Kurzweil K2500 - PERFORMANCE GUIDE REV F PART NUMBER 910251 CHAP 14 User Manual (English)

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DSP Functions

Introduction to Algorithm Programming

14-1

Chapter 14

DSP Functions

This chapter presents explanations of the DSP functions that can be inserted into the algorithms

in the Program Editor. As you conﬁgure each algorithm, the DSP functions you select

determine the type of synthesis you apply to your sounds. Deciding which algorithm to use

depends on what you want to do; there’s no hard and fast rule. If you want to create a classic

analog sound, for example, you’ll choose one of the algorithms containing one or more blocks

that can have ﬁlter functions assigned to them. If you want realtime panning effects, choose an

algorithm that includes the PANNER function in the F3 block. Your best approach is to study

the algorithm charts in the

Reference Guide

, and choose the algorithm that includes the functions

you want to work with.

Before we get to the explanations of the DSP functions, we’ve included a brief discussion of a

few general concepts of sound synthesis. This should help you understand the workings of the

DSP functions. We’ll refer to these concepts repeatedly as we go along.

Any single sound waveform is composed of numerous sine wave components, each at a

different frequency. These components are called partials. The lowest frequency is perceived by

the ear as the pitch of the sound, and is called the fundamental. The other components are

called harmonics. The relative amplitudes (volume) of each of the partials in a sound determine

its timbre, its most recognizable characteristic. When you think of the difference between the

sound of a piano and a saxophone, you’re thinking about their different timbres. A dull sound

has a strong fundamental and weak harmonics, while a bright sound has strong harmonics.

Sound synthesis can be most simply described as the manipulation of either the amplitude or

phase of one or more of the partials constituting a sound. The K2500’s various DSP functions

give you a variety of methods for manipulating those partials. We’ve grouped our explanations

of the DSP functions according to the types of specialized manipulation they enable you to

perform on a given sound. The categories are:

FILTERS

EQUALIZATION (EQ)

PITCH / AMPLITUDE / PAN POSITION

MIXERS

WAVEFORMS

ADDED WAVEFORMS

NON-LINEAR FUNCTIONS

WAVEFORMS WITH NON-LINEAR INPUTS

MIXERS WITH NON-LINEAR INPUTS

SYNCHRONIZING (HARD SYNC) FUNCTIONS

Introduction to Algorithm Programming

Programming the algorithms is a multi-step process. The ﬁrst step is selecting an algorithm.

Changing the algorithm of an existing program’s layer is likely to alter the sound of the layer

dramatically. As a rule, then, you won’t want to change a layer’s algorithm unless you’re

building a sound from scratch. Furthermore, when you change a layer’s algorithm, the values

for each of the DSP functions within the algorithm may be set at non-musical values; you

should lower the K2500’s volume slider before changing algorithms.

Deciding which algorithm to use for a new sound is primarily a process of planning a layer’s

signal path through the sound engine. The real sound manipulation is done by the DSP

functions you insert into the algorithm. The algorithm simply lays a framework that

determines how the DSP functions interact.

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Kurzweil K2500 - PERFORMANCE GUIDE REV F PART NUMBER 910251 CHAP 14 Specifications

General

Type	Synthesizer
Polyphony	48 voices
Multitimbral	16 parts
MIDI	In, Out, Thru
Model	K2500
Document Type	Performance Guide
Revision	F
Part Number	910251
Chapter	14
Synthesis Type	V.A.S.T. (Variable Architecture Synthesis Technology)
Effects	Reverb, Chorus, Delay, EQ
Keyboard	76 keys (velocity and aftertouch sensitive)
Controllers	Pitch wheel, modulation wheel
Outputs	headphone output
Sequencer	16 tracks
Display	LCD
Memory	Expandable via RAM and ROM
Inputs	2 audio inputs