The Complete K2000 > Kurzweil K2000/K2500 Hot Tips
Daniel Fisher giving two of the musicians of Pink Floyd, Jon Carin and Gary Wallace, a tour of the latest K2000 operating system. Daniel is shown here at Jon Carin's station, which features two K2000Ss and two Fatar Studio 90s which drive four additional K2000RSs. In between the K2000s are a Roland MC-500mkII and MC-50 sequencers

By Daniel Fisher

Anyone who is currently squeezing every last ounce of editing power out of their sampler, kindly raise your hands.You, sir? You seem to be the only one. And you're using . . . a Mirage. Thought so.The rest of us are in the enviable (?) position of having access to power features that we never use -- maybe never even know exist. Especially when it comes to high-end, feature-laden machines like the Kurzweil K2000 and K2500, there are a lot of obscure commands and options under the hood that can make life easier and your music better. In this article we'll take a look at memory and disk file management, convenient shortcuts for live performance, sample editor DSP tricks, and more. Many of these hot tips give answers to actual questions that our technical support team at Sweetwater Sound receives from Kurzweil owners.

Bank Shot Utility Functions
Sample Editing Tips Takin' it to the Streets
Grand Finale Only the Beginning
Download Sample Files


One key to really enjoying your Kurzweil is your ability to load a Bank full of files, identify the Programs/Setups that you really like or need, and then save only your choices into a single easy-to-load file.

To do this, you'll first need a basic awareness of which objects need other objects. Here is the VAST hierarchy of dependency from top to bottom: Songs need Programs, Setups need Programs and Effects, Programs need Keymaps and Effects, and Keymaps need Samples. Usually you don't even need to figure out what needs what; the Kurzweil does the thinking for you (even if you scatter your objects all over the place). But it's helpful to know what's going on. Now you're ready to build a customized Everything file, which may span several banks.

Figure 1 - Softkey Menu

Loading Objects with Dependents
If you have a Kurzweil file on floppy or a SCSI drive and you know that you only want some of its Setups/Programs, you can load only these selected Setups/Programs along with their dependent objects. In the Disk Mode, press Load and scroll to the desired file. Now press the Open softkey (see Figure 1). You'll see a list of objects that are contained in that file. Put an asterisk (using the Select softkey) next to the Songs/Setups/Programs you want and press OK. You will be asked: "Load with dependent objects?" Press Yes, and choose a Bank for them to be loaded into. The Kurzweil will then load all of your selected objects plus any dependent objects that they need to function.

Figure 2 - Sample Objects

Auditioning Samples
Sometimes it's hard to remember just which car crash sample you want to load. You can audition a Sample right off the floppy or SCSI drive when you're in Disk Load mode. Simply highlight a file and press Open. Now scroll through the Sample objects (see Figure 2). When you have a Sample highlighted, press the Left or Right Cursor. The screen will blink, and you can now play that Sample across the keyboard. (Auditioning doesn't work for other objects, only for Samples.)


Figure 3 - Selected file in the Softkey menu

Saving Objects with Dependents
Load a file that has some Programs, Effects, and Samples. Try each Program and pick a few that you like. Now go to the Disk Mode and press Save. Instead of choosing a Bank, press the Objects softkey. You will now see a list of all of the User Objects (not factory preset objects) that you have loaded. You can use the Type button to jump from Samples to Keymaps to Programs.

Scroll to one of your chosen Programs and press the Left or Right Cursor (to the right of the screen). This will allow you to play that Program. If you press the Select softkey (see Figure 3), you'll place an asterisk next to the Program. If you want to review the objects you've selected, press the Next softkey. Each press will jump to the next selected object. After you're done choosing your Programs, press OK. The Kurzweil will ask "Save dependent objects?" Press Yes. "Save as: ?" Call the file TEST1 and press OK. "Use current directory?" press OK. Now you've saved a file that has only your favorite Programs and only the Effects, Keymaps, and Samples they need.

