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K150 USER'S MANUAL

1. BASE 261 6 Hz 4 000 OCT GLOBAL 0 47 KHIGH 587 0 Hz 5 170 OCT PAR ATTACK LEVELS 1 SLOV XOVR 4 SUSTAIN HOLD LOUDNESS 95 6 dB 1 NAME RELEASE TERMINATE 2 AUDIT VOICE OF PARTIALS 16 REQUIRED 16 3 BASE FREQUENCY 4 HIGHEST FREQUENCY 5 SUSTAIN OPTION 6 RELEASE OPTION 7 LOUDNESS 8 SLOW XOVER 9 AUDIT 0 EXIT 1 NAME F highlights the NAME field in the display of Model Attributes Type in a new name press RETURN and you have renamed the model This name will appear in the 150FS display when the layer editor is selected 2 AUDIT VOICE F highlights the AUDIT V field Assign a new Audit Voice Number in the same fashion as with NAME above The Audit Voice Number appears as the Test Prog in the display of the 150FS when the model is audited 3 BASE FREQUENCY F enables you to register the lowest frequency for which the model is intended to be used It is used primarily to set the basic frequency from which the frequencies of the relative partials in a model are calculated This option calls up a dialog box ENTER FREQUENCY IN HERTZ 16 3 9999 OR OCTAVES 0 9 25 MIDDLE C 4 00 Type in a value and press RETURN to change the value of the base frequency 4 HIGHEST FREQUENCY F sets the highest frequency for which the model is intended to be used This option is se lected and entered in the same fashion as 3 above Note Any model may be played at any p
2. L R split K L C R program header 32 bytes left region 0 7 layers 8 bytes layer 32 8 L center region 0 7 layers 8 bytes layer 32 8 L C right region 0 7 layers 8 bytes layer K150FS Version 1 6 Software 6 12 16 20 24 K150 Program Header 24 16 9 6 3 0 program right split point left split point layers MIDI key MIDI key left center right 30 23 16 6 0 key pressure pitch wheel vibrato delay soft pedal cents cents msec dB 30 16 14 9 0 vib vibrato depth vib symm vibrato rate cents N 0 1 Hz 0 above below 0 triangle 1 above 1 square 2 below 3 below above 29 27 16 12 0 extra ch chorus detune decay chorus delay notes cents dB msec 29 24 18 12 6 0 left bal 500Hz EQ 250Hz EQ 125Hz EQ 62Hz EQ dB dB dB dB dB right bal 8KHz EQ 4KHz EQ 2KHz EQ 1KHz EQ dB dB dB dB dB program name 8 characters K150FS Version 1 6 Software K150 Layer Block Structure 24 16 14 7 3 0 0 detune timbre shift transpose voice number cents mode semitones semitones 0 normal 1 slider 2 velocity 3 select timbre shift MIDI key 3029 24 22 20 18 16 7 0 4 balance timbre level dB bal chr vib bnd dB EQ 0 off O on 1 wheel T off O fixed
3. 10 4 The Equalizer Editor Each program in the K150X has a graphic equalizer associated with it Each equalizer provides 8 octave bands with a range of 12dB boost and 30dB cut for each band Whether or not this equalizer is active in any particular layer of the program is controlled by the Equalizer Enable parameter in the layer editor which can be set on or off for each layer see Layer Editing The Equalization parameters being edited are those for the currently active program In order to hear the effects of your equalization editing turn on the Equalization Enable switch for the layer or layers you want to apply equalization to see Layer Editing Each equalizer has eight bands centered about the follow frequencies 62 5 Hz shelf 125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz 8 kHz shelf Each band may be boosted by 12dB or cut by 30dB Using the Equalizer Editor 1 Select Equalizer Editing by pressing EDIT CLR One of the frequencies listed above will appear in the display with its current value Change the value by using the numeric button pad and pressing ENTR or use INCR and DECR to change the value by 1dB increments 3 Use NEXT and PREV to step through the other frequencies The Control Editor This editor allows you to assign MIDI control sources to K150X control destinations Just as MIDI has two types of control sources continuous controllers and switches the K150X has two types of control destinations virt
4. Slider If your MIDI controller has a MIDI assignable slider or wheel you can set it up so that you can interactively shift the timbre between the nominal timbre and T SHIFT selected timbre by moving the controller In order for this option to work you have to make the proper MIDI assignment of the controller see Assignment Editor Attack Velocity A VELOC If your MIDI controller can transmit key velocity information the amount of T SHIFT timbre applied to the nominal pitch can be proportional to the velocity with which the key is played by selecting the A VELOC Timbre Shift option Select Used in conjunction with the T SELECT this option takes the timbre from one note and applies it to all notes You choose the note with the T SELECT parameter see Timbre Select The default note is middle C C4 C in the 4th octave Timbre Shift Value Used in conjunction with the first three Timbre Shift Modes described above manual slider or a veloc this parameter appears as a Layer Editor Parameter only if one of those first three modes is selected and not if the select option is chosen It allows you to specify the amount to shift the timbre relative to the played note in semitones For instance if the Timbre Shift Value is given as 1ST and C is played then the timbre for C will be played with the nominal B pitch Likewise if the Timbre Shift Value is given as 1 ST and C is played then the timbre for C will be played When th
5. I to sound system Figure 1 Rear view of components Note if you are not using a MIDI controller two of the MIDI cables and the MIDI merger are unnecessary for your setup Simply connect the MIDI Out of the IIe to the MIDI In of the 150FS and the MIDI Out of the 150FS to the MIDI In of the Ile You may use the LIVE KEYBOARD option in the Sound Modeling Program to trigger sounds in the 150FS CHECKING YOUR SYSTEM If you haven t already loaded the Sound Modeling Program do so now by inserting the disk into drive 1 The program should take approximately 30 seconds to load Use the following sequence of keystrokes to load a model and see if every thing is functioning properly EFINE OR EDIT A SINGLE SOUND MODEL OAD SAV MODEL EATE DEFAUL DIT rFPWoOWFER NWN uranu At the lower left of the screen the display should show SEND 264 for a few seconds When this display disappears the model is ready for auditing Strike a key on your MIDI controller and you should generate an audible signal through your headphones or sound system IF YOU ARE NOT USING A MIDI CONTROLLER CONTINUE WITH THESE STEPS 5 LIVE KEYBOARD C the letter You should hear something at this point IF THE SYSTEM IS NOT WORKING Check your MIDI connections being certain that all cables are routed to the proper MIDI ports Press the 0 key on your Ie until you return to the top level and repeat th
6. 1 1000 of a second Hz Hertz cycles per second frequency kHz kiloHertz Hertz x 1000 For example consider the following displays 2 3 CI TUNE 58C The Center Region Layer 1 is being edited The parameter being edited is TUNE tuning whose present value is 58C This layer is tuned down 58C it is 58 cents flat Pl 250 HZ 5 dB Program 1 s equalizer is given 5 dB of emphasis at the 250Hz point The display which appears when the K150X is turned on showing the MIDI channel and program number currently active indicates that you are in the Channel Editor the top level editor Any time you want to return to this editor press EDIT F1 The display will show the Channel and Program currently active C number P number program name This is the K150X s top level display C stands for CHANNEL and P stands for PROGRAM From here you can use INCR and DECR to step through the Programs or NEXT and PREV to step through the Channels Using the Editors It is through the editors that you display and change parameters in the K150X Press EDIT to indicate you want to select an editor Then select the editor you want by pushing the button below its abbreviation For example EDIT F1 selects the Channel Editor while EDIT UNDO selects the Layer Editor Once you are in the editor the display will identify the program region and or layer that you are editing the name of or an abbreviation for the parameter e g V DEPTH for vibr
7. F simply highlights all the odd numbered relative partials preparing them for auditing or edit ing 3 ALL EVEN RELATIVE F highlights all the even numbered relative partials for auditing or editing 4 RANGE F generates the same dialog box dialog box as for option 1 Enter a numeral and press RETURN to define the lowest numbered partial in the selected range The dialog box will return Enter another numeral and press RETURN The range of partial numbers you selected low and high inclusive will be highlighted for auditing or editing 5 ALL ABSOLUTE F highlights all absolute partials for auditing or editing 6 ALL NOISE F highlights all noise low and high partials for auditing or editing 8 REMOVE ALL F removes the highlighting from all selected partials 0 EXIT S takes you back up one level to SET DISP PARMS 2 AMPLITUDE SCALE S gives you seven options AMPLITUDE SCALE 20 dB 30 dB 40 dB 50 dB dB 80 dB CODMDANDUBWNE D jo EXIT The maximum amplitude of the 150FS is 95 6 dB The Sound Modeling Program views this as amplitude level 0 It follows then that the lowest amplitude value according to the Sound Modeling Program is 95 6dB The AMPLITUDE SCALE option allows you to assign the minimum amplitude level which will be shown on the display Keep in mind that this is only for display purposes changing the display s amplitude scale will not affect the amplitude of the model when you
8. Model K150 User s Manual 150FS Version 1 6 Software and Appendix K150FS System Exclusive Formats as an example of one successful K150FS operating system implementation However this document was prepared for those interested in creating their own operating system perhaps emphasizing different aspects of additive synthesis than the Kurzweil implementation which was aimed primarily at realistic recreations of acoustic instruments and a comprehensive MIDI implementation For example frequency envelopes for partials might be implemented with the time saved by omitting the dynamic partial allocation feature of the Kurzweil implementation SUMMARY OF HARDWARE RESOURCES The K150FS consists of three boards the CPU board the engine board and the sound board The latter two make up the sound generator while the CPU board contains all of the memory and other peripheral devices The overall system resources are as follows 68000 CPU running at 1 OMHz Program EPROM up to 128K bytes 4 x 27256 200nS no wait states Scratch RAM non volatile 16K no wait states Sound EPROM up to 128K bytes 4 x 27256 200nS or 256K bytes 4 x 27512 2 5 wait states Sound RAM non volatile 64K 2 5 wait states Parameter RAM non volatile 2K old style or 8K new style 2 5 waits MC6850 serial I O chip for MIDI In and Out MC6840 programmable timer chip 16 character 14 segment LED display with decimal points 10 24 button panel 11 Contact se
9. adjustment range is restricted to 40 decibels either way but you could simply adjust the same interval twice to get more range The three adjustment options are STEP RAMP UP and RAMP DOWN Step simply means that the specified adjustment amount is added to every breakpoint inside the interval Ramp Up means that breakpoints near the beginning of the interval are adjusted very little while those near the end are adjusted nearly as much as the adjust amount Those halfway into the interval are adjusted half the adjustment amount Ramp Down simply reverses this giving full adjustment at the beginning and less adjustment near the end of the interval To get a bump in the middle of the interval with little adjustment at both beginning and end just split the interval in half and ramp up in the first half and ramp down in the second half A dip is the same except the adjust amount would be negative Before the adjustment is actually made S M P will determine if any breakpoint will try to go beyond OdB If it will you will be asked if clipping the offending breakpoints at OdB and thus loosing some of the contour s shape is acceptable If N is entered then the adjustment is canceled and no breakpoints are changed Note that there is no explicit unadjust for the amplitudes However you can restore the original amplitudes by simply per forming the same adjustment using the opposite adjust amount provided no clipping was performed Of course you sh
10. for version 1 scrolling through the time scale is possible only for the first 32 seconds of a model Scrolling any further will cause the calibrations to disappear from the display This issue will be addressed in version 2 0 EXIT S takes you up one level to SET DISP PARMS 0 EXIT S returns you one level up to CONTOURS 2 DISPLAY S provides ten options DISPLAY CONTOURS TOP BOTTO DISPLAY ONE OVERLAY ONE OVERLAY SELECTED TACK ONE STACK SELECTED OVERALL LOUDNESS CROSS SECTION SELECT PARTIALS EXIT CODANDUTBWNHE n J 1 TOP BOTTOM F toggles between the halves of the TOP BOTTOM field to determine which half of the screen will show the contour to be displayed 2 DISPLAY ONE F prompts you with a familiar dialog box Enter a partial number press RETURN and see the contour of the partial you selected appear on the half of the screen you selected with option 1 above This is an amplitude vertical axis vs time horizontal axis plot using current amplitude amp time scales 3 OVERLAY ONE F gives you the same dialog box as option 2 Enter a partial number press RETURN and see the par tial you selected appear overlaid on any partials already appearing on the half of the screen you selected with option 1 You may switch screen halves as many times as you like to overlay individual contours on either the top or bottom half of the screen The maximum number of
11. 12 2 8 6 8 2 12 2 8 6 1 2 3 4 5 6 7 8 9 10 0 11 4 12 12 12 12 17 14 142 114 71 14 242 10 Appendix B Master Parameter List Parameter Offset Length Hi Lo Hi Lo 0 0 4 0 0 0 0 4 0 4 0 2 0 6 0 2 0 8 0 2 0 10 0 1 0 11 0 1 0 12 0 1 0 13 0 1 0 14 0 1 0 26 0 1 0 30 0 42 0 30 0 6 0 36 0 6 0 42 0 6 0 48 0 6 0 54 0 6 0 60 0 6 0 66 0 6 0 76 0 16 0 92 1 26 0 92 0 22 0 114 0 22 1 8 0 22 1 30 0 22 1 52 0 22 1 74 0 22 1 96 0 22 2 64 0 64 3 0 1 0 K150FS Version 1 6 Software the whole thing block ID SLAB software version save sequence flag word 1 MIDI mode MIDI channel Master Tune Intonation flags Reference key Master Transpose Velocity Maps 1 thru 7 Velocity Map 1 Velocity Map 2 Velocity Map 3 Velocity Map 4 Velocity Map 5 Velocity Map 6 Velocity Map 7 Channel program assignments Intonation Tables 1 thru 7 Intonation Table 1 Intonation Table 2 Intonation Table 3 Intonation Table 4 Intonation Table 5 Intonation Table 6 Intonation Table 7 Assignable control table Program list Size 512 bytes 4 bytes 2 bytes 2 bytes 1 word 1 byte 1 byte 1 byte 1 byte 1 byte 1 byte 42 bytes 6 bytes 6 bytes 6 bytes 6 bytes 6 bytes 6 bytes 6 bytes 16 bytes 77 words 11 words 11 words 11 words 11 words 11 words 11 words 11 words 64 bytes 128 bytes Appendix D Program and Block Structures K150 Program Structure
12. 2 press 1 slider 3 both 2 balance 0 lt off 1 wheel 2 press 3 fixed K150FS Version 1 6 Software 8 HARDWARE PROGRAMMER S MODEL AND ADDRESS MAP This is the basic component of the Hardware Developer s Package It describes the internal hardware of the 150 from a programmer s point of view Using this information it would be possible to write a new internal operating system or at least experiment with the sound engine registers One company has used this information to turn the 150 into a laboratory signal generator OPTIONAL all costs include USA shipping SOURCE CODE FOR S M P The Apple IT Sound Modeling Program is written entirely in very well commented 6502 assembly language It is over 20 000 lines and 800K in size It is available in IBM PC format 3x 360K or 1x 1 2M floppy Atari ST 2x 800K floppy or Apple Macintosh 2x 800K floppy The cost is 10 00 if you send floppies or 13 00 if I supply them HARDWARE SCHEMATICS These are the generally up to date hardware schematics on approximately 15 sheets of B size bond paper You may need a magnifying glass to read the IC pin numbers but they are quite legible The cost is 10 00 DIAGNOSTIC EPROM SET This is the production diagnostics which are quite good at confirming proper operation of everything but are only of limited usefulness in tracking down a malfunction They also include audio tests which in conjunction with a distortion analyzer can confirm
13. 200nS 0A0000 0AFFFF U25 Sound EPROM 32K 64K 27256 27512 200nS 0C0000 0C7FFF U26 Sound RAM 32K 62256 150nS 0E0000 0E7FFF U27 Sound RAM 32K 62256 150nS K150FS Programmer s Model 2 Rev A 26 APR 88 The primary program EPROM is 16 bits wide and consists of one or two pairs of 27256 EPROMS U55 and U57 chips must be present since they are addressed beginning at 000000 and contain the startup and interrupt vectors U54 and U56 are optional and may be used if the program becomes larger than 64K bytes Of course sound data may also be present in either pair of EPROMs if desired with the advantage of zero wait state data access When using an EPROM programmer to prepare software for the K150FS it is useful to know that the address and data bit assignments are the same as the industry standard given in databooks AO is the least significant address bit and A14 is the most significant Likewise DO is the least significant data bit and D7 is the most significant Data is stored in the EPROM in positive true polarity The primary scratch RAM is also 16 bits wide and consists of a pair of 6264 static RAMs for a total of 16K This RAM is non volatile It is intended for rapid access uses such as the 68000 stack expanded parameter lists and the like but could also be used for RAM resident sounds with the advantage of zero wait state access The parameter RAM sound RAM and sound ROM are each 8 bits wide but still appear to the programmer as if
14. 6 7 8 C 12 24 36 48 60 72 84 96 108 CH 13 25 37 49 61 73 85 97 109 D 14 26 38 50 62 74 86 98 110 D 15 27 39 51 63 75 87 99 m E 16 28 40 52 64 76 88 100 112 F 17 29 41 53 65 77 89 101 113 F 18 30 42 54 66 78 90 102 114 G 19 31 43 55 67 79 91 103 115 G 20 32 44 56 68 80 92 104 116 A 21 33 45 57 69 81 93 105 117 A 22 34 46 58 70 82 94 106 118 B 23 35 47 59 71 83 95 107 119 Key CO Cl C2 C3 C4 C5 C6 C7 C8 C9 12 24 36 48 60 72 84 96 108 120 MIDI Number Figure 6 2 MIDI Numbers of C Keys The number is automatically translated from the MIDI number to the associated musical note the new note in the display If you selected the wrong MIDI number you can repeat this step Left and Right Region Balances The volume of the left and right regions can be adjusted relative to the center region and to each other When the display reads L BAL you can adjust the volume of the left region When the display reads R BAL you can adjust the volume of the right region Either region can be adjusted 15dB Enter a value in dB directly using the numeric button pad and press ENTR or use INCR and DECR to change the value by 1 dB increments If a value greater than 15 is entered the value will be set to 15 or when ENTR is pressed Note that region balancing is relative When you raise the volume of a specific region you are actually reducing the volume of the other regions with respect to it This is done to insure that the K150X s output
15. 64 95 1 32 96 127 1 32 33 64 0 31 list entry 33 64 32 63 33 64 64 95 33 64 96 127 33 64 65 96 0 31 list entry 65 96 32 63 65 96 64 95 65 96 96 127 65 96 97 128 0 31 list entry 97 128 32 63 97 128 64 95 97 128 96 127 97 128 5 4 The Program Editor Programs are the K150X s top level construct under which everything else associated with a particular keyboard configuration and sound quality is defined Each program can divide the keyboard into three regions and each region can have up to seven sound layers Each sound layer specifies a voice as well as a number of modifiers which alter the characteristics of the voice You can define up to 255 programs but the actual number can be less depending on how complicated each program is Programs may be assigned to individual MIDI channels In addition each program contains a set of parameters which control the programmable chorusing effect and a set of parameters which control the programmable vibrato oscillator These effects are discussed in separate sections Using the Program Editor Selecting and Editing Programs 1 Select Program Editing by pressing EDIT SAVE When you enter the program editor the display will show something similar to PROG 1 PIANO e the currently selected program s number 1 in our example e the currently selected program s name PIANO an acoustic piano 2 Select a program to work on by usin
16. EDIT A COMPLETE YOTCE BKET SOUP KODEL IHS PROGREM After loading the Sound Modeling Program presents a menu of its major functions Free movement among major functions is provided at this base level KESOFS eee SaM P PAETIAL 8 FREGEND TS s t PAaL t2 1H 52 ih 4 18 26 Partial frequencies need not be harmonically related The 2 D graphic display clearly shows deviations from perfect harmonic frequencies Selected partials are indicated by solid dots Tee eH OVERALL Ames TUDE P ia Q nt te i2 CROSS SECTION AT CEPHE itto 4900 2000 TORR fope A cross section plot shows the sound s spectrum at any point in time Note that time has scrolled forward to show the tail end of the sound s envelope Breakpoints of all of the partials combined are shown on the overall amplitude plot MOTEL ATTRIBUTES M ESELI THER AULT venie FATES iDO tH2 HERK WHIGHEIIEORZ NEWOCT a ATTACK LEVELS 9 SLOH XOVR Y EUSIAINTHOS D LOUDNBESFINODE RELEASE TERMINATE a OF PARTIALE REGERE DATS PND1IVt DUAL A complete listing of the global model attributes and the individual partial parameters is easily obtained Here the user has selected the change partial type function Cursor keys select the highlighted partial and digit keys initiate action STACKED CONTOURS KiSOFS Pe OE Selle Pe DISPLAY H ia ie Bal aoo SGo One method of working with dynamic spectral changes is to display th
17. It is always possible to return to the next highest level by using the EXIT selection option the 0 key Should you lose your bearings at any time simply use the 0 key until you have resurfaced to a familiar level of the program The work you have done will not be lost unless you exit the program entirely and the program will not let you do so without first asking to make sure you really want to exit completely When entering the DEFINE MODEL selection option your first task will be to load a model from disk or to create a default model If you select any option other than LOAD SAV MODEL you will generate a dialog box to remind you that THIS FUNCTION NEEDS A MODEL IN MEMORY If you have loaded a model at some other point for example when you were checking your system to make sure everything was operating properly the other options will be active The six selection options at this level are LOAD SAV MODEL GLOBAL PARMS PARTIAL PARMS CONTOURS ATTACK FUNCTION and EXIT 1 LOAD SAV MODEL S load or save model calls up the following menu LOAD SAVE MODEL CATALOG FROM DISK CREATE DEFAULT TO DISK DRIVE SLOT AUDIT EXIT DODNAUHBWNE 1 CATALOG F like the CATALOG function option in the FILE MANIPULATION menu displays a list of the sound files contained on the selected disk 2 FROM DISK F generates a dialog box ENTER MODEL FILE NAME 8 CHAR MAX Type in
18. K150FS Version 1 6 Software by Ralph Muha HARDWARE PROGRAMMER S MODEL AND ADDRESS MAP This is the basic component of the Hardware Developer s Package It describes the internal hardware of the 150 from a programmer s point of view Using this information it would be possible to write a new internal operating system or at least experiment with the sound engine registers One company has used this information to turn the 150 into a laboratory signal generator OPTIONAL all costs include USA shipping SOURCE CODE FOR S M P The Apple IT Sound Modeling Program is written entirely in very well commented 6502 assembly language It is over 20 000 lines and 800K in size It is available in IBM PC format 3x 360K or 1x 1 2M floppy Atari ST 2x 800K floppy or Apple Macintosh 2x 800K floppy The cost is 10 00 if you send floppies or 13 00 if I supply them HARDWARE SCHEMATICS These are the generally up to date hardware schematics on approximately 15 sheets of B size bond paper You may need a magnifying glass to read the IC pin numbers but they are quite legible The cost is 10 00 DIAGNOSTIC EPROM SET This is the production diagnostics which are quite good at confirming proper operation of everything but are only of limited usefulness in tracking down a malfunction They also include audio tests which in conjunction with a distortion analyzer can confirm proper operation of the audio output circuit The set consists of two 32K
19. Layer Editor parameters Balance Level 8 11 Balance Mode 8 10 Chorus Mode 8 13 Equalizer Number 8 15 Pitch Bend Mode 8 12 Timbre Level 8 9 Timbre Mode 8 7 Timbre Select 8 8 Timbre Shift Value 8 7 Transposition 8 5 Tuning 8 3 Vibrato Mode 8 14 Voice 8 3 layers creating 8 3 deleting 8 3 editing 8 1 selecting 8 1 L BAL 6 2 Left and Right Split Points parameter 6 6 LOUDNESS MAP editor 5 5 parameter 5 1 L SPLIT 6 2 6 7 M manual Balance Mode parameter 8 11 manual option Timbre Mode 9 7 MARIMBA 8 3 MAST TUNE 4 1 4 2 Master Tuning parameter 4 1 MIDI assignable controls 9 7 button sequence 2 3 channel number 3 1 channels 6 1 controller 6 4 8 7 Editor 4 5 key number chart 6 8 8 9 MIDI Channel parameter 5 2 MIDI Editor 4 5 5 1 5 9 CHANNEL 5 1 MIDI MODE 5 1 MOD WHEEL 5 1 parameters 5 1 PROGRAM LIST 5 1 5 7 VELOCITY MAP 5 1 5 4 MIDI Modes 5 2 MISC 2 3 Miscellaneous Editor 12 6 MOD WHEEL parameter 5 1 5 3 mode omni 3 1 mode switchS detune 9 7 MODULATION 12 2 monophonic channel pressure 12 1 Multi Mode MIDI Modes 5 2 mute pedal control 12 5 M Wheel Chorus Mode option 8 1 4 Vibrato Mode option 8 15 M Wheel switch 9 1 10 1 N NEXT editing button 2 5 NEXT PROG 12 2 Notes parameter 9 2 NOTES OFF 12 2 1 2 o Off Chorus Mode option 8 14 Pitch Bend option 6 4 8 13 switch 9 1 10 1 Vibrato Mode option 8 15 Omni Mode 3 1 MIDI Modes 5 2 on off switch 9 7
20. M P distribution disk upside down and enter BLOAD SMP_SCREENPRINT_IMGWRTR_SLT2 Insert your working master disk and enter BSAVE SMP_SCREENPRINT A 300 L CF The supplied print program for an Apple Imagewriter connected to the printer port Apple IIc or clone or a Super Serial card in slot 2 Apple Ile or I has now been installed Be sure the printer is connected powered up and ready before using the CNTL P function of S M P DE Ne If you have a different printer or a different interface to it you will have to obtain or write a high res screen dump program for it S M P imposes the following restrictions on the screen dump program 1 It must reside in memory at addresses 300 3CF and have its entry point at 300 It must print page 1 of the high resolution screen at 2000 3FFF 3 It may freely use page zero memory addresses 56 65 Other locations are usable if they are saved and restored use the text screen area or part of itself for temporary storage 4 It must make balanced use of the stack and return to the caller with an RTS instruction after the printout is complete The machine registers A X and Y may be freely used and the decimal mode should remain off Interrupts should be enabled on return 3 0 SUMMARY OF NEW MENU ORGANIZATION S M P Version 2 0 has had its menus rearranged to provide room for new functions better organize all functions and con serve memory Most menus have either not been changed or are simil
21. Max Vout High Vout Low Vout Min 0 Vin Low Vin High 127 Figure 13 1 VMAP 0 linear Using the Velocity Map Editor The display reads VELOCITY MAP x where x is the velocity map which will be edited Select the velocity map you wish to edit by entering its value directly with the numeric keypad and pressing ENTR or use the INCR and DECR keys Press ENTR and the display will show 1 the number of the velocity map being edited 2 the velocity map parameter being edited 3 the current value for that velocity map parameter For instance if the VIN HIGH parameter for velocity map 5 is currently being edited the display will show VM5 VIN HIGH current value The 6 editable parameters for each velocity map are VIN LOW VIN HIGH VOUT MIN VOUT LOW VOUT HIGH VOUT MAX Their relationships are shown graphically in Figure 13 2 Vout Max Vout High Vout Low Vout Min 0 Vin Low Vin High 127 Figure 13 2 Relationship of VMAP Editable Parameters Parameter Tuning Parameters Tuning Transposition Program Parameters Left Split Point Right Split Point Pitch Wheel Range Press Bend Range Soft Pedal Range Left Region Balance Right Region Balance Layer Parameters Tune Transpose Timbre Shift Timbre Level Balance Chorusing Parameters Extra Notes Detune Delay Decay Vibrato Parameters Depth Rate Shape Symmetry Delay Equalization Parameters All frequencies
22. P parameters Layer Editor 8 2 P BEND 6 2 switch 6 4 phasing 9 1 PIANO 8 3 Pitch Bend Mode parameter 8 1 Pitch Bend options 8 13 pitch bender control 12 5 pitch shifter control 12 5 pitch wheel 12 1 Pitch Wheel parameter 6 3 pitch bending options 6 4 P MODE 8 2 8 13 Poly Mode MIDI Modes 5 2 polyphonic key pressure 12 1 press pitch bending options 6 4 pressure control 12 5 PREV editing button 2 5 PREV PROG 12 2 PROG 2 3 PROGRAM 2 5 program replace 6 3 save modified 6 1 Program Editor 5 9 8 13 Program Editor parameter Left and Right Split Points 6 6 Soft Pedal 6 5 Program Editor parameters 6 3 PROGRAM LIST 13 1 editor 5 7 13 2 miscellaneous editors 13 1 parameter 5 1 5 8 programs copying 6 3 deleting 6 3 editing 6 1 renaming 6 3 selecting 6 1 Q question mark 6 2 R range pitch bending 8 13 RATE 10 2 10 5 Rate parameter 10 4 R BAL 6 2 REFERENCE KEY 4 1 4 5 Reference Key parameter 4 4 REGION 2 3 region 8 1 copies 7 2 deletes 7 2 replaces 7 2 editor 2 4 6 9 7 1 7 2 renaming programs 6 3 replace program 6 3 replaces region 7 2 right button pad 2 3 R SPLIT 6 2 6 7 S SAVE editing button 2 6 save modified built in program 6 1 scale step through 4 5 select option Timbre Mode 8 7 selecting layers 8 1 programs 6 1 SFT PDL 6 2 6 6 slider Balance Mode parameter 8 1 1 slider option Timbre Mode 8 7 SOFT PEDAL 12 2 parameter 6 5 control 12 4 SOSTENUTO 12
23. Program editor Region editor Layer editor Chorusing editor Vibrato editor Equalizer editor 0 MIDI Assignment editor 1 Miscellaneous functions editor SO 0 ON All changes that you make while editing take effect instantly Thus you can play the keyboard while you re editing to hear the changes as you make them The Built In Programs The built in programs are popular playing configurations of conventional instruments or highlight sound modification features of the K150X Program 1 for instance is a piano Program 2 combines a piano with a bass the lowest two octaves of the keyboard sound like a bass while the rest of the keyboard remains a piano You can select and play these and many other programs as soon as the K150X is connected to a MIDI controller and an amplifier Getting Started The K150X allows a myriad of connections between itself and other devices through the MIDI interface We ll describe a simple setup with the K150X acting as a MIDI receiver from a MIDI controller which we Il assume to be a piano keyboard like device To set up the K150X and one MIDI controller you will need e 110V or 220V AC electrical power e A MIDI controller e A MIDI cable e Headphones with a 4 inch stereo phone plug mono or stereo or a 4 inch mono phone plug connected to an amplifier and speaker combination Follow this general procedure 1 The K150X will operate on either 110V or 220V AC power and indic
24. SYNTHESIZER SOUND MODELING PROGRAM This white covered manual describes the Apple II based Sound Modeling Program for the 150 It is fairly good but only cov ers version 1 0 of the S M P which was not very advanced VERSION 2 0 ADDENDUM These corner stapled sheets describe the new features offered by version 1 4 of the Sound Modeling Program 1 4 was in tended to be released as Version 2 0 which is why the addendum says 2 0 but that never happened VERSION 1 8 SUPPLEMENT TO VERSION 2 0 ADDENDUM So instead version 1 4 continued to be improved up through version 1 8 which is documented here At this point all of the Apple II s standard memory is utilized and there simply wasn t room to put in anything else without restricting usage to the more recent Apples with 128K of memory APPENDIX 1 K150FS SYSTEM EXCLUSIVE FORMATS These corner stapled sheets were intended to be a part of the S M P manual and describe Contoured Sound Modeling as used in the 150 in great technical detail A little known fact is that the term Contoured Sound Modeling is really just a marketing snow term and does not refer to any particular synthesis algorithm used by Kurzweil equipment The K250 which was first marketed using that term is a sampler whereas the K150 which was developed about 4 years later uses classical additive synthesis These sheets also describes the SYS EX messages that are passed back and forth between the Apple II and the 150 when r
25. Summary of Editable Parameters Min 125 60 12 12 60 60 30 30 30 125 60 60 30 15 ooor 10 30 parameter effective after note start 3600 49 9 10 4000 Default oo oooc o triangle 0 0 Units cents semitones MIDI Key MIDI Key semitones semitones cents semitones semitones dB dB cents ms dB cents Hz ms dB Battery Replacement Replacing the Battery If you turn on the K150X and get a message like EROB LOW BATTERY you will need to replace the battery The K150X s program and parameter storage is protected while the unit s power is off by a battery As with all batteries eventually the battery will run out You can buy extras at camera and electronics stores e g Radio Shack and replace the battery yourself You will only have 5 minutes after you remove the old battery before your programs will be lost There is a back up feature that holds the memory briefly when both the AC input and the battery are absent You might consider getting the new battery ready before doing anything It s also a good idea to back up your programs onto cassette first just in case To replace the battery 1 Turn power off Remove the two screws which hold down the square lid on top of the unit and remove the lid You will need a Phillips screwdriver to do this 3 In the opening you will see six sockets for integrated circuits and a flat
