum1 Shaker

862 EDrum2 Kick1

863 EDrum2 Kick2

864 EDrum2 Kick3

865 EDrum2 Snare1

866 EDrum2 Snare2

867 EDrum2 Snare3

868 EDrum2 HH Open

869 EDrum2 HH Close

870 EDrum2 Clap

871 EDrum2 Conga

872 Hi Proc Tom

873 Hi Mid Proc Tom

874 Lo Mid Proc Tom

875 Lo Proc Tom

876 Syn Toms

877 Proc Kicks

878 Proc Snares

879 Rvs Proc Kicks

880 Rvs Proc Snares

881 Bayan Mute

882 Alt Muzhar Rim

883 Alt Tabla Ta

884 Alt Maracas

885 Alt Shakere

886 Syn Bass Pick

887 Alt Log Drum Lo

888 Alt Tibetan Cym

891 Dumbek Mute Slap

896 ROM Loops

897 ARP SAW

898 ARP PW30%

899 OB PW25%

C-4

Contemporary ROM Block Objects

Program Control Assignments

Program Control Assignments

This list describes how each of the preset programs can be modulated or altered by various

controllers. Only those control assignments that may not be immediately evident are listed.

Control assignments like attack velocity and keynumber apply to most programs.

Prg ID Program Name Mod Wheel Data MPress Comments

Ethnic / World Instruments

800 Jungle Jam

This program uses the mirror image drum mapping, symmetrical around D4. Identical or similar drum articulations are

found at equal distances above and below D4, with extras outside the center region.

Mod wheel disables layered “chirps" and fades rain stick on A0.

Data slider enables "screamers" on G5-C6.

801 Mbira Stack Vibrato

802 Ritual Metals Vibrato Vibrato

803 Prepared Mbira Pitch change

804 Balinesque Pan flute fade

805 Ambient Bells Vibrato Vibrato

806 World Jam 1 Pitch change Mirror image drum mapping

807 World Jam 2 Pitch change Layer pitch Mirror image drum mapping

808 India Jam

Tablas appear at center with the mirror-image mapping, tuned to C.

Pressure controls pitch for the bayan and RH lead sound.

LH drone may be played as broken chord C2,G2,C3,G3 and held with sustain or sostenuto.

Mod Wheel fades the drone.

Data Slider controls Wet/Dry mix.

809 Slo Wood Flute Less tremolo Filter ctl

810 Hybrid Pan Flute Tremolo Tremolo

811 Chiff Brass Lead Vibrato, Swell Unison layers Vibrato, Filter

812 Bell Players Muzhar fade Tibetan cym env ctl

813 Prs Koto Pitch mod

814 Medicine Man

815 Mbira Release ctl Tremolo

816 Kotobira Mbira balance

817 Cartoon Perc Wet/Dry mix

818 CowGogiBell Alt start Layer select

819 Perc Pan Lead Vibrato

820 Trippy Organ Vibrato Vibrato

821 Koto Followers Vibrato Vibrato

822 Hybrid Horn Balance (bell) Timbre ctl, Vibrato

Keyboards

823 Dyno EP Lead Tremolo, Env ctl

824 ParaKoto Pad tremolo

825 Super Clav Phase clav enable Disable release Filter rate

826 StrataClav Vibrato Vibrato

827 Touch Clav EQ, Vibrato Disables release Filter control

828 Bad Klav

829 Rad Rotor Rotary speaker

830 B-2001 Rotary speaker Perc balance Rotary speaker

831 Perc Organ Rotary speaker Perc balance Rotary speaker

832 Drawbar Organ CS Rotary speaker Filter ctl

Brass and Reeds

833 Bebop Alto Sax Attack ctl Vibrato

834 Soft Alto Sax Vibrato, Swell

835 Soprano Sax Vibrato, Swell Vibrato, Swell

836 Low Soft Sax Vibrato

837 Air Reeds CS Vibrato Harmonica enable Harmonica vibrato

Contemporary ROM Block Objects

Program Control Assignments

C-5

838 Jazz Muted Trp

839 Jazz Lab Band Vibrato, Swell

840 Harmon Section Vibrato Vibrato, Swell

841 Sfz Cres Brass Vibrato Wet/Dry mix Vibrato, Swell

842 Neo Stabs Vibrato Vibrato, Filter ctl

843 Gtr Jazz Band

LH bass is layered with ride for walking rhythm section.

LH hard strikes trigger kick/snare.

Data slider switches RH from guitar to horn section;

SostPed holds horns and adds bright tenor.

844 Full Rock Band

LH bass is layered with kick/snare for driving rhythm section.

At ff, crash cymbal is triggered.

Mod wheel and pressure enable rotary speaker for RH organ.

Data slider switches LH to walking rhythm section, and RH to guitar solo.

Drum Kits

845 World Rave Kit Disable chirps Wet/Dry mix, Disable

claps (G6-G#6)

846 Punch Gate Kit Wet/Dry mix

847 Shadow Kit Flanging (A#3-B3) Wet/Dry mix

848 Fat Traps Filter (C2-A#2) Wet/Dry mix

849 Generator Kit Disable claps (G3-G#3) Wet/Dry mix

850 Shudder Kit Wet/Dry mix

851 Crowd Stomper Wet/Dry mix

852 Econo Kit Gate time (G3-C#4) Wet/Dry mix

853 EDrum Kit 1 Gate time (B2-D#3, G3-C#4),

Pitch (D6) Wet/Dry mix Pitch (D6) Sust ped chokes cymbal (F#5)

854 EDrum Kit 2 Filter ctl (A#1-C2, F#6-C7) Wet/Dry mix

Loops

855 Dog Chases Tail Various loop effects Tempo (pitch) Loops below E4 are tuned to play

together, as are loops above E4.

856 Saw Loop Factory Layer balance Tempo (pitch)

Basses

857 Two Live Bass Vibrato Layer select Vibrato

858 Dual/Tri Bass Vibrato Ghost note enable Vibrato

859 Clav-o-Bass Vibrato Wet/Dry mix Vibrato

860 ChirpBass Vibrato Wet/Dry mix Vibrato

861 DigiBass

862 Mono Synth Bass Filter Pitch bend goes +2/-12ST

863 Touch MiniBass Vibrato Vibrato, Swell

864 Ostinato Bass EQ

865 House Bass Vibrato Release ctl Vibrato

866 Dubb Bass Vibrato Release ctl Vibrato

Guitars

867 Straight Strat Tremolo EQ

868 Chorus Gtr Wet/Dry mix Detune

869 Strataguitar Alt start

870 Elect 12 String Detune Wet/Dry mix, EQ Vibrato

871 Dyn Jazz Guitar Wet/Dry mix PBend gives fretboard slide

872 Pedal Steel Vibrato Vibrato

873 Strummer DistGtr Vibrato Vibrato

874 Rock Axe Alt start EQ Feedback

875 Hammeron Timbre ctl Timbre ctl

876 Rock Axe Mono Alt start EQ, Delay Feedback

Synth Timbres

877 Attack Stack Vibrato Wet/Dry mix Vibrato

Prg ID Program Name Mod Wheel Data MPress Comments

C-6

Contemporary ROM Block Objects

Program Control Assignments

878 SkinnyLead Vibrato Overdrive enable Vibrato, Filter

879 Q Sweep SynClav Vibrato Sweep rate ctl Vibrato

880 Anna Mini Vibrato Vibrato

881 Ballad Stack Swell Swell

882 Big Stack Vibrato Env ctl Vibrato

883 BrazKnuckles Swell EQ

884 Hybrid Breath Envelope ctl, EQ Envelope ctl, Wet/Dry mix Vibrato

885 Hybrid Stack Layer balance

886 Eye Saw Vibrato Release ctl, Filter Vibrato

887 Mello Hyb Brass

888 Sizzl E Pno Pad balance

889 My JayDee Vibrato Release ctl Vibrato

890 Slo SynthOrch Filter effect

891 SpaceStation Vibrato Envelope ctl Vibrato

892 Glass Web EQ Delay ctl

893 Circus Music Vibrato Vibrato

Pads

894 Mandala Filter ctl Pitch change

895 Slow Strat Vibrato Filter sweep enable Vibrato

896 Fluid Koto Vibrato Vibrato

897 Koreana Pad Tremolo Filter, Wet/Dry mix

898 Tangerine Enable 5th Envelope Ctl Vibrato

899 Planet 9

Prg ID Program Name Mod Wheel Data MPress Comments

Contemporary ROM Block Objects

Controller Assignments: Contemporary ROM Block

C-7

Controller Assignments: Contemporary ROM Block

This supplement lists the controller assignments for all programs and setups in the

Contemporary ROM sound block.

Secondary Effects

Some of the programs in the Contemporary block use a programming technique called secondary

effects, in which the processing on one or more layers of the program can be changed with the

press of a button. Secondary effects in these programs are enabled by PSw2 (or by any physical

controller assigned to send MIDI 29). PSw2 acts as a toggle between the primary effect and the

secondary effect. It switches off one of the two FXBus sends on an Input page (sets its Lvl

parameter to Off), and simultaneously turns on the other FXBus send (sets its Lvl parameter to

0.0 dB).

The following diagram shows the effect of pressing PSw2 on the settings for FXBus1 and

FXBus2.

In most cases, toggling effects with PSw2 affects only a single layer on a single input pair. In

some cases, however, the switching is more complicated, and toggling effects moves one or

more layers to different FX buses. Toggling effects may also change EQ settings, or the Aux

reverb’s decay time, depending on the program.

The following segment from the controller listings shows an example of secondary effects.

Secondary effects appear in italics. In this example, when PSw2 is off, the program’s input

routings result in a room reverb effect, Slider B controls the wet/dry mix of this reverb. When

PSw2 is on, the routing changes, resulting in a flange effect. In this case, Slider B is inactive,

Slider C controls the aux room reverb level, and Slider D controls both the flange level and the

crosscouple amount.

PSw2 Status Value of Lvl Parameter on Input Page

FXBus1 FXBus2

Off 0.0 dB Off

On Off O.0 dB

Program Studio Controller Assignments

ID Name ID Name

999 SuperSynth 9 RmFlgChDly Room

B room1 reverb wet/dry

Caux room reverb level

Dflange level, flange Xcouple

PSw2 toggle: room1 reverb/flange

C-8

Contemporary ROM Block Objects

Controller Assignments: Contemporary ROM Block

Program Control Assignments

Program Studio Controller Assignments

ID Name ID Name

800 Jungle Jam 62 BthQFlg4Tap Hall

B hall reverb level (FX1+FX2)

C hall reverb level (FX4)

Equantization dynamic range

Fflange feedback

Gflange tempo

Hquantization wet/dry

PSw2 quantization + flange in/out

801 Mbira Stack 99 auxPhsrFldblHall

B hall reverb level

C hall reverb level

Ephaser LFO rate & center frequency

Fphaser rate scale

PSw2 phaser in/out, EQ treble boost

802 Ritual Metals 39 RmDsRotFl4t RvCm

B chamber reverb level, chamber reverb level

C room reverb wet/dry

Dchamber reverb level

ELo & Hi rate

PSw2 toggle: room reverb/rotary + distortion

803 Prepared Mbira 7 RoomFlgEcho Hall

B room reverb wet/dry & time

C hall reverb level & time, flange wet/dry

Dflange feedback level

Eflange LFO tempo

Fhall reverb level & high-frequency damp, flange high-frequency damp

PSw2 toggle: room reverb/flange

804 Balinesque 7 RoomFlgEcho Hall

B room reverb wet/dry

C hall reverb level (hybrid pan)

D echo wet/dry (hybrid pan)

Ehall reverb level

Fflange wet/dry

Gflange feedback level

Hflange LFO tempo

PSw2 toggle: room reverb/flange

805 Ambient Bells 94 auxChorMDly Hall

B hall reverb level

C delay wet/dry

PSw2 MDly in/out, EQ parameters

806 World Jam 1 34 RoomCmpChor Hall

B room reverb wet/dry

C room reverb size scale

Dhall reverb level

PSw2 toggle: room reverb/comp

807 World Jam 2 3 RoomChorCDR Hall

B hall reverb level

C room reverb time

D hall reverb decay time

Ehall reverb level

PSw2 toggle: room reverb/chorus

808 India Jam 27 RoomSRSRoom Room

B aux room reverb level (C0 - F5)

C aux room reverb level (F#5 - C 8)

Daux reverb level (C0 - F5)

PSw2 toggle: room reverb & SRS

809 Slo Wood Flute 69 auxPtchDst+ Chmb

B chamber reverb level

C chamber reverb time

PSw2 adds pitcher

810 Hybrid Pan Flute 7 RoomFlgEcho Hall

B hall reverb level, hall reverb level

C room reverb time

D room reverb high-frequency damp

PSw2 toggle: room reverb/flange

811 Chiff Brass Lead 26 RoomSrsCDR Hall

B hall reverb level

C room reverb wet/dry, reverb time (synth brass)