Figure 4 - Disk Mode

Combining Your Favorite Files
When you have a number of files that each only have Setups/ Programs that you like, it's time to combine these files into your single "everyday" file. This will be an Everything file, a file type found at the bottom of the Bank list on the Disk Save page that contains information on all of the Banks in the machine. Start with an immaculate machine. (A Turbo Hard Reset, as discussed in the next section, wouldn't hurt.) Go to Disk Mode and load one of your hand-picked files into Bank 200 using Fill. Now go to the Master/ Object/Move page and take a look at how many Programs, Samples, and Effects you've used. The quickest way is to press the Type softkey once and look up one line (see Figure 4). There you'll see the highest numbered object of the previous Type. Keep pressing Type until you have a sense of how many vacant slots you have left of each object type. When you're done looking, keep pressing Exit until you're back in Program Mode.

Since you probably have plenty of room left, it's time to go back to Disk Mode and Load another of your hand-picked files, again to the 200's Bank and again using Fill. (Don't worry about the order of anything right now, we'll move everything around later. Right now we're just making sure that everything fits.) Once again go to Master/Object/Move and make sure that you've got enough Program, Effect, and Sample spaces left. If, after several loads, you see that you're getting close to running out of object spaces (usually, Sample or Effect object spaces) or your Sample Memory or P-RAM Memory is getting low, you'll want to Open your next file before Loading it to make sure it will fit into your remaining spaces. It's probably a good idea to Save "Everything" to your SCSI drive as a safety before you over-stuff your machine.

Figure 5 - Order your files

Do the Object Shuffle
Now that you have a Bank or number of Banks loaded with your favorite stuff, it's time to put them in an order that makes sense to you. If you haven't already, save everything to your SCSI drive as a safety. While in the normal Program Mode, take a look at how many user Programs you have and how many user ID#'s (spaces) you have left. Now go to the Master/Object/Move page and press Type until you get to the Programs. If you have some unused Program spaces, you can move all of your Programs up to a higher ID#. Use the Select softkey to put an asterisk next to each Program. After selecting them all, press OK and ID. Now choose a starting ID# that will move all your Programs up and out of the way, but not so high as to push them beyond your available free space.

Press OK and wait while the instrument moves your Programs. When it's done, you'll need to clear all the asterisks. The quickest way is to press the Up and Down Cursors together. (Pressing the Left/Right Cursors selects all user objects.) Now you can scroll to the Program you want to be first and press OK. The Kurzweil will ask you where you want to move the program (see Figure 5). You can either type in the number you want or press the "-" and "+" keys together under the Alpha Dial. This will choose the lowest available ID#. Press OK. Continue to do this until you've moved all your Programs into the order you like. Now go to the Disk Mode and press Save, followed by Objects. Put asterisks next to all of your Programs (as described above under "Saving with Dependents"). Press OK and save with dependents. This file will now have all of your favorite Programs, in the exact order you chose, with all of their needed dependents.

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Soft Reset
Here's a button combination you should keep handy. Press +/-, 0, and CLR at the same time for a Soft Reset. This acts like the equivalent of a quick power-off and power-on, except that you don't lose any samples that are loaded into RAM. A Soft Reset will come in very handy with the next tip.

"Turbo" Hard Reset
If you work with a lot of Programs and Samples in memory at one time, you are no stranger to the "Please wait..." when you want to delete everything. Here's a useful way of returning your K2000/K2500 to its original factory state almost immediately: Go to the Master Page, press Reset, and press Yes for each "Are you sure?" until you see "Initializing all memory. Please wait. . . ." Wait about two seconds and do a Soft Reset (see above). Three seconds later you will have a shiny, factory-clean K2000/K2500. This is not harmful to your equipment in any way and will clear up almost any situation your machine might get into. The only exception is a rare case where your Effects are deeply corrupted. Then it's best to do a regular Hard Reset using the menu command in the Master page and let the Effects initialize.