26. T column Voices are marked by a V and compiled voices by a C Note that the compiling of voices is a function not implemented for Version 1 At the upper right of the display is shown the amount of memory in kilobytes remaining on the disk Press 2 then type O R GUN and press RETURN The lower left of the display will briefly flash LOOKING then will flash LOADING Otherwise the display will not change Press 9 This selects the AUDIT options menu Press 1 This sends all partials in the model ORGUN to the 150FS If you look quickly you will see a display flash in the lower left of the screen SEND 156 This is to let you know that the Ile is sending information to the 150FS and telling you how many bytes are being sent As long as you see this display you will not be able to hear anything from the 150FS even if you press a key on your MIDI controller Press 5 This activates the LIVE KEYBOARD option which enables you to use your He as a MIDI controller Press C You will hear the ORGUN model played at middle C Note that a vertical bar appears under the keyboard schematic on the Ile screen to indicate an active note Hold the open apple key and press C again or any of the keys indicated in the LIVE KEYBOARD diagram Holding the open apple key before pressing one of the Ile keys causes the note triggered by that key to sustain until the key is pressed again You may use this to hold notes or chords indefinitely while e
27. The Sound Modeling Program a standard feature of the 150FS enables the musician to develop original sounds Is it the same piano sound that s in the Kurzweil 250 The piano sound is different but just as high quality It has certain additional features due to the technology used to create the sound For example there s more change in timbre from soft to loud and more change in the sound as it decays there is no looping as with samplers There are actually 8 timbre levels in the piano and 5 8 in the other sounds except the organs How do I use the 150FS The instrument comes with 93 preset programs for accessing the instrument voices alone or in combinations of splits and layers In addition a simple front panel interface allows you to create and store your own preset programs What kind of programs You can split the keyboard into two or three regions and define up to seven sound layers in each region Each sound layer can select a different instrument voice and can be separately tuned transposed and balanced For example you can put the acoustic bass on the left side and have piano layered with guitar on the right Or you can make a great twelve string guitar sound using two guitar layers with one transposed up an octave and slightly detuned Can I use the 150FS with my Kurzweil 250 to reduce channel stealing The 150FS is a fine complement to a MIDI setup that includes a Kurzweil 250 Nevertheless the 150FS will not increase the num
28. Voice Block B programs 80 103 Additionally 64K of voice memory has been installed and the standard S M P voice library programs 150 195 and some voices which are not used by any programs has been loaded into it See the Version 1 8 Supplement for a list of these sounds The S M P sounds are volatile so they will be lost if the battery runs out or the voice memory is cleared from the front panel CRASHED UNIT SYNDROME When the 150 is powered down the power supply generates a power fail interrupt which is supposed to save the current edit state in non volatile RAM and then switch the memory power to battery backup However if the software is in a crashed state no display or just one character showing brighter than normal then this interrupt is never recognized and the power switch over doesn t take place resulting in high battery drain Thus never turn off a crashed unit and leave it off always switch it back on a second later and get a normal display before shutting it off permanently I know this isn t good engineer ing but that s the way the units were built and putting in a passive switch over circuit would be alot of rework wires Conversely when the 150 is powered up the internal software makes a quick check of non volatile RAM integrity and then attempts to load program 1 piano or the last edited program if it was never explicitly saved The integrity check is minimal however a few locations are checked for specific v
29. a routine Compare this to selection options GLOBAL Pertaining to all of the functions or characteristics of a given system GLOBAL PARAMETER Refers to a Sound Modeling Program model A parameter affecting every partial in the model Compare to partial parameter LEVEL Not to be confused with attack level a level in the Sound Modeling Program relates to the selec tion of options Pressing a Ile key calling for a selection option changes the level of the program addressed by the user The EXIT option for example takes the user up a level each time EXIT is selected Pressing any of the other selection option keys takes the user down a level The user loads the program entering at the top level and moves to lower levels by se lecting options MENU The portion of the display which presents the user with the available options for that particular level MENU TREE At the top level of the Sound Modeling Program there are only a few options available Each of those options presents a further list of options and so on so that at lower levels the number of options is great Selecting op tions is analogous to moving along the branches of a tree where there are just a few major options at the base and numerous minor options at the outer reaches The Sound Modeling Program is structured as a menu tree MIDI CONTROLLER Often a device with a piano like keyboard Any device which converts an electrical signal into digital binary information for
30. a sound file name press RETURN and the program will load that model from disk to RAM 3 CREATE DEFAULT F automatically loads a default model with 16 partials into RAM This is a good place to begin as you learn the basics of the program 4 TO DISK F If there is no model currently in memory you will see this THIS FUNCTION NEEDS A MODEL IN MEMORY If a model is already in RAM pressing 4 at this point will generate the following dialog box ENTER MODEL FILE NAME 8 CHAR MAX allowing you to name the file anything you wish within a limit of eight characters Type in a name press RETURN and the program will save the model to disk This newly saved model will now appear in your CATALOG list of models If you enter a name which has already been stored you will be alerted THAT NAME IS IN USE OK TO REPLACE Y N A Yes response will assign the currently selected name to the model in RAM and will erase the model on disk Be sure that you want to replace the old model before answering Yes 8 DRIVE SLOT F allows you to choose which disk you will load save from to This option is identical to its counterpart in the FILE MANIPULATION menu 9 AUDIT S is an important selection option and you ll be seeing a great deal of it It appears at almost every level of this and other groups of options The AUDIT option permits you to hear the results of your sound f
31. assignment of the 150FS If the 150FS is in Omni mode communications will take place regardless of the Sound Modeling Program s transmission channel If the 150FS is in Multi mode the system will work as long as some program has been assigned to the MIDI channel on the 150FS that matches the Sound Modeling Program s transmission channel If the 150FS is in Poly mode its channel assignment must match that of the Sound Model ing Program To check the MIDI mode on the 150FS press EDIT MIDI You may need to press NEXT to call up the MIDI MODE display Once you see the MIDI MODE display you may use INCR or DECR to find Omni This will be the easiest mode selection since the 150FS will continue to produce sound even if you inadvertently change MIDI channels in the Sound Modeling Program ENTER MIDI CHANNEL 0 EXIT S as always brings you up to the next higher level 7 SELECT PARTIALS is described on pages 29 and 30 8 MIDI CHANNEL is identical to the MIDI CHANNEL option above 0 EXIT takes you up one level 2 GLOBAL PARMS S highlights the global parameters the set of conditions common to the entire model This option generates a more detailed display Note that the values given in this example refer to the default model created from the LOAD SAVE MODEL option K150 FS MODEL ATTRIBUTES S M P GLOBALMNAM DEFAULT AUDIT V 250
32. be either pure sinewaves or either of two noise random waveforms Each oscillator s output is processed through an amplitude modulator which assigns an initial amplitude to each partial and designates the rate of change in amplitude as the partial evolves Initial amplitude covers a range from 0 95 6 dB and rate of change covers 9999 dB per second in either 1 79 or 28 6 dB per second increments Each partial then is determined by an amplitude envelope which may have as many as 2700 breakpoints or 2701 envelope segments A breakpoint represents a point on the curve of the amplitude envelope at which the slope of the curve changes A segment is the area between two breakpoints The amplitude modulator assigns new rate of change values at every break point in a partial The amplitude envelope curve which defines a partial is referred to in the Sound Modeling Program manual as a contour THE REPRESENTATION OF PARTIALS IN THE 150FS The Sound Modeling Program and the user view and manipulate contours the partials amplitude envelopes in absolute time absolute amplitude form which is easy to understand display and edit In this form each breakpoint in the straight line segment approximation of the contour has a time in milliseconds and an amplitude in decibels If the 150FS had to play out the contours in this form however it would have to compute the line segment angles in order to interpolate all of the in termediate amplitud
33. bytes sent which is the exact integer number rather than a rounded off number of K is less that the size in memory How much less depends mostly on the pro portion of breakpoints that are at the exact same times When some times are the same the compiled model needs to specify the time only once which takes 3 bytes and then each breakpoint at that time needs only 2 bytes Thus it is efficient to have breakpoints at coinciding times when possible Knowing how large a model is in the KI50FS is important because its voice memory is limited to 65308 bytes or 64 voices You may determine how much voice memory is left by pressing F3 on the KI50FS panel when in base mode i e no edit is in progress Then the number of user voices used and remaining is dis played by pressing NEXT When saved on disk the size of a model increases sometimes seemingly dramatically However as models get bigger the percentage increase declines Much of this is due to the fact that disk files must be an integer number of sectors each of which is 256 bytes or 0 25K Then because of the way that Apple DOS works the minimum file size is two sectors which is 0 5K Thus models up to about 2K in memory will take 0 5K on the disk 0 3 0 5K will take 0 7K actually 0 75K and each additional 25K in memory will take another 25K disk sector Knowing how much space a model takes on disk is important because each disk holds about 77K with S M P recorded on it or 123K without
34. contours which can be overlayed is 17 4 OVERLAY SELECTED F overlays all partials selected with option 9 below This option will cancel out any partials already appearing in the half of the screen selected with option 1 The maximum for overlaying here is also 17 5 STACK ONE F prompts you with the same dialog box as options 2 and 3 The maximum number of partials which may be stacked is 17 Enter a partial number press RETURN and the partial you selected will appear on the screen Repeat this option up to 16 times to stack on the screen any collection of partials you select Each newly stacked partial will appear above the previ ously stacked partial with its own grid calibrations The space allotted to each partial will decrease as the number of partials stacked increases 6 STACK SELECTED F LEVEL 4 similar to option 5 allows you simultaneously to view a number of partials in indi vidual displays Option 6 however stacks a set of partials which you determine using option 9 below 7 OVERALL LOUDNESS F LEVEL 4 displays the amplitude curve of the entire model within the ran e you selected for time in SET DISP PARMS The amplitude is always on a scale from 80 to 20 dB 8 CROSS SECTION F calls a dialog box SELECT TIME PRESS CR and provides you with a crosshair to select a time visually CROSS SECTION will operate only when a contour has been displayed in the upper half of the screen With the time s
35. crosshair is not running through an existing breakpoint the mouse button inserts a breakpoint like the 2 function If you have a two button mouse the above probably applies to the left button and the right button will delete the nearest breakpoint like the 3 function 3 2 SKEW OPTION IN TIME ADJUST MENU This new function allows a different parameter amount to be applied to each partial when Time Adjust functions are applied to groups of more than one partial For example say each partial in a group has the same attack contour like in the the default model and it is desired to skew the attacks so that high partials attack later than low ones You could shift the time of each contour say 10 milliseconds later than the previous partial one at a time using SHIFT on the time adjust menu Alternatively you could set a skew of 10 milliseconds and do all of the partials as a group Skew also works on Stretch Compress and Warp To support the skew feature the Time Adjust menu has been changed slightly and function 5 is now labeled SKEW When the SKEW legend has a dark background the present skew amount is zero and there is no skew effect To set a skew amount press 5 and then enter the desired skew using a leading minus sign if it is to be negative Values up to 10000 may be entered and the fractional part has a resolution of 01 When the present skew amount is non zero SKEW will be highlighted on the menu To clear the skew press 5 and en
36. dB 20 30 40 50 60 80 dB full screen 0 298 Hz 600 1K 1 6K 2K 3K 4K 5K 6K 8 kHz full screen Title partial parameters global and individual partial frequencies tabular 2 D graphic contours individual partial 2 17 stacked line plots cross section static and dynamic attack function with or without lines release rates audition sound file listing KURZWEIL MUSIC SYSTEMS INC Waltham MA April 1987 What is it good for It lets you change the tone color of the built in instrument voices For example timbre shift lets you turn the acoustic grand piano into a bright rock n roll piano You can also select a particular timbre such as the piano sound at the low A and play it over the entire keyboard How about chorusing The 150FS chorusing is software chorusing not the kind you get with an external effects box It works by generating extra notes up to seven for each MIDI note Each extra note may be successively detuned delayed and attenuated so you can create a variety of effects such as phasing flanging chorusing and echo The detune range is enormous up to 2000 cents so you can chorus in musical intervals such as fifths i e 700 cents How about vibrato The vibrato LFO is a variable symmetry oscillator There are two waveshapes available triangle and square a symmetry control acts like pulse width modulation You can also select whether the vibrato works above below or about the nominal
37. detune control unidirectional 9 2 detune mode switch 9 3 detune mode control bidirectional 9 3 I 1 display 150X 2 2 doubling 9 1 DTUNE 9 1 9 2 Dtune parameter 9 2 E E BASS 8 3 echo 9 1 editing buttons 2 6 2 5 editing layers 8 1 editing programs 6 1 Editor Channel 2 4 3 1 Chorus 8 6 8 1 9 1 9 3 Control 11 1 12 1 12 4 Equalizer 8 7 11 1 Intonation Table 13 2 Layer 8 1 8 7 MIDI 5 1 5 4 Miscellaneous 13 1 13 4 Program 5 9 6 1 6 9 8 13 Program List 13 1 Region 2 4 6 9 7 1 7 2 top level 2 5 Tuning 4 1 4 2 Velocity Map 13 4 Vibrato 9 7 10 1 10 9 ELEC_PNO 8 3 entering the Channel Editor 3 EQ 2 3 EQUALIZER 8 2 8 16 Equalizer Editor 8 16 10 8 Equalizer Number parameter 8 15 expression control 12 6 EXRESSION 12 2 external switch pedals 12 1 F Fixed Chorus Mode option 8 14 Vibrato Mode option 8 15 switch 9 1 10 1 flanging 9 1 H HARPSCHD 8 3 I INCR editing button 2 5 INCREMENT 12 2 INTONATION 4 1 13 1 miscellaneous editors 13 1 Intonation parameter 4 2 Intonation Table Editor 13 2 J JAZZ ORG 8 3 K K150X communicating with 2 1 K150X display 2 4 units in 2 5 K BEND 6 2 key number chart MIDI 6 8 8 9 KEY PRESS 12 2 Key Pressure Bend parameter 6 3 key pressure bending 6 4 K Press Chorus Mode option 8 14 Pitch Bend option 8 13 Vibrato Mode option 8 15 K Press switch 9 1 10 1 L LOUDNESS MAP 5 1 5 5 LAYER 2 3 Layer Editor 7 2
38. for converting absolute breakpoints to relative ones for the K150FS should keep track of the errors incurred and feed back a correction to prevent the errors from accumulating The Apple II S M P does this and it is completely effective The basis of this error feedback process is shown below 4 56 550 9 Desired 4 7 42 dB e Actual 572dBs amp 100 dB s 171 dB s N lt 16 r 450 12 5 20 300 16 13 14 600 20 5 20 3 300 350 400 450 500 550 600 650 msec Below is a spreadsheet showing how the values in the example above were calculated BREAKPOINT INITIAL DESIRED DESIRED ACTUAL ACTUAL NUMBER POINT ENDPOINT SLOPE SLOPE ENDPOINT 1 300 16 400 6 100 0 114 4 400 4 56 2 400 4 56 450 12 5 158 8 171 7 450 13 14 3 450 13 14 550 9 41 4 57 2 550 7 42 4 550 7 42 600 20 5 261 6 257 5 600 20 30 5 600 20 30 1 5 5 Partial Phases No control over the phases of partials is offered by the K150FS The operating software attempts to set all of the phases to zero in order to minimize clicks on fast attacks However for high frequency partials delays in getting them started relative to other partials will result in noticeable on an oscilloscope deviations from zero phase In any case the 0 298Hz frequency quantization will generally cause the phases to drift slowly while a note is held even when exact harmonics are specified This effect may be easily seen by playing the built in sawtooth voice 25
39. gain is always as high as possible 6 5 The Region Editor With the Region Editor you select the region of the active program which you want to work in When the Layer Editor is selected the editable layers will be those of the selected region Technically all programs have 3 regions It is possible however to define the split points in the Program Editor such that they are outside the range of the MIDI keyboard or controller you are using For example there are MIDI values for notes from C in the 0 octave to B in the 9th octave but even a full range 88 key piano keyboard goes only from A in the 0 octave to C in the 8th octave as shown in Figure 7 1 Key CO Cl C2 C3 C4 CS C6 C7 C8 B9 12 24 36 48 60 12 84 96 108 119 MIDI Number Figure 7 1 MIDI Numbers of C Keys Therefore it is possible to select a region and edit its layers even though you can t play it because no part of the actual playing keyboard has been assigned to it Using the Region Editor 1 Enter the Region Editor by pressing EDIT CANC The regions edited will be those of the currently active program To edit the regions of another program you must first select it to be the currently active program and then press EDIT CANC The display will show Pn CNTR LYRS r where n is number of the current active program and r is the number of layers currently defined for the region 2 Select a region to work on by using INCR DECR NEXT or PREV or select it u
40. if the interval is 1000 to 5000 then breakpoints at or earlier than 1 second are untouched Then assuming the multiple is 3 0 a breakpoint at 1050 50mS past the beginning of the interval would be placed at 1150 150mS past the beginning and a breakpoint at 2000 would be placed at 4000 This in effect slows everything beyond 1 second to 1 3 speed As with Shift it is possible for stretched breakpoints to spill over the end of the specified interval Testing for and handling of this condition is the same as with Shift The fourth kind of time adjustment is the Warp The warp adjustment will move breakpoint times within the interval accord ing to their position in the interval and a warp amount which can range from 9 to 9 integers only To understand time warping consider a rubber strip that has had knots tied in it representing breakpoint times The ends of the strip represent the ends of the interval Now while holding the ends steady imagine a force that stretches one end of the strip while letting the other end contract Zero represents no force negative amounts represent increasing amounts of force such that the right late end of the strip is stretched and the left end contracts Positive amounts would stretch the early times and compress the later times As always times outside the interval are unchanged A way to remember the warp direction is to consider that with positive adjustments all breakpoint times will become later but by
41. is particularly troublesome when a large negative shift actually makes a breakpoint s time negative Thus Shift and Stretch and Compress as well impose the restrictionthat the breakpoint s time after adjustment cannot fall outside the speci fied interval If it does the breakpoint is deleted from the contour Before any adjustment is actually done a check is made S M P Version 2 0 9 to determine if this situation will develop If it will the warning message OVERLAPPED BREAKPOINTS WILL BE DE LETED IS THIS OK Y N An N response will cancel the function while a Y will allow the offending breakpoints to be deleted Deleted breakpoints cannot be retrieved except from a backup disk copy of the model Stretch is like Shift except that the adjustment is by a multiple between 1 00 and 4 99 rather than a simple shift In the sim plest case of stretching an entire contour interval 0 to 65000 entering 2 00 for the stretch amount would double the times of all of the breakpoints thus slowing the sound to half speed but without any pitch shift Compress is like stretch except that fractional multiples between 20 and 99 are permitted Compressing an entire contour will make the sound speed up but again without any pitch shift If the beginning of the interval for Stretch or Compress is not at zero time then the times of breakpoints in the interval are adjusted according to their position relative to the beginning of the interval For example
42. loop points will be displayed with dotted vertical lines in dicating the loop from and loop to points See Section IV Looping for more information about the 150FS s looping func tions Unlooping a model is accomplished by selecting the sustain option for the model and toggling to DIEOUT Since a model with a DIEOUT sustain option may not be looped this deactivates the loop Toggling back to HOLD allows you to assign a new set of looping instructions 9 AUDIT S the usual auditing selections 0 EXIT S takes you up a level to DEFINE MODEL 5 ATTACK FUNCTION S allows you to assign multiple responses based on attack velocity from your controlling key board You may set any number of levels a practical number is 20 30 and depending on how hard you strike a key on a velocity sensitive keyboard of course your 150FS will respond with the attack level which corresponds to that attack veloc ity Each level may be edited to boost or drop the amplitude of each partial relative to the amplitudes given in the contours Any selected partials or all partials may have any one or all attack function levels assigned Selecting 5 ATTACK FUNC TION calls the following options menu INES SELECT PARTIALS AUDIT EXIT DOWMOANADUEPWNE 1 EDIT CURVES S calls the following display EDIT ATTK ATTACK FUNCTION ALL SINE CURV
43. loudness Press 7 A dialog box appears and a prompt at the lower left of the screen asking you to enter a value Press 6 4 RETURN You ve now set the maximum loudness of the model at 64 dB This is the basic routine for any of the global parameters Some global parameter options will present you with another options menu and will automatically make the change you desire when you press the appropriate key Experiment with some of the other global parameter options be fore moving on Press 0 You ve exited once again to the DEFINE MODEL options menu Let s take a quick look at the partial parameters Press 3 3 1 You ve reached a level where it is possible to change the frequency of any of the partials in the model Use the up or down cursor keys to scroll through the list Press 1 You re prompted to enter a value in either Hertz or octaves Enter a value press RETURN and you ll see the values change in the highlighted field When you re ready to move on Press 000 You re back to DEFINE MODEL again Check out the ATTACK FUNCTION option Press 5 You re given the ATTACK FUNCTION options menu Press 1 1 RETURN 2 You have selected the option for adjusting the attack levels of the model and changed the amplitude at the frequency indi cated by the vertical crosshair This function allows you to modify the attack portion of the envelopes for each model Press052 1 You have selected the level whi
44. of Beta Test Version 1 8 of the Apple II Sound Modeling Program for the Kurzweil 150 Fourier Synthesizer Among these is a new version that will run properly on an Apple II GS with a Passport or equivalent MIDI interface card In addition some bugs in Version 1 7 have been fixed If you have an Apple II Ile or Ic please refer to the Version 2 0 Addendum first for instructions on installing S M P on your particular computer Please note that wherever in these instructions the underline character _ appears in disk filenames you should type a minus sign instead Also please substitute 1 8 for 2 0 when seen as part of a filename If you have an Apple II GS please read section 2 0 Installation in the Version 2 0 Addendum and then refer to Section 1 in this supplement for II GS specific installation instructions If you wish to install a screen print program ignore Section 2 5 of the 2 0 Addendum and instead refer to Section 2 in this Supplement There are now more options for installing a screen print routine After getting S M P installed on your computer you should read over the bound Version 1 0 manual in order to get started keeping in mind that some of the menus have changed slightly When familiar with basic operations or to resolve a discrepancy in the 1 0 manual read through the 2 0 Addendum for a discussion of the new features introduced by Version 1 7 Finally check out Section 3 of this supplement for new Version 1 8 sp
45. parameter 8 6 Balance Mode parameter 8 5 A VELOC 8 5 manual 8 5 slider 8 5 B MODE 8 5 default 8 5 Both Pitch Bend option 6 3 8 6 BR_E_PNO 8 3 built in program save 6 1 built in voices 8 3 button sequences 2 2 button pad left 2 1 right 2 2 C CANC editing button 2 5 C DECAY CC 12 2 C DELAY CC 12 2 C DTUNE CC 12 2 CHAN 2 2 CHANNEL 2 4 5 1 channel de activating 3 1 Channel Editor 2 2 2 4 3 1 MIDI channel number 3 1 CHORUS 9 1 Chorus Editor 8 6 8 7 Chorus Editor parameters Decay 9 2 Delay 9 2 Dtune 9 2 Notes 9 1 Chorus Enable switches 9 1 Chorus Mode parameter 8 7 Chorus Mode options 8 7 CHORUS SW 12 2 chorusing 9 1 CHORUS 2 2 CLR editing button 2 3 C MODE 8 2 default 8 6 C MODE CC 12 2 C MODE SW 12 2 communicating with the K150X 2 1 control decay 9 3 delay 9 3 detune 9 3 detune mode 9 3 Control Editor 11 1 CONTROLS 2 2 controls virtual 12 1 copies region 7 2 copying programs 6 2 creating layers 8 2 D DATA ENTRY 12 2 de activating a channel 3 1 DECAY 9 1 9 2 Decay parameter 9 2 decay control unidirectional 9 2 DECR editing button 2 2 DECREMENT 12 2 default B MODE 8 5 C MODE 8 6 T LEVEL 8 5 Vibrato Enable switch 10 1 V MODE 8 7 default note timbre select 8 4 DELAY 9 1 9 2 10 1 10 3 Delay parameter 9 2 10 3 delay control unidirectional 9 3 deleting region 7 1 deleting layers 8 2 deleting programs 6 3 DEPTH 10 1 10 2 Depth parameter 10 2
46. pitch How do I control the effects Each sound layer has parameters that control how the chorusing and vibrato effects are applied Either or both effect can be switched on or off or enabled by the mod wheel and or by mono or polyphonic afterpressure aftertouch Another parameter controls pitch bend which can be disabled controlled by the pitch wheel afterpressure or both You mentioned a graphic equalizer Yes Each program has an eight band graphic equalizer Each sound layer has a parameter to turn the equalizer on or off How many programs can I have The 150FS allows program numbers from 1 to 255 But the size of a program varies with the number of sound layers A typical number of user programs is 100 This does not include programs provided in the 150FS s ROMS 255 programs MIDI allows only 128 We ve thought of that The 150FS includes a 128 element program list that lets you map MIDI program numbers to 150FS programs You can split the list two or four ways if you like e g to create four banks of thirty two programs each What about polyphony How may notes can it play The 150FS can produce up to 16 notes at once You can start up to eight notes simultaneously beyond that you ll start to hear delays Delays Yes delays If you create a program with four sound layers each MIDI note will actually produce four notes So if you play a six note chord you trigger 24 note events The 150FS will immediately play eig
47. proper operation of the audio output circuit The set consists of two 32Kx8 200nS EPROMs and a manual 10 00 if you supply two 27256 15 or 20 EPROMs or 20 if I must supply them DEBUG MONITOR EPROM SET This two EPROM set is the debugging monitor mentioned in the Programmer s Model and Address Map manual described above To use you must construct a MIDI to RS232 and RS 232 to MIDI converter simple plans included so your com puter can communicate with the monitor program in ASCII at 4800 baud The monitor can display and set memory con tents set breakpoints display the 68000 registers load object files and other common but rudimentary debugging func tions Any computer with a terminal emulator program can be used A manual is included 10 00 if you supply two 27256 15 or 20 EPROMs or 20 if I must supply them SOURCE CODE FOR INTERNAL SOFTWARE I make this available reluctantly to those who are either masochists or geniuses It is the raw 68000 assembly source code in the non standard format used by the HP64000 development system on which the the 150 was developed It is not very well commented and makes extensive use of the 64000 s macro facility which is also non standard No I don t really understand it either so you re on your own with respect to interpreting it About 1MB in size see the S M P source offer above for disk formats available and cost SOUNDS INCLUDED All of the units I ship have the original factor
48. same 1 2048th octave units A perfect 4th harmonic for example would be expressed as 4096 General conversion formulas are Value 2954 6394 In Multiple Multiple exp Value 2954 6394 Note that while frequencies can be specified very precisely with these formulas the final result produced by the hardware is quantized to 0 298Hz This means that even sounds in which perfect harmonic intervals have been specified will generally not sit still on an oscilloscope because the frequency quantization error alters the exact ratios slightly For noise partials the frequency field specifies an integer playback rate through the noise table The two tables are in fact interleaved in the synthesizer memory and the noise type specification high low simply affects the initial setting of the noise table pointer to either zero or 4 The spectrum of the noise is defined for a playback rate of 8 Other playback rates will create different but unpredictable spectra Note that if the playback rate is not a multiple of 8 samples from the two tables will be intermixed creating yet another effect The hardware noise table pointer wraps a round at 32768 so a playback rate of 32760 is equivalent to 8 except that the noise table is scanned backward The relatively short length of the noise table 4096 samples limits noise usage to relatively short bursts otherwise repetition is readily apparent 1 5 3 Amplitude Units Where absolute amplitudes are specifie
49. simulated in software and the result downloaded to the sampler to be heard The Kurzweil 150 Fourier Synthesizer however is a true additive synthesis machine Sounds may not only be designed and edited in the frequency domain they are really synthesized in that way This allows very rapid program operation and produces sound files that are compact and load quickly It also means there are none of the typical sampler problems of finding loop points and hearing noticeable repetition during long sustains HOW THE KURZWEIL 150FS PRODUCES SOUND In the 150FS is a pool of 240 independent oscillators called partials each of which may be a sine wave or any of several types of noise When a note is played the necessary number of partials is assigned from the pool Each oscillator s output is then given its own arbitrarily shaped amplitude envelope called a contour which comes from the sound model memory The contours themselves are represented as a series of line segments where each breakpoint has a time to millisecond resolution and a rate or amplitude slope in decibels per second An instrument voice is typically made of many models each of which covers a fairly narrow pitch range Each model in turn has its own set of contours and a multi level attack function which specifies how the dynamic spectrum defined by the contours is to be modified for different MIDI key velocities Additionally there are parameters in the models which speci
50. the loop 1 3 ATTACK FUNCTION As mentioned earlier the first breakpoint of all contours is at zero amplitude and zero time The second breakpoint of each contour is actually specified by a table called the Attack Function The third and subsequent breakpoints are specified by the command and argument lists described above in section 1 2 Since an entire contour in delta time slope format is relative to the amplitude of the second breakpoint its overall amplitude can be shifted up or down simply by altering the amplitude of the second breakpoint This is illustrated below 30ms 800 dB s Original Contour Second BP shifted down 16 dB Hardware clips dB at 95 6 dB 200ms 200 dB s 2 3200 dB s Em 2400 dB s 0 50 100 150 200 250 300 350 400 450 msec The K150FS operating system considers a host of variables in setting the absolute second breakpoint amplitude of each partial when a note is started actually it is setting the slope away from the first breakpoint These include the attack function table to be described the MIDI velocity the overall loudness of the model the MIDI volume controller and the graphic equalizer layer parameters in the sound program However once the contours are launched from the second breakpoint their evolution is predestined except for the Release Rates to be discussed later The Attack Function is a rectangular array with columns corresponding to partials and rows corr