Ddelay level

PSw2 toggle: SRS/CDR (pan flute)

Contemporary ROM Block Objects

Controller Assignments: Contemporary ROM Block

C-9

812 Bell Players 11 RoomFlngCDR Hall

B hall reverb level

C room reverb & flange wet/dry

PSw2 toggle: room + flange/flange + CDR

813 Prs Koto 9 RmFlgChDly Room

B room1 reverb wet/dry

Caux room reverb level

Dflange level, flange Xcouple

PSw2 toggle: room1 reverb/flange

814 Medicine Man 7 RoomFlgEcho Hall

B hall reverb level, room reverb cut

Dhall reverb level

Eflange LFO tempo

PSw2 toggle: room reverb/flange

815 Mbira 7 RoomFlgEcho Hall

B room reverb wet/dry

Dhall reverb level

Fflange feedback level

Gflange LFO tempo

PSw2 toggle: room reverb/flange

816 Kotobira 11 RoomFlngCDR Hall

B hall reverb level

Dhall reverb level

Eflange feedback level

Fflange LFO tempo

Gflange Xcouple

PSw2 toggle: room reverb/flange

817 Cartoon Perc 62 BthQFlg4Tap Hall

B booth reverb wet/dry

Dhall reverb level

Equantization + flange level (dynamic range)

PSw2 toggle: booth reverb/quantization + flange

818 CowGogiBell 76 HallGateFl4T Bth

B booth reverb level

C hall reverb wet/dry

D booth reverb time

Ebooth reverb level

PSw2 toggle: hall/gate

819 Perc Pan Lead 98 auxFlngCDR Hall

B hall reverb level & time

C delay mix

Dhall reverb level

PSw2 CDR in/out, EQ treble boost

820 Trippy Organ 126 GtRvShapMDl Room

B gated reverb gate time

C gated reverb reverb time

Dshaper amount

PSw2 toggle: gated reverb/shaper

821 Koto Followers 3 RoomChorCDR Hall

B hall reverb level

CCDR reverb mix, hall reverb level

Ddelay mix

Edelay feedback

Fchorus feedback

PSw2 toggle: chorus/CDR

822 Hybrid Horn 10 ChmbFlgGtRv Hall

B hall reverb level

Cflange wet/dry

Dhall reverb level

Egated reverb wet/dry

Fgate time

Ggate release time

PSw2 toggle: flanger/gated reverb

823 Dyno EP Lead 3 RoomChorCDR Hall

B CDR reverb time

C CDR delay mix

D hall reverb level

Ehall reverb level

Fhall reverb wet/dry, time & high-frequency damp

PSw2 toggle: CDR/room reverb

824 ParaKoto 92 auxFlgDist+ Hall

B hall reverb level

Cflange wet/dry

Dhall reverb level

PSw2 toggle: flange/distortion

Program Studio Controller Assignments

ID Name ID Name

C-10

Contemporary ROM Block Objects

Controller Assignments: Contemporary ROM Block

825 Super Clav 92 auxFlgDist+ Hall

B hall reverb level

Cflange feedback level

Ddelay wet/dry

PSw2 toggle: flange/distortion+delay+chorus

826 StrataClav 92 auxFlgDist+ Hall

B hall reverb level

Cflange feedback level

PSw2 toggle: flange/distortion+delay+chorus

827 Touch Clav 92 auxFlgDist+ Hall

B hall reverb level

Cflange wet/dry & feedback level

PSw2 toggle: flange/distortion+delay+chorus

828 Bad Klav 91 auxChrDist+ Hall

B hall reverb level

Cchorus feedback level

Dreverb level

PSw2 chorus in/out

829

830

831

832

Rad Rotor

B-2001

Perc Organ

Drawbar Organ CS

145 auxRotaryFDR Plt

B vib+chorus in/out, vib/chorus config

C plate reverb level

D plate reverb time

E rotary hi & lo gain

F rotary trem level

G plate reverb high-frequency damp

MWheel rotary rate

PSw2 toggle: rotary/FDR

833 Bebop Alto Sax 25 RmRotoFl4T CmpRv

B room reverb wet/dry, reverb time

C aux comp & reverb level

MW rotor speed

PSw2 toggle: room reverb/rotary effect

834 Soft Alto Sax 65 ChamDstEcho Room

B room reverb level

C room reverb time

D chamber wet/dry

Eroom reverb level

F EQ treble boost

PSw2 toggle: chamber & distortion, EQ

835 Soprano Sax 63 ChmbTremCDR Room

B CDR reverb level

C CDR chorus mix

D CDR delay mix

Eroom reverb level

Fchamber reverb level

G EQ treble cut

PSw2 toggle: CDR/chamber reverb

836 Low Soft Sax 6 RoomFlngCDR Hall

B hall reverb level

C room reverb wet/dry

D room reverb time

E EQ treble boost

Fhall reverb level

Gflange wet/dry

Hflange feedback level

PSw2 toggle: room reverb/flange

837 Air Reeds CS 34 RoomCmpChor Hall

B room reverb wet/dry & hall reverb level

C room reverb time

D room reverb high-frequency damp

Ehall reverb level

PSw2 toggle: room reverb & compressor

838 Jazz Muted Trp 23 RmSweepEcho Hall

B room reverb wet/dry, hall reverb level, hall reverb time

C room reverb time

D room & hall reverbs high-frequency damp

Ehall reverb level

PSw2 toggle: room reverb/LFO filt sweep

Program Studio Controller Assignments

ID Name ID Name

Contemporary ROM Block Objects

Controller Assignments: Contemporary ROM Block

C-11

839 Jazz Lab Band 3 RoomChorCDR Hall

B room reverb wet/dry, hall reverb level

C room reverb time

D room reverb high-frequency damp

Ehall reverb level

Fchorus wet/dry

Gchorus feedback level

PSw2 toggle: room reverb/chorus

840 Harmon Section 73 auxChorFlRv Cmb4

B chamber reverb level

C chamber reverb absorption, high-frequency damp, treble cut

Dchamber reverb level

Echorus feedback level

Fchorus wet/dry

PSw2 chorus in/out

841 Sfz Cres Brass 111 PltEnvFl4T Room

B plate reverb wet/dry, room reverb level

C room reverb high-frequency damp, lopass frequency

Droom reverb level

Fenv filt resonance

Genv filt minimum frequency

GAttVel env filt frequency sweep range

PSw2 toggle: plate reverb/env filt

842 Neo Stabs 127 GtdEnhcStIm Room

B room reverb level

C room reverb time

D gate reverb wet/dry, room reverb pre-delay

E gated reverb gate release rate

Froom reverb level

Genhancer EQ high boost

PSw2 toggle: gated reverb/enhancer

843 Gtr Jazz Band 42 RoomRmHall Hall

B hall reverb level

C room1 reverb wet/dry (bass & drums)

D room2 reverb wet/dry (gtr & horns)

E room2 reverb time (gtr & horns)

PSw2 room2 size (gtr & horns)

844 Full Rock Band 25 RmRotoFl4T CmpRv

B vib config & in/out

C chamber reverb wet/dry

Dflange feedback+4Tap mix (guitars)

MW/SoftPd rotary speed

PSw2 tap level

845 World Rave Kit 132 GtRbSwpFlt FlDly

B gated reverb wet/dry

Csweep filt wet/dry

D gated reverb time

Eflange delay level

PSw2 toggle: gated reverb/sweep filt

846 Punch Gate Kit 154 RoomRoomSRS CmRv

B room reverb level & aux reverb level; room reverb absorption cut

C compress+reverb level (hi-hat & snare)

PSw2 compressor release time, config

847 Shadow Kit 155 RoomRoom Room

B reverb levels

C aux room level (elec. drum kit C#6-G 9)

PSw2 reverb boost

848 Fat Traps 7 RoomFlgEcho Hall

B room reverb wet/dry

Cflange wet/dry & feedback level

D hall reverb level

PSw2 room reverb time cut, flange tempo

849 Generator Kit 158 EnhcSp4T Hall

B hall reverb level

C 3-band enhancer (in/out)

D tap delay wet/dry

PSw2 hall reverb time, EQ, echo length, high-frequency damp

850 Shudder Kit 75 HallPtchLsr Hall

B aux hall reverb level, room size

C pitcher wet/dry

D hall reverb wet/dry

E Pitcher pitch

PSw2 toggle: Pitcher/LaserVerb

Program Studio Controller Assignments

ID Name ID Name

C-12

Contemporary ROM Block Objects

Controller Assignments: Contemporary ROM Block

851 Crowd Stomper 154 RoomRoomSRS CmRv

B FX1 reverb wet/dry, aux reverb wet/dry & time

C FX1 aux level & predelay, FX2 reverb time

PSw2 toggle: room1/room2 reverbs

852 Econo Kit 38 RoomCmpCh4T Hall

B hall reverb level & time

C room reverb wet/dry & time

PSw2 toggle: compressor/chorus+4Tap

853 EDrum Kit 1 135 ChDlDstEQ Hall

B hall reverb level

C distortion wet/dry

D chorus/delay wet/dry

E hall high-frequency damp, late reverb time

854 EDrum Kit 2 154 RoomRoomSRS CmRv

B reverb levels

C aux reverb level

PSw2 toggle room reverb/SRS

855 Dog Chases Tail 57 auxDistLasr Acid

B reverb level (FX2)

C reverb level (FX3)

D reverb level (FX1)

ELaserVerb wet/dry

PSw2 in A: distortion in/out; in B: toggle: distortion & LaserVerb

856 Saw Loop Factory 123 FlgEnv4Tap Plate

Data Filter threshold, frequency & EQ

B reverb level

C env filt wet/dry

Dfilt resonance

PSw2 toggle: env filt/4Tap, EQ

857 Two Live Bass 61 CompEQmphCh Room

B room reverb level

C comp ratio

DEQMorph panning

GAttVel EQMorph config

PSw2 toggle: compressor/EQMorph

858 Dual/Tri Bass 61 CompEQmphCh Room

B room reverb level

C comp ratio

D EQ treble boost

Eroom reverb level

FEQ gain

GEQ frequency scale

PSw2 toggle: comp/EQmorph

859 Clav-o-Bass 58 EnhcManPhs Room

B room reverb level

C notch control

Dphaser LFO rate

PSw2 phaser feedback boost

860 Chirp Bass 130 auxEnvSp4T GtVrb

B gated reverb level

C env filt wet/dry

D env filt attk rate

Egated reverb level

Fdelay wet/dry

MWheel env filt frequency sweep

MPress env filt resonance

PSw2 toggle: env filt/delay

861 DigiBass 69 auxPtchDst+ Chmb

B chamber reverb level

C pitcher wet/dry

D pitcher pitch

E odd wts

F pitch offset LFO

Fchamber reverb level

Gdistortion level

MPress Pitcher pair wts.

PSw2 toggle: pitcher/distortion+

862 Mono Synth Bass 57 auxDistLasr Acid

B reverb level

C distortion wet/dry

D distortion drive

ELaserDelay time

PSw2 toggle: distortion/LaserDelay

Program Studio Controller Assignments

ID Name ID Name

Contemporary ROM Block Objects

Controller Assignments: Contemporary ROM Block

C-13

863 Touch MiniBass 23 RmSweepEcho Hall

B hall reverb level

C sweep filt wet/dry

D sweep filt LFO period

E sweep filter phase

F sweep filter LFO amplitude min frequency

G sweep filter LFO amplitude max frequency

PSw2 toggle: sweep filt/echo

864 Ostinato Bass 62 BthQFlg4Tap Hall

B hall reverb level

C booth reverb wet/dry

Dquantization+flange wet/dry & mix

Eflange wet/dry

Fflange feedback

PSw2 toggle: booth/aux hall & quantization+flange

865 House Bass 77 HallChorFDR Room

B hall reverb wet/dry, room reverb level

Cchorus wet/dry

PSw2 toggle: hall reverb/chorus

866 Dubb Bass bad 90 auxPhsrFDR Hall

B hall reverb level

Cphaser LFO depth

Dphaser LFO rate

PSw2 vib phaser in/out

867 Straight Strat 6 RoomFlngCDR Hall

B hall reverb level & high-frequency damp

C CDR wet/dry

PSw2 toggle: CDR/room reverb

868 Chorus Gtr 63 ChmbTremCDR Room

B room reverb level

CCDR wet/dry

DCDR reverb mix

ECDR chorus mix

FCDR delay mix

PSw2 tremolo/CDR

869 Strataguitar 101 auxFlLsr SwHall

B hall reverb level

C LaserVerb wet/dry

PSw2 flange in/out, EQ, LaserVerb config

870 Elect 12 String 39 RmDsRotFl4t RvCm

B reverb+comp level

Cflange mix

Dflange tempo

Eflange Xcursion

F tap delay mix

Gflange+4T wet/dry, out gain

MW rotor rate

PSw2 toggle: rotary+distortion/flng+4Tap

871 Dyn Jazz Guitar 101 auxFlngLasr Hall

B hall reverb level

C hall reverb time

Dflange wet/dry

Eflange LFO tempo

Fflange feedback level

PSw2 flange in/out

872 Pedal Steel 101 auxFlngLasr Hall

B reverb level, time, high-frequency damp

Dflange feedback level

Eflange LFO tempo

PSw2 adds flange

873 Strummer DistGtr 94 auxChorMDly Hall

B hall reverb level

C delay wet/dry

PSw2 chorus in/out

874 Rock Axe 93 auxChrDst+ Hall

B delay wet/dry, hall reverb level

C chorus feedback level

D chorus rate

E chorus depth (left channel)