You Say "Normally Open," I Say "Normally Closed."
If you're using a non-Kurzweil footswitch, it's possible that it's not a Normally Open design. The Kurzweil will choose the correct footswitch polarity during power-up. If you forget and plug a Normally Closed footswitch after you've already loaded all your sounds, you can still correct it by doing a Soft Reset. It won't hurt any of your loaded files. Just make sure that you don't step on your footswitch while powering up or soft resetting, as this will cause the Kurzweil to misinterpret its polarity.

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Creating Copy Samples
One of the many useful features of the Kurzweil Sample Editor is the ability to create alternate versions of the same Sample without using extra Sample RAM. This allows you to make many Samples, each with a different Start Point, Alt Start Point, and Loop and End Points for arranging flexibility. For example, if you have a sample of a four-measure drum groove, you can edit it, move the Loop and End Points to create a two-measure version, and save it to a new ID number. After you've selected the new ID number, you'll be asked: "Copy the sample data?" If you press Yes you will have made a new Sample that uses its own RAM space. Answering No, however, will give you a Sample that shares the RAM of the original Sample. This is great for breaking a groove into smaller segments all the way down to single drum hits, which will allow you to sequence variations or fills along with the original groove. Just be aware that if you should use any sample-editing DSP on the Sample, all of the Copy Samples will be affected.

You can even change the Sample Playback Direction by Editing a Sample, changing the "Playback" parameter in the Misc page to Reverse or Bidirectional, and saving to a new ID (answering No to "Copy sample data?"). Now you can have backwards drums or grooves without actually reversing the data

Sample Editor DSP Modes
It's difficult to say which area of the K2000/K2500 has the most undiscovered potential, as there are gold mines of new sonic frontiers in practically every parameter. But if I had to pick just one it would be the often scrolled-past but seldom explored regions of the Sample DSP. Here you'll find 20 different Digital Signal Processing algorithms that have been patiently waiting for you to find them. Some of them may seem like run-of the-mill tools, but all of them can be used to wreak havoc on your unsuspecting samples.

Volume Adjust
Here's a perfect example of a mild-mannered tool whose function seems quite pedantic. You can edit a RAM Sample in the Master Sample Page, press the DSP softkey, and scroll to Volume Adjust. If you set the Start and End Points to the beginning and end of the sample and put a non-zero value in the VolAdj: window, you'll be able to change the gain of your sample. Big deal? No, but if you increase the "VolAdj:" to +20db and press Go, you'll get something close to Nine Inch Nails. If you go with +50dB you might get Twelve Inch Nails. Only your manicurist will tell you if you've gone too far.

Volume Ramp
Here's another tool that has more uses than you might expect. You may often find a sampled sound that's supposed to fade away (like a cymbal or anything with a reverb tail) but is ruined because the sample is chopped off before the sound dies away. This unsatisfying ending is easily fixed with Volume Ramp. Simply edit the Sample, go to the Volume Ramp DSP, and set the Start Point around 7/8ths of the way into the sample. Put the End Point at the end of the Sample. Set the Start Lvl to 0dB and the EndLvl to -20dB, and press Go. This will fade the end of your sample in a more natural way. If you don't like the results, answer No to "Keep this change?" and try different values until you're satisfied.

One of the many reasons that analog synthesizers are once again revered by sound sculptors is that analog components can modulate the sound much faster than digital simulations. This includes the VCA's ability to snap open and closed far faster than a digital ADSR Envelope. By using Volume Ramp to boost the gain of a sample's attack transient, you can once again get your hands on extremely small slivers of control. Edit your Sample and go to the Volume Ramp DSP. Set the Start Point to the beginning of your sample and the End Point just past the attack transient. Set the StartLvl to +6dB and the EndLvl to 0dB, and press Go. Notice the extra punch that the attack has been given. You'll also find that the overall volume of the Sample has been reduced. This is done automatically so that your sample won't clip regardless of how much boost you add to the ramp. (You can increase the gain of this particular Sample later in the Keymap Page, if needed.)

Here are some quick uses for Resampling. If you have a sample that has undesired hiss, you can often Resample it to a slightly lower sampling rate, which will reduce the noise but leave the important frequencies of the sample. Edit your sample and go to the Misc page. Look in the lower right-hand corner to see what the SampleRate setting is. Now use the Resample DSP to go to a Sampling Rate which is 2-3kHz lower. With trial and error you should be able to find a Sampling Rate that cleans the sample best with the least amount of treble loss.