51. the other parameters will not be audible Likewise if DEPTH is set to 0C no audible oscillation occurs because the note doesn t change Remember that you can interactively listen to your modifications to the Vibrato editor To do this at least one layer in the region of the keyboard that you re playing must have its Vibrato Enable switch enabled on delayed or press see Layer Editing When you select values using the numeric button pad and press ENTR or change values using INCR and DECR the changes in sound can be heard by playing the keyboard Also note that you can press UNDO to toggle between the current value and the previous value or CLR to reset a value to its default value Triangle or Square When the display shows TRIANGLE or SQUARE you can select the waveform used by Vibrato With TRIANGLE the sound will ease from the played note to the limit of oscillation specified with the DEPTH parameter and back again With SQUARE the sound will jump between the limits of oscillation The two waveforms are shown in Figure 10 1 10 1 Triangle Square Vibrato Trill Figure 10 1 Triangle vs Square waves The musical effect is approximately as shown in Figure 10 2 Triangle Wave Vibrato Square Wave Vibrato e ee o a Figure 10 2 Musical Effect Use INCR and DECR to alternate between SQUARE and TRIANGLE Depth When the display shows DEPTH you can select the depth and mode of the oscillation Depth is t
52. the same highest note parameters unless of course that is what you wish to change To hear the com plete altered voice even if only one of its models was changed you will have to send the entire voice back to the K150FS Unfortunately the KI50FS operating system does not permit individual models of existing voices to be replaced Note that the memory buffer for holding read back models is smaller than the main model buffer although since it holds the model in compiled K150FS format the space is used a little more efficiently The size of the readback buffer is just short of 3K whereas the main model buffer is 6 25K Thus if a very large model is loaded into the K150FS by S M P it may not be possible to read it back using this function but of course it can be read back from disk The largest built in ROM sound models are considerably smaller than 3K 10 0 AMPLITUDE ADJUST FUNCTION The Amplitude Adjust function is key 16 in the Edit Contours menu It requires that a model be in memory and presents a new menu titled Amplitude Adjust In this menu function 6 toggles between All Partials and Selected Partials When SEL S M P Version 2 0 8 PAR is highlighted the amplitude adjustment will only be made to the currently selected partials Function 8 allows you to select partials as usual Functions 9 Audit and 0 Exit work in the usual manner as well All three of the amplitude adjustment functions will ask for three parameters befor
53. therefore be from 50mS to 1300mS The destination interval should start where the original ends and the first copy begins When this is done Viola the shape is copied 5 times nearly instantly It will only work when the destination contour is the same as the source though either single selected or all ee ee Shape to be copied Breakpoints added by first copy 0 0 2 0 4 0 6 0 8 1 0 1 2 1 4 1 6 0 5 10 15 After 5 copies 20 0 0 2 0 4 0 6 0 8 1 0 1 2 1 4 1 6 So why does this work The original contour didn t even have any breakpoints beyond 300mS yet the source interval is specified to cover all the way out to 1300mS The secret is that since copying is performed one breakpoint at a time from early to late there will be breakpoints beyond 300mS created by the copying when the copy process reaches them These breakpoints are copied again and again until the specified source interval is used up S M P Version 2 0 14 Generally one doesn t stop with the contour shape duplicated exactly the copies are processed further to make an interesting sound The model called BLURBBLE in the sound library was created by beginning with a single partial and a simple 3 point dip shape This shape was duplicated several dozen times as described above Next the single partial itself was dupli cated 16 times and the frequencies set to harmonics using Partial Parameters menu functions Then the entire contour of each partial was
54. to copy multiple related sound files Run the FID program by booting an S M P program disk and then select 2 to run FID From the FID menu select 1 which is Copy Files Then set the source and destination slot and drive numbers as desired S M P Version 2 0 13 Now the filename entry is where the magic is An individual sound file may be copied by entering its name in uppercase preceded by a lowercase m if it is a model file a v if it is a voice file or a p if it is a program file To copy multiple related files the character which matches any character string is used Thus to copy all model files but not voice or pro gram files enter v for the filename Likewise all program files ending with 2LYR would be specified by p 2LYR The delete routine of FID can also accept filenames with characters so that multiple related files may be deleted 15 3 MULTIPLE SHAPE COPY USING OVERLAP Using the Contour Shape Copy function described in section 12 it is possible to have a single shape copied multiple times onto the end of a contour This is accomplished by overlapping the source and destination intervals as described below For example let s assume that it is desired to duplicate a source shape exactly 5 times for a total of 6 as illustrated below To do this with overlap make the source interval begin with the shape to be copied and end where the next to last copy would end For the example the source interval would
55. units are based on a dynamic range of 95 625dB 1 5 1 Time Units The Wait command described earlier has a time argument which is a sound generator sample count It is a signed 16 bit quantity and thus limited to 32767 which is about 1678 milliseconds If a wait time longer than this is needed two or more Wait commands in a row should be used In such a string of wait commands the last one should be checked for very small values less than 20 If found the needed time should be split evenly between the last two Wait commands For example if a wait of 32775 samples is needed use Wait commands of 16387 and 16388 instead of 32767 and 8 Time units in the Attack Function table are given in milliseconds the earliest second breakpoint and codes representing milliseconds actual second breakpoint times The millisecond units used are actually 1 024 mS long as determined by a timer chip counting units of 20 samples 1 5 2 Frequency Units Frequencies and frequency ratios are always expressed on a log scale which has 2048 integer units per octave The frequency of an absolute partial for example is expressed relative to the highest possible frequency of 9397 273Hz Thus a frequency 3 octaves below this 9397 273 8 1174 659125Hz would be expressed as 6144 General conversion formulas are Value 2954 6394 In Hertz 9397 273 Hertz 9397 273 exp Value 2954 6394 For relative partials frequency multiples are expressed using the
56. volume of the other layers with respect to it This is done to insure that the K150X s output gain is always as high as possible Pitch Bend Mode Pitch bending is when the played note rises or falls to another note by a smooth transition as in Figure 8 2 Figure 8 2 Pitch Bending Assuming that your MIDI controller has a MIDI assignable continuous controller such as a wheel knob or slider and or can transmit key after touch information this parameter allows you to choose which combination if any of control information will control the pitch bending for this layer The range of the pitch bending is a program wide parameter and is controlled in the Program Editor The default values are 2 semitones for wheel bending and 1 semitones for key pressure bending see Program Editing When the display reads P MODE you can choose among four pitch bend control options Use INCR and DECR to step through the choices Off Disables the pitch bending capabilities of this layer P Wheel Only the pitch wheel is selected for pitch bending Its range is determined by the P BEND parameter in the Program Editor see Program Editing K Press Only key pressure is selected for pitch bending with the amount of bend being proportional to the after touch pressure with which you hold the key down Its range and direction are determined by the K BEND parameter in the Program Editor see Program Editing Both Both pitch wheel and key press
57. whose characteristics are defined by the user In the 150FS a partial may be a sinewave with definable frequency and amplitude or noise with definable spectrum and amplitude Up to 64 partials may be assembled to compose any one model PARTIAL PARAMETER Any parameter which affects only one particular partial Compare to global parameter PARTIAL STEALING The 150FS can produce a maximum of 240 partials simultaneously it has 240 oscillators and the electronics to drive each of them independently with a maximum of 64 partials per voice Whenever a series of sounds is being signaled for from a MIDI controller the 150FS responds with the appropriate number of partials If the incoming MIDI information calls for more than 240 partials The 150FS s microprocessor searches the partials in use to determine if any are optional as indicated under the PARTIAL PARMS options menu and steals these first If this is insufficient to meet the needs partials will continue to be stolen until the requirements of the new note are met RAM An acronym for Random Access Memory computer memory to which the user has access for changing existing data and writing new data RELEASE The portion of an amplitude envelope in which a sound is decreasing in amplitude and approach ing silence The Sound Modeling Program enables the user to modify release rates for individual partials or for entire mod els ROM An acronym for Read Only Memory computer memory which
58. 0 The optional data will contain the display text up to 32 characters Periods are transmitted as separate characters and flashing text is enclosed in curly braces Computer K150 sends button press responds appropriately sends display request sends display text displays text to user K150FS Version 1 6 Software 3 Appendix A K150 FS ROM Intonation Tables Scale Step Name Ref Key C and Number C D Table Name 1 2 8 Classic Just 29 4 9 Just with Harmonic b7th 29 4 10 Harmonic 5 4 11 Super Just Harmonic 5 4 12 Werkmeister Circulating 8 3 13 1 5th Comma Meantone 16 5 14 1 4th Comma Meantone 24 7 15 Indian Raga 10 4 16 Arabic 30 20 17 Bali Java Melodic Pelog 27 58 18 Bali Java Harmonic Pelog 51 36 19 Bali Java Slendro 65 28 20 Tibetian Ceremonial 42 32 21 Carlos Alpha 12 44 22 Pythagorean w aug 4th 10 4 23 Pythagorean w dim 5th 10 4 Appendix C Front Panel Button Codes 17 18 19 20 21 22 23 24 25 26 16 27 K150FS Version 1 6 Software D 3 E F FH G G A 4 5 6 7 8 9 14 2 10 2 14 16 14 2 10 2 14 16 14 29 49 2 4 6 14 2 49 2 41 16 a 0 20 1 6 6 9 Do al 2 9 7 14 3 2 21 3 14 10 16 2 12 2 8 18 45 2 2B 6 14 43 123 130 126 211 24 6l 113 125 117 204 51 36 57 15 85 13 46 43 S99 22 ag aS 2090 A 88 110 132 164 176 198 Be 2
59. 106 118 B 23 35 47 59 71 83 95 107 119 Key CO Cl C2 C3 C4 C5 C6 C7 C8 C9 12 24 36 48 60 72 84 96 108 120 MIDI Number Figure 8 1 MIDI Numbers of C Keys The number is automatically translated from the MIDI number to the associated musical note in the display If you selected the wrong MIDI number you can repeat this step Timbre Level The loudness proportions between timbres for the note being played can be modified This parameter changes the relationship of key velocity to timbre without affecting the relationship of key velocity to loudness Its effect can be thought of as being similar to the soft pedal but with reversed values a 30dB value given to T LEVEL will have the effect of emphasizing the loud timbres while the same value given to SFT PDL would emphasize the soft timbres When the display reads T LEVEL you can adjust this value 30dB The default is OdB which is full range Enter a value in decibels using the numeric button pad and press ENTR or use INCR and DECR to change the value in decibel increments If a value greater than 30dB is entered using the numeric button pad the value will be set to 30dB when ENTR is pressed dB T LEVEL SFT PDL 30 loud timbre only soft timbre only O full range 30 soft timbre only loud timbre only Balance Mode The volume of each individual layer can be set with the Balance Level parameter described next and can be controlled by one of three methods selectable with the Balan
60. 2 pedal control 12 4 SQUARE 10 2 10 3 parameter 10 2 step through musical scale 4 5 SUSTAIN PED 12 2 control 12 4 switch switch pedals external 12 1 SYMMETRY 10 2 parameter 10 5 T timbre 6 6 8 7 TIMBRE FREEZE 12 2 pedal control 12 4 Timbre Mode 8 7 TIMBRE SHIFT 12 2 control 12 5 Timbre Level parameter 8 9 Timbre Mode parameter 9 6 options 8 7 Timbre Select default note 8 9 parameter 8 8 Timbre Shift Value parameter 8 7 timbre shifting 8 7 T LEVEL 8 2 default 8 10 T MODE 8 2 8 7 top level editor 2 5 TRANSPOSE in the Control Editor 12 2 in the Layer Editor 8 2 8 6 in the Tuning Editor 4 1 4 2 transpose control 12 5 Transposition parameter 4 2 8 5 TRIANGLE 10 2 10 3 Triangle parameter 10 2 T SELECT 8 2 8 7 T SHIFT 8 2 8 7 8 8 TUNE 2 3 4 1 9 2 8 5 Tuning parameter 8 3 Tuning Editor 4 1 4 5 Tuning Editor Parameter Intonation 4 2 Master Tuning 4 1 Reference Key 4 4 Transposition 4 2 U UNDO editing button 2 5 units in K150X display 2 5 using the Channel Editor 3 1 A4 I 3 V DELAY CC 12 2 V DEPTH 2 6 V DEPTH CC 12 2 V DMODE 12 2 VELOCITY MAP 5 5 13 1 editor 5 4 13 4 miscellaneous editors 13 1 parameter 5 1 VIB 2 3 VIBES 8 3 VIBR 10 1 Vibrato Assignable Controls Vibrato Editor 9 7 10 1 10 9 Vibrato Editor Parameters Delay 10 6 Depth 10 3 Rate 10 4 Square 10 2 Symmetry 10 5 Triangle 10 2 Vibrato Enable switches 10 1 Vibrato Mode parameter 8 1
61. 3 or generating the S M P default voice which is a 16 partial sawtooth Of course the whole issue of phase is moot for sounds with intended inexact harmonics 1 6 MODEL PARAMETERS Model parameters affect the entire sound model in some fashion 1 6 1 Model Name The model name is 8 uppercase ASCII characters Short names may be padded on the right by either blanks or zeroes Since we are dealing with models rather than voices the model name will never appear on the K150FS display and thus serves no useful purpose except if the model is read back out of the K150FS s voice RAM 1 6 2 Highest Note When two or more models are combined into a voice this parameter specifies the highest MIDI note number the model can play The lowest note is one higher than the highest note of the previous model The first model however can play down to CO while the last model can play up to C8 regardless of this parameter 1 6 3 Ignore Release Flag For a sound that must play its contours to the end regardless of when the MIDI note off is received example undamped bell this flag should be set To avoid an abrupt termination of partials when the End of Note command is reached they should all have decayed to silence first With this flag set release slopes have no meaning since there is no release This flag should not be set if a Loopback command is present if it is End of Note will never be reached and the contours will loop forever 1 6 4 Hold at End Fl
62. 4 Triangle 10 5 0 5 10 Square Figure 10 4 Modifying Waveform Symmetry Enter a value directly using the numeric button pad and press ENTR or use INCR and DECR to change the value 1 step at a time Note that it is possible to create ramps sawteeth using the 10 or 10 symmetry values in conjunction with the triangle wave Figure 10 5 shows waveforms for representative mode symmetry value combinations Triangle J L S OO a a a is ee a ee G a eee 10 5 0 5 10 Square Figure 10 5 Mode Symmetry Value Combinations Delay The delay parameter establishes an onset delay for vibrato where the vibrato depth increases gradually after the note starts and reaches full depth after the delay time specified has elapsed When the display shows DELAY you can specify a delay from 0 to 1000 ms 1 second Enter a value directly using the numeric button pad and press ENTR or use INCR and DECR to change the value 10 ms at a time 10 3 Vibrato Assignable Controls Associated with the vibrato are a number of MIDI assignable controls and switches which can be used to control the vibrato parameters in real time See Controls Editing On Off Switch This is a master switch which turns the vibrato on or off for the entire program Depth Control This is a unidirectional control which varies the vibrato depth between 0 and the current value o
63. 4 Vibrato Mode options 8 15 VIBRATO SW 12 2 virtual controls 12 1 switches 12 1 V MODE 8 2 default 8 15 V MODE CC 12 2 VN 8 2 VN 8 3 Voice parameter 8 3 VOLUME 12 2 volume control 12 6 V RATE CC 12 2 V SHAPE CC 12 2 VSYM CC 12 2 W wheel pitch bending options 6 4 X X NOTES 9 2 9 3 150FS APPENDIX Z or What the Manual Never Admits Since the K150FS is a discontinued product and Kurzweil Music is no longer around to support it anyway I ve tried to sum marize the most frequently encountered problems and answers to commonly asked questions in this short note CONTENTS Documentation Standard Optional Sounds Included Crashed Unit Syndrome The Memory Backup Battery Disassembly How to do Common but Obscure Things Known Software Bugs Cassette Interface DOCUMENTATION PACKAGE This is not as organized as one might like but actually contains much more material than what is typical I ve included the standard stuff plus the Software Developer s Package plus the Hardware Developer s Package There are some extra cost optional items available as well STANDARD K150 USER S MANUAL This orange covered manual describes front panel editing of the 150 and most of its MIDI features The author intended it as a draft but because the project schedule was hopelessly behind it became the production manual and was never revised K150FS VERSION 1 6 SOFTWARE These corner stapled sheets describe the new
64. 4 6 D5 14 F 4 7 D 5 15 G4 L8 E5 L16 G 4 H8 F5 H16 VOICE 152 FLOOT This one model voice uses several noise partials to approximate the desired PROGRAM 192 FLOOT spectrum for flute breath noise VOICE 153 SAAGSYNF This multi model voice approximates the K1000 sound SAAG SYNTH PROGRAM 193 SAAGSYNF which in the K1000 is a 4 layer combination of sawtooth waves Here the partials representing 4 sawteeth are combined into a single model This gives more polyphony at least for mid and high pitch notes VOICE 154 WAHBELL The WARBELL voice was created from the default model using the skew PROGRAM 194 CRYBELL feature described earlier and then a prominent tenth harmonic was added S M P 1 8 Manual Supplement for the bell effect The CRYBELL program layers three of these together with pressure sensitive chorus and vibrato for an expressive result 5 Rev A 23 MAR 89 1 0 SUMMARY OF IMPROVEMENTS OVER VERSION 1 0 Version 2 0 of the Kurzweil 150 Fourier Synthesizer Sound Modeling Program has been greatly expanded and improved over version 1 0 Besides many additional fundamental and macro functions designed to make sound creation quicker and easier S M P 2 0 is more intuitive in its operation and the distribution disk has many more usable sounds created entirely with the program In addition several modifications of S M P Are included for optimum operation on other Apple II models SUMMARY OF NEW FEATURES 1 In situations
65. 50 400 450 msec 3 30ms 800 dB s 250 56 48 200ms 240 dB 64 20ms 80 3200 dB s 200ms 450 96 200 dB s 0 50 100 150 200 250 300 350 400 450 msec A data structure for representing all of the contours of a model would normally be a rather complex two dimensional array with variable length rows Interpreting such an array would involve a lot of searching For efficiency in playing the contours the K150FS requires the breakpoint data to be sorted into a one dimensional vector of update commands which can then be interpreted sequentially as time passes There are four types of commands Update Slope Wait End of Contour and End of Note Note that End of Contour indicates that the partial is no longer needed and thus can be used by some other note It should be issued when a partial s contour has decayed to silence and will remain there End of Note indicates that no more commands or arguments are present The contours not already terminated by End of Contour will continue along whatever slopes were last specified until the note is actually released The three contour example above would be encoded into the update command string listed below Command Argument Command Argument Command Argument UPD 1 2400 dB s WAIT 30 ms UPD 1 0 dB s UPD 2 2667 dB s UPD 2 184 6 dB s WAIT 20 ms UPD 3 3200 dB s WAIT 30 ms UPD 2 48 dB s WAIT 20 ms UPD 1 160 dB s WAIT 120 ms UPD 3 1200 dB s WAIT 100 ms UPD 2 0 dB s WAIT 10 ms UPD 1
66. 50FS PROGRAM LIBRARIAN FUNCTIONS AS a convenience in creating complete sound libraries and reloading them program load and save has been added Since many interesting sounds may simply be layered versions of simpler voices it is useful to have programs in disk libraries No editing or K150FS programs by S M P is possible this still must be accomplished through the K150FS front panel Program load save is option 4 on the top level menu The Load Save Program menu it calls up is the only menu for pro gram manipulation Option 1 on this menu displays the disk catalog as usual Program files have a file type of P Option 2 From Disk will ask for the name of a Program file and load it into a memory buffer This buffer is also used for editing Voice files so you may be warned of this if the voice buffer has some altered data in it Option 4 From K150FS will ask for a KISOFS program number which will then be loaded into this same memory buffer Unlike normal MIDI communication any program number from 1 to 255 may be accessed by the S M P After a program has been loaded from either source a dialog box shows it s KI50FS name voice number and size in bytes Press Return to restore the previ ous screen display and continue Option 3 is used to send the content of the program buffer to the KI50FS You will be given the option of sending it to a program number different from the one it originally came from The K150FS front panel should f
67. 7 85 28 135 39 230 50 18 7 52 18 90 29 140 40 240 51 250 52 Note that only those times listed in the above table are available for the second breakpoint time The Sound Modeling Program rounds off the second breakpoint times when a model is compiled but retains millisecond accuracy for the third and succeeding breakpoints In cases where the user specified second breakpoint time is greater than 250mS the S M P actually inserts a phantom second breakpoint during compilation at 250mS that resides on the line segment connecting the user specified first and second breakpoints Below is an example of an attack function for the earlier 3 partial example with 3 attack levels The middle attack level which is used when the MIDI velocity maps into a loudness between 12 and 6dB specifies the model unaltered The highest level used for loudnesses above 6dB has the first partial left alone but the second boosted by 3dB and the third boosted by 6dB thus making the sound brighter The lowest level used for loudness below 12dB cuts the third partial by 3dB while leaving the first and second alone EXAMPLE ATTACK FUNCTION TABLE Level Partial 1 Partial 2 Partial 3 2nd BP time 20 mS 14 11 8 Highest level 6 dB 0 dB 13 dB 26 dB z 12 dB 0 dB 16 dB 32 dB Lowest level 95 6 dB 0 dB 16 dB 35 dB Read out row wise 1 4 RELEASE SLOPES Assuming that the Ignore Release model parameter flag is off see 1 6 below receipt of a MIDI note off shoul
68. 72 7 dB s END 3 UPD 2 200 dB s UPD 2 123 dB s END 0OF NOTE WAIT 10 ms WAIT 50 ms UPD 1 0 dB s UPD 3 56 dB s UPD 3 240 dB s WAIT 60 ms Encoding of the command string above can be accomplished by allocating one byte for the partial number and command code combined followed by two bytes for the argument However since the K150FS s internal 68000 processor requires 16 bit quantities to be at even addresses the string is split into a command code vector and an argument vector When a model is being played a pointer into each vector is maintained and is incremented to the next element as each element is read This makes memory dumps difficult to read but is efficient and compact for the microprocessor Coding for the command code bytes is as follows CODE ARGUMENT COMMAND MEANING 0 Time Wait Wait before executing next command 0 0 End of note No more commands follow N Slope Update Update partial N where 1 lt N lt 64 N none End of partial Contour for partial N is complete can reuse it 128 Destination Loopback See below Actually there is a fifth type of command Loopback This is used for looping contours The command code byte is 80 128 Its two arguments simply specify how many commands and how many arguments times 2 the corresponding pointers must be backed up before continuing Since all of the contours are encoded into one pair of command and argument strings the loop affects all partials which have update commands inside
69. 88 Resident Presets Program OMANDNMNHWNK 255 Display PIANO ABS PNO ROCK PNO SOFT PNO BRT PNO TOUCHP CH PNO C O P CH PNO C ELE BR VIB EF EBS BE 2A AN E p P p i HARPSCH SOFTHE VIB EQH LYR HPCD KPR H A BASS E BASS PHS EBS VIBES FLUIDVIB MARIMBA OCT MBA JAZZ ORG SEB JORG PERC ORG ROCK ORG CH RKORG RAMPWAVE SKWRWAVE SINEWAVE Voice Block A Presets SEB EPNO PHS EPNO BR ABASS BR EBASS VIBR VIB AB VB PN ABS JORG EBS RORG KPR ROCK ROCK JZZ AGUITAH1 ABS AG1 AGUITAR2 EBS AG2 AGUITAR3 ABS AG3 12STR GU PHS GUIT The KURZWEIL 150 Fourier Synthesizer Annotated Program List Description Acoustic piano Acoustic bass piano No pitch bend on bass Bright acoustic piano Mellow acoustic piano Timbre shifted piano with EQ Lightly chorused piano with timbre shift controlled by velocity Rock piano with chorusing Piano two layers with timbre shift tune adjust and EQ Electric piano Bright electric piano Electric piano with vibrato and timbre shift Electric bass bright electric piano split at C3 Use mod wheel to control chorus amp vibrato depth Harpsichord Soft harpsichord Soft harpsichord with vibrato amp EQ Use mod wheel to control vibrato depth Layered harpsichords in octaves with detune amp EQ Harpsichord Vibrato depth controlled by key pressure Acoustic bass Electric bass Elect
70. C P F T HERTZ OCT MULT P F T HERTZ OCT MULT 4 1 R 261 6 4 00 1 00 5 2 R 523 2 5 00 2 00 6 7 8 9 AUDIT 0 EXIT 1 NUMERIC S highlights a partial and generates an option menu with the following options 1 HERTZ OCTAVES F 2 MULTIPLE F 3 NOISE RATE F 9 AUDIT S and 0 EXIT S as options Use the cursor keys to highlight a partial Option 1 generates the ENTER FREQUENCY dialog box as in the base frequency example shown before Enter a value for either frequency or octave and press RETURN The program enters your selected value and calculates the corresponding value for the other parameter octave if you entered Hertz or vice versa as well as the harmonic multiple if the partial is relative Use the cursor keys to highlight a partial Option 2 calls up a dialog box ENTER MULTIPLE OF BASE FREQUENCY Entering a value and pressing RETURN will reassign the harmonic multiple and recalculate the values for Hertz and octave Obviously option 2 works only for relative partials Option 3 permits you to select a value for the noise playback rate as described earlier The effect of changing this value is arbitrary so you will want to try several different noise rates to deter mine the rate you prefer Option 9 gives you the usual audit options and 0 takes you up one level A note about working with frequencies the highest frequency the 150FS can produce is slightly less than 10 kHz Accord ingly the Frequency column
71. Chorus Editor Hints 9 3 The Vibrato Editor 0006 10 1 Using the Vibrato Editor 10 1 Triangle or Square 10 1 Depth as a e ee oO Ps Seer ey AG 10 2 Rates se vee ee ah he Ee aR Oo ee 10 2 SyMMetry iona e Sk Se ee ee ee 10 3 Delay ctv regis Say gh ae PP ote ke ean 10 3 Vibrato Assignable Controls 10 4 The Equalizer Editor 11 1 Using the Equalizer Editor 11 1 The Control Editor 0006 12 1 F1 F2 and F3 in the Control Editor 12 1 Using the Control Editor 12 1 How AssignmentisDone 12 2 Assignable Controls and Switches 12 3 The Miscellaneous Editor 13 1 Using the MISC Editor 2 13 1 The Program List Editor 13 1 Using the Program List Editor 13 1 F1 F2 and F3 in the Program List Editor 13 1 Intonation Table Editor 13 2 Using the Intonation Editor 13 2 Velocity Map Editor 13 3 Using the Velocity Map Editor 13 3 Summary of Editable Parameters A 1 Battery Replacement 6 B 1 Replacing the Battery B 1 Replacement Batteries B 1 INDEX 6 os 25 catia bs pices ae Bh Sk Ak Svea Aa EM I 1 Preface How To Use This Manual This manual assumes some knowledge of music theory and terminology and familiarity with some concepts of electronic sound generation the Mus
72. DI Blender for example to combine the outputs from the MIDI controller and the Apple Ile into a single output directed to the 150FS e 2 additional MIDI cables total of 4 Note if you do not have a MIDI merger it is possible to get by with just your MIDI controller and a total of 2 MIDI cables This will involve swapping cables back and forth from the MIDI Outs of the MIDI controller and the Apple Ile whenever you wish to switch from playing the keyboard to using the computer You ll find it worthwhile to pick up a MIDI merger Here s how to get everything powered up CONNECTING THE Ile Before connecting the power cable of the Ile remove the access panel exposing the circuit board The access panel lifts from the rear of the unit and hooks under a lip just behind the keyboard Locate card slot 2 As you face the keyboard of the Ile it is the second slot from the left in the row of seven slots at the rear of the circuit board The slots are numbered if you look closely behind each slot you will find the numerals Hold the Passport Designs card so that the side with the MIDI cables protruding is on your right Insert the tab at the bottom of the card into slot 2 It s a fairly tight fit and you ll have to apply quite a bit of pressure to install the card properly The Sound Modeling Program assumes that your disk drive interface card is installed in slot 6 Now is a good time to make sure that this is the case with your Ile Wi
73. E The reference contour if displayed is always seen in the upper half of the screen It is optional for all functions except EDIT X SECTN 1 OVERALL LOUDNESS F is the same as previously described in the display options above showing the amplitude curve over the duration of the model 2 ONE PARTIAL F brings up the partial number entry dialog box Enter a partial number press RETURN and the partial you selected will appear on the upper half of the screen This is useful when you wish to edit a single partial and compare it to the original version 3 OVLY ALL SELECTED F is similar to OVLY SELECTED overlay selected above displaying a composite of all par tials previously selected The selection of partials for this function is accessible from the EDIT CONTOURS menu 9 AUDIT S provides the usual audit options 0 EXIT S returns you to the level with the EDIT CONTOURS menu 2 CONTOUR TO EDIT F calls up the partial number entry dialog box Enter a value press RETURN and your selected partial will appear in the lower half of the screen ready to edit 3 CHANGE POINTS S brings up seven options for working with the contour selected by option 2 above CHANGE POINTS 1 MOVE POINT 2 INSERT POINT 3 DELETE POIN 4 5 6 7 POINT READOUT 8 CURSOR READOUT 9 AUDIT O EXIT and displays a set of crosshairs which can be moved with the cursor keys As before the solid apple key will boost the s
74. ES 18 1 SELECT LEVEL 12 2 MOVE POINT 6 l rt oto 0 6 he l pee fl 12 Be Siti hei Ie all 8 SELECT PARTIALS 18 iat heal he itisls 9 AUDIT 24 I Lt la fe SL ob 0 EXIT 30 O 1000 2000 3000 4000 5000 The above example is taken from the default model created at the DEFINE MODEL option level It has 16 partials whose frequencies are identified by the vertical lines running through the display The lines show you the headroom at each frequency that is the amount over the ordinary amplitude maximum you may boost the amplitude of a given partial before the 150FS will clip the sound This default model has only one attack function level which is indicated by the line which slopes up steeply and levels off at 0 dB In this default example there is no attack based adjustment to the amplitudes of the partials so the model will sound exactly as designed The dotted lines represent the cursor crosshairs 1 SELECT LEVEL F gives you a dialog box SELECT A LEVEL THEN PRESS RETURN A level for this option refers to the area between the gaps on the bold vertical bar at the left of the amplitude time graph Since the default model has only one attack function level this option is irrelevant to the present example You will use this option when you are editing models with more than one attack level You will learn how to add or change levels later in this section If
75. I CHANNEL F enables you to determine which MIDI channel over which the Ie and the 150FS communicate 0 EXIT S returns you to the top level at which the display reads KURZWEIL SOUND MODELING PROGRAM and presents you with the three main options plus EXIT SECTION VII SOUND MODELING EXAMPLES The previous section listed every option of the SMP in the hierarchical order of the menu tree Refer to it when you need a definition or explanation of any option of the program This section is intended to step you through the SMP helping you to familiarize yourself with the program and how to use it to edit sounds By following these examples you will use most of its major features and begin to understand how to get the most out of your 150FS These examples assume that you have successfully connected your SMP system have loaded the program and are looking at the display for the top level option menu which reads KURZWEIL APPLE IIE 150 FOURIER SYNTHESIZER SOUND MODELING PROGRA asks you to PLEASE PRESS A NUMBER and lists the main options The first task is to scan the library of sounds and load one from disk into the Ile s RAM Then we ll load that sound into the 150FS and listen to it Press the following He keys 2 1 1 The display should show you the LOAD SAVE MODEL options menu and a list of soundfiles There are 24 models on the program disk They are identified as models by the M in the