PSw2 distortion EQ, chorus in/out

875 Hammeron 16 RoomPhsrCDR Hall

B hall reverb level

C delay level

PSw2 toggle: CDR/room

Program Studio Controller Assignments

ID Name ID Name

C-14

Contemporary ROM Block Objects

Controller Assignments: Contemporary ROM Block

876 Rock Axe mono 93 auxChrDst+ Hall

B delay level, reverb level

Cdistortion+chorus wet/dry

Ddistortion+chorus feedback level

Edistortion+chorus rate

Fdistortion+chorus depth

PSw2 toggle: chorus/distortion+chorus+delay

877 Attack Stack 84 HallFlgChDl Hall

B reverb levels, times

C high-frequency damp, EQ boost

PSw2 toggle: hall/flange

878 Skinny Lead 137 AuxChorFlng CDR

B CDR level, reverb time

Cflange wet/dry & feedback level, treble cut

D CDR chorus feedback

Eflange LFO tempo

G CDR delay tempo & feedback

PSw2 flange LFO1 phase, CDR chorus rate cut, EQ

879 Q Sweep SynClav 137 AuxChorFlng CDR

B CDR level, reverb time

C chorus wet/dry, bass cut

D chorus feedback & Xcouple

E CDR delay mix

F CDR delay tempo

G CDR delay feedback

H CDR delay wet/dry

PSw2 toggle: chorus+CDR/flange

880 Anna Mini 13 RmFlgFXFlng Flng

Bflange levels

C FX2 flange tempo & level

D FX2 flange feedback level

E EQ bass boost

F aux flange wet/dry & feedback level

G aux flange LFO tempo

PSw2 toggle: “Delirium” & “Throaty” flanges

881 Ballad Stack 29 RoomSrsCDR CDR

B aux CDR level

C aux CDR chorus feedback level

D aux CDR delay feedback & mix level

E aux CDR chorus rate

F aux CDR delay tempo

G SRS center frequency cut, space boost

PSw2 toggle: SRS/CDR

882 Big Stack 85 Hall Room SRS

B hall reverb wet/dry

C SRS level

D SRS center/space, EQ lo & hi boost

PSw2 hall in/out, EQ

883 BrazKnuckles 85 Hall Room SRS

B hall reverb wet/dry & decay time

C SRS level

D SRS center/space

E SRS EQ boost

PSw2 hall reverb in/out, EQ, SRS panning

884 Hybrid Breath 140 EnhcChorChDl PCD

B PCD chorus feedback level

C PCD delay feedback & mix level

D PCD level

PSw2 chorus in/out

885 Hybrid Stack 13 RmFlgFXFlng Flng

B reverb wet/dry & quality

C aux flange level

D aux LFO tempo

E aux flange wet/dry & feedback level

PSw2 toggle: room+aux flange/flange

886 Eye Saw 13 RmFlgFXFlng Flng

B aux flange level, EQ

Cflange wet/dry

Dflange feedback level

E aux flange wet/dry & feedback level

F aux LFO tempo

Gflange Xcursion, LFO tempo & Xcouple

Program Studio Controller Assignments

ID Name ID Name

Contemporary ROM Block Objects

Controller Assignments: Contemporary ROM Block

C-15

887 Mello Hyb Brass 3 RoomChorCDR Hall

B room & hall reverb level, room wet/dry

C chorus feedback level

D chorus Xcouple

GAttVel EQ bass boost

PSw2 toggle: room & chorus

888 Sizzl E Pno 97 auxPhasStIm Hall

B hall reverb level, time, & high-frequency damp

C phaser wet/dry

D phaser LFO rate

Ehall reverb level

FEQ, stereo image spread & ctr gain

PSw2 toggle: phaser/stereo image

889 My JayDee 8 RmFlngStImg Garg

B reverb level

C reverb high-frequency damp (all)

PSw2 toggle: room reverb/flange

890 Slo SynthOrch 97 auxPhasStIm Hall

B hall reverb wet/dry & time

C EQ boost, stereo image in gain

D hall reverb early reflection boost, late real cut

PSw2 stereo image mix

891 SpaceStation 8 RmFlngStImg Garg

B EQ mod

Fflange feedback level

Gflange LFO tempo, garage reverb level

H garage reverb wet/dry

PSw2 stereo image mix

892 Glass Web 152 auxFlgDst+ ChLsD

B aux chorus/delay level, flange LFO tempo, aux chorus mix & feedback

Cflange feedback

D aux chorus/LaserDelay wet/dry

E aux delay feedback

F aux delay tempo

Gflange wet/dry & Xcurs, aux chorus rate

893 Circus Music 151 ChDlSp4TFlDl Phs

B 4Tap wet/dry

C 4Tap feedback level

D phaser level, 4Tap mix level

E 4Tap feedback image

F phaser feedback

G phaser notch/bandpass

H 4Tap delay tempo

MWheel phaser rate

GKeyNum 4Tap pitch adjust

894 Mandala 151 ChDlSp4TFlDl Phs

B phaser level (koto)

C 4Tap wet/dry & feedback (koto)