Resampling is also a good way to reduce the file size of a sample whose length can't be changed. Remember, not every sample in your library needs to be extra bright and crispy.

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Kurzweil keyboards have always been exceptionally useful for live performance, going clear back to the legendary K250 and the Midiboard controller. One reason for this is the various convenient ways that you can call up a Program or Setup (such as Quick Access Banks, keypad entry, scrolling, string searches, and double button pushes). Here are some tips that will make it easy to get to the sounds you want quickly.

Temporary Program Access
When you don't know what sounds you'll need in advance, like at a first rehearsal or a jam party, you can quickly line up 16 programs by making use of your MIDI Channels. Go to MIDI Channel 1 (using the Chan/Bank buttons or Channel +/- softkeys) and call up a program you think you'll use a lot. Now go to Channel 2 and call up another useful program. Continue doing this for all 16 MIDI Channels. Now you can quickly jump through these programs without having to scroll all over the place. (Hint: Double-pressing the Chan/Bank or Channel +/- softkeys toggles between your last Channel and Channel 1.) Note that you can only use Programs with three or fewer Layers on "non-drum channels."

Figure 6 - Quick Access Mode

Quick Access Banks
This very convenient feature is often overlooked by Kurzweil owners. It's well explained in the manual, but I'd like to add an additional tip. When you are in the Quick Access Mode (see Figure 6) you can use the Chan/Bank buttons to jump between QA Banks. If you double-press the Chan/Bank buttons you jump to the next hundreds (200, 300, etc.). By starting each hundreds QA Bank with a new category of your instruments (Pianos in QA 200 and 201, Organs in 300 through 302, Solo Instruments in the 400s, etc.) you can quickly jump through categories by double-pressing. QA Banks are especially useful in that they allow you to have both Programs and Setups in a Bank.

Remote MIDI Controllers
If you're using one or more MIDI controllers (especially strap-on keyboards), it can often be a pain to set them up so that every program button goes to a sound you need for that particular gig. An easier way is to set all of your remote's Program Changes to a sequential order in an unused Bank. For example: Make your Roland AX-1's 32 Program Changes always call up Kurzweil programs 500 through 531 (Bank Select 5, followed by Program Changes 0 through 31). Then you can quickly decide what programs those will be by editing any program you have and resaving it to one of those 32 locations. It won't cost you any additional sample memory and only a small amount of program memory. The best part is that you can save all this as a Kurzweil file and never have to edit or save your remote's data again. If your remote won't send Bank Select changes, the easiest method is to call up a program in the 500s Bank before you start playing the remote. Then all of the Program Changes sent by the remote will call up Kurzweil Programs in that Bank.

Figure 7 - MIDI Receive Page

Octave Shifts from MIDI Controllers
When playing a remote MIDI controller like a strap-on keyboard, you may find that its limited number of keys and octave Up/Down transposition buttons make it difficult to reach the full eight octaves available. If you set your Local Channel (found in the Kurzweil's MIDI Receive page, as shown in Figure 7) to the same channel as your remote, you will find that you can now use the Kurzweil's Octave+ and Octave- softkeys to transpose your controller. (Double-pressing the Octave+ and Octave- softkeys toggles between 0 octaves and your previous octave transposition.) Setting your Local Channel to that of your MIDI controller will also allow you to play Setups (which use multiple MIDI channels).

Figure 8 - The Loud Channel

The Loud Channel
Another handy live performance feature is the ability to give designated MIDI channels designated outputs and/or gain levels. Every now and then, in the middle of a gig, you'll find yourself needing to "go to 11." You can choose one of your MIDI channels to be your "loud channel." Go to the MIDI Channels page (see Figure 8), use the Chan/Bank buttons to get to the MIDI channel that you want to have a boost, and set the Output Gain parameter to +6dB. Now whenever your keyboard needs that boost, just go to that MIDI channel and select your program. If you have customized QA Banks, you can change channels without changing the QA Banks screen.