76. If you respond yes the program will be deleted Remember that built in programs cannot be deleted Pitch Wheel and Key Pressure Bend Note bending is when the played note rises or falls to another note by a smooth transition as in Figure 6 1 It may or may not return to the original note pp Figure 6 1 Note Bending The K150X allows you to control this effect in two ways through the pitch wheel or through key pressure Here in the program editor you select the ranges in semitones for both of the bending options The P BEND switch in the Layer Editor allows you to select whether either or both of these options is active for a particular layer All layers in the program set to the same option will have the same amount of bend With the P BEND switch you can select among four pitch bending options off wheel press or both See Layer Editing for more information Pitch Wheel Bending Assuming your MIDI controller has an assignable pitch wheel it can bend a played note up or down depending on which way the wheel is rotated no bending occurs when the wheel is in the center of its rotation In order to hear the effect of your changes the P BEND parameter in one or more of the layers being played has to have the value wheel or both and there has to be proper MIDI assignment of the pitch wheel signal and or the key velocity signal from the MIDI controller to the K150X When the display reads P BEND you can adjust how many se
77. K150 USER S MANUAL Kurzweil Music Systems Inc Waltham MA June 1986 version KMSI P N 91002501 Copyright C 1986 Kurzweil Music Systems Inc Table of Contents Preface sir reaa a meter Sod aie See eas 6 How To Use This Manual 6 Introduction 1 ee ee ee we ee 1 1 Introduction 02 0004 1 1 Programs Regions and Layers 1 1 The Modifiers 1 1 The Editors o o eoe foe ee Fae oe 1 2 The Built In Programs 1 3 Getting Started 2 ee ee 1 3 Selecting Between Programs 1 4 Using the K150X 2 2 0 000 2 1 Communicating with the KISOX 2 1 The Buttons on the Front Panel 2 1 The Display 22 2 ean ee ew Stee ek 2 3 The Channel Editor 0 0 3 1 Using the Channel Editor 3 1 Channel Editor Hints 02 3 1 The Tuning Editor 4 1 Using the Tuning Editor 2 4 1 Master Tuning 4 1 Transposition 20004 4 1 Intonation 2 2 02 0004 4 2 Reference Keys sonipa e 8 Sok ok Vee es 4 2 The MIDI Editor 2 66 5 1 Using the MIDI Editor 2 5 1 MIDI Mode 5 1 MIDI Channel 002 5 2 Mod Wheel c oscena Soar Se es 5 2 Velocity Map 0 0 5 2 Loudness Map 5 3 Program List 0 0 5 4 The Program Editor 6 6 1 Us
78. Level 15dB Controls the relative volume of the layer 8 1 P MODE Pitch Bend Mode Off Controls the mode of pitch bending P Wheel K Press Both C MODE Chorus Mode Off Turns chorusing on and off M Wheel K Press Fixed V MODE Vibrato Mode Off Controls the action of the vibrato unit M Wheel K Press Fixed EQUALIZER EQ Switch Off Turns equalization on and off On Ifthe value is numeric you can enter the value with the right button pad and press ENTR Does not appear when Select value is selected for T SHIFT amp Appears only when Select value is selected for T SHIFT See the sections on each parameter later in this chapter F1 F2 and F3 in the Layer Editor The operation of F1 F2 and F3 changes depending on whether you have pressed ENTR to begin editing the layer parameters for a specific layer step 3 above Once you confirm the selection and begin editing the parameters step 3 above these buttons have different meanings F1 and F2 allow you to change the layer selection without re entering the editor F3 mutes the other layers in the region allowing you to hear only the layer you are editing Creating and Deleting Layers Creating Layers 1 To create a new layer select the uppermost layer currently defined using any of the methods above and press INCR The display will read New Layer Press ENTR to define a new layer or to cancel the request The new layer will be blank 2 To create a
79. MODEL S From this level you choose a sound model to edit set the param eters for the entire model and each of its partials and call up any of a number of displays of any or all of the partials From these displays you may make alterations to the shape of the contours of each of the partials composing a sound model The sound model editor also allows you to modify the attack functions for the entire model or for each partial 3 CONSTRUCT OR EDIT A COMPLETE VOICE S Use the voice editor to combine sound models into a voice cov ering the entire range of a synthesizer keyboard The voice editor allows you to load voices from the 150FS extract any par ticular model from that voice add new models create a new voice from scratch and load that voice into the 150FS s memory Note Some of the features of option 3 are not implemented for Version 1 They are listed in section VII These features will be added in Version 2 of the Sound Modeling Program 0 EXIT F Pressing 0 results in a dialog box which asks you if you really want to quit the program If so remove the floppy disk and press the Y key Otherwise press the N key and the program will return to the top level level one menu Notice that at this the top level of the program EXIT is a function option since it calls up a prompt to actually perform a function Everywhere else in the program EXIT is a selection option because it merely moves you up to the next higher level of the prog
80. NAL NOTES AND TECHNIQUES This section discusses some additional points about S M P 2 0 and also gives a few tips for easier and more trouble free operation of the program 15 1 SIZES OF THINGS Several displays and messages within S M P give the sizes of models voices and programs Frequently different sizes are given for what would seem to be the same thing For example a given sound model may be shown on the Global Param eters display as being 0 3K in size but when it is sent to the K150FS with Audit it might be shown as SEND 182 Then when the model is saved on disk and the catalog displayed it will be shown to take 0 5K on the disk This wide and confus ing variation in the size of the same thing can be easily explained however In the memory of the Apple II computer models are stored in a format that facilitates quick access and processing by S M P functions The global parameters of a model always require a base of 64 bytes Then for every partial in the model 16 bytes are added plus 3 for the first breakpoint at 0 0 Every additional breakpoint adds 3 more bytes The attack function initially takes 2 N 1 4 bytes where N is the number of partials and then adds N bytes for each additional attack level Knowing how large a model is becoming in memory is important because the Apple II s model memory is limited to 6 25K where K is 1024 bytes When compiled and sent to the KI50FS the model typically shrinks so the number of
81. NGS _ FULLPIPE CLEARZS_ CLEARSTR CARSELL CLOOCKS_ BBENORGN ORGLOOPD AHH UMMM AHHH_LOW LYRORGLP GLASHARM SYNCHIME STEELDRM HVNBELLS PRCCLOCK TAPEVERB ROCKORGG PROGRAM LAYERS 150 STRNGZ_A STRNGZ_B STRNGZ_C 151 STRNGZ_A STRNGZ_B STRNGZ_C 152 CLEARZ_A CLEARZ_C 153 SAWEY_1 CLEARZ_C 154 XZPHONE ORGNLOOP1 PRCCLOCK 155 CLOOCK CLEARZ_C 156 CLOOCK CLOOCK 157 ORGNLOOPI1 158 AH_EXP_1 ORGNLOOP1 159 AH_EXP_1 LOOPED 1 160 ORGNLOOP 1 LOOPED 1 161 GLASHARM 162 SYNCHIME 181 STEELDRM 182 HVNBELLS 185 PRCCLOCK 186 TAPE_VRB 187 SPACEDHRM SPACEDHRM 16 4 MODELS Part of multi model voices none S M P Version 2 0 16 NOTES Synth strings Press sens detune Press sens chorus Press sens detune Press sens detune Press sens chorus Press detune AMENDMENT TO S M P VERSION 2 0 INSTALLATION PROCEDURE 27 MAY 88 Due to the fact that the Apple I keyboard cannot generate the underline _ character the program filenames referred to in section 2 0 INSTALLATION have been changed Wherever an underline appears in a filename for example SMP_IE_2 0 it has been changed to the minus sign Thus the above sample filename should be typed in as SMP IIE 2 0 This applies to all of the program files even those associated with the Apple Ile and Apple IIc whose keyboards can produce the underline character Sound file names in the sound library have not been changed however Therefore on an Apple I it will be necessar
82. OP FROM point As with the example illustrated in 1B the LOOP FROM amplitude is greater than the LOOP TO amplitude so the contour will spiral up in amplitude If the LOOP FROM amplitude were equal to or less than the LOOP TO amplitude the contour would re main unchanged or would spiral down respectively Loop To Loop From Effective Loop From t Amplitude 2 LOOP FROM POINT NOT AT BREAKPOINT LOOP TO POINT AT BREAKPOINT Figure 3 shows the result when the LOOP FROM point is a breakpoint and the LOOP TO point is not Beginning at the LOOP FROM point the contour is launched toward the next normal breakpoint in the contour if the LOOP FROM point is the last breakpoint in the model the contour is launched on a level trajectory The loop begins with the contour evolving at the same slope it would follow to the next breakpoint after the LOOP FROM point The contour begins the loop at the same amplitude as the LOOP FROM amplitude From this amplitude at this slope the contour evolves until it reaches the first breakpoint after the LOOP TO point It is then intercepted by the looped section of the contour and evolves along the looped section until it reaches the LOOP FROM point again and the cycle is repeated Loop To Loop From First Loop 4 3 LOOP FROM POINT AT BREAKPOINT LOOP TO POINT NOT AT BREAKPOINT Figure 4 shows the final possibility neither loop point at a breakpoint Once again the contour is launched at a
83. OSSOVER affects the conversion of data from internal Sound Modeling Program format to the 150FS format Selecting a large value for this option causes the conversion to be very precise but can lead to a soft buzzing noise in some cases when very low notes are played Smaller values reduce this noise but at the expense of some accuracy in playing the contours you have drawn It is best to leave this option at its default value of 4 unless the noise is objectionable or you have completed the editing of your model Pressing 8 at this level brings up the following dialog box ENTER CROSSOVER FROM SMALL AMPLITUDE STEPS 1 99 LARGER IS ACCURATE SMALLER IS QUIET Type in a value and press RETURN to adjust crossover 9 AUDIT S as described above allows you to hear the effects of your editing 0 EXIT S takes you up one level 3 PARTIAL PARMS S generates a display with the following features PARTIAL PARMS 1 ADD OR DELETE 2 TYPE INDIVIDUAL 3 FREQUENCY P F T HERTZ OCT MULT P F T HERTZ OCT MULT 4 RELEASE 1 R 261 6 4 00 1 00 5 ZAR 523 2 54 00 2 00 6 7 8 9 AUDIT 0 EXIT 1 ADD OR DELETE S highlights a partial and calls up a menu with the following options 1 ADD F 2 DELETE F 9 AUDIT S and 0 EXIT S The up and down cursor keys may be used to select partials Holding the up or down key will scroll rapidly through the parti
84. Oboe Harp Chimes Handbells 73 74 75 76 STHSGUIT GUIT MBA GUIT VIB SYN SYNSWEE SYN SYN S BS CEL EBS S H SYNHN PN KBEND HN HORN U CELE BASS SBS JZHD CONGAS ECHO CGA POP PNO SCHIZPNO iT ENPNO A AUGM MBA B EL 1S Voice Block B Presets 100 101 102 103 AbS CLAR RINET ibl PPLEX Guitar with vibrato amp chorusing with echoes a 5th above and a 5th below the pitch played delay is 120 milliseconds Guitar3 and marimba layered Guitar has timbre shift Guitar 1 and vibes layered Vibrato on vibes is controlled by mod wheel Synth horns Electric bass synth horns split at C3 Synth horns layered with soft piano Chorus depth on piano is controlled by mod wheel Synth horns with chorus Depth on the mod wheel and pitch bend controlled by key pres sure or the pitch wheel Synth filter sweep Synth celeste Synth bass Synth bass Synth celeste split at G 3 Synth bass Jazz organ layered with harpsichord an 8ve lower split at G 3 Congas Congas 7 echos chorus detune on mod wheel Electric bass amp piano synth sweep amp piano split at C4 Electric bass no pitch bend layered with piano sweep timbre shifted amp layered with piano an octave higher Sweep piano balance controlled by key velocity Pitch bend depth is one octave Piano with timbre shift
85. Option 2 gives the partial an absolute frequency that is its frequency is as specified in the parameter list regardless of the note played This allows for irregular harmonic patterns Options 3 and 4 are used to create noise waveforms for the partials Option 3 assigns low frequency noise and 4 assigns high frequency noise The characteristics of noise partials may also be modified by specifying a playback rate frequency dif ferent from the default value of 8 There is no consistent relationship between the playback rate and the sound although it will always be noisy Option 5 toggles the assignment of the partial between optional and required The 150FS can play a maximum of 240 par tials simultaneously When this number is exceeded the 150FS goes through a sophisticated routine of partial stealing it removes the partials which have the least effect on the sound being played Option 5 allows you to define which partials of a given model are optional Optional partials are the first to be stolen Use the cursor keys to highlight a partial then use 5 to change its assignment The assignment is indicated in the F flag column in the partial display The letter O designates an optional partial A required partial has no flag in the F column As usual 9 audits the model and 0 exits to the next higher level 3 FREQUENCY S calls up the following option menu PARTIAL FREQUENCYS 1 NUMERIC 2 INDIVIDUAL 3 2 D GRAPHI
86. P quickly press any other key while the message is still on the screen and the print attempt will be aborted S M P 1 8 Manual Supplement 3 Rev A 23 MAR 89 3 NEW VERSION 1 8 FEATURES A few new features were added to version 1 8 as memory space permitted and some version 1 7 bugs have been fixed The new features are described below 3 1 APPLE IIl GS MOUSE OPERATION The Apple II GS modification uses the mouse since that is standard on a H GS for movement of the crosshair graphic cursor Movement of the block cursor in text fields is still accomplished with the cursor keys Note that on the II GS the OPTION key performs the functions of the Solid Apple key When the flashing crosshair cursor appears such as when editing contour shapes it may be moved around by moving the mouse A quick movement of the mouse will move the crosshair considerably while slow deliberate movement allows easy pixel by pixel movement for precise positioning After the crosshair is positioned where desired the digit keys can be pressed to perform the desired function at the crosshair location according to their legends on the left hand menu The mouse button can also be used instead of a digit key for the more common functions On the Change Points menu for contours for example pressing the mouse button will move a breakpoint if the vertical crosshair line is running through the exact middle of an existing breakpoint the same as pressing 1 If the vertical
87. S voice This feature is nec essary for many types of sounds to sound natural over a wide pitch range especially those containing fixed formants It can also be used to set up multi way keyboard splits up to 60 ways of very different sounds Associated with the voice assembly function is a new file type called the Voice or V type file Voice files basically contain lists of model filenames When a voice is sent to the K150FS each of the component model files is loaded and sent as part of the voice Associated with each model in the list is a highest note designation The first model in the voice is used for all notes from CO up to and including its associated highest note The second model is used for the next highest note up through its own highest note The last model is used for all notes above the high limit of the next to last model Normally these highest notes are set equal to the highest note global model parameter for that model but can be different Editing a voice file then consists of specifying a list of model filenames and their associated highest MIDI note numbers All voice assembly functions are under Construct or Edit a Complete Voice in the initial top level menu or simply Define Voice in subsequent top level menu displays Selecting this will enter the Define Voice menu Keys 1 CATALOG and 8 DRIVE SLOT perform their usual functions Key 2 is CREATE DEFAULT Pressing this will create a default voice in voice memory which is s
88. SELECT PARTIALS AUDIT EXIT If you have already displayed a reference contour from option 1 a set of crosshairs will appear on the screen If nothing hap pens you will need to go into the REFERENCE CONTOUR option and display a reference contour When you have done this and returned to the EDIT CONTOURS level pressing 4 EDIT X SECTN will call the above options menu and will dis play a set of crosshairs Use the cursor keys to move the crosshairs The vertical crosshair selects the time in milliseconds at which you wish to make changes The horizontal crosshair will allow you to change the amplitude of specific partials 1 SEL TIME F calls up a cross section display similar to the one viewed with the 2 DISPLAY option above There is a readout of the time as selected with the crosshairs Amplitude is on the vertical axis of this display and the frequency of each partial or only those selected using option 7 below at the selected time is shown on the horizontal axis This feature works in conjunction with 2 MOVE POINT F which reassigns the amplitude of the partial with the frequency nearest the vertical axis of the crosshairs The amplitude is reassigned to the level selected with the horizontal axis of the crosshairs 7 ALL PAR SEL PAR F toggles you between the options of displaying the cross section of all partials in the model or only those you select with option 8 immediately following Press 7 to toggle the option then 1 to disp
89. SOUND MODELING PROGRAM For the Kurzweil 150 FS and the Apple Ie Version 1 0 User s Guide KMSI P N 91010701 ADDENDUM TO KURZWEIL 150 FOURIER SYNTHESIZER SOUND MODELING PROGRAM VERSION 1 0 USER S GUIDE FOR VERSION 2 0 RUNNING ON APPLE Ile APPLE IIc APPLE II COMPATIBLE CLONES and APPLE MACINTOSH via II IN A MAC tm KMSI P N 91010702 TABLE OF CONTENTS 1 SUMMARY OF IMPROVEMENTS OVER VERSION 1 0 2 INSTALLATION 2 1 Apple Ie 2 2 Apple IIc 2 3 Apple II 2 4 Changing the MIDI Interface Slot 2 5 Installing a Screen Print Program 3 SUMMARY OF NEW MENU ORGANIZATION 4 SPECIAL POWER KEYS 5 FILENAME HANDLING 6 LOAD LIBRARY FUNCTION 7 VOICE MENU AND FUNCTIONS 8 K150FS PROGRAM LIBRARIAN FUNCTIONS 9 MODEL READBACK FROM THE K150FS 10 AMPLITUDE ADJUST FUNCTIONS 11 TIME ADJUST FUNCTIONS 12 CONTOUR SHAPE COPY FUNCTIONS 13 GRAPHIC FREQUENCY DISPLA Y EDIT 14 PARTIAL SELECTION 15 ADDITIONAL NOTES AND TECHNIQUES 15 1 Sizes of Things 15 2 Disk File Maintenance 15 3 Multiple Shape Copy Using Overlap 16 SOUND LIBRARY 2 0 17 Amendment to S M P Version 2 0 Installation Procedure 18 Notes for H in a Mac Version of KI50FS S M P 19 II In a Mac S M P Quick Startup Procedure S M P Version 2 0 1 BETA TEST VERSION 1 8 SUPPLEMENT TO VERSION 2 0 ADDENDUM TO KURZWEIL 150 FOURIER SYNTHESIZER SOUND MODELING PROGRAM VERSION 1 0 USER S GUIDE Rev A MARCH 23 1989 This supplement describes the new features
90. Selecting Between Programs The display should currently read Cl Pl PIANO meaning that Program number 1 with name PIANO is active and assigned to MIDI Channel 1 Press INCR and the display should read C1 P2 ABS PNO You should now be able to play Program number 2 which has an acoustic bass voice in the lower part of the keyboard and a piano in the upper part of the keyboard To return to Program number 1 press DECR You can use INCR and DECR to step through all the currently existing programs and play them You can also jump between non sequentially numbered programs by entering the number of the desired program using the numbered buttons and pressing ENTER You are now ready learn more about the K150X and what it does Using the K150X In this chapter you ll be introduced to the button pads of the K150X and briefed on what the individual buttons do and how they work This will lead into a discussion of the editors and how to use them Communicating with the K150X All your interaction with the K150X is through the front panel button pad and display Using the buttons on the front panel you tell the K150X what to do The K150X gives information back to you visually through its display and audibly through its audio output enabling you to listen to changes as you make them The Buttons on the Front Panel From here on we re going to divide the buttons on the front panel into 2 halves the left button pad and the right bu
91. U in UNTITLED will change to V or T depending on whether you pressed INCR or DECR Using these two buttons you can select any of the letters of the alphabet the numbers 0 through 9 or the characters _ or Choose the first character of the new name in this way 3 To move to the next character position press NEXT Use INCR or DECR to repeat the process described in 2 above To return to a previous character position press PREV 4 To exit press F1 Copying Programs To copy the current program press F2 The display will ask COPY PROGRAM Press 0 yes to copy the program The display will read COPY current program number TO current program number Enter the program number you want the current program copied to and press ENTR Assuming the program number you selected was empty the program will be copied and you will now be editing the program of the new program number If a program already existed under the number you selected the display will read 6 2 REPLACE PROGRAM Press 0 yes and the program will be replaced Press no and you will return to the COPY current program number TO current program number display where you can enter a different program number Deleting Programs To delete an existing program push F3 You will be asked to confirm that you do indeed wish to delete the program DELETE PROGRAM With the question mark flashing Push 0 for yes or for no
92. able 12 3 Invalid MIDI Control Numbers MIDI Default Assignment 125 Channel Pressure Message 126 Pitch Wheel Message MSB only 127 All Notes Off Message Only one control source can be assigned to a control destination When editing the INCR and DECR keys skip over previously assigned control sources If you enter a control source number directly with the numeric keypad any previous assignment is canceled Assignable Controls and Switches The following sections describe the basic controls and switches The chapters on the programmable chorusing and vibrato units describe the controls and switches which are specific to those devices Sustain Pedal The sustain pedal is a switch that behaves exactly like its piano counterpart While it is down ON notes will continue to sound even after their keys have been released Sostenuto Pedal The sostenuto pedal is a switch that behaves exactly like its piano counterpart While it is down ON any notes whose keys were down when the pedal was depressed will be sustained but subsequent notes are not effected Timbre Freeze Pedal The Timbre Freeze pedal is a switch that behaves like a sostenuto pedal but activates an effect called Timbre Freeze While it is down ON any notes whose keys were down when the pedal was depressed are frozen That is their timbral evolution is suspended When the pedal is released the notes will continue to evolve if their keys are still down or the sustain pedal is do
93. ace The K150X can respond in three ways to this incoming information with each of the ways having different interpretations and implications Omni Mode The K150X will respond to incoming information on any of the 16 MIDI Channels This is the default mode Poly Mode The K150X will respond to incoming information only on the specific channel currently specified the default is Channel 1 Multi Mode Individual programs of the K150X can be programmed to respond to different incoming channels Each MIDI channel can have a separate program number assigned Multi Mode ignores the Omni on off message Selecting a MIDI Mode Use INCR and DECR to step through the three choices 5 1 MIDI Channel The MIDI Channel parameter lets you select the basic MIDI channel The default channel is Channel 1 When the display shows CHANNEL you can select the Channel number Enter the new channel number with the numeric button pad and press ENTR or use the INCR and DECR keys to step through the numbers 1 through 16 If a number greater than 16 is entered using the numeric keypad the channel number will be set to the previous channel number when ENTR is pressed Mod Wheel Your controller s modulation wheel may or may not be centered You can select which way the K150X interprets the MIDI signal coming from your modulation wheel When the display reads MOD WHEEL you can use the INCR and DECR keys to select between Normal and Centered In Normal mod
94. ach of which covers a limited pitch range Models are the basic sounds from the sound designer s point of view and consist of Partial Parameters and Contours which define the overall timbre an Attack Function that modifies that timbre according to MIDI note on velocity and Release Slopes that define the sound s release Each of these entities has a corresponding binary data structure which is communicated via system exclusive messages A bottom up approach will be used in describing these structures 1 1 PARTIAL PARAMETERS A sound model may have from 1 to 64 partials additive synthesis components Partial parameters give information about these partials as follows 1 1 1 Partial Type There are 4 types of partials available for constructing models Relative partials are the most common The frequency of a relative partial is a MULTIPLE times the fundamental frequency of the note being played This multiple may have a fractional part and may be less than 1 Absolute partials are also available The frequency of an absolute partial is a fixed number of Hertz regardless of the note being played Two types of noise partials are available low and high Each causes the partial hardware to scan through a short noise table the difference being in the table that is used 1 1 2 Partial Frequency Every partial has a frequency which is a 16 bit value The frequencies of relative partials are given as a multiple of the fundamental pitch being playe
95. achine language monitor S M P is written in machine language so that it will fit into memory and run fast 7 Insert the distribution disk upside down again and enter BLOAD SMP_IIC_2 0L 8 Insert the working master and enter BSAVE SMP_IIC_2 0L A 800 LS37FF 9 Insert the distribution disk upside down again and enter BLOAD SMP_IIC_2 0H 10 Insert the working master and enter BSAVE SMP_IIC_2 0H A 4000 L 5851 Your working master disk has now been modified to run properly on an Apple Ic or clone with Passport MidiPro interface If you wish to be able to print the screen on a dot matrix printer go to section 2 5 named Installing a Print Screen Program Otherwise installation is complete and you may immediately begin using your working master However you may wish to make a copy of your Working Master and use that so the installation procedure won t ever have to be repeated 2 3 APPLE II An Apple II requires a different modification of S M P because its keyboard does not have the cursor arrow keys and the open and solid Apple keys that the Apple Ile and IIc versions make extensive use of The Apple H uses the following keys instead for these functions keyboard must be in uppercase mode U Block cursor up D Block cursor down L Block cursor left S M P Version 2 0 3 R Block cursor right F Scroll time display forward 4 5 the screen width B Scroll time display backward 4 5 the screen width N Flip to next page on catal
96. ad Library is pressed the dialog box will ask for the first file number of the library This corresponds to the sequence number displayed to the left of filenames on the catalog display To load the whole disk you would enter 1 Following this a second dialog box will similarly ask for the last file number in the sequence to be loaded S M P Version 2 0 6 You may enter a specific number larger than the first number or to load the whole disk some arbitrary large number 255 max The files are then loaded sequentially to the KI50FS with automatic recognition and handling of the file type Model Voice or Program During the loading process it is OK if for example a program is loaded that refers to a voice either single model or multi model before that voice is loaded Note that if the library selected sequence of files contains multi model voices and also the models that make up those voices those models will effectively be loaded twice once as single model voices and then again as part of the multi model voice This is alright except for the extra loading time provided the Audit Voice Number model parameter of the models doesn t conflict with the voice number of the multi model voice 7 0 VOICE MENU AND FUNCTIONS Perhaps the most significant Version 2 0 addition to the KISOFS S M P is the voice assembly function This permits you to link 2 or more models together each covering a portion of the keyboard into a complete K150F
97. ag For a sustained sound example horn that must last as long as the key is held this flag is set to prevent the End of Note command from shutting off all of the partials when it is reached Note that Ignore Release and Hold at End should not both be set if they are the note will hang on forever The setting of this flag is irrelevant if a Loopback command is present since End of Note will never be reached 1 6 5 Global Release Flag If this flag is set a single release slope value given elsewhere in the model specifies the release slops of all of the partials If it is not set a vector gives independent release slopes for each partial 1 6 6 Ignore Sustain Pedal This flag does what its name implies The Apple II S M P has no way to set this flag 1 6 7 Attenuation This 8 bit unsigned value determines how loud the overall model is in units of 3 8dB A value of 0 specifies maximum possible loudness The user would typically adjust this value so that the subjective loudness of the model balances that of other models and voices 1 7 COMPLETE MODEL STRUCTURE The listing below gives the memory image of the example model that has been used previously Encoding of the memory image into a system exclusive MIDI message is covered in section 2 Note that bit 0 is the least significant bit and that 16 bit quantities have the most significant byte at the lower even address The symbolic names given to the various fields come from the Apple II versi
98. al interface Read the descriptions of the various print program files in Section 2 1 below and select the one that applies to you Then follow the instructions in Section 2 2 to copy the appropriate program from the distribution disk to your working master disk 2 1 PRINT PROGRAM DESCRIPTIONS Each paragraph below gives a filename and description for each of the screen print programs available on the backside of the distribution disk SMP SCREENPRINT IMGWRIR GSPP This file is for an Apple Imagewriter connected to the Printer Port of an Apple II GS computer The printer must be set up for DTR handshaking using the Handshake In pin in the 8 pin connector and the baud rate set by the control panel must match the printer The control panel handshake options don t matter to this program S M P 1 8 Manual Supplement 2 Rev A 23 MAR 89 SMP SCREENPRINT IMGWRIR 2CPP This file is for an Apple Imagewriter connected to the Printer Port of an Apple IIc or an Apple Super Serial card plugged into slot 1 of an Apple Ile or H The printer must be set up for DTR handshaking and 9600 baud SMP SCREENPRINT IMGWRIR SSS2 __ This file is for an Apple Imagewriter connected to an Apple Super Serial card plugged into slot 2 of an Apple Ile or I It also may work through the modem port of an Apple IIc The printer must be set up for DTR handshaking and 9600 baud Since the MIDI interface card cannot also be in slot 2 you will have to put
99. al sound source designed to work with any MIDI controller be it keyboard guitar interface or personal computer Is it a sampler No The Kurzweil 150FS produces its sounds using additive synthesis technology and a highly advanced form of Contoured Sound ModelingTM Kurzweil s proprietary technique for analyzing and encoding the characteristics of natural sound The process of converting a sampled sound into a 150FS sound model is so complicated that even we are amazed that we can do 1t It s called a Fourier Synthesizer Does this mean it only does harmonic sounds Actually it should have been called a partial synthesizer but then customers might think they weren t getting a complete machine Each partial sine wave component of a sound may have any arbitrary frequency which can either be fixed or a function of the fundamental pitch Noise partials are also available which is one reason the piano and other acoustic voices are so realistic One voice may have as many as 64 partials and the total aggregate may be up to 240 partials When the polyphony exceeds this limit individual partials marked as optional in the sound models are stolen rather than whole notes What about the sounds The Kurzweil 150FS comes with 27 Kurzweil quality acoustic and electronic instrument voices plus ramp square and sine waves including an incredible acoustic piano and three expansion sockets for adding more sound blocks as they become available
100. als after a delay of approximately a second One page of the parameter list displays 32 partials in two columns of 16 The left and right cursor keys may be used to hop between columns If your model contains more than 32 partials you will not be able to display them all on one page To flip between the pages of the parameter list use the up and down cursor keys while holding the open apple key ADD duplicates the highlighted partial and renumbers the remain ing partials The new partial can then be edited by returning to the next highest level and working with the available options The duplicated partial is highlighted and may be duplicated as many times as necessary to add the appropriate number of par tials to the model to a maximum of 64 The highlighted partial may also be deleted by selecting DELETE which removes the highlighted partial renumbers all remaining partials and leaves the following partial highlighted The model may be monitored by selecting AUDIT and the next higher level may be regained by selecting EXIT 2 TYPE S highlights a partial and generates a menu with the following options 1 RELATIVE SINE F 2 ABSOLUTE SINE F 3 LOW NOISE F 4 HIGH NOISE F 5 OPT REQ F 9 AUDIT S and 0 EXIT S Options 1 and 2 assign the characteristics of a sine wave to the partial option 1 makes the partial relative that is its fre quency is a multiple calculated according to the values on the parameter list of the note played