D 4Tap feedback image

E phaser feedback

F 4tap delay tempo

GKeyNum 4Tap pitch adjust

MWheel phaser rate

895 Slow Strat 136 auxDPanCDR ChPlt

B aux chorus/plate reverb level

C panner LFO rate & pulse width

D aux chorus feedback

E aux chorus depth

F aux chorus Xcouple

896 Fluid Koto 151 ChDlSp4TFlDl Phs

B phaser level, EQ

C tap delay wet/dry & feedback

D tap delay feedback image

E phaser feedback

H tap delay tempo

GKeyNum tap delay pitch adjust

MW aux phaser center frequency

897 Koreana Pad 134 ChorChorCDR Spac

B space reverb level, tap chorus wet/dry

C tap chorus feedback

D tap chorus LFO rate

E chorus feedback level

PSw2 toggle: tap chorus/chorus

Program Studio Controller Assignments

ID Name ID Name

C-16

Contemporary ROM Block Objects

Controller Assignments: Contemporary ROM Block

Setup Control Assignments

898 Tangerine 140 EnhcChorChDl PCD

B PCD chorus feedback, enhancer mid & lo drive

C PCD delay mix & feedback

D PCD level

899 Planet 9 137 AuxChorFlng CDR

B CDR level & reverb mix & time

Cflange wet/dry & feedback, EQ

D CDR chorus feedback

Eflange LFO tempo

Fflange LFO phase

G CDR delay tempo & feedback

Setup Studio Controller Assignments

ID Name ID Name

800 HyperGroov<-C4-> 112 PlatEnvFl4T Filt

Efilter type

Ffilter level

G reverb wet/dry & quality; flange feedback level

801 PianoPad w/Percs 74 HallFlgChDl Room

Efilter flange feedback

Fflute & percussion reverb level

G piano reverb wet/dry

802 Slo Held Arper 6 RoomFlngCDR Hall G piano/vox reverb wet/dry & delay level

803 Don'tGetFooled 25 RmRotoFl4T CmpRv

F Flange level

G aux reverb wet/dry

H 4-Tap level

PSw1 Arpeggiator in/out

PSw2 vib/chorus in/out

MW/SoftPd rotor rate

804 Touch Game 114 PltTEnvFlg Plate F perc reverb wet/dry & env filter expression

G comp reverb wet/dry & env filter expression

805 BeatBoy E1 67 ChmbEnv4Tap GtRv

E kick/snare gate time

F pad-under-lead flamdelay wet/dry

G aux reverb wet/dry

806 ZawiClav Split 92 auxFlgDist+ Hall G lead MDdelay/ feedback

MPress lead tube drive

807 Dyn Piano Pad 159 Room RoomChr SRS F SRS center/space EQ level

G SRS reverb wet/dry

808 Pulsar Stack 153 auxFlgDst+ ChLs2

D lead-pad flange level/feedback

E lead-pad hi-frequency damp

F lead-pad delay color

G lead-pad flange gain/LFO Tempo

809 Mt Chicorora C2 71 auxChorFlRv Cmb2 G perc reverb time

MWheel pad bass boost

810 Hold Low 3sec Rb 78 HallPtchPtFl Lsr

Data bass & lead LaserVerb feedback level

G bass & lead LaserVerb wet/dry

SmRbn slithery alien effect

Tempo bass & lead delay & pitch

811 Mettlorfus Pad 69 auxPtchDst+ Chmb

E perc pitch level

F perc reverb

G lead drive outgain level

LgRbn perc pitch quality

MPress lead drive crunch

812 Black Keys xtra 6 RoomFlngCDR Hall

E kit Flange level

F Perc chorus+delay+reverb level

G kit reverb level & perc (Zone 1) reverb wet/dry

813 Jungle Jammer 23 RmSweepEcho Hall F right-hand perc sweep filter level

G right-hand perc reverb wet/dry

Program Studio Controller Assignments

ID Name ID Name

Contemporary ROM Block Objects

Controller Assignments: Contemporary ROM Block

C-17

814 Huge Rock Band 25 RmRotoFl4T CmpRv

E lead reverb wet/dry, band delay level

F aux reverb wet/dry

G rotor trigger

PSw1 zone mutes

PSw2 vib in/out

815 Rock Ballad 39 RmDsRotFl4t RvCm

F distorted gtr flange level

G kit reverb time

H aux reverb wet/dry

SoftPd rotor trigger

816 Jazz Setup 94 auxChorMDly Hall

E lead delay level & feedback

F bass chorus wet/dry

G reverb level

817 Two Touchers 94 auxChorMDly Hall

E right-hand lead delay wet/dry

F right-hand lead reverb level

G left-hand comp reverb level

818 Frontier prs 23 RmSweepEcho Hall G pad reverb level

819 Electric Grand 43 Room Room Hall

E piano1 reverb wet/dry

F piano2 reverb wet/dry

G hall reverb level

820 Bad Trip FtSw/MW 55 auxDistLasr Room F LaserDelay time

G room reverb level

821 WhirliToys 90 auxPhsrFDR Hall

E (Zones 1, 3, 7) flange level & feedback

F (Zones 1, 3, 7) delay level; flange + delay wet/dry

G hall reverb level

822 PluckSynths Perc 72 auxChorFlRv Cmb3 Ffluty synth orch flange level

G chamber reverb level

823 SusPed RhythmJam 68 CmbrShapLsr Hall

F lead LaserVerb wet/dry

G aux reverb wet/dry & chamber wet/dry

GAttVel lead LaserVerb delay time/contour

Sustain comp shaper intensity

824 Ballad Piano Pad 82 HallRsFltChDl Rm

F pad resonant filter wet/dry

G pad reverb send

GKeyNum bass EQ frequency

Sustain filter sweep ASR

825 Big AnaLoveVibe 63 ChmbTremCDR Room G room reverb level; CDR wet/dry

GAttVel stack panning tremolo rate/depth

826 ShockBreaks Psw1 17 RmPhsrQuFlg Hall

Fflange wet/dry, feedback level

G hall reverb level

PSw1 quantization distortion effect

827 Four Pluckers 75 HallPtchLsr Hall

E LaserDelay coarse

F LaserDelay fine

G aux reverb level; LaserDelay spacing

H LaserDelay contour

GKeyNum pitch tracking

828 WaterPiano Pad 56 auxEnhSp4T Class F pad delay wet/dry

G lead reverb level

829 Padded Room 94 auxChorMDly Hall F lead delay wet/dry

G hall reverb level

830 AtmosPolySphere 90 auxPhsrFDR Hall G pad flange/delay/reverb wet/dry

831 Breath Pad 63 ChmbTremCDR Room G lead delay wet/dry, feedback, high-frequency damp

MPress pad tremolo Tempo, room reverb level

832 Trippy Jam 74 HallFlgChDl Room

F organ flange feedback

G bell-lead room reverb level; organ flange feedback

GAttVel bell-lead delay mix level

833 MeditationGuits 63 ChmbTremCDR Room F lead chorus mix level

G lead reverb wet/dry, room reverb level, delay feedback

834 Cool Down Funk 137 auxChorFlng CDR F clav flange wet/dry & excursion; CDR delay wet/dry

G CDR reverb level & E Piano treble boost

835 Tek`Groov C5-> 128 Gtd2ChrEcho 2Vrb F bass reverb level

G kits reverb level

836 Big Fat Split 6 RoomFlngCDR Hall F bass hall reverb level

G lead delay mix, hall reverb level

Setup Studio Controller Assignments

ID Name ID Name

C-18

Contemporary ROM Block Objects

Controller Assignments: Contemporary ROM Block

837 The Pump C2 21 RmEQmph4Tp Space

D kit EQ frequency and morph

E kit delay wet/dry

F kit aux reverb level

G kick, snare, bass aux reverb level

838 Ana Basses 62 BthQFlg4Tap Hall F lead quantize-flange wet/dry

G lead hall reverb level

839 Multi Followers 33 ChmbCompCDR Hall F pad delay

G room & hall reverb level

840 Plucksynths 6 RoomFlngCDR Hall F pad chorus rate, quality

G lead reverb wet/dry, time; mix hall reverb level

841 10 Leagues Under 90 auxPhsrFDR Hall G pad hall reverb level, FDR wet/dry

Chan S pad treble boost, phaser wet/dry

842 Gremlin Arps 75 HallPtchLsr Hall G arp pitcher & LaserVerb wet/dry

MPress pitcher LFO rate

843 Broken Toys 76 HallGateFl4T Bth F booth reverb level

G delay depth

844 Two Synth 33 ChmbCompCDR Hall G hall reverb level, pad hi boost, piano lo boost

845 Machine Shop 17 RmPhsrQuFlg Hall

D kit1 phaser wet/dry

E kit2 quantize + flange wet/dry

F lead reverb wet/dry

G hall reverb level

Tempo hall reverb space, phaser rate

846 Farawaway Place 90 auxPhsrFDR Hall F pad hall reverb level

G organ hall reverb level

847 BehindEnemyLines 91 auxChrDist+ Hall G hall reverb level, MDdelay wet/dry

848 Tunnel Visionprs 6 RoomFlngCDR Hall

Eflange wet/dry

F CDR wet/dry

G hall reverb level

Chan S treble boost & fade

849 Seismic Trance 132 GVrbSwpFlt DlyFl

E kit gateverb wet/dry

F kit gate threshold level

G delay + flange wet/dry, sweep filter wet/dry

850 Medal 74 HallFlgChDl Room

E pad chorus/delay wet/dry

F brazz level

G brazz reverb level

Setup Studio Controller Assignments

ID Name ID Name

Orchestral ROM Block Objects

D-1

Appendix D

Orchestral ROM Block Objects

This Appendix describes the Orchestral ROM objects provided with your K2661.

D-2

Orchestral ROM Block Objects

Programs

Programs

Orchestras

793 Grand,Harp&Lead

900 TotalCntrl Orch1

901 TotalCntrl Orch2

902 BaroqueOrchestra

903 Oboe&Flute w/Str

904 Horn&Flute w/Str

905 Trp&Horns w/Str

Winds

906 Piccolo

907 Orchestral Flute

908 Solo Flute

909 Orchestral Oboe

910 Solo Oboe

911 2nd Oboe

912 Orch EnglishHorn

913 Solo EnglishHorn

914 Orch Clarinet

915 Solo Clarinet

916 Orch Bassoon

917 Solo Bassoon

918 Woodwinds 1

919 Woodwinds 2

Brass

920 Dynamic Trumpet

921 Copland Sft Trp

922 Orch Trumpet

923 Soft Trumpet

924 Strght Mute Trp

925 French Horn MW

926 Slow Horn

927 F Horn Con Sord

928 F Horns a2 MW

929 French Horn Sec1

930 French Horn Sec2

931 Solo Trombone

932 Tuba

933 Dyn Hi Brass

934 Dyn Lo Brass

935 Dyn Brass & Horn

936 Soaring Brass

937 MarcatoViolin MW

938 Solo Violin

939 2nd Violin

940 Orch Viola

941 Solo Viola

942 Slow Viola

Solo Strings

943 Marcato Cello MW

944 Solo Cello

945 Slow Cello

946 Arco Dbl Bass

947 Slow Arco Bass

948 Brt Dbl Bass

String Sections

949 Touch Strings

950 Fast Strings MW

951 Chamber Section

952 Sfz Strings MW

953 Sweet Strings

954 Baroque Strg Ens

955 Big String Ens

956 Bass String Sec

957 Pizzicato String

958 Wet Pizz

959 Arco & Pizz

Plucked Strings

960 Classical Guitar

961 Virtuoso Guitar

962 Acoustic Bass

963 Snappy Jazz Bass

964 Dynamic Harp

965 Harp w/8ve CTL

966 Harp Arps

Keyboards

967 Celesta

968 Pipes

969 Pedal Pipes 2

970 Church Bells

971 Glockenspiel

Percussion

972 Xylophone

973 Chimes

974 Timpani/Chimes

975 Timpani

976 Timpani & Perc

977 Big Drum Corp

978 Orch Percussion1

979 Orch Percussion2

980 Jam Corp

981 Conga & Perc

982 Woody Jam Rack

983 Metal Garden

984 Hot Tamali Kit

985 Funk Kit

986 Magic Guitar

987 Glass Bow 2

988 Synth Orch

989 Nooage InstaHarp

990 AC Dream

991 Synth Dulcimer

992 Glistener

993 Afro Multi CTL

994 Tranquil Sleigh

995 Batman Strings

996 Ethnoo Lead

997 Orch Pad CTL

998 Choral Sleigh

999 Pad Nine

Setups

900 Deep Piano Rbn

901 Choir & Harp

902 Orchestrator

903 Piano Concerto

904 Xmas Carols

905 Sideline Perc

906 TonalGroov C5->

907 Exotic Grooves

908 Lunar Harp

909 Themes

910 Wet Piano

911 Enter the Jester

912 Tap the Jester

913 Hybrid Strings

914 Wonderous Spaces

915 Metal Orch Pad

916 Toon prs

917 Tranquil Sea

918 Sick Clock Jam

919 Orc Split

920 Baroque Brass

921 Unison Orchestra

922 Unison w/Pizz

923 Switch Orchestra

924 Pizz/Str/Winds

925 Harp Arps Cmaj

926 Desert Bloom E1

927 Exotic Charge

928 ET Comes Home

929 Fanfare Orch

930 Switch Orch 2

931 Orbiting Venus

932 Glass Dulcimer

933 Hybrid Reeds

934 Two Hand Pizz

935 Slo Str & Horn

936 Pianist Band

937 Prepared Pianos

938 FSW1 solo winds

939 Strings&Winds

940 Str Ens Solo MW

941 Pno&Vox&Pizz

942 Down Wind SmRbn

943 Guitar & Piano

944 Cirrus 9

945 Dry Plucks

946 String Collage

947 Esoterica

948 Poseidon

949 Stalkers

950 Diabolic Trickle

QA Banks

900 Piano Patch

901 Full Orch

902 Strings

903 Horns

904 Winds

905 Solo Orch

906 Perc Pit

907 Perc Ens

908 Moody

909 Exotic

Orchestral ROM Block Objects

Keymaps

D-3

Keymaps

900 Oboe

901 English Horn

902 Bassoon

903 Clarinet

904 Bassoon/Oboe

905 Bsn/EHrn/Oboe

906 Flute 2

907 Eng Horn/Oboe

910 Soft Trumpet

911 French Horn

912 French Hrn Sec

913 Tuba

914 Tuba/Horn

915 Tuba/Hrn Sec

916 Tuba/Sft Trmp

917 Trombet

918 Trumpbone

919 Trombne/SftTrmpt

920 Timpani

921 Snare Roll

922 Snare Hit

923 Orch Bass Drum

924 Orch Crash

925 Tam Tam

926 Triangle

927 Tambourine Roll

928 Tamb Hit

929 Sleigh Bells

930 Woodblock

931 Low Clave

932 Castanet Hit

933 Castanet Up

934 Dry Snares

935 Amb Snares

936 Bass Drums

937 Orch Perc Units

938 Orch Perc Full

939 Misc Percussion

940 2Hand Amb Kit

941 2Hand Dry Kit

942 2H Kit Unit1

943 2H Kit Unit2

944 Xylophone

945 Glockenspiel

946 Chimes

947 2Hand DrumCorp

948 Lite Metal

949 Woody Perc

950 Celeste

951 Plucked Harp

952 Harp Gliss

953 Nylon String Gtr

954 Nylon Str noA2

955 Nylon for dulc

957 Acoustic Bass

960 Pizz Strings

961 Full Kbd DblBass

962 Solo Violin

963 Solo Viola

964 Solo Cello

965 fast Solo Cello

966 Solo Double Bass

967 Bass/Cello

968 Bass/Cello/Vio

969 Cello/Vla/Cello

970 Cello/Vla/Vln

971 Ens Strings 2

972 Solo Section 1

973 Solo Section 2

978 Harparps 2

979 BassDrum/Timp

980 Organ Wave 8

981 Buzz Wave 2

982 Ahh Buzz Wave

983 OB Wave 1

984 OB Wave 2

985 OB Wave 3

986 Tenor tune alt

987 Dual Ride 1

988 Black Fills C

989 Orc Perc Preview

990 <GM>Standard Kit

991 <GM> Orch Kit

992 Castanets x 3

993 Tambourine x 3

994 Black Fills B

995 Black Fills A

996 2HandDrumCrp NB

997 Sleigh Loop

998 BD Rumble <V2.0>

999 Church Bell

Samples

900 Oboe

901 English Horn

902 Bassoon

903 Clarinet

904 Dbl Reeds

910 SoftTrump

911 French Horn

912 FrenchHrnSect

913 Tuba

914 Synth Accord

915 Tuba % Horn

920 Timp

921 Snare Roll

922 Snare Hit

923 Orch Bass

924 Orch Crash

925 Tam Tam

926 Triangle

927 Tamb Roll

928 Tamb Hit

929 Sleigh Bells

930 Woodblock

931 Low Clave

932 Castanet Hit

933 Castanet Up

934 Bi TamTam<v2.0>

935 Orch Crash ignf

937 Dark Triangle

938 MuteTriangle

939 Triangle (rel)

944 Xylophone

945 Glockenspiel

946 Chimes

950 Celeste

951 Harp

953 Nylon String Gt

957 Acoustic Bass

960 Pizz Strings

962 Solo Violin

963 Solo Viola

964 Solo Cello

965 Fast Solo Cello

966 Solo Double Bass

967 Conga Tone ignrl

968 Amb Kick 3 va

980 Organ Wave 8

981 Buzz Wave 2

982 Ahh Buzz Wave

983 OB Wave 1

984 OB Wave 2

985 OB Wave 3

988 Jackhammer

989 Scratch

990 Zap 1

991 Alarm Bell

992 DeepHouseClave

993 ChinaCrash

994 Dry Side Stick

995 Med Open Hi Hat

996 Syn Vibra Stick

997 Sleigh Loop

998 BD Rumble <v2.0>

999 Church Bell

D-4

Orchestral ROM Block Objects

Program Control Assignments

Program Control Assignments

The preset programs in the K2661 Orchestral ROM are organized by category. You can either use

them as they are or as a good starting point for your own work. There are many ways to put

expressivity and variety in a single program by assigning controllers to the various DSP

functions in its layers. This list describes how each of the preset programs can be modulated or

altered by various controllers. Only those control assignments that may not be immediately

evident are listed. Control assignments like attack velocity and keynumber apply to most

programs.