External Effects Channels
As with creating a loud channel, you can force selected MIDI channels to bypass the Mix outputs and go out one of the alternate output pairs. Again, go to the MIDI Channels page and set the Output Group to Outputs B, C, or D. (The K2000 keyboards don't have C or D Output pairs. The K2500 series and all rackmounts do.) You can then use 1/4" tip-ring-sleeve insert cables to go from the alternate output to an external effects processor and back into the output. This processed signal will then be routed back to the Mix outputs (bypassing the internal effects unit). This makes it very easy to send any program to any of your outboard effects without having to make special programs. Another benefit is that the non-Mix output's gain levels are not effected by the volume slider. This means that you can correctly set (and forget) your effect's input levels. This is very important for effects that use distortion, as you can still control the final volume with your slider and yet always get a consistent distortion amount.

Figure 9 - Sampling Page

CD Player Insert
Here's a cool way to put your portable CD player into your P.A. without using more of your mixer's inputs. If you have the Sampling Option, buy or make a cable that has a 1/4" stereo plug on one end and an 1/8" stereo plug on the other. Put the small end into your CD player's headphone or line output. Go to the Sampling page (see Figure 9), set your input to Analog, set the Gain to +7dB, and turn Mon(itor) to ON. Now your CD player will play in stereo out of your Mix outputs along with your keyboard sounds.

This is useful during breaks. You can let the club manager know that your Kurzweil's volume slider can be used to control the music volume, so he or she doesn't need to search the parking lot for you. The best part is that it keeps the manager away from your all-important mixer settings, which prevents a rude surprise on the first note of the second set.

If you don't have the Sampling option, you can accomplish the same thing by using a cable with a 1/8" stereo plug on one end and separate left and right 1/4" plugs on the other end. Simply insert the 1/4" plugs halfway into the B, C, or D Output jacks, and they will be routed to the Mix bus. (You'll have to remove the plugs before the next set, or anything routed to the occupied output will be dead.)

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This final tip is for the Kurzweil masters who have said, "Been there! Done that!" to every Hot Tip they've read so far. It involves the least understood, yet most fantastic DSP algorithms in the Sample Editor: MixBeat and Replicate. These two DSPs will take any Sample you have loaded into your machine and mix it into any other Sample at a repeating rate determined by the Tempo, Beat Number, and Beats per Measure parameters. The key difference between MixBeat and Replicate is that MixBeat will mix these repeating samples with the underlying Sample. Replicate pastes the repeating data and replaces any audio that was in that location previously.

The two most obvious uses for these DSPs are to create your own Beat Loops from scratch or to build your own wavesequences as on the Korg Wavestation. Your owner's manual can help you with these basic ideas. What I'd like to show you instead is how to use MixBeat and Replicate to simulate granular synthesis and to fabricate sounds that simply defy current descriptions. With something this weird, it is easiest to tell you what to do, let you hear the results, and then explain what's going on. (You can find starting Samples as well as finished examples at the Download Center for this article.)

First, load or create a mono Sample that's about a second long. A shout, scream, or ambient drum hit will do nicely. Make note of the Sample's SampleRate (found in the Misc page, see Figure 10). Now create an 8-second "silent sample" at the same Sample Rate and save it to the next ID. If the Sample is not perfectly silent, you can use the Clear DSP to remove all data.

Figure 10 - Misc Page

Figure 11 - MixBeat DSP

Edit your silent sample and go to the MixBeat DSP. Set the Tempo to 4,000 (bpm) and the Beat to "1 Of: 1," as shown in Figure 11. Set the VolAdj to -3dB to prevent clipping. Now press the Samp2 softkey. Scroll to your shout/drum sample (you can play it on the keyboard to make sure it's the right one). Set your Start to "0," your End to "500," and Incr to "100." (If your values are in Seconds, first change to Samples via the Units softkey or Samp/Sec Quick Access button.) After setting the values, press the OK softkey and then press Go.