101. alues so a partially corrupted memory may cause invalid pro gram data to be loaded and cause an immediate software crash usually with an address error display shows AERR and then two hexadecimal numbers The only way to get past this is to thoroughly corrupt the memory so that the internal software recognizes the corrupt ion and restores the default factory programs This may be accomplished by powering off removing the access plate on the top cover see Disassembly below and momentarily shorting out C111 the large capacitor visible It only takes a second Power up again and the Piano program should be selected Of course any user programs or voices have been wiped out THE MEMORY BACKUP BATTERY The memory backup battery is under the small plate attached to the top cover with a couple of screws Simply remove the two screws with the power cord unplugged then lift the plate off The backup battery is a 3 volt Lithium unit about the size of a quarter held in a black plastic holder A voltmeter connected across the battery after power has been off for at least an hour should read at least 2 8 volts If its less than that less than 10 of the battery s life remains Also if its less than about 2 4 volts memory loss is likely The 150 s battery voltage monitor triggers at approximately 2 75 volts During power up the display should show LOW BATTERY if the battery voltage monitor has been triggered To remove the battery pry it out wit
102. an lower the volume of successive notes in relation to the previous one from 0 to 12dB in 1 dB increments Enter a value directly using the numeric button pad and press ENTR or use INCR and DECR to change the value by 1 dB increments If you enter a value larger than 12 with the numeric button pad the decay value will be set at 12 when ENTR is pressed Chorus Editor Assignable Controls Associated with the chorusing are a number of MIDI assignable controls and switches which can be used to control the chorusing parameters in real time See Controls Editing On Off Switch This switch turns the chorusing on and off When a chorus unit is turned off any extra notes are turned off as well 9 2 Detune Control unidirectional This control varies the successive detune between 0 and the value set in the chorusing parameters Chorus detune is a live effect i e it is effective after the note has started Detune Mode Switch This switch changes the sign of detune mode i e becomes becomes Detune Mode Control bidirectional This is a bidirectional control that combines the detune control with the mode switch When the control is above center or below if the direction is reversed the detune is varied and the normal mode is used In the other direction the detune mode is reversed Delay Control unidirectional This control varies the successive delay between 0 and the value set in the chorusing parameters It is only ef
103. ar to the descriptions in Version 1 0 manual There are enough differences however that a number sequence for reaching a certain place in the menu tree such as given in Sec tion VI of the Version 1 0 manual should not be followed blindly instead the name of each selection should be verified be fore continuing A foldout chart at the rear of this addendum outlines the Version 2 0 menu tree in terms of the menu name that appears at the top of the menu column along the left edge of the screen Perhaps the biggest menu difference is that the sign on screen with the Kurzweil logo and the top level menu selections will only appear once Once the first top level selection is made the standard menu column will be used for all menus including the top level menu When exiting from the top level and thus from S M P it is not always necessary to remove the S M P disk because the boot program now requires further user action to begin reloading S M P rather than always re loading automatically as before One major menu change is that the K150FS voice and model readback functions have been moved from the top level Voice menu to the Model Load Save submenu under Create Model This is appropriate since the ultimate result of the voice and model readback functions is to load a model into memory from the K150FS the voice readback is just an intermediate step In that respect it s similar to loading a model from the disk or creating the default model A fo
104. ata rom K150 6 2N2222 3 5 2 2K 270 2 2K 1N4148 6S 12V The first step in putting together a suitable development system is to get a MIDI interface for the development computer called the host so that communication with the K150FS is possible These are available for all of the popular personal computers For a campus mainframe offering only RS 232 ports it is possible to program the MIDI baud rate in the K150FS to 4800 baud by setting the MC6840 Timer 3 to divide the 1MHz system clock by 13 Then a MIDI to RS 232 level shifting circuit such as shown below can be used for the connection Either way you will be using ASCII and perhaps pure binary code rather than MIDI protocol in communicating between the host and the K150FS for program development purposes Once a communication link is established the next task is to write a simple program loader and program it into two EPROMs which are plugged into sockets U55 and U57 of the K150FS If the loader and the data format is kept simple it should only KI50FS Programmer s Model 8 Rev A 26 APR 88 take 2 or 3 iterations to get it functional Then you will be able to download any software you want into KISOFS RAM and execute it At this point you may wish to write or adapt a monitor program which will make debugging of the real software easier or just jump into writing and debugging synthesizer control software If a monitor is written it is useful to have an interrupt button whi
105. ate I 0dB S Wait 10mS Update 3 228 9dB S Wait 20mS Update 2 171 7dB S Wait 30mS Update 1 143 0dB S Wait 100mS Update I 80 5dB S Update 2 114 4dB S Wait 50mS Update 3 200 3dB S Wait 60mS Update 1 OdB S Wait 20mS Update 2 84dB S Wait 120mS Update 2 OdB S End 3 no argument End of Note Update 3 772 5dB S Wait 10mS Update 2 171 6dB S Wait 10mS Update I 0dB S Wait 10mS Update 3 228 9dB S Wait 20mS Update 2 171 7dB S Wait 30mS Update 1 143 0dB S Wait 100mS Update 1 80 5dB S Slow slope Update 2 114 4dB S Wait 50mS Update 3 200 3dB S Wait 60mS Update 1 OdB S Wait 20mS Update 2 84 0dB S Slow slope Wait 120mS WORD 0 Update 2 OdB S WORD 0 End of Note PRSLIST WORD 20 Release slope for Ist partial slow 35 8dB sec WORD 40 2nd partial slow 71 5dB sec WORD 5 amp BFFF 3rd partial fast 143 0dB sec 1 8 VOICE STRUCTURE Actually individual sound models are not sent to the K150FS only complete voices A voice is made of 1 or models in ascending pitch range sequence When the S M P sends a single model to the K150FS for auditing it is first assembled into a single model voice The structure of a complete voice is shown schematically below VOICE HEADER 32 bytes MODEL HEADER lowest pitch range 48 bytes MODEL HEADER highest pitch range 48 bytes DATA ARRAYS FOR THE MODELS order not important All of the model headers
106. ates on the rear panel which kind of power it is currently set up for Make sure the K150X is set for the voltage in your location before turning it on 2 Connect one end of the MIDI cable to the MIDI OUT jack on the MIDI controller 3 Connect the other end of the MIDI cable to the MIDI IN jack on the K150X No other jacks should be used in this application 4 Plug the power cord in between the K150X s AC LINE IN connector and the AC power source 5 Turn on the K150X by pressing the power switch on the lower right side of the front panel This insures that when your MIDI controller is powered up the K150X will receive any setup information which might be sent by your MIDI controller After a few seconds the display will read KURZWEIL 150X for a few seconds and then read Cl P1 PIANO meaning that the K150X is ready to go 6 Turn on the amplifier and plug the 14 inch phone plug into the AUDIO OUT jack on the rear panel of the K150X and or plug the headphones into the headphone jack on the front panel of the K150X 7 Adjust the volume control on the front panel of the K150X to a low but audible level and press a keyboard key You should now be getting an acoustic piano sound When using headphones the volume control should be set to a comfortable listening level However when using an external amplifier or speaker best results are obtained when the volume level is set as loud as your amplifier will allow without distorting
107. atform 4 Connect pin 20 of the RAM to pin 22 of the platform 5 Connect pin 22 of the RAM to pin 20 of the platform 6 Connect one end of a flying wire 6 inches long to pin 27 the RAM 7 8 9 1 See Plug the two prepared platform RAM assemblies into the U54 and U56 sockets Solder each flying lead to U50 pin 11 on the CPU board Solder a jumper wire from U37 pin 12 to U50 pin 12 0 Solder a jumper wire from U50 pin 2 to U50 pin 13 To restore normal operation with EPROM in the U54 and U56 sockets simply unsolder the two flying wires from U50 pin 11 remove the RAM platforms and plug in EPROMS The two jumper wires added to the CPU board will not affect anything ALTERATION OF THE LOOKUP TABLE EPROMS Other alterations one might wish to make are in the various lookup tables used in the KI50FS Since these are all standard EPROMS changing their contents for specialized applications is easy Frequency Converter EPROM The Frequency Converter was designed to use a 2716 2Kx8 bit EPROM as U64 but boards are shipped with 2732 4Kx8 bit devices installed The most significant address bit A11 of the 2732 is tied high so all of the data is in the upper half of the device 350nS or faster devices are acceptable Bits 1 10 of the word written to the frequency converter address the EPROM as if it were a 1K by 16 device EPROM A0 0 high byte The 16 bit word read from the EPROM is then placed into a 16 bit shift register and shifted righ
108. atically since the function only deals with a particular tile type For functions like Delete Copy or Rename which can handle any type of file Type Model is assumed To use these functions with Type Voice or Type Program files the name MUST be entered by cursor selection from the catalog rather than typing in the name Page flipping in the file catalog is performed by holding the Open Apple key down and pressing cursor down to go to higher catalog entries or cursor up to go to lower numbered entries for Apple I and II in a Mac use the N and P keys Changing the Drive Slot selection while the catalog is displayed will automatically display the catalog of the newly selected disk Also any file operation such as Save Delete Rename etc that changes the catalog will update the catalog display if it is showing Loading a model or a voice while the catalog is showing will leave the catalog displayed To display the newly loaded model or voice it is necessary to select an editing function 6 0 LOAD LIBRARY FUNCTION This is a new convenience function that will automatically load a consecutive list of Model Voice and Program files to the KI50FS For example with just a few keystrokes it is possible to have every sound in the library supplied with S M P 2 0 loaded in just a couple of minutes Load Library is in the top level File Manipulate menu However a disk catalog must be showing on the screen for the func tion key to be active When Lo
109. ato depth and the current editable value which will be flashing To change a numeric value simply enter the new value using the numeric button pad and press ENTR or use INCR and DECR to step through the numbers Note that flashing stops when you start entering a new value The NEXT and PREV buttons are used to step through the various parameters in that editor All changes that you make while editing take effect instantly Thus you can play the instrument while you are editing to hear the changes as you make them The Editing Buttons Once an editor has been selected the buttons of the left button pad take on the meanings printed on them F1 F2 and F3 These buttons are active only in certain editors and have special functions which depend on the currently active editor as outlined in Table 2 4 These functions are discussed in detail the chapters on individual editors Table 2 4 F1 F2 and F3 in Various Editors Editor F1 F2 F3 Channel Read Cassette Memory Space Program Rename Program Copy Program Delete Program Region Delete Region Copy Region Replace Region Layer selecting Delete Layer Copy Layer Insert Layer Layer using Change Layer up Change Layer down Mute Other Layers Controls Jump to Beginning of List Jump to Chorus Controls Jump to Vibrato Controls Program List Misc Jumps 16 Entries Insert Program Delete Program SAVE and CANC 2 4 The SAVE and CANC buttons can be used at any time during editing SAVE will cause a
110. audit it This function simply allows you to view a smaller portion of the entire amplitude range which gives you greater resolution in the range you re interested in To set the amplitude range simply press the Ie key corresponding to the value in the options menu that you wish to be the lowest visible amplitude value NOTE Most of a sound s character is in the top 30 40 dB of its range thus these are the most useful scales 0 EXIT S takes you to the next higher level SET DISP PARMS 3 FREQUENCY SCALE calls the following options FREQUENCY SCALE E oO Hz Hz kHz I NNNNWN CDOWMDAIDUAWNE FAOnNUBWNHERE oO HAA AN AA OW O I H x lt This option allows you to determine the range of frequencies which will be visible in the display when you call up an option which displays the frequencies of partials examples are the EDIT X SECTN option in the EDIT CONTOURS option EDIT CURVES and EDIT LEVELS in the ATTACK FUNCTION option Depending on the range you select you will see fre quencies from 0 Hz to the maximum you select with the FREQUENCY SCALE option Simply press the Ile key which cor responds to the frequency range you wish to use The appropriate field in the options menu will be highlighted indicating your selection 0 EXIT S takes you to the next higher level SET DISP PARMS 4 TIME SCALE S gives you the following options 10 S DOBIDUOBWNHE i n EXIT A model i
111. ber of channels available for your K250 sounds What else can I do Each sound layer can be timbre shifted which alters the harmonic content of the sound You can also control how effects such as pitch bend chorusing vibrato and graphic equalization are applied What s timbre shift Timbre ShiftTM is an effect that alters the harmonic content of a sound It is a combination of transposition in one direction with an equal amount of pitch shift in the opposite direction For example with one octave of timbre shift when you play middle C the sound you get has the harmonic content of the C an octave below but played at the pitch of middle C The Kurzweil 150 Fourier Synthesizer Sound Modeling Program By Hal Chamberlin The Kurzweil 150 Fourier Synthesizer is a remarkable achievement in musical engineering with its full complement of authentic instrument sounds and uniquely complete MIDI implementation Now with the Sound Modeling Program it becomes one of the most sophisticated programmable synthesizers as well The Sound Modeling Program allows you to not only edit the preset sounds of the 150FS but also create new sounds never heard before by manipulating envelope shapes and frequency spectra on the screen of the Apple IIe Of course drawing waveforms on a computer screen is nothing new Several samplers including the Kurzweil 250 are supported by programs for doing just that A few of these even allow additive synthesis to be
112. ber of relative partials in the model and a matching vertical axis is used The diagonal line represents perfect harmonic frequencies A small cross is plotted for each relative partial with a horizontal position according to the partial number and vertical position according to its multiple Perfect harmonic partials will lie along the diagonal line The partial multiples may be graphically edited by moving the crosshair to select the desired partial horizontally S M P will use the nearest partial if the crosshair is not positioned exactly and the desired new multiple vertically and pressing the 1 key Change Key 7 Point Readout may be pressed to determine what the partial number and multiple of the current crosshair selected partial is Key 8 Cursor Readout likewise displays what it would be changed to if key 1 was pressed The most common use of slightly inharmonic partials is in simulating vibrating strings or to add a degree of richness to syn thetic sounds In either case the deviation from perfect harmonics is usually too small to show up well on the 1X or nor mal display that is initially presented The 4 Decrease key may be used to emphasize such deviations and make them easier to see and edit Pressing Decrease once will change the multiple deviation scale so that 10 pixels vertically will repre sent 50 deviation of the base frequency Pressing Decrease again will go to a 20 scale one pixel 2 10 5 2 and 1 one
113. ble KI50FS Programmer s Model 10 Rev A 26 APR 88 System Exclusive Message format All system exclusive messages received and transmitted by the K150 have the following common format SFO 7 chan 15 cmd optional data SF7 where 7 is the manufacturer ID Kurzweil chan is the basic MIDI channel number 0 thru 15 15 is the product ID K150 cmd identifies the type of message and determines the format of the optional data The following commands i e message types are recognized 1 Load Master Parameter Block 2 Dump Master Parameter Block 3 Load Program 4 Dump Program s 5 Load Instrument Voice 6 Dump Instrument Voice s 7 Block Data Transfer 8 Remote Button Push 9 Transmit Display Text request 10 Display Text acknowledgment to 9 S7E NAK multi purpose STE ACK multi purpose General Sequence for Block Data Dumps Computer K150 send dump request send block data send load request ACK send block data ACK Load Dump Master Parameter Block 1 off hi off lo len hi len lo 2 off hi off lo len hi len lo The Master Parameter block is 512 bytes of data which contains parameters such as master tune and transpose the velocity maps intonation tables and the program list These commands may be used to load and dump portions of this block Each message contains the byte offset sent as two 7 bit values and length in bytes of the area to load or dump The actual data is transmitted using
114. brato switch options Use INCR and DECR to step through the available switch options The default is off Off Vibrato is disabled for this region Fixed Vibrato is enabled in a normal mode i e the vibrato intensity will not respond to MIDI key pressure or modulation wheel signals K Press Assuming your MIDI controller can transmit key after touch information the amount of vibrato depth as specified with the DEPTH parameter of the Vibrato Editor can be proportional to the after touch with which the key is held down with this option see Vibrato Editing for more information M Wheel Allows the amount of vibrato depth as specified with the DEPTH parameter of the Vibrato Editor to be controlled with your MIDI controller s modulation wheel see Vibrato Editing for more information Equalizer Number This parameter selects whether equalization is active in this layer When the display reads EQUALIZER you can use INCR and DECR to switch between on and off The default is on One set of equalization parameters can be defined for each program Use the Equalizer Editor to edit the equalization parameters for the active program see Equalizer Editing 8 7 The Chorus Editor The programmable chorusing feature in the K150X can be used to create a variety of effects such as phasing flanging doubling chorusing and echo The chorusing feature operates by generating extra notes which can be successively detuned delayed and or decaye
115. buzzing sound from large amplitude steps at its slow 1 2KHz update rate Note that the polarity of bit 14 is the same whether the slope is positive or negative Thus one should OR in bit 14 after any twos complement operations Addressing Partials There are 240 sets of the four registers described above in the address range of 030000 0307FF Word moves should always be used to ensure that both bytes of an addressed register are read changed simultaneously Partials are numbered from 0 to 255 and the partial number used in the formulas below will be called P If P is divisible by 16 it is a silent partial and does not contribute to the sound regardless of the register values The base address for the registers associated with a given partial P is 030000 8 P The Phase Register then is at the base address plus 4 Frequency at base plus 2 Amplitude at base 6 and Slope at base 0 Amplitude Ranges The sound generator theoretically produces 24 bit sample values 240 partials times 16 bits per partial The lower 20 bits of these participate in producing the output yes all 20 but the upper 4 bits are clipped The waveform is actually clipped which is relatively unnoticable in small amounts rather than allowed to wraparound which would sound truly awful Thus it is theoretically possible to clip a waveform of 17 or more partials if they are at maximum amplitude and perfectly in phase In practice clipping seldom if ever occurs because no
116. cation or storage on disk Samplers allow me to simply record live sounds and use them musically Can I do this with the Sound Modeling Program and the 150FS One future enhancement being considered is a Fourier analyzer program that does just that The recorded and analyzed sound can then be manipulated much more freely than can a sound that s merely been sampled What about other computers The Apple was chosen initially because it is the computer most commonly owned by musicians Others are being investigated so cast your vote Resident Voices Voice Block A Voice Block B The KURZWEIL 150 FOURIER SYNTHESIZER Program Display 1 PIANO 2 ROCKPNO 3 SOFT PNO 4 ELEC PNO 5 BR E PNO 6 HARPSCHD 7 SOFTHPCD 8 A BASS 9 E BASS 10 SOFT EBS 11 VIBES 12 MARIMBA 13 JAZZ ORG 14 ROCK ORG 253 RAMPWAVE 254 SQURWAVE 255 SINEWAVE 16 AGUITARI 17 AGUITAR2 18 AGUITAR3 19 SYN HORN 20 SYNSWEEP 21 SYN CELE 22 SYN BASS 23 CONGAS 80 CLARINET 82 OBOE 83 HARP 87 CHIMES 88 HANDBELL Description Concert Grand Piano Rock N Roll Piano Soft Acoustic Piano Electric Piano Bright Electric Piano Harpsichord Soft Harpsichord Acoustic Bass Electric Bass Soft Electric Bass Vibraharp Marimba Jazz Organ Rock Organ Ramp Wave Square Wave Sine Wave Steel String Acoustic Guitar Bright Steel String Guitar Nylon String Acoustic Guitar Synth Horns Synth Filter Sweep Synth Celeste Synth Bass Conga Drums Clarinet
117. ce Mode Parameter When the display reads B MODE you can choose among three options for controlling the balance The default mode is manual Use INCR and DECR to step through the choices Manual This is the default mode for layer balance The value given in the Balance Level parameter is directly applied to the layer Slider If your MIDI controller has a MIDI assignable slider or wheel you can set it up so that you can interactively control the balance level between OdB and the value set with the Balance Level parameter Attack Velocity A WELOC If your MIDI controller can transmit key velocity information the balance can be controlled by key velocity When the display reads A VELOC the balance level is scaled between OdB and the value set with the Balance Level parameter and proportional to the velocity with which the key is pressed 8 5 Balance Level When the display reads BALANCE you can control the volume of this layer relative to the other layers The volume of this layer can be adjusted to be 0 to 12dB softer than an unadjusted layer The default value is OdB Enter a value in decibels using the numeric button pad and press ENTR or use INCR and DECR to change the value in 1 decibel increments If a value greater than 12dB is entered using the numeric button pad the value will be set to 12dB when ENTR is pressed Note that layer balancing is relative When you raise the volume of a specific layer you are actually reducing the
118. ch allows any control source to act like polyphonic key pressure The K150X also provides a connection for two external switch pedals These pedals are treated as extra switch controllers and can be assigned to any control or switch destination F1 F2 and F3 in the Control Editor Pressing F1 returns you to the top of the list Pressing F2 jumps to the first of the Chorus control assignments Pressing F3 jumps to the first of the Vibrato control assignments Using the Control Editor 1 Select Control Editing by pressing EDIT NEXT 2 One of the parameters shown in Table 12 1 will appear in the display Use NEXT and PREV to step through the parameters Table 12 1 Summary of Assignable Controls Display Abbreviation Control Name Type of Control MIDI Assignment MODULATION Modulation CC 1 P WHEEL Pitch Wheel CC 126 KEY PRESS Key Pressure CC 125 P SHIFT Pitch Shift CC Unassigned TRANSPOSE Transpose CC Unassigned TIMBRE SHIFT Timbre Shift CC Unassigned VOLUME Volume CC 7 BALANCE Balance CC 8 EXPRESSION Expression CC 11 TIMBRE FREEZE Timbre Freeze Pedal SW 69 SOSTENUTO Sostenuto Pedal SW 66 SUSTAIN PED Sustain Pedal SW 64 12 1 SOFT PEDAL CHORUS SW C DTUNE CC C MODE SW C MODE CC ELAY CC ECAY CC C D C D VIBRAT T o GI nu Haro aQ OQ INCREMENT Soft Pedal CC Chorus Switch SW Chorus Detune CC Ch
119. ch allows you to add move or delete attack levels from the model Assigning multiple at tack levels permits you to generate different sounds dependent upon keystrike velocity With the previous sequence of key strokes you added a level to the existing single level This process may be repeated until a number of levels are present al lowing for subtle manipulation of sound Press 0 0 This returns you to the DEFINE MODEL options menu Finally you ll need to know how to edit the contours of the models The contour editor is where the primary work of the Sound Modeling Program is done Press 4 1 4 Yov ll see the TIME SCALE options menu Pressing another numeric key will readjust the time scale for the display which will appear after the following sequence Press 0 0 2 2 5 RETURN You should see a contour displayed in the upper half of the screen At this point you may use option 9 to select a group of partials to manipulate Press 9206 You ve selected all the odd numbered relative partials in the current model and stacked them so that each is separately vis ible on the screen Press 4 This overlays the same selected partials in the upper half allowing you to choose what to display in the lower half of the screen Press 8 RETURN You have called up a cross section of the sound which exhibits the amplitudes of various frequencies within the model Press 0 3 This takes you up a level then moves you into th
120. ch will stop the program under test and return to the monitor for examination of memory contents This can be accomplished by pulling down the U6 pin 1 node on the CPU board for about 10 microseconds with an open collector TTL device This will create a level 7 interrupt which would be interpreted by the monitor as console interrupt rather than power fail Take care not to make the pulse too long or it will trigger the reset circuit and reset the processor instead The stock K150FS has a limited amount of zero wait state RAM for loading software into just 16K A simple modification can convert the U54 U56 sockets second 64K of program EPROM into 64K of zero wait state RAM instead A 62256 32Kx8 static type of RAM chip should be used in each socket and any standard speed 100 120 150nS is acceptable This new RAM will be volatile Only word writes should be performed to this RAM trying to write just one byte will either write garbage into the other byte or nothing at all To make the conversion perform the following steps none involve functional changes to the CPU board so you can quickly restore normal EPROM operation for running the stock K150FS software Obtain two 28 pin DIP platforms if necessary cut down a 40 pin platform Either mount the RAM chip directly or a 28 pin socket on the platform and connect all pins except 1 20 22 and 27 of the RAM to the corresponding pins on the platform 3 Connect pin of the RAM to pin 27 of the pl
121. chorusing square wave vibrato and EQ Pitch bend depth is 1 octave Layered pianos with square wave vibrato amp tune adjust Multi layered marimba transposed to form an augmented triad Multi layered vibes transposed with tune adjust and chorus on layer 1 Clarinet Acoustic bass clarinet split at C 3 Acoustic bass in left region clarinet in right Oboe Harp Two layers of Harp one transpose up 12 semitones Harp Harmonic Harp with Timbre Shift Echo Harp Harp with delayed chorus Chimes Handbells Clarinet with key pressure pitch bend Harp layered with timbre shifted congas Oboe with key pressure vibrato Space chimes Delayed chorus chimes with key pressure vibrato square wave Chorus Harp Harp with 3 note chorus detuned 4 cents mode Harp layered with vibes Synth Celeste layered with chimes Piano Clarinet split at C 5 Piano in left region clarinet in right Vibes Vibes and Clarinet split at B4 Vibes in left region Vibes layered with Clarinet in right Synth bass layered with chimes Handbells transposed and timbre shifted layered with marimba Harp layered with split guitar Guitar split at F 2 and C 6 Left region transposed up 12 semitones right transposed down 12 Chorused clarinet layered with chorused congas Sinewaves and chimes layered with vibrato and chorus Complex harp Two layers of harp one with 600 ms chorus delay one with key pressure vibrato and attack velocity timbre shift Try it wi
122. coin shaped battery in a clip this battery is the one you want to replace 4 Take a penny and ease it under the old battery in the clip and lift out the old battery Quickly insert the new battery the same way with the upwards 5 Turn on the power Make sure no warning message appears Replacement Batteries The battery recommended by Kurzweil Music Systems is Type 2430 a 3V lithium coin cell These batteries are available in several sizes and in a pinch you can use a different size The other sizes do not last as long however Refer to the following tables Type Capacity Typical Life of Original 24mm Diameter recommended 2430 100 2 years 2420 60 14 months 2316 45 10 months 20mm Diameter only if there s no other choice 2032 85 20 months 2025 60 14 months 2016 30 6 months The 20mm batteries will be loose in the battery clip They will work but we do not guarantee that memory contents will be valid as moving the unit around or other vibrations may break electrical contact Typical Life means the life of the battery in an average K150X at room temperature The life time is shortened by heat for instance at 130 F a typical temperature in a car out in the sun battery drain is triple the room temperature rate B 1 INDEX A A BASS 8 3 assignable controls 12 1 asterisk 6 1 attack velocity Timbre Mode 8 5 A VELOC 8 5 Balance Mode parameter 8 1 B balance control 12 4 Balance Level
123. ction flag in bit 15 Assuming sine waves bit 15 0 the sound generator works by adding the 15 bit frequency parameter to the phase register every sample period ignoring overflow The sample period is 51 2uS which corresponds to 19531 25 KS s A frequency parameter of 0001 would therefore produce a frequency of 0 29802Hz while 7FFF would be just short of the Nyquist frequency at 9765 33Hz and be lost in the anti alias filter The general formula for frequency is F 0 29802322 P Hz where P is the 15 bit frequency parameter expressed as an integer The Frequency Register may be read and written at will When bit 15 of the Frequency Register is a one the sound generator looks up in a noise table rather than a sine table The 15 bit frequency parameter is still added to the Phase Register every sample period as before The noise table lookup uses bits 2 13 of the phase register content as a lookup address to 4096 noise samples However these 4096 samples are really two sets of 2048 samples each one being low noise and the other being high noise These two sets of samples are interleaved in the noise ROM such that bit 2 of the Phase Register selects low noise when it is zero and high noise when it is one Thus if the Frequency Register content is a multiple of 8 the Phase Register will always address samples in the same noise table Which noise table is determined by the initial setting of bit 2 in the Phase Register The specific intended applicatio
124. d You can define one set of Chorus parameters for each Program Whether or not these Chorus parameters are active for any individual layer in that program is controlled by the Chorus Enable switch for each layer which can be set to Off Fixed M Wheel or K Press the default is Off To fully understand the capabilities of Chorus mode see the description of the various chorus enabling options in Layer Editing The Chorus parameters being modified are those for the currently active program In order to hear the effects of your Chorus editing turn on one of the active modes Fixed K Press or M Wheel of the Chorus Enable switch for the layer or layers you want to add Chorus to see Layer Editing Using the Chorus Editor Select CHORUS editing by pressing EDIT INCR The word CHORUS is printed above the key on the button pad The parameters shown in Table 9 1 on the following page can be edited One will appear in the display the others can be selected by using NEXT and PREV Table 9 1 Chorus Editor Parameters Display Reads Parameter Adjustable Range What it Does use INCR and DECR X NOTES Extra Notes 0 7 Selects the number of extra notes to be played DTUNE Detune 0 6 000C Varies the pitch of the successive notes DELAY Delay 0 4000ms Delays each successive note by the given time interval DECAY Decay 0 12dB Reduces the volume of each successive note You can also enter the value directly with the right button pa