Prg ID Program Name Mod Wheel Data MPress Comments

Pianos

788 Piano Trio Ride cymbal fade Vibrato - Bass

789 Pno & Syn String String fade Stringswell

790 Fluid Grand Wet/Dry mix

791 Haunted Piano Harp balance Wet/Dry mix

792 Xylopiano Release ctl Wet/Dry mix

793 Grand,Harp&Lead Lead tremolo Lead fade Lead tremolo Sustain pedal does not affect the

lead sound

Orchestras

900 TotalCntrl Orch1 Layer bal Adds brass & flute, boosts

strings

Swell

(trp out - ww solo)

901 TotalCntrl Orch2 Layer bal, adds harp Layer balance, adds horns/

cuts woodwinds Swell

902 BaroqueOrchestra None None Swell Sost ped disables brass

903 Oboe&Flute w/Str Strings fadeout Disables strings None

904 Horn&Flute w/Str Strings fadeout Disables strings None

905 Trp&Horns w/Str Strings fadeout Disables strings None

Winds

906 Piccolo None Wet/Dry mix None

907 Orchestral Flute Envelope control (slower) Wet/Dry mix None

908 Solo Flute Timbre (brighter) Wet/Dry mix None

909 Orchestral Oboe Swell Wet/Dry mix, rate & depth Vibrato

910 Solo Oboe Vibrato off Wet/Dry mix Swell

911 2nd Oboe Vibrato off Wet/Dry mix Swell

912 Orch EnglishHorn Swell Wet/Dry mix,

rate & depth Vibrato

913 Solo EnglishHorn Vibrato off Wet/Dry mix Swell

914 Orch Clarinet Swell Wet/Dry mix Vibrato depth

915 Solo Clarinet Swell Wet/Dry mix Swell

916 Orch Bassoon Swell Wet/Dry mix Vibrato depth

917 Solo Bassoon Vibrato off Wet/Dry mix Swell

918 Woodwinds 1 None Wet/Dry mix None

919 Woodwinds 2 None Wet/Dry mix,

rate & depth Swell, vibrato

Orchestral ROM Block Objects

Program Control Assignments

D-5

Brass

920 Dynamic Trumpet Swell Wet/Dry mix Vibrato depth

921 Copland Sft Trp Vibrato off Wet/Dry mix Swell

922 Orch Trumpet Timbre (darker) Envelope Control Swell, vibrato rate & depth

923 Soft Trumpet None Wet/Dry mix Vibrato depth

924 Strght Mute Trp Vibrato off Wet/Dry mix Swell

925 French Horn MW Timbre (brighter) Wet/Dry mix Vibrato rate & depth

926 Slow Horn Vibrato Wet/Dry mix None

927 F Horn Con Sord Timbre (brighter) Wet/Dry mix Vibrato depth

928 F Horn a2 MW Timbre (brighter) Wet/Dry mix None

929 French Horn Sec1 None Wet/Dry mix Slight swell

930 French Horn Sec2 None Wet/Dry mix Swell

931 Solo Trombone Selects legato layer Wet/Dry mix Slight swell when MW is off

932 Tuba Vibrato rate & depth Wet/Dry mix Vibrato rate & depth

933 Dyn Hi Brass Swell, legato Wet/Dry mix Swell

934 Dyn Lo Brass Swell, legato Wet/Dry mix Swell

935 Dyn Brass & Horn Timbre (darker) Wet/Dry mix None

936 Soaring Brass None Wet/Dry mix None

Solo Strings

937 MarcatoViolin MW Spiccato articulation Wet/Dry mix Vibrato rate & depth

938 Solo Violin Delays auto-vibrato Wet/Dry mix Vibrato rate & depth

939 2nd Violin Envelope control Wet/Dry mix Vibrato rate

940 Orch Viola Release time (shorter) Wet/Dry mix Vibrato depth

941 Solo Viola Delays auto-vibrato Wet/Dry mix Vibrato rate & depth

942 Slow Viola Timbre (darker) Wet/Dry mix Swell, vibrato rate & depth

943 MarcatoCello MW Spiccato articulation Wet/Dry mix Vibrato rate & depth

944 Solo Cello Delays auto-vibrato Wet/Dry mix Vibrato rate & depth

945 Slow Cello Timbre (brighter) Wet/Dry mix Vibrato rate, swell

946 Arco Dbl Bass Bass boost Wet/Dry mix Vibrato depth

947 Slow Arco Bass Delays auto-vibrato Wet/Dry mix Swell, vibrato rate & depth

948 Brt Dbl Bass Decrescendo Wet/Dry mix Vibrato rate

Section Strings

949 Touch Strings Timbre (brighter) Envelope Control Swell

950 Fast Strings MW Selects faster strings Timbre (darker),

Wet/Dry mix Swell

951 Chamber Section None Wet/Dry mix Vibrato depth

952 Sfz Strings MW Tremolo None Swell

953 Sweet Strings Fade out Wet/Dry mix Vibrato depth

954 Baroque Strg Ens Bass boost,

layer delay Wet/Dry mix Swell

955 Big String Ens None Wet/Dry mix Swell

956 Bass String Sec Bass boost on

solo layer Wet/Dry mix None

957 Pizzicato String Timbre (darker) Wet/Dry mix None

958 Wet Pizz Treble boost Wet/Dry mix None

959 Arco & Pizz Timbre (brighter), layer

balance

Enables 2nd string layer,

stereo panning Swell

Prg ID Program Name Mod Wheel Data MPress Comments

D-6

Orchestral ROM Block Objects

Program Control Assignments

Plucked Strings

960 Classical Guitar Fade/disables

key-up layer Wet/Dry mix None

961 Virtuoso Guitar Vibrato rate & depth Wet/Dry mix None Sost ped enables stacato

envelope

962 Acoustic Bass Vibrato rate & depth Wet/Dry mix None

963 Snappy Jazz Bass Vibrato rate & depth Pitch of snap,

disables ride Vibrato rate & depth Sost ped disables ride cymbal

964 Dynamic Harp Release time (longer) Wet/Dry mix None

965 Harp w/8ve CTL Brightness Enables octave None

966 Harp Arps None Selects diminished None

Keyboards

967 Celesta None Wet/Dry mix None

968 Pipes Timbre (hollow) Wet/Dry mix None

969 Pedal Pipes None None None

970 Church Bells Distance Timbre (brighter) None

Percussion

971 Glockenspiel None Wet/Dry mix None Sus ped enables key-up layer

(for rolls)

972 Xylophone Timbre (fuller) Wet/Dry mix None Sus ped enables key-up layer

(for rolls)

973 Chimes None Wet/Dry mix None

974 Timpani/Chimes Alt attack (timp) Wet/Dry mix None

975 Timpani Alt attack Wet/Dry mix None Sus ped enables key-up layer

(for rolls)

976 Timpani & Perc Alt attack (timp) None None Sost ped enables bass drum.

Sus ped dampens.

977 Big Drum Corp None Enables both fill layers

(black keys: f#3-a#4) None Sost ped switches layers. Sus

ped dampens.

978 Orch Percussion1 None Switches fill layers None Sus ped dampens

979 Orch Percussion2 None Wet/Dry mix None Sus ped dampens

980 Jam Corp Alt attack Pitch control

(black keys: f#3-a#4) None

981 Conga & Perc Pitch control Wet/Dry mix None

982 Woody Jam Rack Pitch control up to 1200ct Enables random drum

layer None

983 Metal Garden Pitch control up to 1200ct Pitch control down to -

1200ct None

984 Hot Tamali Kit Tunes drums,

alt atk on snares Switches to old drum map None

985 Funk Kit Tunes drums Switches to old drum map None

Prg ID Program Name Mod Wheel Data MPress Comments

Orchestral ROM Block Objects

Controller Assignments: Orchestral ROM Block

D-7

Controller Assignments: Orchestral ROM Block

This section lists the controller assignments for all programs and setups in the Orchestral ROM

sound block.

Secondary Effects

Some of the programs in the Orchestral block use a programming technique called secondary

effects, in which the processing on one or more layers of the program can be changed with the

press of a button. Secondary effects in these programs are enabled by PSw2 (or by any physical

controller assigned to send MIDI 29). PSw2 acts as a toggle between the primary effect and the

secondary effect. It switches off one of the two FXBus sends on an Input page (sets its Lvl

parameter to Off), and simultaneously turns on the other FXBus send (sets its Lvl parameter to

0.0 dB).

The following diagram shows the effect of pressing PSw2 on the settings for FXBus1 and

FXBus2.

In most cases, toggling effects with PSw2 affects only a single layer on a single input pair. In

some cases, however, the switching is more complicated, and toggling effects moves one or

more layers to different FX buses. Toggling effects may also change EQ settings, or the Aux

reverb’s decay time, depending on the program.

The following segment from the controller listings shows an example of secondary effects.

Secondary effects appear in italics. In this example, when PSw2 is off, the program’s input

routings result in a room reverb effect, Slider B controls the wet/dry mix of this reverb. When

PSw2 is on, the routing changes, resulting in a flange effect. In this case, Slider B is inactive,

Slider C controls the aux room reverb level, and Slider D controls both the flange level and the

crosscouple amount.

PSw2 Status Value of Lvl Parameter on Input Page

FXBus1 FXBus2

Off 0.0 dB Off

On Off O.0 dB

Program Studio Controller Assignments

ID Name ID Name

999 SuperSynth 9 RmFlgChDly Room

B room1 reverb wet/dry

Caux room reverb level

Dflange level, flange Xcouple

PSw2 toggle: room1 reverb/flange

D-8

Orchestral ROM Block Objects

Controller Assignments: Orchestral ROM Block

Program Control Assignments

Program Studio Controller Assignments

ID Name ID Name

900 TotalCntrl Orch1 110 Chapel Room Hall

B room, hall, & chapel reverb time

C chapel level

PSw2 toggle room reverb

901 TotalCntrl Orch2 110 Chapel Room Hall B room, hall, & chapel reverb level & time

PSw2 toggle chapel

902 Baroque Orchestra 110 Chapel Room Hall B room, hall, and chapel reverb level & time

PSw2 toggle chapel

903 Oboe&Flute w/Str 108 ChapelSRS Hall B chapel reverb wet/dry & time

904 Horn&Flute w/Str 110 Chapel Room Hall B room & hall reverb level, room reverb time

905 Trp&Horns w/Str 110 Chapel Room Hall B room & hall reverb level

PSw2 decreases reverb time

906 Piccolo 42 RoomRmHall Hall B aux hall reverb level & time, room reverb wet/dry

PSw2 decreases aux hall brightness

907 Orchestral Flute 42 RoomRmHall Hall B aux hall reverb level & time

PSw2 increases room (FX1) time

908 Solo Flute 42 RoomRmHall Hall B aux hall reverb level & time, room reverb time

PSw2 decreases aux hall brightness

909 Orchestral Oboe 42 RoomRmHall Hall B aux hall reverb level & time

PSw2 decreases aux hall brightness and room (FX1) time

910 Solo Oboe 42 RoomRmHall Hall B aux hall reverb level & time

PSw2 decreases aux hall brightness and room (FX1) time

911 2nd Oboe 42 RoomRmHall Hall B aux hall reverb level

912 Orch EnglishHorn 42 RoomRmHall Hall B aux hall reverb level & time

913 Solo EnglishHorn 42 RoomRmHall Hall B aux hall reverb level & time

914 Orch Clarinet 42 RoomRmHall Hall B aux hall reverb level & time

915 Solo Clarinet 42 RoomRmHall Hall B aux hall reverb level & time

916 Orch Bassoon 42 RoomRmHall Hall B aux hall reverb level & time

917 Solo Bassoon 42 RoomRmHall Hall B aux hall reverb level & time

918 Woodwinds 1 42 RoomRmHall Hall B aux hall reverb level & time

919 Woodwinds 2 42 RoomRmHall Hall B aux hall reverb level & time

920 Dynamic Trumpet 34 RoomCmpChor Hall B room & hall reverb level & time

921 Copland Sft Trp 42 RoomRmHall Hall B aux hall reverb level

922 Orch Trumpet 42 RoomRmHall Hall B aux hall reverb level, room reverb time

923 Soft Trumpet 42 RoomRmHall Hall B aux hall reverb level

924 Strght Mute Trp 35 RoomComp Hall B aux hall reverb level

925 French Horn MW 44 Room Hall Hall B aux hall reverb level, room reverb time

926 Slow Horn 44 Room Hall Hall B aux hall reverb level, room reverb time

927 F Horn Con Sord 44 Room Hall Hall B aux hall reverb level & time, room reverb time

928 F Horn a2 MW 44 Room Hall Hall B aux hall reverb level, room reverb time

MWheel aux hall time

929 French Horn Sec 44 Room Hall Hall B aux hall reverb level, room reverb time

930 French Horn Sec2 44 Room Hall Hall B aux hall reverb level, room reverb time

931 Solo Trombone 44 Room Hall Hall B aux hall reverb level, room reverb time

932 Tuba 44 Room Hall Hall B room & aux hall reverb level

933 Dyn Hi Brass 42 RoomRmHall Hall

B room (FX1) time & aux hall reverb level

Croom (FX2) wet/dry

Droom (FX2) high-frequency damp

Eroom (FX2) time

PSw2 toggle room (FX1) and room (FX2)