The result will be that Sample2 has been sliced up into 500 segments and pasted at a rate of 4,000 bpm to your silent sample. Plus, each time the segment is pasted, it is shifted 100 samples farther into the sound. This will make it sound as if your original sample has been dipped in chrome and then dropped into a black hole.

When the trippy result returns, you can save it to a new Sample ID or press No, which will allow you to change any of the parameters and try again. Keep experimenting with the values, and save every time you get something you like.

You can make your finished Samples even more skin-crawling by making Bi-Directional Loops (with the Misc Playback parameter) that go from beginning to end and back. Warning: Playing these Samples at various octaves through Delay and Reverb may trigger serious flashbacks from your experimental days. (Try MR_VAST.KRZ through headphones, if you dare!)


This file is a demonstration of just how far you can go with the Replicate and Mix Beat DSP tools. The Mr. VAST sample is me saying "VAST" and then processing the sample with MIX Beat. The result was played into an analog delay footpedal, and then sampled back in to the Kurzweil. This new sample was given a Bi-Directional Loop and then put into a program with lots of VAST applied to it.

The program was then played and modulated by the Kurzweil's internal sequencer. To hear the final result, go to the Song Mode and dial up "Mr.VAST>D.Fisher" and press Play. Put on headphones for a good five-minute trip.

And remember, you don't have to have the Sampling Option to do any of the Sample DSP effects. You can use the DSPs on samples that you load from other sources. Even the 8-second silent sample can be created without the Sampling Option. Simply edit any sample (of any length) and use the Clear DSP to make it silent. Now use the InsertZero DSP to make the Sample as long as you need. (I have posted a Silent Sample on the Web site as well for convenience.)

The following three files are to be used according to the Grand Finale section
of the K2000/K2500 Hot Tips article in Keyboard's May '98 issue.

How "Andrew Replicate" was created
Load (or create) an eight-second silent sample (Mono, 32kHz, Root Key =C4).
Go to the Sample Editor and Edit Silence and then go to the Sample DSP Editor (press the DSP softkey).
Dial up "Replicate" and input the following values (make sure your Sample Editor is reading out in Samples, not Seconds):
Tempo: 4,000 (BPM)
Beat: 1 Of: 1
Xfade: 10
Now press the Samp2 softkey and dial up Andrew Fisher (my youngest baby boy).
Start: 0
End: 500
Incr (Increment): 25
Press the OK softkey.
Now press "Go" and try the result. Either keep it, or press "No" and try different values.
How "Hey! Mix Beats" was created.
Load (or create) an eight-second silent sample (Mono, 32kHz, Root Key =C4)
Edit Silence and go to the Sample DSP Editor (press the DSP softkey)
Dial up "Mix Beat" and input the following values (make sure your Sample Editor is reading out in Samples, not Seconds):
Tempo: 2,000 (BPM)
Beat: 1 Of: 1
Xfade: 10
Now press the Samp2 softkey and dial up "Hey!"
Start: 0
End: 1,000
Incr (Increment): 50
Press the OK softkey.
Now press "Go" and try the result. Either keep it, or press "No" and try different values.
"Hey Mix Beat 2" uses:
Tempo: 1,000 (BPM)
Beat: 1 Of: 1
Xfade: 10
Now press the Samp2 softkey and dial up "Hey!"
Start: 0
End: 4,000
Incr (Increment): 50
Eight second Silent Sample
This Silent Sample is useful if you don't have a Sampling Option in your K2000/K2500. It will allow you to do the above Replicate and Mix Beat experiments quickly.

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I hope these Hot Tips have given you some fresh ideas that will make your Kurzweil as exciting as the day you bought it. There are many other features of the instrument, from FUNs to filters, that we haven't had space to touch on here. In closing, I'll promise you that every minute you spend with your Kurzweil owner's manual and experimenting with VAST will continue to pay off for as long as you own the instrument. Not a week goes by that I don't discover some new technique on this keyboard that takes my sounds into new directions (and I've been at it for over five years now). The future is indeed VAST.