125. d The frequencies of absolute partials are given as a multiple much less than one of the highest frequency that can be produced The frequency field of noise partials varies the scan rate through the noise tables and thus varies the noise spectrum The relation between noise frequency and the spectrum is extremely complex and best determined by trial and error 1 1 3 Optional Partial Flag This flag marks the partial as being less important to the sound s timbre than unmarked partials In a playing situation that calls for more notes than there are partials available but still less than the 16 note limit optional partials are not sounded Thus in voices that use many partials one should attempt to mark the less important ones optional When actual partial stealing is required the higher numbered partials of presently sounding notes are stolen first 1 2 CONTOURS Contours are arbitrarily shaped amplitude envelopes one for each partial in the model A contour always starts from silence 95 6dB follows a curve approximated by straight line segments and either returns to silence model of a decaying sound ends at some finite value or loops upon itself sounds that may be indefinitely sustained There is no upper limit to the duration of a contour but accumulated error in generating the contours gives a practical limit in the low minutes range The Apple II Sound Modeling Program imposes a limit of 65 seconds Contours are effectively re
126. d they are represented by an unsigned 8 bit integer in units of 3 8 of a decibel This gives a range of 0dB to 95 625dB In most cases the dB value is an amplitude which means that 0 is silence and 255 is maximum loudness In other cases the value is an attenuation so 0 is loud and 255 is silence The S M P s user interface generally uses OdB to represent maximum amplitude and 95 6dB to represent silence 1 5 4 Slope Units As described above contours are represented in the hardware as delta time Sample period counts and slope Slopes are represented by signed 16 bit integers using the following conversion formulas Fast Slope Value 0 034953 dB sec dB sec 28 6098 Value Note that the relatively large slope unit size restricts usage to fairly rapid slopes By setting bit 14 of the slope value to one after the two s complement for negative slopes the slope may be reduced by a factor of 16 and thus slower slopes may be represented accurately The conversion formulas are now Slow Slope Value 0 559248 dB sec dB sec 1 788116 Value Slow slopes are accomplished in the hardware by updating the partial amplitude every 16 samples rather than every sample This can lead to audible modulation noise if the slow slope flag is on but the slope is relatively fast Thus judgment in trading off the greater precision offered by slow slopes with the absence of noise offered by fast slopes must be exercised In any case a routine
127. d and press ENTR See the sections on each parameter later in this chapter The Chorusing parameters work in conjunction with each other For instance until audibly perceptible values are set for Detune and Delay selecting multiple notes will not sound dramatically different it will just fatten up the sound of the original note Likewise selecting 3 Notes and a Delay of 200 ms with no detuning will only repeat the original sound 3 times 200 ms apart Remember that you can interactively listen to your modifications to the Chorus editor To do this at least one layer in the region of the keyboard that you re playing must have its Chorus Enable switch on see Layer Editing When you select values using the numeric button pad and press ENTR or change values using INCR and DECR the changes in sound can be heard by playing the keyboard Also note that you can press UNDO to toggle between the current value and the previous value or CLR to reset a value to 0 Notes When the display shows X NOTES you can select the number of extra notes to sound Enter the value directly with the numeric button pad and press ENTR or use INCR and DECR to add or subtract one note at a time Up to 7 notes can be selected If you enter a value greater than 7 using the numeric button pad the number of notes will be set to 7 when ENTR is pressed 9 1 Detune When the display reads DTUNE you can specify the amount to detune and mode of detuning for successiv
128. d cause the sound to enter its release phase The release shape of each contour is quite simple a linear decrease in amplitude from whatever amplitude the partial was at when the note off was received to silence Assuming that the Global Release model parameter flag is off each partial can have a different release slope These slopes are specified in a vector having as many entries as there are partials After a note off a partial does not become available for reuse by other notes until it has decayed to silence An exception would be a restrike of the same note which could immediately reuse its partials 1 5 UNITS AND ENCODING The actual binary encoding of the vectors and arrays described above is largely set by the hardware implementation of the sound generator and to a lesser extent by what is convenient and therefore fast for the 68000 control microprocessor Data in the arrays are 8 bits in some cases and 16 bits in others 8 bit quantities are always unsigned integers whereas 16 bit quantities are always signed twos complement integers In most cases the units used to encode time variables into integers are based on the sample rate of the sound generator This rate is exactly 19531 25Hz which is exactly equal to a 51 2 uS period It is derived in the hardware by dividing a 20MHz clock by 1024 Frequency units are based on the highest standard frequency the sound generator is programmed to produce which is D9 A4 440Hz or 9397 273Hz Amplitude
129. d intonation tables designed by Wendy Carlos are provided The names numbers and values of these tables are given in Appendix A The range of tuning adjustment available via the intonation table has been expanded to a full tri tone i e 600 cents or 1 2 octave in each direction This allows creation of unusual scales with notes that are very close together A new mechanism is provided for changing the intonation reference key over MIDI When the Auto Ref Key switch available in the EDIT TUNE menu is ON MIDI Note On messages for key numbers 0 C thru 11 B will change the reference key Note that in MIDI CO key number 12 so 0 thru 11 are seldom used Thus if you have a controller that will transmit those key numbers you can use it to change the reference key dynamically allowing real time modulation while using a non equal tempered tuning Again thanks to Wendy Carlos for this idea K150FS Version 1 6 Software 1 KURZWEIL 150 FOURIER SYNTHESIZER HARDWARE PROGRAMMER S MODEL AND ADDRESS MAP This document describes the Kurzweil 150 Fourier Synthesizer from the hardware programmer s point of view It contains addresses for all of the hardware registers and brief descriptions of each At this level the programmer is responsible for all of the details involved in sound generation MIDI data decoding if used time keeping front panel display refreshing and button scanning The reader should be familiar with the documents titled
130. ddition to any tuning specified for a particular layer with the TUNE parameter in the Layer Editor For example if the Master Tuning for the K150X is set at 3C and a layer is given a tuning of 2C the layer will have a 5C tuning relative to the natural pitch Transposition When the display reads TRANSPOSE the K150X can be transposed from 0 to 60 semitones Enter a value using the numeric button pad and press ENTR or use INCR and DECR to change the value by 1 semitone increments If a value greater than 60 is entered using the numeric button pad the value will be set to 60 when ENTR is pressed This transposition is in addition to any transposition specified for a particular layer with the TRANS parameter in the Layer Editor For example if the master transposition for the K150X is set at 3ST and a layer is given a transposition of 2ST the layer will have a 5ST transposition relative to the natural tone Intonation 4 1 Used in conjunction with the Intonation Table Editor which allows you to adjust the micro tonal distance between individual intervals this parameter determines whether the values specified with that editor will be active or not When the display reads INTONATION you can change the value of the switch Use INCR and DECR to change the value between off and on The default is off Reference Key Used in conjunction with the Intonation Table Editor which allows you to adjust the micro tonal distance between
131. del may have from 1 to as many attack levels as desired a practical limit is 20 30 All notes with MIDI velocities between two attack levels will take on the spectrum modification specified by the curve associated with the lower attack level BASE FREQUENCY The lowest frequency at which a model is intended to be played and the frequency from which the frequencies of the relative sine partials are calculated A model which will be played in a range moving upward from middle C for example should have a base frequency of 261 6 Hz All relative sine partials in the model will have frequencies which are multiples of the base frequency BREAKPOINT A change in the direction of the amplitude envelope contour of a partial The user inserts moves or deletes breakpoints to create a contour which approximates the desired smoothly varying envelope shape CATALOG A list of models voices or compiled voices which is available at several locations in the Sound Modeling Program It allows the user to review his her library of disk stored files COMPILE The conversion of sound model data from the internal format used by the Sound Modeling Pro gram to the format required by the 150FS CONTOUR An amplitude envelope In simpler terms a visual representation based on bipolar coordinates of changes in amplitude over time Each partial in a model evolves over time its amplitude rising and falling according to in structions entered by the user The Sound Model
132. ds NOTE you can change the value of the displayed note away from its equal tempered value Select a new value using the numeric keypad and press ENTR or use INCR and DECR to change the value in cent increments The default value is 0 cents meaning that equal temperament is applied to the scale The note selected with the Reference Key parameter in the Tuning Editor will be used as the reference key for the new tuning Some different common tunings are given in Table 13 2 Table 13 2 Common Tunings Note Step Interval Pythagorean Just C 1 semitone 10 12 C Db 8 C Cb D 2 whole tone 4 4 C D 8 D E D 3 min 3rd 6 16 E 4 maj 3rd 8 4 F 5 4th 2 11 F 6 aug 4th 12 10 Gb 6 dim 5th 2 10 G 7 Sth 2 2 G 8 min 6th 8 14 A 9 maj 6th 6 6 Bb 10 min 7th 4 4 D C 18 E D B 11 maj 7th 10 12 C B 8 C Cb Based on Ref Key C Velocity Map Editor Used in conjunction with the VELOCITY MAP parameter in the MIDI editor the K150X is supplied with provisions for velocity maps These velocity maps establish different relationships between the MIDI velocity value sent by your keyboard and the interpretation of that value by the K150X allowing you to give your keyboard different response characteristics Velocity map 0 is linear i e the relationship between MIDI velocity values sent by your controller and the interpretation of that value by the K150X is directly proportional as in Figure 13 1 Vout
133. e sel Device Select For several identical units connected together specifies which one should respond Range is 00 0F and for K150FS the device ID is the same as the basic MIDI channel SOF Product code for K150FS ca Command status code see list below data optional F7 MIDI end of exclusive COMMAND STATUS CODES MEANING 01 Load master parameter block 02 Dump master parameter block 03 Load program 04 Dump program 05 Load voice 06 Dump voice 07 Block data transfer 08 Remote button push 09 Request display content SOA Display text acknowledgment to 09 S7E NAK negative acknowledge error STE ACK positive acknowledge OK Only Dump Voice Load Voice Block Data Transfer NAK and ACK are described in this document The others are described in a document titled K150FS Version 1 6 Software applies to 1 7 and later versions as well 2 2 ENCODING OF 8 BIT BINARY DATA The data portion if present of messages usually consists of full 8 bit bytes These are sent as pairs of MIDI bytes 4 bits for each member of the pair The most significant 4 bits are sent first Thus the MIDI bytes 4D 69 64 69 would be sent as 04 0D 06 09 06 04 06 09 Although other packing techniques may be more efficient this simple method is human readable from a MIDI data logger and quite efficient enough for the relatively small amount of data required to represent additive synthesis sounds 2 3 HANDSHAKING PROTOCOL The K150FS
134. e CLR sets the parameter to the default value NEXT and PREV These buttons allow you to step thru the parameters associated with the current editor If you have started making a numeric entry but haven t pressed ENTR pressing NEXT or PREV completes the entry for you Like INCR and DECR these buttons repeat if held down for more than one second but at a slower rate twice a second EDIT In general you can use EDIT Fn at any time to select a different editor Press EDIT EDIT to return to the previous editor you were in Since each editor remembers what it was doing when you exited from it you can bounce back and forth between editors with little difficulty If you have started making a numeric entry but haven t pressed ENTR pressing EDIT completes the entry for you To return from all editors press EDIT and any key on the right button pad The display will show the CHANNEL and PROGRAM number currently active C number P number program name This is the K150X s Channel Editor display C stands for CHANNEL and P stands for PROGRAM From here you can use INCR and DECR to step through the Programs or NEXT and PREV to step through the Channels 2 5 A Block Diagram of the K150X Figure 2 3 shows the relationships between the various K150X parameters and modifiers and how they interact to achieve a certain result Although reasonably complex the diagram will become clearer as you become familiar with the K150X and its operati
135. e signals coming from the modulation wheel are given the values 0 127 In Centered mode the values are shifted down to be from 64 to 63 with 0 as the center point Velocity Map The K150X contains 8 velocity maps which determine how the key velocity signals coming from your MIDI controller will be interpreted These velocity maps allow you to get different response characteristics from your MIDI controller When the display reads VELOCITY MAP select one of the velocity maps by pressing INCR or DECR or enter a value from 0 7 directly with the numeric keypad and press ENTR The default velocity map is map 0 which is a linear mapping in which increased MIDI values result in proportionally increased interpretations by your K150X Although 7 different default velocity maps are supplied the maps themselves can be modified with the Velocity Map editor under the Miscellaneous Editor See the Miscellaneous Editor for more information 5 2 Loudness Map The K150X contains 8 loudness maps which determine how the key velocity signals coming from your MIDI controller will be interpreted These loudness maps allow you to get different volume characteristics from your MIDI controller When the display reads LOUDNESS MAP select one of the velocity maps by pressing INCR or DECR or enter a value from 0 7 directly with the numeric keypad and press ENTR The default loudness map is map 0 which is a linear mapping in which increased MIDI values resu
136. e actually performing the adjustment First they will ask for a beginning time and then an ending time Together these define an interval in which the adjustment is made Breakpoints strictly inside the interval will be adjusted while breakpoints on the interval boundaries or outside the in terval will not be affected If you want to adjust the whole contour simply enter 0 for the beginning time and 65000 or simi larly large value beyond the end of any contours in the model for the ending time Times are always entered in milliseconds If the adjustment times are unknown simply go into the Change Points mode from the Edit Contours menu and use the Cur sor Readout or Point Readout functions to find the times of the breakpoints of interest For example if you wish to adjust the amplitude of all even order partials over the interval from 1 0 second to 1 7 seconds including any breakpoints at exactly 1 0 or 1 7 seconds you should first select the even numbered partials and highlight SEL PAR Then select the type of adjustment desired explained below and enter 999 for the beginning time and 1701 for the ending time If 1000 and 1700 were entered instead then breakpoints at exactly 1000 and 1700 would not be affected The third parameter is the amount of adjustment in decibels A positive adjustment means that breakpoints in the interval will be moved to higher amplitudes while a negative adjustment means that they will be moved to lower amplitudes The
137. e contour editing functions You may use the previously displayed overlay of partials as your reference Press 2 1 RETURN You have selected partial 1 as your contour to edit Press 3 2 You ve selected the option for changing breakpoints in the contour and inserted one of these breakpoints Use the cursor keys to position the crosshairs and move insert or delete breakpoints using keys 1 2 and 3 Press 04 1 2 This selects the option for editing the cross section of the model allowing you to alter the amplitude of the model at various frequencies By pressing 2 above you changed the amplitude at the frequency indicated by the vertical crosshair Remember you can hear the modifications you ve made assuming they re sizable enough to be audible at any time by pressing 9 at many levels of the program Press 0 4 You ve selected the looping function and are being asked to set the boundaries of the looped section Press 3 5 0 RETURN You have set the loop from time and are being asked to set the loop to time Press 5 0 The program creates a loop defined by the times you entered An audit at this point will reveal a change in the sound of the model SECTION VII CONSTRAINTS Version 1 of the 150FS Sound Modeling Program is an initial release that does not include all of the functions planned for the final release version Version 2 Nevertheless it is a complete and useful tool capable of modeling an incred
138. e contours of selected partials as a stack of plots Detailed editing is performed on one such plot expanded to cover half the screen RENTAR ATTACK FUNCTION ALL FIRE KIEA T ATTACK FUNCTION 7 ara Lr E SEL FAR apine Prk E Pa i si nite hoo DE Ran togo The attack function shows how the spectrum is modified for different loudness levels The wide bar represents the overall loudness while the remaining vertical lines represent the amplitudes of selected partials Connecting lines show the spectrum for each of the attack levels The Kurzweil 150 Fourier Synthesizer Sound Modeling Program VERSION 1 0 SPECIFICATIONS COMPUTER ADDITIONAL HARDWARE DISPLAY NUMBER OF PARTIALS MODEL SIZE SOUND RAM MODELS PER VOICE ATTACK LEVELS LONGEST SOUNDS TIME RESOLUTION TIME SCALES AMPLITUDE RESOLUTION AMPLITUDE SCALES FREQUENCY RESOLUTION FREQUENCY SCALES DISPLAY SCREENS Apple Ile with DOS 3 3 and one disk drive 80 column card not needed Passport Designs MIDI interface card in slot 2 Apple II high resolution graphics 280 x 192 monochrome 1 to 64 partials 128 bytes minimum 7K bytes maximum over 2000 breakpoints 64K bytes non volatile 1 127 typically 2 4 per octave 1 127 typically 4 10 65 5 seconds indefinite with looping 1 millisecond 50 100 200 500 ms 1 2 5 10 s full screen with scrolling 0 375 dB at breakpoints interpolated to 0 0015
139. e display reads T SHIFT you can adjust the timbre shift of the layer from 0 to 60 semitones 0 is the default and applies all timbre shifts to their nominal pitches Enter a value using the numeric button pad and press ENTR or use INCR and DECR to change the value by 1 semitone increments To change the sign of the value use the key In general positive timbre shifts result in a brighter sound while negative timbre shifts result in a duller sound Timbre Select Used in conjunction only with the Select option of the Timbre Shift Mode parameter this parameter allows you to specify the note whose timbre will be applied to all the notes The default note is middle C C4 C in the 4th octave There are 2 ways to select the note Press INCR and DECR to step through the musical scale Alternatively you can select the MIDI number of the key whose timbre shift you want Input the value using the numeric button pad and press ENTR The MIDI number for each key is shown in Table 8 3 and Figure 8 1 relates the MIDI numbers to keys on the keyboard Table 8 3 MIDI Key Number Chart Note Octave 0 1 2 3 4 5 6 7 8 C 12 24 36 48 60 72 84 96 108 C 13 25 37 49 61 73 85 97 109 D 14 26 38 50 62 74 86 98 110 D 15 27 39 51 63 75 87 99 M E 16 28 40 52 64 76 88 100 112 F 17 29 41 53 65 77 89 101 113 F 18 30 42 54 66 78 90 102 114 G 19 31 43 55 67 79 91 103 115 G 20 32 44 56 68 80 92 104 116 A 21 33 45 57 69 81 93 105 117 A 22 34 46 58 70 82 94
140. e notes Detuning amount specifies how much the chorus generated pitches will vary from the played note The mode determines whether these additional notes are above or below the pitch of the played note or alternate between being above and below You can select the detuning amount to be between 0 and 2000 cents Enter a value in cents using the numeric button pad and press ENTR or use INCR and DECR to change the value by 10 cent increments The mode of the de tuning can be adjusted using the sign button Pressing steps through the four values above below alternates between above amp below starts above alternates between below amp above starts below For example if 4 extra notes and 200 cents 1 whole tone of de tuning are specified the effect of playing a note for each sign value is shown in Figure 9 1 Above Below Above Below Below Above Figure 9 1 Detuning Delay When the display reads DELAY you can adjust the amount of time between each note from 0 to 4000 ms 4 seconds in millisecond increments Enter a value in milliseconds directly using the numeric button pad and press ENTR or use INCR and DECR to change the value by 10 ms increments If you enter a value greater than 4000 ms the delay value will be set at 4000 ms when ENTR is pressed You can also use the INCR and DECR keys to change the value in 10 ms increments Decay When the display reads DECAY you c
141. e steps outlined above for loading a model and audit ing Retrace the checks for the IIe outlined above Check your headphones or if you re using a sound system check the audio connection from the 150FS and the sound system itself NOTE The Sound Modeling Program uses interrupts to facilitate MIDI I O It has been found that some Apple II serial I O cards may not reset properly when power is applied and will generate spurious interrupts until addressed with an IN or PR command These interrupts will interfere with proper operation of the Sound Modeling Program and cause a double beep different pitches and break to the monitor If this happens frequently you may wish to modify the HELLO program on your work copy of the Sound Modeling Program disk to include the needed IN or PR command If you are unable to get your system up and running contact Kurzweil Service or Product Education at 617 893 5900 SECTION IV 150FS FUNCTIONS Section IV is arranged into four parts a description of the sound producing technology of the 150FS a description of the pro cess for representing the envelopes of partials in the 150FS an explanation of the attack function and an explanation of the Sound Modeling Program s looping function as it affects the 150FS REAL TIME ADDITIVE SYNTHESIS THE 150 FOURIER SYNTHESIZER There has been much discussion since the release of the first Kurzweil 150 Expander regarding the process used by the 150 to
142. e values needed to get a smooth sounding result Since such computation is time consuming particularly for 240 partials at once contours are sent to the 150FS in a different form called delta time slope format In delta time slope format each breakpoint has a time delay to the next breakpoint and a slope either positive or negative calibrated in decibels per second The slope is such that after the delay has elapsed the amplitude has actually reached the value desired for the next breakpoint Then a new delay and slope are set up for the second line segment to the third break point and so on Thus the line segment angles are actually computed ahead of time by the Sound Modeling Program rather than on the fly by the 150FS One can think of the process as launching line segments from one breakpoint to the next The last breakpoint in a contour is given an infinite delay and a zero slope so that the partial s amplitude remains constant If that last amplitude is 95 6 dB then the partial remains off and available for use by other notes If the last amplitude is some other value the partial will continue sounding at that level until the note is released The conversion from absolute time absolute amplitude format to delta time slope format is not exact because of limited nu merical precision in the 150FS Delta time is expressed in integer samples each of which is 0512 millisecond Slope is ex pressed in integer units of two different size
143. ecific features A few sounds were added to the library these are described in Section 4 If you are interested in joining an Additive Synthesis Special Interest Group fill out the questionnaire on the last page and return it TABLE OF CONTENTS 1 APPLE II GS INSTALLATION 2 INSTALLING A SCREEN PRINT PROGRAM 2 1 Print Program Descriptions 2 2 Print Program Installation Instructions 3 NEW VERSION 1 8 FEATURES 3 1 Apple II GS Mouse Operation 3 2 SKEW Option in Time Adjust Menu 3 3 K150FS Program Rename Option in PROGRAM Menu 4 VERSION 1 8 SOUND LIBRARY ADDITIONS 1 APPLE II GS INSTALLATION If you have not already done so please read Section 2 0 of the Version 2 0 Addendum which explains how the S M P Distribution Disk is organized how to make a backup copy of its label side and why an installation procedure is necessary anyway Note that a 5 inch disk drive is needed to run S M P on the GS and that it runs under Apple DOS 3 3 rather than the more common PRODOS S M P 1 8 Manual Supplement 1 Rev A 23 MAR 89 The Apple II GS requires a different modification of S M P because its interrupt system is different The MIDI Interface Card needs to be in Slot 3 and it is desirable to use the mouse for positioning the graphics crosshair cursor rather than the cursor keys or game paddles The modified program files for an Apple II GS are found on the backside of the distribution disk Use the following procedure to delete the Apple Ile m
144. ee s trunk and the layers are branches that are attached to the trunk To continue the analogy you can think of the K150X as a forest of up to 255 trees The size of the forest is fixed by the amount of memory in the K150X You can have up to 255 trees but if you build up big trees with a lot of branches that is a complex program with a lot of layers it will take more space in the memory than smaller trees with fewer layers and you will be able to fit fewer than the maximum of 255 in your forest of programs The K150X allows you to build up a program of one two or three regions each of which may have up to seven layers In working on your programs you may set up change or remove just a layer a region of layers or an entire program The Voices Many voices are built in to every K150X A list of the resident voices is given in Chapter 8 of this manual In addition every K150X contains voice expansion slots into which supplied voice block integrated circuits are inserted Additional expansion slots are also supplied so that you can add more voice block integrated circuits later on All voices are instantly available for playing That is there is no waiting time to play any of the voices that you have installed within the instrument The Modifiers Modifiers change a voice or change the manner in which the voice responds to MIDI control signals Modifiers may be applied at the layer level program level or be instrument w
145. eft pedal O tip of pedal jack connected to sleeve BIT O Right pedal O ring of pedal jack connected to sleeve The 6 bit Miscellaneous Control Register is at address 03400F and is write only Its bit assignments are BIT 5 1 Enable normal MIDI I O O disable BIT 4 1 Enable internal MIDI loopback O permit normal operation BIT 3 Unused BIT 2 O Normal operation 1 Set SRAM SAFE flip flop BIT 1 Unused BIT 0 1 Illuminate the LED mounted on the CPU board All bits of this register are zeroed on reset FREQUENCY UNITS CONVERTER The Frequency Units Converter is actually a large lookup table implemented in hardware that converts a frequency specified in octaves to frequency control words suitable for use with the sound generator It is used by writing a 15 bit positive pitch value expressed in units of 1 2048 octave to address 03C000 and then immediately reading the equivalent 15 bit positive frequency parameter from the same address Thus it replaces what would otherwise be a 64K byte table or lengthy computation The octaves are relative to D9 9397 243Hz thus 0000 is 9397 24Hz 0800 is 4698 62Hz D8 1000 is 2349 3 1Hz D7 etc SOUND GENERATOR The sound generator consists of an array of 240 identical digital oscillators Their outputs are summed together and appear at the output jack Each of these oscillators is controlled by a set of four 16 bit read write registers The 68000 program exercises complete control over the sound produced
146. egister and are expected to contain the first quadrant of a sine wave in reverse order Thus FFF represents 0 PI and 000 represents 0 4998779 PI External symmetry logic uses bits 14 and 15 of the phase value to complete the other three quadrants But there s more The SIN values in the EPROM are actually the base 2 Log of the SIN The exact formula for the EPROM content expressed as a 16 bit integer is EPROM VALUE 32768 2048 log2 S where S is the sine value between 0 and 1 0 However when S 1 0 the EPROM value should be 32767 7FFF instead of 32768 and when S 0 the EPROM value should be 0 Some examples of angles sines and coded sines are shown below ANGLE ANGLE SINE SINE radians EPROM address decimal log 0 000000 FFF 0000 0000 0 062533 F5C 0625 6000 0 125318 EB8 1250 6800 0 252584 D6C 2500 7000 0 523600 AAB 5000 7800 0 785400 7FF 7071 7C00 1 57080 000 9999 7FFF For the noise half of the table the symmetry logic is switched off and bits 14 amp 15 of the Phase Register are ignored The noise sample stored in the table is in sign magnitude form with the sign in bit 15 1 negative and the base 2 log of the magnitude in bits 0 14 as described above for the sine As with the frequency converter EPROM several of the address and data signals have been scrambled Fortunately the scrambling is the same for both U39 and U40 and is the same as the frequency converter EPROM See above for the conversion ta
147. el to the rest of the unit On old style units those with red displays there are 5 screws along the top of the front panel 4 along each side 5 along the rear and 4 on top into the internal partition between the power supply and the boards Note that the side screws are larger than the front amp rear screws If a screw seems stuck don t turn too hard or the threaded insert might come loose and then you re really up the creek Instead put some Liquid Wrench on it and go read the newspaper awhile For new style units green displays there are fewer screws and they all are of the self tapping variety To actually remove any of the boards it is necessary to remove the front panel Obviously all of the front panel screws must be removed but the real trick is removing the volume control knob DON T JUST PULL ON IT OR YOU LL HAVE POT GUTS ALL OVER YOUR HANDS Instead pry off the little round plastic button in the center of the control with a pocket knife to reveal a strange looking slotted screw head This screw head must be turned counter clockwise while holding the knob itself stationary to release its grip on the volume control shaft Unfortunately the shaft in the middle of the slot prevents using an ordinary screwdriver to turn the slot If the knob wasn t tightened excessively before it is usually possible to use two 1 8 blade screwdrivers one in each side of the slot and two people one to hold the knob and the other to manipulate the
148. election dialog box in view use the left and right cursor keys to move the vertical crosshair along the time axis of the contour displayed in the upper half of the screen Holding the solid apple key while scrolling will speed up the process Press RETURN and see for the time which you selected the ampli tudes for each of the partials in the model at their respective frequencies Once you have pressed RETURN you may shift the time frame by using the apple keys and the cursor keys as you did for TIME SCALE above When viewing cross sec tions keep in mind that only those partials will appear which are within the range you determined with FREQUENCY RANGE in the SET DISP PARMS option 9 SELECT PARTIALS S gives you the same menu options as with option 1 SELECT PARTIALS under CONTOURS Use this option to select partials that will then appear in the display when you use options 4 or 6 above At this level you may also audit the model in the usual fashion 0 EXIT S takes you back up one level to CONTOURS 3 EDIT S gives you several options EDI CONTOURS FERENCE CONTOUR NTOUR TO EDIT ANGE POINTS IT X SECTN P M ITUDE ADJUST E ADJUST SELECT PARTIALS OWN AUNE 1 REFERENCE CONTOUR S gives you the following options FERENCE ONTOUR Qw Baj j J ra OVERALL LOUDNESS ONE PARTIAL OVLY ALL SELECTED AUDIT EXIT CDODANDUNBPWN