934 Dyn Lo Brass 44 Room Hall Hall

B aux hall reverb level, room reverb time

C aux hall high-frequency damp

PSw2 toggle room

935 Dyn Brass & Horn 44 Room Hall Hall

B aux hall reverb level & room reverb time

MWheel room reverb roll-off

PSw2 toggle room

936 Soaring Brass 44 Room Hall Hall B aux hall reverb level & time

937 MarcatoViolin MW 35 RoomComp Hall B room & hall reverb level

938 Solo Violin 35 RoomComp Hall B room & hall reverb level

Orchestral ROM Block Objects

Controller Assignments: Orchestral ROM Block

D-9

939 2nd Violin 35 RoomComp Hall B hall reverb level

C room level

940 Orch Viola 35 RoomComp Hall B room & hall reverb level

941 Solo Viola 35 RoomComp Hall B room & hall reverb level

942 Slow Viola 35 RoomComp Hall B hall reverb level

943 MarcatoCello MW 35 RoomComp Hall B room & hall reverb level

944 Solo Cello 35 RoomComp Hall B room & hall reverb level

945 Slow Cello 35 RoomComp Hall B room & hall reverb level

946 Arco Dbl Bass 35 RoomComp Hall B hall reverb level

C room level

947 Slow Arco Bass 35 RoomComp Hall B room & hall reverb level

948 Brt Dbl Bass 35 RoomComp Hall B room & hall reverb level

949 Touch Strings 86 Hall Room Room B hall reverb wet/dry & time

950 Fast Strings MW 86 Hall Room Room B hall reverb wet/dry & time

951 Chamber Section 86 Hall Room Room B hall reverb time

952 Sfz Strings MW 86 Hall Room Room B hall reverb wet/dry & time

953 Sweet Strings 86 Hall Room Room B hall reverb wet/dry & time

954 Baroque Strg Ens 86 Hall Room Room B hall reverb wet/dry & time

955 Big String Ens 86 Hall Room Room B hall reverb wet/dry & time

956 Bass String Sec 86 Hall Room Room B hall reverb wet/dry & time

957 Pizzicato String 86 Hall Room Room B hall reverb wet/dry & time,high-frequency damp

958 Wet Pizz 86 Hall Room Room B hall reverb wet/dry & time, high-frequency damp

959 Arco & Pizz 86 Hall Room Room B hall reverb wet/dry & time, high-frequency damp

960 Classical Guitar 108 ChapelSRS Hall B chapel reverb wet/dry & time

961 Virtuoso Guitar 108 ChapelSRS Hall B chapel reverb wet/dry & time

962 Acoustic Bass 108 ChapelSRS Hall B room reverb wet/dry

963 Snappy Jazz Bass 108 ChapelSRS Hall B room reverb wet/dry

964 Dynamic Harp 108 ChapelSRS Hall B chapel reverb wet/dry & time

965 Harp w/8ve CTL 108 ChapelSRS Hall B chapel reverb wet/dry & time

966 Harp Arps 108 ChapelSRS Hall B chapel reverb wet/dry & time

967 Celesta 108 ChapelSRS Hall B chapel reverb wet/dry & time

968 Pipes 108 ChapelSRS Hall B chapel reverb wet/dry

C hall reverb level

969 Pedal Pipes 2 108 ChapelSRS Hall B chapel reverb wet/dry

C hall reverb level

970 Church Bells 109 ChapelSRS Hall2 B room & hall reverb level

971 Glockenspiel 108 ChapelSRS Hall B chapel reverb wet/dry & time

C hall reverb level

972 Xylophone 108 ChapelSRS Hall B chapel reverb wet/dry

C hall reverb level

973 Chimes 109 ChapelSRS Hall2 B chapel reverb wet/dry

C hall reverb level

974 Timpani/Chimes 108 ChapelSRS Hall B chapel & hall reverb level & time

975 Timpani 108 ChapelSRS Hall B chapel reverb wet/dry

C hall reverb level

976 Timpani & Perc 110 Chapel Room Hall B chapel reverb wet/dry & time

C hall reverb level

977 Big Drum Corp 89 HallRoomChr Hall B reverb wet/dry

978 Orch Percussion1 100 auxSRSRoom Hall B hall reverb level

C dry level cut

979 Orch Percussion2 100 auxSRSRoom Hall B hall reverb level

980 Jam Corp 89 HallRoomChr Hall B reverb wet/dry

C reverb absorption amount

981 Conga & Perc 45 Room Room Hall2 B room reverb wet/dry

C hall reverb level

982 Woody Jam Rack 37 BthComp SRS Hall B reverb wet/dry

C reverb absorption amount

983 Metal Garden 62 BthQFlg4Tap Hall B booth reverb wet/dry & absorption amount

C hall reverb level

984 Hot Tamali Kit 38 RoomCmpCh4T Hall

B room reverb wet/dry & time

C hall reverb level & time

D high-frequency damp level

985 Funk Kit 158 EnhcSp4T Hall B aux reverb level

Program Studio Controller Assignments

ID Name ID Name

D-10

Orchestral ROM Block Objects

Controller Assignments: Orchestral ROM Block

986 Magic Guitar 3 RoomChorCDR Hall

B hall reverb level

Cchorus+delay+reverb wet/dry

Dreverb wet/dry

987 Glass Bow 2 26 RoomSrsCDR Hall B hall reverb level

988 Synth Orch 52 auxChrMDly Room

B room reverb level

C room reverb time

D LFO depth

SostPd infinite decay i/o

989 Nooage InstaHarp 102 auxEnh4Tap Hall B hall reverb level

990 AC Dream 121 auxMPFlgLasr Plt B reverb level

991 Synth Dulcimer 40 RoomRmHall Hall B aux hall reverb level

992 Glistener 113 PltEnvFl4T Plate B aux plate reverb level

Cflange + delay wet/dry

993 Afro Multi CTL 129 GtdEnhcStIm Hall B hall reverb level

C gate reverb wet/dry

994 Tranquil Sleigh 74 HallFlgChDl Room B room reverb level

Cflange wet/dry

995 Batman Strings 11 RoomFlngCDR Hall B Batcave reverb level

Cflange wet/dry

996 Ethnoo Lead 119 auxChorDist+ Plt

B plate reverb level

C chorus wet/dry

D tube drive level

E MD delay wet/dry

F MD delay time

G MD delay feedback

997 Orch Pad CTL 66 ChamFlg4Tap Hall

B room & hall reverb level

C hall reverb decay time

D EQ bass boost

E EQ treble boost

998 Choral Sleigh 2 RmChorChRv Hall

B aux hall reverb level, voice aux level

C voice room reverb wet/dry

MWheel pad chorus wet/dry, voice chorus wet/dry

PSw2 toggles room & chorus

999 Pad Nine 98 auxFlngCDR Hall

B hall reverb level

C hall reverb time

D hall reverb level

Fflange wet/dry

Gflange feedback level

PSw2 toggle flanger

Program Studio Controller Assignments

ID Name ID Name

Orchestral ROM Block Objects

Controller Assignments: Orchestral ROM Block

D-11

Setup Control Assignments

Setup Studio Controller Assignments

ID Name ID Name

900 Deep Piano Rbn 16 RoomPhsrCDR Hall G CDR wet/dry, pad & piano hall reverb level

901 Choir & Harp 42 RoomRmHall Hall

E room wet/dry & time

F choir hall reverb time

G all zones (aux) hall2 level

902 Orchestrator 133 ChRvStIEcho Hall G chorus/reverb wet/dry

903 Piano Concerto 42 RoomRmHall Hall

E woodwinds and brass reverb wet/dry

F strings and perc reverb wet/dry

G aux reverb level

H piano reverb wet/dry

904 Xmas Carols 44 Room Hall Hall

E brass room reverb wet/dry

F chimes and timpani hall reverb wet/dry

G all zones hall2 reverb level

905 Sideline Perc 89 HallRoomChr Hall F drums and perc chorus wet/dry

G reverb level

906 TonalGroov C5-> 34 RoomCmpChor Hall G hall reverb level

907 Exotic Grooves 149 auxPtchRoom RvCm G perc aux reverb level

908 Lunar Harp 133 ChRvStIEcho Hall G pad & harp chorus/reverb wet/dry, harp hall reverb level

909 Themes 77 HallChorFDR Room F choir chorus wet/dry

G room reverb level

910 Wet Piano 42 RoomRmHall Hall

F piano distance

G hall reverb level; flute room reverb level

H piano lead reverb wet/dry room

911 enter the Jester 42 RoomRmHall Hall G reverb level & time

912 Tap the Jester 42 RoomRmHall Hall G reverb level & time

913 Hybrid Strings 42 RoomRmHall Hall F pad reverb wet/dry

G aux reverb level

914 Wonderous Spaces 74 HallFlgChDl Room F harp delay mix wet/dry

G room reverb level

915 Metal Orch Pad 11 RoomFlngCDR Hall G hall reverb level & time

916 Toon prs 42 RoomRmHall Hall G aux reverb level

917 Tranquil Sea 11 RoomFlngCDR Hall G hall reverb level

918 Sick Clock Jam 149 auxPtchRoom RvCm G bell aux reverb level

GAttVel bass reverb/compressor level

919 Orc Split 26 RoomSrsCDR Hall G reverb level

920 Baroque Brass 45 Room Room Hall2 G hall2 reverb level

921 Unison Orchestra 45 Room Room Hall2 G hall2 reverb level

922 Unison w/Pizz 45 Room Room Hall2 G hall2 reverb level

923 Switch Orchestra 100 auxSRSRoom Hall G hall reverb level

924 Pizz/Str/Winds 2 RmChorChRv Hall G aux reverb level

925 Harp Arps Cmaj 121 auxMPFlgLasr Plt G plate reverb level

926 Desert Bloom E1 6 RoomFlngCDR Hall G string pad flange wet/dry

927 Exotic Charge 33 ChmbCompCDR Hall F pad delay mix wet/dry

G reverb level

928 ET Comes Home 129 GtdEnhcStIm Hall G hall reverb level

929 Fanfare Orch 1 RoomChorDly Hall

E delay mix wet/dry, chorus feedback level

F chorus mix wet/dry

G hall reverb wet/dry & delay wet/dry

930 Switch Orch 2 1 RoomChorDly Hall

E delay mix wet/dry

F chorus mix wet/dry

G reverb level & delay wet/dry

931 Orbiting Venus 80 HallChrEcho Room

E echo feedback image

F chorus wet/dry & feedback

G echo wet/dry & high-frequency damp reverb wet/dry

H echo feedback level

932 Glass Dulcimer 81 HallChorCDR Hall

E CDR delay mix level; chorus feedback level

F chorus wet/dry

G pad reverb wet/dry

H delay mix level, chorus feedback level

D-12

Orchestral ROM Block Objects

Controller Assignments: Orchestral ROM Block

933 Hybrid Reeds 1 RoomChorDly Hall

E lead delay mix

F lead chorus mix

G reverb & effects wet/dry

934 Two Hand Pizz 1 RoomChorDly Hall G reverb wet/dry

GAttVel bass cut

935 Slo Str & Horn 47 Room Room Hall2 G reverb wet/dry

936 Pianist Band 159 Room RoomChr SRS

F drums reverb wet/dry

G piano reverb wet/dry & time

HSRS center/space

PSw2 SRS in/out

937 Prepared Pianos 16 RoomPhsrCDR Hall

E toggles reverb delay effect

F toggles reverb density effect

G room1 reverb wet/dry, time, high-frequency damp, diffusion

938 FSW1 solo winds 47 Room Room Hall2

E pad reverb wet/dry

F pad hall2 reverb level

G lead hall2 reverb level

939 Strings&Winds 47 Room Room Hall2

E winds reverb wet/dry

F winds hall2 reverb level

G strings hall2 reverb level

940 Str Ens Solo MW 48 Room Hall Hall2

F room reverb level

G hall2 reverb level

MWheel treble EQ gain

941 Pno&Vox&Pizz 31 RoomSRSRoom Chmb F room1 & room2 reverb wet/dry

G chamber reverb level

942 Down Wind SmRbn 5 RoomChrCh4T Hall G reverb & chorus & delay wet/dry

MWheel wind chorus LFO rate

943 Gtr & Piano 134 ChDlyChrCDR Spac

D acoustic guitar delay mix, piano chorus wet/dry

E electric guitar chorus wet/dry

F electric guitar chorus feedback

G acoustic guitar reverb wet/dry, electric guitar chorus depth

H acoustic guitar chorus mix, electric guitar & piano rates

944 Cirrus 9 103 EnhcChorCDR Hall

E hall reverb level & enhancer high drive

F pad chorus wet/dry & chorus rate

G hall reverb space, pad chorus feedback

945 Dry Plucks 5 RoomChrCh4T Hall F bass chorus wet/dry & feedback level

G piano reverb level

946 String Collage 32 RoomSRSRoom Hall F hall reverb time

G hall reverb level

947 Esoterica 107 ChorChorFlg Hall F“Cymbal Thing” level

G hall reverb level

948 Poseidon 59 EnhrFlg8Tap Room

D pan balance

E pad EQ frequency & bass gain

F pad treble boost

G pad flange feedback

H pad flange LFO Tempo

949 Stalkers 138 auxEnhcSp4T CDR F CDR delay mix

G CDR reverb level

950 Diabolic Trickle 15 ChmbFlngCDR Verb F aux reverb level, pad chorus level, feedback, & rate

G bell reverb level, doom feedback

Setup Studio Controller Assignments

ID Name ID Name

Appendix E

General MIDI

General MIDI (GM) is an addition to the original MIDI specification that assigns sounds to

specific channel numbers, program numbers, and note values. The K2661’s GM Mode feature

(described in Chapter 11 of the Musician’s Guide) sets up your instrument for GM in a single step.

Using General MIDI, you can share song files between different devices with reasonably

consistent performance.

Many GM song files are commercially available, and they’ll sound great on your K2661.

GM Drum Kits

The table below lists the drum kits provided with GM Mode for the K2661. The location for the

kits (as shown in columns 1 and 2 of the table) will depend on whether or not GM Mode is

enabled. You can also create own GM drum kits and store them at locations 528-535.

GM Mode

Program No.