This neat little file shows off the Volume Ramp Sample DSP. I needed a tiny little "ding" to create a strip of Bar Chimes. As I had no recordings that were clean or precise enough, I decided to design it using a pure 11kHz sine wave tone from an audio reference CD which came into the K2000 digitally. I then used Volume Ramp to sculpt the exact volume envelope I was looking for. This sample was then looped to imitate the chime swinging back and forth into other chimes. A Randomizer Function was applied to the Envelope Release Time to emulate the random patterns of the chimes as they slowly came to a halt. The Data Slider changes the size of the chimes. The Mod Wheel adds a climbing scale (a la the Star Trek Food Synthesizer). The Pitch Bend increases or decreases the rate of the Scale.

I could never have imagined that one little Kurzweil program would have such an impact on my life. I was a Software Beta Tester at Kurzweil's R&D Facility when I made this cute little program as a way of trying to break the K2000 operating system. The program used 31 Layers and almost every single parameter available to simulate the "On The Run" segment on Pink Floyd's Darkside of the Moon. It was built using triangle waves, square waves, and white noise. All of the sequential sound is actually created by LFO's, ADSR's, repeating envelopes, and layer delays. If any part of the Kurzweil engine code had a timing error, or an error with any of the above parameters, the illusion quickly fell apart. Not long after creating this program I was promoted to Soundware Engineer. It was later demonstrated to members of Pink Floyd when they decided to use Kurzweils exclusively for their 1994 Pulse Tour. During the early part of the tour I was able to help them out with technical support on their K2000s. It was one of the high points in my life. Truly a fantastic bunch of guys!

Here are three versions: one for the K2000, one for K2000VP/K2VX and one for K2500.

This program shows how much power you can get from editing and rearranging the ROM samples. The lushness and expanded sound quality of the Sweet Stereo Strings are created by placing different ROM samples on the left and right channels. And then, each side's volume, pitch, and sample start point are precisely adjusted until the different samples create a single attack with a center image. This is done for every note across the keyboard entirely without the use of detuning so that you can actually pan the left and right layers together without flanging.

Velocity: Controls the relative amplitude of the program as well as the attack and release times. Velocity is also very interactive with the position of the mod wheel. With some practice (at all velocities) you'll find a wide range of string performance techniques.

Mod Wheel: Due to the nature of string sections I decided to make the mod wheel control what I call "attitude" instead of just vibrato or volume. Attitude is an interactive VAST blend of brightness, volume, attack time, release time, and highpass filters. Try playing a string program with the mod wheel all the way up (127). Notice that the strings are softer, smoother and slower. You can use pressure to dramatically change this. The mod wheel has been programmed to move smoothly even if you make quick moves of the wheel.

Pressure: Dynamically creates a musical "attitude" swell of brightness, volume, attack time, release time, and highpass filters that have been carefully designed using some obscure FUNs called "Warp2" and "A*10 to the B." This results in pressure swells that finally respond in the musical manner that you've always wanted. The pressure swells are interactive with velocity as well as the current position of the mod wheel.

Data slider (CC#6): Increases the wet/dry mix of the reverb effect. It also slightly decreases the brightness of the effect and lengthens the reverb time as well. The effects used on these programs were designed to give the most realistic 3-dimensional qualities while also adding far less hiss than the stock internal effects.

Sostinuto: Pressing the sostinuto pedal (footswitch 2 or CC#66) will add a sub-octave in "Sweet>St<Strings" and removes the attack transient from "Sweet>Atk<Strings."

This underscore utility, created by Daniel Fisher, will allow you to put up to seven underscores in your .KRZ filename.

To use it, Z_______.KRZ should be copied onto your hard drive's Root directory. (Use the COPY function to get it from floppy to your hard drive.) Now, whenever you want to add underscores to a new filename that you're saving, press Choose and scroll down to Z_______.KRZ, and then press OK. Now type whatever characters you want around these underscores, and save.

This is very helpful in making filenames easier to understand, like: SHINE_ON.KRZ vs. SHINEON.KRZ.