149. enames Add Model will add a model name to the end of the list regardless of where the model cursor is while Insert Model will insert a new model name before the model the cursor is on Change Model allows the filename to be changed while Delete Model does just that Key 7 HIGHEST NOTE allows you to set the highest MIDI note number for the model the cursor is on When the model is first added to the list S M P puts in a default value that attempts to preserve ascending order of the highest notes A warning message is issued if the highest notes are not in a strictly ascending sequence and a voice cannot be sent to the KI50FS unless they are in order Key 8 SHOW MODEL is a convenience function that lets you view the global parameters of any model filename such as its highest note parameter without leaving the Voice Edit menu Note that this will use the model memory S M P Version 2 0 7 Voice Audit is similar to the plain model audit except that it sends complete voices to the KISOFS The voice definition sent is the one presently in voice memory Each of the models listed by the voice are fetched one at a time from the current drive slot and sent to the KISOFS Actually two scans through the files are necessary the first to check for errors such as a missing model file and calculate the total voice size and the second to do the actual loading Thus a complex voice contain ing a dozen or more models may take awhile to load 8 0 K1
150. eparate from model memory and will not wipeout any model that happens to be in model memory Key 3 LOAD VOICE will load an existing voice file from disk into the voice memory After either load function a voice listing will be displayed giving the voice filename K150FS voice name the K150FS voice ID number and the number of models it contains 1 60 The listing itself is quite simple consisting of a sequence number the filename of each model and the highest MIDI note number of each model For more than 30 models Open Apple and cursor up down can flip the listing pages or N and P for Apple I and I in a Mac versions Key 5 SAVE VOICE allows you to save the voice memory contents onto a disk file using the same procedure as saving models The filetype will be V Note that while it is permissible to have a model file and a voice file with the same name the distinction is in the type this is not recommended Key 4 EDIT VOICE displays the Voice Edit menu which has a number of functions Functions 1 EISOFS NAME and 2 VOICE allow the identity of the voice when inside the K150FS to be changed The name and number is what you will see in the K150FS display when calling up voices in the layer editor You should avoid using voice numbers that are the same as builtin ROM Voices in the K150FS The name is simply a memory aid when using the K150FS front panel Keys 3 6 in the Voice Edit menu are used for editing the list of model fil
151. equipment as a controller 1 Power up or get to base mode by pressing EDIT ENTER Display shows C1 P1 PIANO or some other pro gram name 2 Press EDIT then CONTROLS 3 Press PREV 5 times until NOTES OFF shows in the display 4 Press 0 then ENTER Display should show UNA 5 To make this permanent press SAVE then YES KNOWN SOFTWARE BUGS The 150FS has some annoying software bugs I m documenting them here so you ll won t be embarrassed or at least sur prised if one should turn up during a live performance or demonstration They can certainly be tolerated in a studio how ever 1 The Sound Blaster bug With certain sounds and a certain pattern of manipulating the sustain pedal all of the sound s partials suddenly ramp up to maximum amplitude giving a very loud possibly speaker damaging if your amplifier is oversized drone until the offending note is released Only the SYN CELE voice in the factory set does this although certain sounds created with the S M P may also Apparently the internal software looses track of what the partial enve lopes are doing on sounds with other than a one segment attack if a sustain pedal interrupt comes at exactly the wrong time 2 The I Give Up bug On rare occasions a particular pattern of note timings coupled with a layered and delayed program can cause the 150 to crash with an address error display shows AERR followed by two hexadecimal numbers I ve never encountered
152. er the velocity map You might use this control with a pedal to simulate touch sensitivity for a non touch sensitive keyboard Volume Control This is a continuous controller which adjusts volume from 0 dB MIDI value 128 to 48 dB MIDI value 0 12 4 The Miscellaneous Editor The Miscellaneous Editor allows you to choose from an additional set of editors the Program List Editor the Intonation Editor and the Velocity Map Editor Using the MISC Editor 1 Select the Miscellaneous Editor by pressing EDIT PREV One of the following editor names will appear in the display Use NEXT and PREV to step through the choices shown in Figure 13 1 2 Press ENTER to select a particular editor Table 13 1 The Miscellaneous Editors Display Reads Editor What it Does PROGRAM LIST Program List Editor Allows you to map program numbers to program list numbers INTONATION Intonation Editor Adjusts the interval width between notes VELOCITY MAP Velocity Map Editor Allows you to modify the K150X s velocity maps Once you select a particular editor by pressing ENTER you must re enter the Miscellaneous Editor by pressing EDIT PREV in order to choose another editor The Program List Editor Used in conjunction with the PROGRAM LIST parameter in the MIDI editor the Program List Editor allows you to set up maps between a number in the program list and the actual program number to be played when that program list number is played This feature is
153. esponding to attack levels Each attack level specifies a different spectral modification of the model A particular attack level is selected according to the MIDI note on velocity There may be as few as one or as many attack levels as desired and they can be arbitrarily spaced The entries in this main part of the attack function array are absolute amplitudes of second breakpoints A zero entry will suppress the corresponding partial in notes played at the corresponding attack level An additional row in the Attack Function gives the times of the second breakpoints one for each partial column An additional column specifies the MIDI velocity after translation to amplitude according to the current velocity map for each of the attack levels The last array element at the extra row and column intersection gives the earliest second breakpoint time which is when interpretation of the update command list should begin To make it easier on the processor in the K150FS the second breakpoint times in the additional row are given as a special code not in milliseconds or samples The codes are drawn from the following table TIME CODE TIME CODE TIME CODE TIME CODE TIME CODE 2 53 20 8 55 19 92 30 145 41 3 54 22 9 60 20 95 31 150 42 4 0 25 10 62 21 100 32 160 43 5 9S 30 1l 65 22 105 33 170 44 6 1 32 12 70 23 110 34 180 45 8 2 35 13 72 24 115 35 190 46 10 3 40 14 75 25 120 36 200 47 12 4 42 15 80 26 125 37 210 48 14 5 45 16 82 27 130 38 220 49 16 6 50 1
154. f the vibrato depth parameter Note Vibrato depth can also be controlled by key pressure or by the modulation wheel See the section on sound layer parameters for a discussion of this feature Mode Switch This is a switch which reverses the current vibrato mode as follows Off above below a b b a On below above b a a b Rate Control This is unidirectional control which varies the vibrato rate between 0 1 Hz and the current value of the vibrato rate Shape Switch This switch changes the vibrato shape If the current shape is triangle turning the switch on changes it to square and vice versa Symmetry Control This is a bidirectional control which varies the waveform symmetry between the limits set by the current value of the symmetry parameter Depth Shape Control This is a bidirectional control which combines the vibrato depth control and the shape switch In either direction the control varies the depth between 0 and the maximum value When the control is moved below center or above center if the control direction is reversed the shape is changed as with the shape switch described above Depth Mode Control This is a bidirectional control which combines the vibrato depth control with the mode switch described above In either direction the control varies the vibrato depth When the control is moved below center or above center if the control direction is reversed the mode is switched as with the mode switch described above
155. f you plan to monitor your sounds through a sound system connect a standard 1 4 audio cable from the Audio Out jack of the 150FS to the Line In of your sound system CONNECTING THE MIDI CONTROLLER Connect the power cable to the MIDI controller and to a power source 100 120V or 220 240V Be sure that the voltage adjustment switch is set to the proper voltage rate for your location CONNECTING THE MIDI MERGER Connect the merger s power cable to the merger and to a power source MIDI CONNECTIONS One cable connects your MIDI controller s MIDI Out and one of the MIDI Ins of the MIDI merger One cable connects the MIDI Out of the Ile and one of the MIDI Ins of the MIDI merger One cable connects the MIDI Out of the MIDI merger and the MIDI In of the 150FS One cable connects the MIDI Out of the 150FS and the MIDI In of the Ile See figure 1 Note If you have a Kurzweil MIDIBOARD you may connect the MIDI Out of the MIDIBOARD to the MIDI In of the 150FS the MIDI Out of the 150FS to the MIDI In of the He and the MIDI Out of the Ile to the MIDI In of the MIDI BOARD Use the MIDI In button on the MIDIBOARD s front panel to toggle control of the 150FS from the MIDIBOARD to the Ile MIDI Controller MIDI MIDI interface Monitor in out thru video cable ower Apple Ile Paie l MIDI cable 150 FS O MIDI in thru out audio MIDI merger
156. features offered by version 1 6 actually 1 7 internal software In particular there is info on the intonation tables and SYS EX messages 150 FOURIER SYNTHESIZER SOUND MODELING PROGRAM This white covered manual describes the Apple II based Sound Modeling Program for the 150 It is fairly good but only cov ers version 1 0 of the S M P which was not very advanced VERSION 2 0 ADDENDUM These corner stapled sheets describe the new features offered by version 1 4 of the Sound Modeling Program 1 4 was in tended to be released as Version 2 0 which is why the addendum says 2 0 but that never happened VERSION 1 8 SUPPLEMENT TO VERSION 2 0 ADDENDUM So instead version 1 4 continued to be improved up through version 1 8 which is documented here At this point all of the Apple II s standard memory is utilized and there simply wasn t room to put in anything else without restricting usage to the more recent Apples with 128K of memory APPENDIX 1 K150FS SYSTEM EXCLUSIVE FORMATS These corner stapled sheets were intended to be a part of the S M P manual and describe Contoured Sound Modeling as used in the 150 in great technical detail A little known fact is that the term Contoured Sound Modeling is really just a marketing snow term and does not refer to any particular synthesis algorithm used by Kurzweil equipment The K250 which was first marketed using that term is a sampler whereas the K150 which was developed about 4 years later
157. fective when a note is started Decay Control unidirectional This control varies the successive decay between 0 and the value set in the chorusing parameters It is only effective when a note is started Chorus Editor Hints Chorusing can generate multiple notes for a single key event The K150X can produce 16 notes simultaneously If you play a chord while chorusing is enabled the sound quality may be thinner than expected because the total number of notes you are trying to generate exceeds the 16 note maximum One trick you can try is to set some small delay Sms between chorused notes using the Delay parameter This will greatly expand the K150X s note generation capability Try the initial settings in Table 9 2 in order to create popular effects Table 9 2 Popular Chorusing Effects Effect X NOTES DTUNE DELAY DECAY cents ms Chorusing gt 2 5 25 Doubling 1 5 10 33 Phasing Flanging 1 5 3 5 Echo 2 3 gt 100 moderate 9 3 The Vibrato Editor The programmable vibrato feature in the K150X allows you to create a variety of frequency shift effects You can define one set of Vibrato parameters for each Program Whether or not these Vibrato parameters are active for any individual layer in that program is controlled by the Vibrato Enable switch for each layer which can be set to Off Fixed M Wheel or K Press the default is Off To fully understand the capabilities of Vibrato mode see the description of the various vibra
158. ffer Register 024007 write Timer 1 latches 024009 read Timer 2 counter 024009 write Write MSB Buffer Register 02400B read Read LSB Buffer Register 02400B write Timer 2 latches 02400D read Timer 3 counter 02400D write Write MSB Buffer Register 02400F read Read LSB Buffer Register 02400F write Timer 3 latches Programming details for the 6840 can be found attached to the end of this document MC6850 MIDI UART A Motorola 6850 Serial Interface Adapter is used for MIDI I O Only the serial input and serial output are used the modem control outputs are not used and the modem control inputs are hardwired such that full operation of the transmitter and receiver are permitted The baud rate is taken from timer 3 of the 6840 described above For the standard 31 25 KBaud MIDI rate 16X clock is selected in the 6850 and timer 3 is set for 2uS 500KHz KI50FS Programmer s Model 3 Rev A 26 APR 88 The 6850 register addresses are as follows 020001 read Control Register 020001 write Status Register 020003 read Received Data Register 020003 write Transmit Data Register See also the section below on Miscellaneous I O for a description of bits which control normal operation and diagnostic loop back of the MIDI signals Programming details for the 6850 can be found attached to the end of this document FRONT PANEL The front panel consists of 16 alphanumeric LED characters and 24 pushbuttons Software
159. fy how the contours are modified for long sustains and short staccatos APPENDIX 1 K150FS SYSTEM EXCLUSIVE FORMATS This section describes in detail the MIDI system exclusive message formats used by the K150FS and Sound Modeling Program to exchange voice information An additional document titled KISOFS Version 1 6 Software by Ralph Muha describes additional system exclusive messages that are available for program dump and restore master parameter block global parameters such as MIDI mode dump and restore and remote front panel operation The K150 User s Manual describes general operating features of the K150 which are equally applicable to the K150FS 1 DETAILED DESCRIPTION OF CONTOURED SOUND MODELING Elsewhere in this manual is a generalized description of the Contoured Sound Modeling process used by the K150FS detailed to the extent needed for effective use of the Sound Modeling Program S M P This section will detail the process to the level needed for understanding the actual MIDI system exclusive messages used to represent sound models Sounds in the KI50FS are actually a hierarchy of data structures as shown below PROGRAM VOICE S MODEL S PARTIAL PARAMETERS CONTOURS ATTACK FUNCTION RELEASE SLOPES Programs are the highest level and consist of one or more Voices layered together Voices are the basic sounds from the user s point of view and cover the full range of the keyboard Voices usually consist of several Models e
160. g EDIT ENTER Display shows C1 P1 PIANO or some other pro gram name 2 Press EDIT then CONTROLS 3 Press PREV 5 times until NOTES OFF shows in the display 4 Press 0 then ENTER Display should show UNA 5 To make this permanent press SAVE then YES KNOWN SOFTWARE BUGS The 150FS has some annoying software bugs I m documenting them here so you ll won t be embarrassed or at least sur prised if one should turn up during a live performance or demonstration They can certainly be tolerated in a studio how ever 1 The Sound Blaster bug With certain sounds and a certain pattern of manipulating the sustain pedal all of the sound s partials suddenly ramp up to maximum amplitude giving a very loud possibly speaker damaging if your amplifier is oversized drone until the offending note is released Only the SYN CELE voice in the factory set does this although certain sounds created with the S M P may also Apparently the internal software looses track of what the partial enve lopes are doing on sounds with other than a one segment attack if a sustain pedal interrupt comes at exactly the wrong time 2 The I Give Up bug On rare occasions a particular pattern of note timings coupled with a layered and delayed program can cause the 150 to crash with an address error display shows AERR followed by two hexadecimal numbers I ve never encountered it in live playing but the MidiBoard arpeggiator playing echo programs suc
161. g INCR DECR NEXT PREV or select it by number using the numeric button pad 3 and press ENTR Depending on what program numbers you select and what their statuses are you might see these variations in the display as you change programs e An asterisk as in PROG 1 PIANO This means that edits have been made to a built in program or that a program is user created In this case for instance the PIANO program has been modified You can delete the modifications by pressing F1 The will disappear and the built in program will be restored Note that built in programs cannot be deleted only modifications made to them can be deleted If you wanted to save the modified built in program you could copy it to an undefined program before deleting the changes See Creating Programs later in this chapter e A question mark as in PROG 206 UNTITLED A question mark designates an undefined program number In this case Program 206 is empty UNTITLED is the default name for any program which has not been named and is not an indicator of an undefined program For example PROG 206 UNTITLED is not empty because there is no question mark To change the name of program from UNTITLED see Renaming Programs below Press ENTR to start choosing among the parameters One of the parameters shown in Table 6 1 will appear in the display Use NEXT and PREV to step through the parameters 6 1 Table 6 1 Program Editor Parame
162. h a small 1 8 screwdriver The exact replacement battery is a CR2430 which can be obtained at Radio Shack Most any 3 volt coin cell will work however even one that is smaller than the original It may be necessary to bend the retaining clip in the holder some to properly retain a thinner battery Note that the side of coin cells must be up when installed in the holder and that it is larger covers more of the battery s surface than the side If the old battery wasn t completely drained then the large capacitor near the battery holder can keep the memory alive while the bat tery is being changed provided you get the job done in less than a minute DISASSEMBLY The mechanical engineer who designed the 150 case had a military background and it shows The case has no welded joints or molded parts just several metal panels held together by screws into threaded inserts Nevertheless it is rugged except for the long metal fins sticking out of the back to enforce proper air intake clearance which are very vulnerable to bending To get to the memory backup battery or to C111 to fix a permanently crashed unit or to change voice EPROMS simply re move the two screws holding the access cover to the top panel To get to the entire CPU board without actually removing it for example to change the operating system software it is easi est to remove the screws holding the top panel to the rest of the unit On old style units those with red displays
163. h as HARPLEX with the tempo set such that arpeggiated notes coincide with the echos can cause it every few minutes Be sure to power down and back up to get a normal display before leaving for the day 3 S M P Memory Management bugs The 150 s management routine for voice memory where S M P stores new voices doesn t work very well After many voices have been loaded the 150 may occasionally refuse to load another one Also while the manual says that individual voices may be erased from the 150 s memory it doesn t seem to work its necessary to clear the voice memory to reclaim the space An address error may even occur sometimes In all cases save your S M P stuff to disk frequently so you can reload The Load Library S M P function automates reloading an entire library of voices and or programs from disk to make recovery from these errors less painful THE CASSETTE INTERFACE It simply doesn t work The write routine will put signals on the tape but the read routine will either sit forever or return without changing anything in memory Sorry SYS EX is the only to save programs you ve created and the S M P Library sounds I ve loaded into the Voice RAM before shipment The Sound Modeling Program running on an Apple II is the best way to save and reload this stuff but you may be successful with some sequencers using the SYS EX messages described in K150FS Version 1 6 Software by Ralph Muha
164. he amount that the pitch will vary in cents Mode is how this variation will occur in relation to the nominal pitch above it below it or varying both above and below When you choose both mode selects which wave the oscillation starts means the oscillation starts positive and goes negative means the oscillation starts negative and goes positive Figure 10 3 illustrates modes of selection for a triangle wave F F Figure 10 3 Triangle Wave Modes The depth can be selected to be between 0 and 3600C Enter a value in cents using the numeric button pad and press ENTR or use INCR and DECR to change the value by 10 C increments Note that if the depth is selected to be 0 no vibrato effect will be audible Select the desired mode by pressing to step through each of the four choices Rate When the display shows RATE the frequency at which the vibrato occurs can be selected A low frequency results in a slow vibrato effect while a high frequency results in a fast vibrato effect The frequency can be adjusted from 0 to 49 9Hz Enter a value directly using the numeric button pad and press ENTR or use INCR and DECR to change the value by 0 1 Hz increments Note that if OHz is selected no vibrato effect will be audible 10 2 Symmetry Up to this point vibrato waveforms have been symmetric Symmetry allows you to specify a value which modifies the vibrato waveforms as shown in Figure 10
165. he next lowest numbered available option Options are defined and ex plained thoroughly This section allows you to explore every detail of the program s function Section VI Sound Modeling Examples enables you to step through most of the major functions of the program Follow ing this scripted tour will familiarize you with the logic of the Sound Modeling Program and the basic protocols for sound file editing This section is oriented toward learning by doing Section VII Constraints describes some limits to SMP version 1 Section Il DEFINITION OF TERMS AMPLITUDE The amount of sound pressure created by a sound source or the intensity of an electrical signal which will be converted into sound through a speaker system This is measured in units of decibels dB interpreted by the ear as loudness and represented mathematically by the distance from zero on a scale calibrated in dB APPLE KEY There are two keys on the Ile keyboard identified by an apple symbol One of these is a line draw ing and is referred to as the open apple key The other is a solid shape and is called the solid apple key ATTACK The initial rising portion of a sound s amplitude envelope ATTACK FUNCTION A set of curves which describes how the overall spectrum of a sound model is to be modified for different MIDI key velocities Each curve in the set is called an attack level ATTACK LEVEL One of the curves that makes up the attack function A sound mo
166. he sound model headers 48 bytes per model are transmitted If the flag is 127 7F the entire voice file is sent voice header model header and all model data Otherwise the flag value is used as an index to select the N th model in the voice The voice header model header and model data are transmitted The format of voices and sound models are described in a separate document Load Instrument Voice File 5 v msb v lsb hln msb hln lsb lln msb lln lsb This is command is used to request the 150 to load an instrument voice The voice number is given as two nibbles one byte and the total size of the voice is given as four nibbles one word The K150 will respond with ACK if it is equipped with sound RAM and there is enough free space to load the voice The computer should then transmit the voice data as a single block data message see below Block Data Message 7 msb lsb All block data is transmitted and received in nibble ized format Each eight bit data byte is sent as two four bit MIDI data bytes The contents of a block data message depends on the type of load or dump request Remote Front Panel Control Three commands implement the remote front panel feature Command 8 allows you transmit any sequence of button pushes to the K150 The optional data is simply the code numbers for the various buttons given in Appendix C Command 9 is a request for the current contents of the display The K150 responds with command 1
167. ht of these voices and the remainder of the voices up to 240 partials simultaneously will be heard as previously triggered notes are released Does this mean I can t use the layering and chorusing No It just means that your demands must be reasonable Excessive chorusing and layering should be used to create sounds that you would play monophonically i e one note at a time For polyphonic playing you should limit the number of notes per MIDI note to three e g three layers or one layer with two note chorusing or two layers with one note chorusing on one of the layers So how does it work with MIDI The 150FS features OMNI POLY and the Kurzweil MULTI modes of MIDI operation In Multi Mode the 150FS is multi timbral You can assign separate programs to all 16 MIDI channels Each channel has separate controls pitch wheel mod wheel etc The 150FS is also one of the few instruments that is responsive to polyphonic afterpressure Polyphonic afterpressure Yes Afterpressure can be used to control pitch bend chorus detune and or vibrato depth on a per key basis What synthesizers produce afterpressure Many synthesizers produced within the last few years produce monophonic channel afterpressure The Kurzweil MIDIBOARD is the only one however that produces polyphonic afterpressure What if my keyboard doesn t have poly pressure You should buy a MIDIBOARD Or if you have a synth that produces monophonic afterpressure such a
168. ible effect 2 EDIT GLOBAL F calls the following dialog box ENTER RELEASE RATE IN DB SEC 2 9999 I Enter a value and press RETURN to change the global release rate 3 EDIT SEPARATE F enables you to change the value for any single partial Use the same procedure as with Option 2 to modify the individual partial s release rates 9 AUDIT S functions as usual 0 EXIT S returns you to the next higher level There is an AUDIT option at this level as well press EXIT again to return to the level of the DEFINE MODEL menu 4 CONTOURS s provides six options CONTOURS SET DISP PARAM DISPLAY EDIT LOOP AUDIT EXIT DODNAUHBWNE 1 SET DISP PARMS SET DISPLAY PARAMETERS S calls another level of options SET DISP PARAM 1 SELECT PARTIALS 2 AMPLITUDE SCALE 3 FREQUENCY SCALE 4 TIME SCALE 3 6 7 8 9 0 EXIT 1 SELECT PARTIALS S generates the following options SELECT PARTIALS ADD OR REMOVE 1 ODD RELATIVE 1 EVEN RELATIVE HERTZ OCT MULT P F T HERTZ OCT MULT 61 6 4 00 1 00 23 2 5 00 2 00 ABSOLUTE DOWDATAUBWNHE 1 ADD OR REMOVE F brings up a dialog box ENTER PARTIAL ID NUMBER Enter a numeral not larger than the number of partials in the model and press RETURN to highlight individual partials for auditing or editing 2 ALL ODD RELATIVE
169. ible variety of sounds The following notes detail the few limitations and presently unimplemented features to be addressed in version 2 The Ie s size limit for sound models is 6 99K This is a very large and complex model the models which compose the 150FS s resident voices range in memory requirements from 200 to 500 bytes 0 5K This limit is not checked by the pro gram Exceeding it is likely to cause the program to hang When working with a very large model occasionally check its size which is displayed under the highlighted word GLOBAL in the MODEL ATTRIBUTES display which initially is called up by selecting the GLOBAL PARMS option The size of a model read from the 150FS by the EXTRACT MODEL function is limited to 3 99K This also is not checked by the program A model requiring 3 99K is much larger than even the most complex resident voice model in the 150FS but this limit could be exceeded by reading back a large model which was originally sent by the Sound Modeling Program To avoid being inconvenienced by this limit it is a good idea to save all user modified models on disk even if they are loaded into the 150FS for auditing or playing Loading files from disk rather than from the 150FS does not impose the 3 99K limit The disk catalog presently is able to display only 50 files Disk capacity will allow a greater number of files to be saved and reloaded but only the first 50 filenames will appear on the catalog display Versi
170. ical Instrument Digital Interface MIDI standard and other recent advances in music creation and performing Chapter 1 will give you a brief overview of the Kurzweil Model K150X Expander K150X and show you how to connect it to your MIDI controller and start making music right away SThe manual assumes that your MIDI controller is a piano keyboard like controller However the K150X will work with any controller which produces standard MIDI signals After reading Chapter 1 you should be able to play the K150X s built in sounds and begin to suspect that you can do much more Chapter 2 describes using the K150X in depth and gives you an overview of the editors and how to use them After this chapter you should be able to read the chapters on individual editors as you need them Chapters 3 through 13 are on individual editors Within each editor chapter everything you can do with that editor is documented with examples and references to other chapters as needed Appendix A is a summary of editable parameters from all the editors Appendix B Battery Replacement describes how to change the battery in the K150X Introduction Introduction The Kurzweil Model K150X Expander K150X has built in programs you can play directly and editors with which you can modify these programs to create an enormous range of sounds and playing performance options In most synthesizers the sound begins with a simple electronic waveform that is then fi
171. ick whereas a sudden change in frequency still leaves a continuous waveform Thus amplitude must be updated very quickly so that the size of the update steps is small enough to reduce or eliminate update clicks Thus the K150FS sound generator has automatic amplitude envelope segment generating hardware The principle is the same as with the Phase and Frequency registers the content of the Slope Register is added to the Amplitude Register periodically thus producing a continuous linear in decibels increase or decrease in amplitude By simply changing the setting of the Slope Register at every breakpoint in the overall desired envelope shape a piecewise linear approximation to any arbitrary envelope shape may be produced Unlike the Phase Register however the Amplitude Register will stick at minimum or maximum if the addition produces an overflow or underflow The Slope Register content is a signed 16 bit integer value between 16384 and 16383 This restricted range leaves bit 14 free as a flag to select between a fast every sample period or slow every 16 sample periods rate of adding the slope value KI50FS Programmer s Model 6 Rev A 26 APR 88 to the amplitude value Thus in fast mode bit 14 0 the LSB of the slope value is 28 6dB per second whereas in slow mode bit 14 1 it is 1 78dB sec Although the slow mode has much more slope resolution than the fast mode it should only be used for relatively slow slopes since it can cause a low
172. ide A modifier which is applied at the layer level affects only that layer a modifier applied at the program level affects all layers in all regions defined by the program and an instrument wide modifier affects all the programs in the K150 Instrument wide modifiers include e MIDI assignments e Master transposition tuning and intonation e Keyboard response adjustments Program wide modifiers include e Controller ranges e Sizes and balances of regions e Chorusing e Vibrato e Fqualization Layer wide modifiers include e Voice selection e Voice modification e ayer transposition and tuning e Layer balancing Figure 1 1 shows pictorially how you might look at a single program its relationship to its regions layers editors and its relationship to the other programs Program 15 Program 16 Program 17 Chorusing Vibrato Equalizer Region 1 Region 2 Region 3 c o s e Layer 1 Layer 1 Layer 1 Layer 2 Layer 2 Layer 2 Layer 7 Layer 7 Layer 7 Figure 1 1 Sample Program The Editors The modifiers of the K150X are accessible through its editors By using the editors to create your own programs from scratch or to modify the built in programs you can create an enormous range of new and different programs They in turn may be stored in the K150X or on an external cassette tape The following editors are available 1 MIDI Channel editor 2 Tuning editor 3 MIDI Mode editor 4
173. ile modifications as you make them Calling for AUDIT generates the following menu AUDIT END SELECTED END ALL END NOT SELECTED X SLOW IVE KEYBOARD S S S 4 I SELECT PARTIALS DI CHANNEL I DOWMDANADUFEWNE EXIT 1 SEND ALL F 2 SEND SELECTED F and 3 SEND NOT SELECTED F permit you to send all or part of your model to the 150FS for auditing As the titles of the options imply you may choose to send every partial in the model to the 150FS send only the partial s you have selected or send every partial except the partial s you have selected Selecting par tials is done at other levels of the program as well and will be explained later in this section 4 4X SLOW F Listen to your sound model at a rate four times slower than normal without altering the pitch This feature simply toggles on and off to allow you to hear every subtlety in your model After changing to 4X SLOW you must resend the model with 1 2 or 3 to hear the difference 5 LIVE KEYBOARD S generates the following display LIVE KEYBOARD 1 ALL OFF 2 ATTK VEL 64 3 LIVE KEYBOARD DOONAN USA PROGRAM AS FG ad RK bo IDI CHANNEL ZXCVBNM 24 36 48 60 72 84 96 108 EXIT CI 2 C3 C4 C5 C6 C7 C8 The horizontal bar just above the schematic of the piano keyboard indicates the active region of the keyboard pressing any of the Ile keys identified above