Standard Mode

Program No. Drum Kit Name

1 528 Standard Kit Pan

9 529 Room Kit Pan

17 530 Power Kit Pan

25 531 Synth Kit Pan

26 532 Analog Kit Pan

33 533 Jazz Kit Pan

41 534 Brush Kit Pan

49 535 Orch Kit Pan

E-2

General MIDI

General MIDI Programs

General MIDI Programs

The table below shows the 128 General MIDI programs. The ID numbers shown are the

locations that these programs will occupy in GM Mode. In Standard Mode the program

numbers will be 400-527.

You can create your own GM sets as well, provided that you store the programs at 400-527 and

the drum kits at 528-535.

1 Grand Piano 33 Acoustic Bass 65 Soprano Sax 97 Ice Rain

2 Bright Piano 34 Fingered Bass 66 Alto Sax 98 Soundtrack

3 Electric Grand 35 Picked Bass 67 Tenor Sax 99 Crystal

4 Honky-Tonk Piano 36 Fretless Bass 68 Baritone Sax 100 Atmosphere

5 Elec Piano 1 37 Slap Bass 1 69 Oboe 101 Brightness

6 Elec Piano 2 38 Slap Bass 2 70 English Horn 102 Goblins

7 Harpsichord 39 Synth Bass 1 71 Bassoon 103 Echo Drops

8 Clavinet 40 Synth Bass 2 72 Clarinet 104 Sci-fi Pad

9 Celeste 41 Violin 73 Piccolo 105 Sitar

10 Glockenspiel 42 Viola 74 Flute 106 Banjo

11 Music Box 43 Cello 75 Recorder 107 Shamisen

12 Vibraphone 44 Contrabass 76 Pan Flute 108 Koto

13 Marimba 45 Tremolo Strings 77 Blown Bottle 109 Kalimba

14 Xylophone 46 Pizzicato String 78 Shakuhachi 110 Bagpipe

15 Tubular Bells 47 Plucked Harp 79 Whistle 111 Fiddle

16 Dulcimer 48 Timpani 80 Ocarina 112 Shanai

17 Drawbar Organ 49 Ensemble Strings 81 Square Wave 113 Tinkle Bell

18 Perc Organ 50 Slow Strings 82 Sawtooth Wave 114 Agogo

19 Rock Organ 51 Synth Strings 1 83 Synth Calliope 115 Steel Drums

20 Church Organ 52 Synth Strings 2 84 Chiff Lead 116 Woodblock

21 Reed Organ 53 Choir Oohs 85 Charang 117 Taiko Drum

22 Accordion 54 Voice Oohs 86 Solo Vox 118 Melodic Toms

23 Harmonica 55 Synth Vox 87 Fifths Saw Wave 119 Synth Drums

24 Bandoneon 56 Orchestra Hit 88 Bass & Lead 120 Reverse Cymbal

25 Nylon Str Guitar 57 Trumpet 89 Fantasia Pad 121 Gtr Fret Noise

26 Steel Str Guitar 58 Trombone 90 Warm Pad 122 Breath Noise

27 Jazz Guitar 59 Tuba 91 Poly Synth Pad 123 Seashore

28 Clean Guitar 60 Muted Trumpet 92 Space Voice Pad 124 Birds

29 Muted Guitar 61 French Horn 93 Bowed Glass Pad 125 Telephone

30 Overdrive Guitar 62 Brass Section 94 Metallic Pad 126 Helicopter

31 Distorted Guitar 63 Synth Brass 1 95 Halo Pad 127 Applause

32 Guitar Harmonics 64 Synth Brass 2 96 Sweep Pad 128 Gun Shot

General MIDI

Standard Mode Controller Assignments

3

Standard Mode Controller Assignments

ID Name Ctrl Function

400 Grand Piano MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 Aux Lo Pass

MIDI 25 L/R PreDelay Time

401 Bright Piano MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 Aux Lo Pass

MIDI 25 L/R PreDelay Time

402 Electric Grand MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 Aux Lo Pass

MIDI 25 L/R PreDelay Time

403 Honky Tonk MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

404 Elec Piano 1 MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

405 Elec Piano 2 MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

406 Harpsichord MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

407 Clavinet MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

408 Celeste MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

409 Glockenspiel MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

410 Music Box MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

411 Vibraphone MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

412 Marimba MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

413 Xylophone MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

414 Tubular Bell MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

415 Santur MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

MIDI 26 Absorption

416 Drawbar Organ MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 25 Vib/Chor In/Out

MIDI 26 Aux Level

MIDI 29 (Sw2) Leslie Fast/Slow

ID Name Ctrl Function

E-4

General MIDI

Standard Mode Controller Assignments

417 Perc Organ MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 Vib/Chor In/Out

MIDI 26 Aux Level

MIDI 29 (Sw2) Leslie Fast/Slow

418 Rock Organ MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 Vib/Chor In/Out

MIDI 26 Aux Level

MIDI 29 (Sw2) Leslie Fast/Slow

419 Church Organ MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

420 Reed Organ MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

421 Accordion MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

MIDI 26 LFO Rate

422 Harmonica MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

MIDI 26 LFO Rate

423 Bandoneon MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

424 Nylon Guitar MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

ID Name Ctrl Function

425 Steel Str Guitar MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

426 Jazz Guitar MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

427 Clean Elec

Guitar

MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

MIDI 29 (Sw2) Delay ON/Off

428 Muted Guitar MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

MIDI 29 (Sw2) Delay ON/Off

429 OD Guitar MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 Lo Pass

MIDI 25 L/R PreDelay Time

430 Dist Guitar MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 L/R Delay Fdbk

MIDI 29 (Sw2) Alt start

431 Gtr Harmonics MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 L/R Delay Fdbk

432 Acoustic Bass MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

MIDI 26 FX1 Aux Level

433 Finger Bass MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

ID Name Ctrl Function

General MIDI

Standard Mode Controller Assignments

E-5

434 Pick Bass MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

435 Fretless Bass MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

436 Slap Bass 1 MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

437 Slap Bass 2 MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

438 Synth Bass 1 MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

439 Synth Bass 2 MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

440 Violin MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

441 Viola MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

442 Cello MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Absorption

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

ID Name Ctrl Function

443 Contrabass MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

444 Trem Strings MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

445 Pizz Strings MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

446 Harp MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

447 Timpani MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

448 Strings MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

449 Slo Strings MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

450 Syn Strings 1 MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

451 Syn Strings 2 MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

ID Name Ctrl Function

E-6

General MIDI

Standard Mode Controller Assignments

452 Choir Aahs MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

453 Voice Doos MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

MIDI 26 FX1 Aux Level

454 Syn Vox MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

455 Orchestra Hit MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

456 Trumpet MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

457 Trombone MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

458 Tuba MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

459 Muted Trumpet MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

460 French Horns MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

ID Name Ctrl Function

461 Brass Section MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

462 Synth Brass 1 MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

463 Synth Brass 2 MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

464 Soprano Sax MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

465 Alto Sax MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

466 Tenor Sax MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

467 Baritone Sax MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

468 Oboe MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

469 English Horn MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

ID Name Ctrl Function

General MIDI

Standard Mode Controller Assignments

E-7

470 Bassoon MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

471 Clarinet MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

472 Piccolo MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

473 Flute MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

474 Recorder MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

475 Pan Flute MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

476 Bottle Blow MWheel Vibrato

MIDI 22 "Wet/Dry level, Feedback

Level"

MIDI 23 L/R Dly Time

477 Shakuhachi MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

478 Whistle MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

ID Name Ctrl Function

479 Ocarina MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

480 Square Wave MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

481 Saw Wave MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

482 Syn Calliope MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

483 Chiffer Lead MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

484 Charang MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

485 Solo Vox MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

486 5th Saw Wave MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 Mix Delay

487 Bass & Lead MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

ID Name Ctrl Function

E-8

General MIDI

Standard Mode Controller Assignments

488 Fantasia MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

489 Warm Pad MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

490 Poly Synth MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

491 Space Voice MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

492 Bowed Glass MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

493 Metallic Pad MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

494 Halo Pad MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

495 Sweep Pad MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

496 Ice Rain MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 L/R Mix Delay

MIDI 24 L/R Delay Feedback

MIDI 25 Delay Tempo

ID Name Ctrl Function

497 Soundtrack MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 L/R Mix Reverb

MIDI 24 L/R Delay Time

498 Crystal MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

499 Atmosphere MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

500 Brightness MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time/Absorption

MIDI 24 HF Dampening

MIDI 25 L/R PreDelay Time

501 Goblins MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 Lo Pass

MIDI 25 L/R PreDelay Time

MIDI 26 Aux LateRvb Time

502 Echo Drop MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

503 Star Theme MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

504 Sitar MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

505 Banjo MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 "L/R PreDelay Time, Build

Time"

ID Name Ctrl Function

General MIDI

Standard Mode Controller Assignments

E-9

506 Shamisen MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

507 Koto MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

508 Kalimba MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

509 Bagpipe MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

510 Fiddle MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

511 Shanai MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

MIDI 26 Wet/Dry of Delay

512 Tinkle Bell MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

MIDI 26 Mix Delay

513 Agogo MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

514 Steel Drum MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

ID Name Ctrl Function

515 Woodblock MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

516 Taiko Drum MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

517 Melodic Drum MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

MIDI 29 (Sw2) Aux Lvl

518 Synth Drum MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

519 Rev Cymbal MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

520 Gtr. Fret Noise MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

521 Breath Noise MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

522 Seashore MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

523 Birds MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

ID Name Ctrl Function

E-10

General MIDI

Standard Mode Controller Assignments

524 Telephone MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

525 Helicopter MWheel Vibrato

MIDI 22 Wet/Dry level

526 Applause MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

527 Gunshot MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

528 Standard Kit MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

529 Room Kit MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

530 Power Kit MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

531 Synth Kit MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 LFO Period

MIDI 24 HF Damping

MIDI 25 Min/Max Frequency

532 Analog Kit MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 LFO Period

MIDI 24 HF Damping

MIDI 25 Min/Max Frequency

533 Jazz Kit MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

ID Name Ctrl Function

534 Brush Kit MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

535 Orch Kit MWheel Vibrato

MIDI 22 Reverb Wet/Dry level

MIDI 23 Reverb Time

MIDI 24 HF Damping

MIDI 25 L/R PreDelay Time

ID Name Ctrl Function

i

K2661 Getting Started Guide

Index

Index

A

Aborting a Multiple File Load 13-22

Aborting a sample recording 14-6

Accessory disks 1-3

ADAT digital I/O 11-11

ADAT In 11-11

AES Output Length 11-11

Aftertouch 11-2

Algorithm 9-3

All Controllers Off 10-5

All Notes Off 10-5

Alpha Wheel 2-6, 3-4

Alphabetic entry 3-5, 5-4

Alphanumeric pad 3-5

Append soft button 13-20

Are you sure? dialog

suppressing with Confirm on Master page 11-4

Arpeggiator 14-13

ASCII characters 5-4

Attack velocity 11-2

Audio cables 2-2

Audio Configurations 15-1

Auditioning Objects in RAM 13-27

Auditioning Samples from a Disk File 13-18

Aux FX Bus 9-3

B

Bank Select

MIDI Receive page 10-7

Bank Status Indicator 13-19

Basic editing 5-1

Basic MIDI channel 10-5

battery 1-2

Boldface italic type 1-3

Boot Loader A-1

Bottom line of display 3-3

brightness 2-3

Bus Overrides 9-4

BusMod 9-4

Buttons

Panic 6-10

Bypass 9-11

Bypass effects 5-8

C

Cables and Input Jacks 14-1

Cancel

soft button 13-10

Cancel soft button 13-20

CD-ROM 13-1

Chan/Bank button

for bypassing 9-6

CHAN/BANK buttons 3-3, 5-8

Changing intonation key 11-4

Changing song playback programs 12-20

Channel/Program (CH/PROG) Page

Setup Mode 7-2

Channels on and off 10-8

Character substitution 3-7

Characters 5-4

Choose File Name Function 13-26

CLIP indicator

Sampling page 14-3

Clock

Song mode 12-37

Compare 5-8

Configuring control sources 6-10

Confirmations 11-4

Connecting MIDI 2-2

Connecting SCSI devices 13-3

Contemporary ROM C-1

contrast 2-3

Control Setup 6-10

Setup Editor 7-2

Control sources

Configuring 6-10

Controlling KDFX 9-17

conventions for editing objects 5-1

Copy

on Object Utilities page 11-17

Creating Directories 13-11

Cursor buttons 3-3

D

Data entry 3-4

Delete

on Object Utilities page 11-18

Deleting objects 5-6, 11-11

Dependent Objects

loading 13-18

Dependent objects

saving 13-28

Diagnostic tests A-3

Dialogs

Save 5-3

Digital Output Format 11-11

Digital Outputs

using 15-3

Directories 13-4

creating 13-11

Directory Selection Dialog 13-13

Disk button 5-8

Disk Drive Information 13-5

Disk format requirements 13-1

Disk Function soft buttons 13-6

Disk Mode 5-7, 13-2

Disk mode 4-4

Disk Mode Functions 13-14

Display 3-2

Double button presses 3-5

Drum channel 11-2

Drum Loop

example of recording 12-4

Drum trigger 14-4

Dump

on Object Utilities page 11-19

Dynamic voice allocation 11-12

ii

K2661 Getting Started Guide

Index

E

EDIT button 3-4

Edit button 5-8

Edit compare 5-8

Editing 5-1

editing conventions 5-1

Editors, nested 4-3

Effect Selection During Recording and Playback 12-20

Effects button 5-8

Effects bypass 5-8

Effects mode 4-4

Electrical grounding 2-2

Embedded Editors

with KDFX 9-9

Enable MIDI channels 10-8

Erase soft button

Song mode 12-30

Everything

loading objects as 13-21

Everything files 13-24

EXIT button 3-4

Extended program changes 10-10

Extensions

used by or accepted by the K2600 13-7

F

File Index 13-8

File List Dialog 13-7

File types A-2

Files

Everything 13-24

Loading 5-7, 13-14

Master 13-24

Saving 5-7

saving 13-24

Fill Mode 13-19

Fill soft button 13-20

Finding objects 3-7

Format 14-9

Formatting a SmartMedia Card 13-2

Formatting SCSI devices 13-4

Front panel navigation 3-2

FX Bus 9-3

FX bypass 5-8

FX Mode 9-4

FX Preset 9-3

FXCtrl 9-9

FXMode setting 9-4

FXMODs 9-4

G

g 13-2

Gain 14-3

General MIDI 11-13

Glitches

with guitar or wind controller 11-14

Glossary entries 1-3

GM 11-13

Grounding 2-2

Guitar/Wind Controller Mode 11-14

H

Hard reset 11-14, A-3

from boot loader A-3

How the K2600 works 1-3

I

Input

Sample mode page 14-3

Input Quantize 12-35

Insert FX Bus 9-3

Intonation key 11-4

Intonation tables 11-2, 11-3

Introduction to editing 5-1

Intuitive data entry 3-6

J

Jump to page 5-8

K

K2600 Features 1-1

K2600 Overview 1-1

KB3 programs 2-5, 6-4, 11-2

KBB file type A-2

KDFX

controlling 9-17

definition 9-1

KDFX structure 9-14

Keyboard

using to trigger sampler 14-5

Keyboard naming 5-5

Keymaps 6-2

Keymaps (ROM), list C-3, D-3

KOS file type A-2

KSP file type A-2

Kurzweil program changes 10-10

L

Layers

moving between in multi-layer programs 3-7

Muting 5-8

LCD 3-2

Library 13-5

Line cord 2-2

List of ROM Keymaps C-3, D-3

List of ROM Programs C-2, D-2

List of ROM QA banks C-2, D-2

List of ROM Samples C-3, D-3

List of ROM Setups C-2, D-2

Live mode programs 2-6

Load Function Dialog 13-19

Loading Dependent Objects 13-18

Loading files 5-7, 13-14

Loading Individual Objects 13-14

Loading MIDI files 12-23

Loading Older Setup Versions 7-2

Local control 10-2

Local Keyboard Channel

with Song Mode 12-1

Lock parameters 10-9

iii

K2661 Getting Started Guide

Index

M

Macro On Indicator 13-6

Marking pages 5-8

Master button 5-8

Master files 13-24

Master mode 4-4

Master mode page 11-1

Master mode—Soft buttons 11-11

Master Transpose 11-2

Memory bank ID allottments 13-34

Memory banks 5-7

Memory display 11-12

Memory Limits 12-23

Merge soft button 13-20

Microtonal tunings 11-2

MID file type A-2

MIDI

All Notes Off 10-5

Audio output gain 10-8

Audio output pair 10-8

Basic channel 10-5

Channel enable 10-8

Pan 10-8

Parameter locks 10-9

Program change formats 10-9

Program changes 10-11

Receive mode 10-5

Reset channels 10-14

Song recording 12-23

Transmit parameters 10-1

Volume 10-8

MIDI button 5-8

MIDI channel 10-2

MIDI channel parameters 10-7

MIDI connections 2-2

MIDI control 10-2

MIDI Faders Page 3-9

MIDI files

Loading 12-23

MIDI loop 10-2

MIDI mode 4-4

Soft buttons 10-14

MIDI program changes 10-3, 10-12

MIDI Receive page 10-7

Power Mode 10-7

MIDI Receive parameters 10-4

MIDI Type 0 and Type 1 Files 12-23

MIDIScope 11-12

MISC Page

Song Mode 12-32

MIX Page

Song Mode 12-39

Mixdown Page 3-9

Mode 14-4

Mode buttons 3-2

Mode Selection 3-1

Mode selection 4-1

Modes 4-1

Program 6-1

Modes, using 4-3

Monitor (Mon) 14-5

Mono sound systems 2-2

Move

on Object Utilities page 11-16

Multiple Object Selector

entering selection criteria in 13-39

soft buttons 13-36

Multiple Object Selector Page 13-34

Multiple Selection of Files to Load 13-22

Mute 9-11

Muting layers 5-8

Muting Setup zones 5-8

Muting tracks 12-40

N

Name

on Object Utilities page 11-18

Name Table 13-29

not loading 13-33

Naming objects using the keyboard 5-5

Navigation 3-2

Nested editors 4-3

Numeric entry 3-5

O

Object type and ID 5-2

Object Utilities 11-15

while editing objects 11-20

Objects 5-1

auditioning 13-27

Deleting 5-6, 11-11

loading individually 13-14

Naming 5-3

Numbering in memory banks 13-34

RAM 5-2, 5-5

Renaming 5-3

ROM 5-2, 5-4

saving individually 13-25

soft button on Utility page 11-12

Objects, storing 13-34

OK

soft button 13-10

Open

soft button 13-10

operating system

updating A-1

Orchestral ROM D-1

Orchestral ROM Programs with Controller Assignments D-4

Output gain 10-8

Output pair 10-8

Overview 1-1

Overwrt soft button 13-20

OvFill soft button 13-20

P

Pages 3-2

Jumping to 5-8

Marking 5-8

Master mode 11-1

MIDI CHANLS 10-7

MIDI RECV 10-4

MIDI XMIT 10-1

Previous 5-8

iv

K2661 Getting Started Guide

Index

Pan

MIDI 10-8

Pan lock 10-9

Pan Position

MIX page 12-39

Panic button 6-10, 10-14

Parameter locks 10-9

Parameters 9-3

Parent

soft button 13-10

Parentheses, enclosing program name 6-9

Patch Through

with Song mode 12-2

Path 13-4

PAUs 9-3

PCH 10-10

Pitch changing

with Live Mode 14-11

Playing songs 12-19

Plus/Minus buttons 3-4

Polyphony 6-2, 11-12

Power cable 2-2

Power Mode

MIDI Receive page 10-7

Pressure maps 10-3, 10-6

Pressure sensitivity 11-2

Previous page 5-8

Processor Allocation Units

see PAUs

Program button 5-8

Program change formats 10-9

Program change type 10-5

Program changes

Extended 10-10

Kurzweil 10-10

MIDI 10-3, 10-11, 10-12

Quick Access banks 10-11, 10-12

Quick Access mode 8-1

Program lock 10-9

Program mode 2-4, 4-3, 6-1, 6-9

Soft buttons 6-10

Program mode page 6-9

Program names in parentheses 6-9

Programs 2-4

KB3 2-5, 6-4

Live mode 2-6

Selecting 2-6

VAST 2-4

Programs (ROM), list C-2, D-2

Punctuation 5-4

Q

QA 0–127 10-13

QA banks (ROM), list C-2, D-2

Quantize

Input 12-35

Quick Access bank program changes 10-11, 10-12

Quick Access Banks

list of 8-2

Quick Access button 5-8

Quick Access Editor 8-1

Quick Access mode 2-7, 4-4

Quick Mute

Song Mode MIX Page 12-40

Quick Mute Track Bank Indicator

MIX page 12-40

Quick Scrolling to Subdirectories 13-11

R

RAM objects 5-2, 5-5

Rate 14-3

Recording Multi-timbral Sequences via MIDI 12-23

Recording songs 3-10

Recording songs via MIDI 12-23

Relink-by-Name 13-30

Renaming multiple objects 3-7

Renaming objects 5-3

with Name utility 11-18

Reset

hard 11-14, A-3

soft A-3

Reset MIDI channels 10-14

Resetting the KSP8 A-3

ROM Keymaps, list C-3, D-3

ROM objects 5-4

ROM objects, saving 5-2

ROM Programs, list C-2, D-2

ROM QA banks, list C-2, D-2

ROM Samples, list C-3, D-3

ROM Setups, list C-2, D-2

Root

soft button 13-10

S

Safety precautions 2-2

Sample 14-5

Sample memory 1-2, 14-4

Sample recording

aborting 14-6

Sampler

entering from Master Mode 11-13

triggering from keyboard 14-5

Samples

triggering from audio signals 14-4

Samples (ROM), list C-3, D-3

Sampling Analog Signals 14-2

Save dialog 5-3

Saving and namingObjects

Saving 5-3

Saving Dependent Objects 13-28

Saving Files 13-24

Saving files 5-7

Saving Individual Objects 13-25

Saving Master and Everything Files 13-24

Saving objects

RAM 5-5

ROM 5-4

Saving RAM objects 5-2

Saving ROM objects 5-2

SCSI connections 2-3

SCSI devices 13-1

Formatting 13-4

Termination 13-3

SCSI ID 10-6

v

K2661 Getting Started Guide

Index

SCSI IDs 13-4

SCSI Musical Data Interchange 1-2

Search function 3-7

Select soft button 13-9

Selecting a Song for Playback 12-19

Selecting Modes 3-1

Selecting modes 4-1

Selecting parameters 3-2

Selecting programs 2-6

Selection by Dependents 13-40

Selection by Type/Range 13-39

Sequencer

controlling KDFX with 9-18

tutorial 12-1

Setting Up For Sampling 14-1

Setup button 5-8

Setup Editor

Control Setup 7-2

Setup Mode

Channel/Program (CH/PROG) Page 7-2

Setup mode 4-3, 7-1

Setups 2-6

Muting zones 5-8

Selecting via MIDI 10-11, 10-12

Special-purpose B-1

Transposing 7-2

Setups (ROM), list C-2, D-2

Signal-to-noise ratio 2-3

SIMMs 1-2, 14-4

Size of algorithms 9-3

Sleep soft button 13-6

SmartMedia 2-3, 13-2

formatting 13-2

SMDI 1-2

Soft buttons 3-3

Disk Mode page 13-6

Master mode 11-11

MIDI mode 10-14

in Program Mode 6-10

Soft reset A-3

Soft Through

with Song Mode 12-2

software updates A-2

Software Upgrades 2-8

Song button 5-8

Song Mode 12-1

MISC Page 12-32

MIX Page 12-39

Song mode 4-4

Song playback 12-19

Songs

Memory limits 12-23

Recording 3-10

Recording via MIDI 12-23

Synchronizing 12-20

Special button functions 5-8

Special-purpose Setups B-1

Src parameter

Sample page 14-3

Standard K2600 ROM Objects B-1

Startup 2-1, 13-5

Stealer

soft button on Utility page 11-12

Storing Objects in Memory Banks 13-34

Studio 9-2

Studio Editor 9-4

Studios 9-14

Substituting characters 3-7

Sustain not working 10-5

Synchronizing songs 12-20, 12-36

System Exclusive 10-4

System Exclusive dumps 11-19

System Exclusive ID 10-6

T

Terminating SCSI devices 13-3

Threshold (Thresh) 14-5

Time 14-5

Top line of display 3-3

Total size of all files 13-10

Track mute 12-40

Track Status Indicators

MIX page 12-40

Transpose

Master 11-2

MIDI 10-2

Transposing setups 7-2

Triggering sampler from keyboard 14-5

Triggering samples from audio signals 14-4

Tuning to other instruments 11-1

U

Using the Digital Outputs 15-3

Using the modes 4-3

Using your K2600 in a SCSI System 13-4

Utilities 11-12

V

Variable Architecture Synthesis 1-1, 1-2

VAST 1-1, 1-2

VAST program structure 6-2

VAST programs 2-4

Velocity maps 10-3, 10-6

Velocity sensitivity 11-2

Ventilation 2-2

View soft button 11-10

Viewing Selected Objects 13-26

Vocoder 11-5

Voice allocation 11-12

Voice channels 6-2

Voltage levels 2-2

Volume

MIDI 10-8

Volume Level

MIX page 12-39

Volume lock 10-9

W

Wind controller

controlling K2600 with 11-14

World-Wide Web 2-8

vi

K2661 Getting Started Guide

Index

X

XMIT page 10-1

Y

Young Chang contacts iv

Z

Zone status LEDs 7-3