174. imply to give a new label to an existing file The new name must be different from all other names on the disk 5 DELETE F also results in a dialog box ENTER MODEL FILE NAME 8 CHAR MAX Typing in the name of a sound file and pressing RETURN results in another dialog box REALLY DELETE YIN Pressing Y will delete the file Pressing N returns you to the file manipulation level 9 DRIVE SLOT F simply permits you to toggle between the drives of your computer with a dialog box asking you to enter the number name of the alternate drive and slot On computers with one or two disk drives the slot will be 6 For 3 amp 4 drive systems the additional drives will be in a different slot The Sound Modeling Program does not support hard disks ENTER NEW DRIVE SLOT 0 EXIT S returns you to the top level menu DEFINE OR EDIT A SINGLE SOUND MODEL This level is reached by pressing 2 at the top menu level The display should look like this DEFINE MODEL LOAD SAV MODEL GLOBAL PARM PARTIAL PARM CONTOURS ATTACK FUNCTION DODANADUBWNE EXIT The DEFINE MODEL set of options is the most complex of the Sound Modeling Program you may select as many as six additional levels of options once you have selected the DEFINE MODEL selection option Each level takes you to a more specific function of the Sound Modeling Program and further away from the top level of menu options
175. indicated in the option menus Options menus look like this K150 FS S M P DEFINE MODEL LOAD SAV MODEL GLOBAL PARM PARTIAL PARM C A ONTOURS TTACK FUNCTION ODOOWMDTNAUBWNHE EXIT Pressing a numeric key to select an option takes you one level deeper into the program with the exception of the 0 key which takes you up or back one level toward the top level of the program Options of the Sound Modeling Program are of two kinds selection and function Selection options move you through the menu tree allowing you to view options at all levels of the program Function options actually perform the work of the Sound Modeling Program In the section describing the features of the Sound Modeling Program each option will be fol lowed by a letter in parentheses S or F S designates a selection option and F indicates a function option Pressing the numeric key for a selection option will call up an options menu at a different level of the program Pressing the key for a function option will either change a value execute a program routine or generate a dialog box which prompts the user to en ter a value ENTER MODEL FILE NAME 8 CHAR MAX When entering a value prompted by a dialog box the data entered by the user appears in the lower left corner of the screen beneath the current options menu If an error is made the value may be changed by backspacing with the left cursor arrow ke
176. individual intervals this parameter allows you to specify which key you will be playing in so that the intervals will be properly adjusted for that key The default key is C When the display reads REFERENCE KEY you can change the key Use INCR and DECR to step through the musical scale 4 2 The MIDI Editor With the MIDI Editor you select settings which specify how the K150X will interpret its incoming MIDI signals Using the MIDI Editor Enter the MIDI Editor by pressing EDIT F3 One of the two parameters shown in Table 5 1 will appear in the display the others may be accessed by pressing NEXT or PREV Table 5 1 MIDI Editor Parameters Display Reads Parameter Adjustable Range What it Does use INCR and DECR MIDI MODE MIDI Mode Omni Selects the MIDI Mode Poly Multi CHANNEL MIDI Channel I 16 Selects the basic MIDI Channel MOD WHEEL Modulation Wheel Normal 0 12 7 Selects the MIDI signal interpretation for the Centered modulation wheel signal VELOCITY MAP Velocity Map 0 7 Selects one of the seven velocity maps LOUDNESS MAP Loudness Map 0 7 Selects one of the seven loudness maps PROGRAM LIST Program List Direct Selects the program list mapping from 1 32 controller to K150X 33 64 65 96 97 128 1 64 65 128 1 128 Tf the value is numeric you can also enter the value with the right button pad and press ENTR MIDI Mode About MIDI Modes Information can be transmitted on 16 distinct channels in the MIDI interf
177. ing Program displays the changes in amplitude on a graph with amplitude on the vertical axis and time on the horizontal axis The curve determined by the coordinates entered by the user constitutes the contour of the partial being edited CROSSOVER During compilation a global parameter affects all partials in the model governing the choice made between use of quiet but less accurately computed contour slopes and noisier but much more accurately computed con tour slopes CROSS SECTION A display which shows the instantaneous spectrum of the sound at a time selected by the user Each bar in the display has a position according to its frequency assuming that the base frequency is being played and a height according to its amplitude ENVELOPE A curve which describes the evolution of a sound over time The Sound Modeling Program deals with amplitude envelopes the changes in amplitude which a sound undergoes as time progresses FOURIER SYNTHESIZER The 150 Fourier Synthesizer takes it name from the acoustic physicist Fourier among whose hypotheses was the assertion that any sound may be represented as a composite of sine waves The 150FS creates its sounds by combining sine waves FREQUENCY The rate at which a sound producing object vibrates measured in Hertz Hz or cycles per second FUNCTION OPTION The Sound Modeling Program employs two types of options Function options request the pro gram to make a calculation change a value or execute
178. ing the Program Editor 6 1 Selecting and Editing Programs 6 1 F1 F2 and F3 in the Program Editor 6 2 Pitch Wheel and Key Pressure Bend 6 3 Soft Pedal lt p 4 m morani Bows ee oe eo 6 4 Left and Right Split Points 2 6 4 Left and Right Region Balances 6 5 The Region Editor 6 2 7 1 Using the Region Editor 0 7 1 F1 F2 and F3 in the Region Editor 7 1 The Layer Editor 0 2 2 8 1 Using the Layer Editor 02 8 1 Selecting and Editing Layers 8 1 F1 F2 and F3 in the Layer Editor 8 2 Creating and Deleting Layers 8 2 VOICE son oe aia alate b yarn one Pty Bhs 8 2 TUnine s by ok wis hoes See S Bee dy bes S 8 3 Transposition ooa 8 3 Timbre Mode 2 8 3 Timbre Shift Value 8 4 Timbre Select 0 8 4 Timbre Level 0 8 5 Balance Mode 2 8 5 Balance Level 20 8 6 Pitch Bend Mode 8 6 Chorus Mode 2 8 6 Vibtato Modena 3 8 56 we Le ek e 8 7 Equalizer Number 8 7 The Chorus Editor 2 00000 9 1 Using the Chorus Editor 9 1 NOLES 34 s ak a etn deeb tes eee Bale 9 1 Dene pitoa a hots a a A Boe as 9 2 D lay sn 8 i gp ee eh Ale Bs aes 9 2 De Cay os te Bk t eae eas RO Ot Sake SS ee 9 2 Chorus Editor Assignable Controls 9 2
179. ions The first step regardless of what Apple II computer you have is to make a copy of the label side of the distribution disk First boot the S M P distribution disk with the label in the normal position In just a few seconds the display should show a menu of 3 possibilities Press the 3 key Copy Whole Disk Now follow the steps outlined below TWO DISK DRIVES 1 Enter slot 6 drive 1 for the source and slot 6 drive 2 for the copy 2 Insert a blank disk need not be formatted into drive 2 S M P Version 2 0 2 3 Press Return again and wait for about a minute The copy in drive 2 will become your working master 4 Answer N to the Another copy question The program exits to BASIC ONE DISK DRIVE 1 Enter slot 6 drive 1 for both the source and the copy 2 Get a blank disk need not be formatted and hold it 3 Press Return again and wait for a few seconds until the program asks for you to insert the copy disk 4 Insert the copy disk and press return The program will ask for about 10 swaps between the source and the copy disk 5 When it is done answer N to the Another copy question The copy will become your working master The copy program exits to BASIC Once the label side of the distribution disk has been copied skip to the section below which applies to your machine 2 1 APPLE Ile The correct modification of S M P is already on the working copy you have just made If your MIDI interface is not i
180. is connected to a computer with two MIDI cables One connects the computer s MIDI output to the K150FS MIDI input and the other connects the K150FS MIDI output to the computer s MIDI input Note that the K150FS MIDI output does not retransmit the normal musical messages it receives it is only used to reply to system exclusive messages Different message types use different protocols The protocol for messages associated with voice loading dumping are described below Protocols for the other message types are outlined in K150FS Version 1 6 Software 2 4 SENDING A VOICE To send a voice to the K150FS the host computer program must follow these steps in sequence 1 2 Determine how large the voice will be inclusive of data and all headers Send a Load Voice command 05 command code system exclusive message to the KI50FS The data field of the message is as follows each byte is two nybbles BYTE vnum Voice number WORD size Voice size Wait for a reply message from the K150FS It will be an ACK if there is sufficient free space in voice RAM to hold the voice otherwise it will be a NAK If no response is received within a second there is a communication problem Assuming an ACK was received send a Block Data command 07 The data field is the complete voice beginning with the first byte of the voice header using the two nybble per byte encoding method Note that the voice ID number given in the voice header must agree w
181. is responsible for refreshing the display and scanning the buttons The display consists of 16 characters each of which has 14 segments and a decimal point The characters are numbered 0 15 from left to right A counter selects which character is actually activated at any instant This counter may be reset to zero leftmost by reading address 038000 and incremented move one position right by reading address 038001 Words written to 038000 contain a 15 bit pattern that defines the segment pattern for the currently activated character One bits make segments light up Thus to produce a display a software routine would rapidly sequence through one character at a time using the segment pattern write and counter increment read functions To avoid ghosting the segment pattern should be blanked while incrementing the character counter This may be accomplished either by writing zeroes to the segment register at 038000 or reading address 038002 Also to avoid visible flicker a rate of 60 complete refreshes per second is desirable which figures to about 1 millisecond hold time per character During program development it is best to avoid leaving the display in a stopped state with one character showing very brightly for long periods of time 13 5 14 9 4 12 10 O 11 6 The keypad consists of 6 columns of 4 buttons each The keypad is tied into the display refresh circuit The 6 keypad columns are activated one at a time when the leftmost 6 dis
182. isplay reads K BEND you can set the distance in semitones after the played note at which pressing the key will bend the note Use the numeric button pad to enter a value directly and press ENTR or use INCR and DECR to change the value by semitone increments Change the direction of the bending by changing the sign of the value The semitone value will be positive for a rising bend and negative for a failing one New programs have their KP BEND set at 1 ST by default Soft Pedal The soft pedal acts as an attenuator to control the loudness and timbre of notes This parameter is an unsigned value in decibels which sets the range of the soft pedal Note that if the soft pedal is assigned to a MIDI switch controller it will take on the values 0 when OFF and the maximum pedal range when ON When the display reads SFT PDL you can adjust the timbre range over which the sound will be diminished when the pedal is pressed 30dB Use the numeric button pad to enter a value directly and press ENTR or use INCR and DECR to change the value by 1 decibel increments Left and Right Split Points When a program is first defined the center region is defined as being the full width of the keyboard Left and right regions are created by defining left and right split points for the center region which essentially shorten the center region on either or both sides That is the left and right split points delineate the lower and upper bounds of the ce
183. it in live playing but the MidiBoard arpeggiator playing echo programs such as HARPLEX with the tempo set such that arpeggiated notes coincide with the echos can cause it every few minutes Be sure to power down and back up to get a normal display before leaving for the day 3 S M P Memory Management bugs The 150 s management routine for voice memory where S M P stores new voices doesn t work very well After many voices have been loaded the 150 may occasionally refuse to load another one Also while the manual says that individual voices may be erased from the 150 s memory it doesn t seem to work its necessary to clear the voice memory to reclaim the space An address error may even occur sometimes In all cases save your S M P stuff to disk frequently so you can reload The Load Library S M P function automates reloading an entire library of voices and or programs from disk to make recovery from these errors less painful THE CASSETTE INTERFACE It simply doesn t work The write routine will put signals on the tape but the read routine will either sit forever or return without changing anything in memory Sorry SYS EX is the only to save programs you ve created and the S M P Library sounds I ve loaded into the Voice RAM before shipment The Sound Modeling Program running on an Apple II is the best way to save and reload this stuff but you may be successful with some sequencers using the SYS EX messages described in
184. it into another slot and run SLOTPATCH as described in Section 2 4 of the 2 0 Addendum SMP SCREENPRINT IMGWRTR SSS4 This file is the same as above except for a Super Serial card in slot 4 SMP SCREENPRINT IMGWRIR 2ESI This file is for an MPC Peripherals AP SIO card or equivalent in slot 1 of an Apple Ile or I This interface uses a 6850 chip rather than the 6551 chip used in the Super Serial card The program should work with other 6850 based serial cards The printer should be set for DTR handshaking and the baud rate set by the card s DIP switches should match the printer SMP SCREENPRINT IMGWRIR 2ES4 This file is same as above except for Slot 4 SMP SCREENPRINT IMGWRIR 2ES2 This file is same as above except for Slot 2 The MIDI interface card will therefore have to be moved to another slot and SLOTPATCH run If none of the programs above are suitable or you are using a parallel printer interface or a printer with a non Applewriter compatible command set you will have to obtain or write your own screen print program S M P imposes the following restrictions on the screen print program 1 It must reside in memory at addresses 300 3CF and have its entrypoint at 300 2 It must print page 1 of the high resolution screen at 2000 3FFF 3 It may freely use page zero memory addresses 56 65 Other locations are usable if they are saved and restored use the text screen area or part of it
185. itch in the audio range The base and highest frequency options are bookkeeping aids which specify the low and high limits within which the model sounds realistic These limits are important if several models are linked together into a voice which covers a wide range of the audio spectrum 5 SUSTAIN OPTION S generates a menu with the following options 1 DIEOUT F 2 HOLD F and 0 EXIT S Se lecting DIEOUT causes the entire model to play through to its end when a key is held This should be used for models whose contours eventually decay to silence such as a piano or plucked string sound HOLD causes the model to play to its end then continue sounding at the endpoint of the contours until the key is released This is useful for models of sustained sounds such as an organ or wind instrument 6 RELEASE OPTION S calls up another options menu 1 FINISH F 2 TERMINATE F and 0 EXIT are the options FINISH causes the entire model to play through to its end regardless of when the key is released It is used with models of sounds such as undamped chimes Selecting TERMINATE causes all of the contours in a model to begin their decay to si lence as soon as the key is released EXIT takes you up one level 7 LOUDNESS F highlights the Loudness field and calls up a dialog box ENTER LOUDNESS IN dB 95 6 IS LOUDEST Type in a value and press RETURN to set the maximum loudness that the model can reach 8 SLOW XOVER F SLOW CR
186. ith the number given in the Load Voice command in step 2 Wait for a reply message from the KI50FS It will be an ACK if no gross errors are found in the voice data such as an odd number of data nybbles Otherwise it will a NAK Only the simplest errors are checked for Erroneous voice data will likely cause the K150FS software to crash when a key is played Again if there is no reply within one second of sending the last data byte there is a communication problem 2 5 RECEIVING A VOICE Voice data from the built in factory sound ROMs or previously loaded data in the sound RAM can be read back from the KI50FS To read voice information the host computer must do the following steps Send a Dump Voice command code 06 The data field is as follows BYTE vnum Voice number to dump two nybble format BYTE type Modifier a single MIDI byte interpreted as follows 00 Send headers only voice then model headers NN Send model N 1 first lowest etc Data will be a voice header one model header corresponding model data 7F Send whole voice all headers plus all data Wait for a Block Data message in response If a NAK is received instead then the voice number requested doesn t exist The format of the headers and the data arrays is the same as described in Section 1 above Note that some of the unused fields in the headers may contain data other than zeroes this is not significant KURZWEIL 150 FOURIER SYNTHESIZER
187. just a data disk S M P voices are really just lists of model names In the Apple II memory there is room for a list of 60 model names On disk even a maximum size voice file will take 0 5K When a voice is sent to the K150FS its size will be a little smaller than the sum of the K150FS sizes of the component models This is because only one voice header is needed for all of the mod els S M P Version 2 0 12 KI50FS programs are generally quite small in Apple II memory and take at most 0 5K on disk Their size depends on the number of layers the program uses Note that programs use up program memory in the KI50FS To determine how much program memory is left press F2 on the K150FS when in base mode 15 2 DISK FILE MAINTENANCE Most needed disk file maintenance of sound files may be easily accomplished within the File Manipulate menu of S M P On that menu are functions for copying renaming and deleting individual sound files For copying multiple related sound files as well as the S M P program files a separate program is provided This program is called FID and is easily accessed as selection 2 when the S M P disk is booted For readers who are familiar with Apple II operation the FID supplied with S M P is a modified version of the standard Apple FID so that it can handle S M P sound file names Other opera tions such as formatting blank disks are performed with direct commands to Apple DOS Those operations necessary for
188. k mode and frees the mouse Then select the FILE pull down menu and click on Quit to Finder Additional information about II In A Mac may be found in the Manual selection of the HELP pull down menu The I In A Mac version of the K150FS Sound Modeling Program is an interim method of running the program on an Apple Macintosh Version 2 0 will be fully functional including voice model and program readback However the generally slow speed of the emulator as much as 10 times slower in drawing the screen compared to a real Apple II makes it useful mainly for loading sound libraries from Macintosh disk into the K150FS and less so for any kind of heavy editing or serious sound development A real Apple IIe IIc or clone performs much better S M P Version 2 0 18 Section OVERVIEW This manual for Version 1 of the 150FS Sound Modeling Program comprises seven sections They are as follows I OVERVIEW I DEFINITION OF TERMS I SETUP IV 150 FS FUNCTIONS V DESCRIPTION OF SMP FEATURES a Sound File Manipulation b Define or Edit a Single Sound Model c Construct or Edit a Complete Voice VI SOUND MODELING EXAMPLES VII CONSTRAINTS TO THE SYSTEM The logical structure of the Sound Modeling Program is a menu tree There are three options plus an exit option at the top level of the program the level which appears on the screen when you start the program Options are selected by pressing the numeric key which corresponds to the number of the option as
189. lash Program Load Suc cessful briefly after a successful program load Option 5 is used to save the content of the buffer on disk The default file name is the same as the K150FS program name but it may be edited as usual before being saved In addition to loading programs into the KI50FS via the memory buffer from disk using the above operations the Load to K150FS option in the File Manipulate menu may be used to load directly from disk to the K150FS in one step 9 0 MODEL READBACK FROM THE K150FS This function works as described in the Version 1 0 manual but the function names have been moved and changed Since the effect of model readback is really to load a model into model memory from the K150FS it has been placed in the Load Save Model menu Loading a model from the K150FS is a two step process Key 5 FROM KI50FS must be used first to identify the K150FS voice the model is part of and to get a listing of the component models This function used to be called LOAD VOICE but the name was changed to avoid confusion with loading a voice file from disk After getting the list of constituent models key 6 EXTRACT MODEL is used to read a particular model from the K150FS If you are using S M P to alter the KI50FS built in ROM voices you will have to load each of the models in the voice of interest and save them on disk as model files You will then have to create a voice file with a list of these model files in the same order and with
190. lay your choice 8 SELECT PARTIALS S is identical to 1 SELECT PARTIALS in the SET DISP PARMS option above 9 AUDIT S provides the usual auditing options 0 EXIT takes you up a level to EDIT CONTOURS 5 AMPLITUDE ADJUST is not implemented for version 1 Pressing this key will do nothing 6 TIME ADJUST is not implemented for version 1 Pressing this key will do nothing 9 SELECT PARTIALS S is identical to previous SELECT PARTIALS options It is included here to allow you to select partials for use with the REFERENCE CONTOUR option at the same level 0 EXIT S returns you to the CONTOURS menu level 4 LOOP F calls a dialog box ENTER LOOP FROM TIME Enter a value for loop from time no later than the end of the model press RETURN and see another dialog box ENTER LOOP TO TIME Note that the SUSTAIN option must be set to HOLD for the looping function to be initiated This is set with the GLOBAL PARMS option If SUSTAIN does not equal HOLD you will receive a dialog box reminding you CAN T LOOP SUSTAIN DIEOUT The loop to time must satisfy two conditions it must be earlier than the loop from time and it must be at a breakpoint of at least one of the contours in the model If either of these conditions is not met you will see either of these dialog boxes LOOP TO NOT EARLIER LOOP TO NOT AT THAN LOOP FROM A BREAKPOINT Once you have satisfied the conditions of the looping routine the
191. le H with the MIDI interface in slot 2 If your MIDI interface is not in slot 2 go to section 2 4 named Changing the MIDI Interface Slot If you wish to be able to print the screen on a dot matrix printer go to section 2 5 named Installing a Print Screen Program Otherwise installation is complete and you may immediately begin using your working master However you may wish to make a copy of your Working Master and use that so the installation procedure won t ever have to be repeated 2 4 CHANGING THE MIDI INTERFACE SLOT If it is not possible to install your MIDI interface in slot 2 of an Apple II or Ile then the following procedure can be used to patch S M P to address an alternate slot The installation procedure described in the previous sections is assumed to already have been done if you have an Apple II and that you have a working master which is to be patched 1 Boot the working master disk and press 0 to exit to BASIC Then enter CALL 151 to call up the machine language monitor Enter BLOAD SMP_IIE_2 0H Apple He or BLOAD SMP_IIPLS_2 0H Apple H Put the distribution disk upside down in the drive and enter BRUN SLOTPATCH Enter the number of the slot with the MIDI interface It may be 1 7 Any other number will be ignored When the monitor prompt appears again enter Sn BSAVE SMP_IIE_2 0H A 4000 L 5851 Apple Ile BSAVE SMP_IIPLS_2 0H A 4000 LS 5851 Apple II The working master is now read
192. ll changes that you have made to be stored in the K150X s non volatile RAM memory This memory is used to initialize the machine when it is turned on CANC will cancel all changes that you have made since the last time SAVE was pressed UNDO If you are in the middle of a numeric entry no flashing UNDO cancels the entry i e the display will begin flashing again Otherwise UNDO cancels the last change that you made to the current parameter Pushing UNDO again will re do the change Thus UNDO can be used to switch back and forth between two values INCR and DECR These buttons can be used to increment and decrement the current parameter value or entry value If you use them after entering a value but before pushing ENTR they just increment and decrement the entered value If the current parameter value is displayed flashing then INCR and DECR will alter that value directly For example if the current value of Master Tune is 20 pushing INCR is equivalent to pushing 2 1 ENTR The INCR and DECR buttons will repeat at a rate of ten times a second if held down for more than one second CLR If you are in the middle of making a numeric entry flashing has stopped CLR just sets the entry value to 0 Otherwise it sets the the current parameter value to 0 the equivalent of pushing 0 ENTR For parameters for which 0 is not a legal value CLR sets the parameter to the lowest allowable value For a parameter where a number is not a legal valu
193. lt in proportionally increased volume The values of the 8 loudness maps are as follows Loudness MIDI Attenuation Loudness MIDI Attenuation Map Velocity dB Map Velocity dB 0 0 26 4 0 64 32 21 28 54 48 17 74 12 84 T 96 8 110 3 116 3 127 0 127 0 1 0 48 5 0 24 26 26 32 18 32 21 64 12 48 17 96 6 84 6 115 3 127 0 2 0 48 6 0 30 10 30 32 20 32 21 64 10 48 17 96 5 112 6 127 0 127 0 3 0 48 7 0 36 64 12 32 24 96 5 64 12 127 0 96 3 127 0 5 3 Program List From your MIDI controller you will be able to directly select only a limited subset of the 255 program numbers of the K150X The PROGRAM LIST parameter in the MIDI editor lets you select how your controller s program setup numbers will be mapped into the program numbers of the K150X This feature works in conjunction with the Program List Miscellaneous Editor where you map the list entry numbers to K150X program numbers See the Miscellaneous Editor for more information When the display reads PROGRAM LIST use INCR and DECR to select among the following choices Direct 1 32 33 64 65 96 97 128 1 64 65 128 1 128 The way that these choices are interpreted by the K150X is outlined in Table 5 2 Table 5 2 Program List Modes List Mode MIDI Maps to K150X Direct 0 127 program 1 128 1 128 0 127 list entry 1 128 1 64 0 63 list entry 1 64 64 127 1 64 65 128 0 63 list entry 65 128 64 127 65 128 1 32 0 31 list entry 1 32 32 63 1 32
194. ltage monitor has been triggered To remove the battery pry it out with a small 1 8 screwdriver The exact replacement battery is a CR2430 which can be obtained at Radio Shack Most any 3 volt coin cell will work however even one that is smaller than the original It may be necessary to bend the retaining clip in the holder some to properly retain a thinner battery Note that the side of coin cells must be up when installed in the holder and that it is larger covers more of the battery s surface than the side If the old battery wasn t completely drained then the large capacitor near the battery holder can keep the memory alive while the bat tery is being changed provided you get the job done in less than a minute DISASSEMBLY The mechanical engineer who designed the 150 case had a military background and it shows The case has no welded joints or molded parts just several metal panels held together by screws into threaded inserts Nevertheless it is rugged except for the long metal fins sticking out of the back to enforce proper air intake clearance which are very vulnerable to bending To get to the memory backup battery or to C111 to fix a permanently crashed unit or to change voice EPROMS simply re move the two screws holding the access cover to the top panel To get to the entire CPU board without actually removing it for example to change the operating system software it is easi est to remove the screws holding the top pan
195. ltered and shaped to produce the final tone The Kurzweil K150X Expander is also a synthesizer However instead of starting off with a simple electronic waveform the K150X starts with a computer model of an acoustically rich instrumental sound These models which we call voices are created by a Contoured Sound Model which produces the rich authentic tones for which Kurzweil Music Systems has become famous Programs Regions and Layers In addition to the voices the K150X offers many sound modifying resources By using these resources we are able to change a basic voice to create a great variety of new tone colors The resources are referred to as modifiers A voice together with its associate modifiers is called a layer With the K150X you can combine layers to form a composite tone color and then assign that combination of layers to a region A region is one group of keys into which the K150X divides the incoming MIDI keyboard information The K150X enables you to set up one two or three keyboard regions A complete keyboard setup is called a program The program tells where the regions are which layers are in each region and which voice and modifier values are in each layer The programs are numbered from 0 to 255 A given program may be selected by the K150X s front panel or by a MIDI program change command Thus programs are built up like the branches of a tree The program is the tree itself the regions are parts of the tr
196. matted according to the MIDI Specification MIDI is an acronym for Musical Instrument Digital Interface MIDI INTERFACE A device enabling computers without the standard five pin MIDI cable fitting to connect with de vices having the standard MIDI hardware MIDI MERGER A device which receives MIDI data input from two different sources combines the data and transmits them as a single MIDI data output signal MODEL The complete set of Sound Modeling Program parameters that specify a sound These include all of the Global Parameters the Contours Release Rates and Attack Function A model typically covers a limited pitch range but can cover the whole keyboard NOISE A type of sound distinguished by having a random waveform which is equivalent to having a near infinite number of partials If the noise spectrum has a sharp peak then a sense of pitch may be heard OPTION Any of the features of the Sound Modeling Program which the user selects by pressing a He key corresponding to the feature the user wishes to operate OSCILLATOR A component of synthesizers generating an electrical signal which varies in response to voltage input The electrical signal is converted into sound by an audio system PARAMETER Any variable condition of a system the alteration of which affects the product of the system In the Sound Modeling Program parameters vary from naming a model to setting the release rate of individual partials PARTIAL A single waveform
197. mber nearest the horizontal crosshair to the position of the horizontal crosshair 3 DELETE F will delete the gap nearest the horizontal crosshair merging the levels above and below it but not before ask ing REALLY DELETE YIN 9 AUDIT S provides the usual auditing options 0 EXIT S takes you up a level to ATTACK FUNCTION 3 ALL PAR SEL PAR F is a simple toggle to allow you to choose to display and edit the attack functions for all partials or only for those you select The current option is highlighted in the display 4 SINE PAR NOISE PAR F similar to option 3 above is a toggle In this case you are opting to edit the attack functions for either the sine wave partials or the noise partials contained in the model Note in Sound Modeling Program Version 1 the routines for editing attack functions for noise partials are not implemented 5 ALL LEVELS F causes all levels to be displayed 6 ONE LEVEL F enables you to specify one level to work with Pressing 6 here will generate a dialog box asking SELECT A LEVEL THEN PRESS RETURN Use the up or down cursor key to position the horizontal crosshair at the level you wish to select by placing it between the gaps which indicate the level they surround Press RETURN That level only will then be displayed 7 LINES F is another toggle which simply activates or deactivates the lines connecting the points on the attack functi
198. me 13 SHRPHARM 121 Sawtooth with increasingly sharp partials 14 ECHOTNNY 122 Sawtooth with long release on middle partials 15 SMPLORGN 123 Synth electric organ 16 CLEARNET 124 Sawtooth with no 2nd and 4th harmonics 17 OBOY 125 Modified model from resident Oboe voice 18 GEETAR 126 Modified model from resident Guitar voice 19 PLICK 127 20 CHURKLE 128 21 OINNKK 129 22 EVOLUTN 130 Slow random contours of 5 partials over 10 seconds 23 PIPSMANY 131 Pip like random contours of 5 partials 24 ATTKFILT 132 Attack function simulates velocity sensitive filter 25 LOOPED1 133 Exaggerated incompletely closed loop 26 DEMO_1 134 Strange velocity sensitivity 27 CELCST 135 Synth celeste sound 28 TAPE_VERB 136 Tape reverberation simulation with loops 29 TIMPAN 137 Published frequencies of timpanii vibration modes 30 HARPODD 138 Odd partials of model from resident Harp voice 31 XYLO 139 Synth xylophone 32 HVNBELLS 140 Delicate sounding synth bells 33 HARPEVEN 141 Even partials of model from resident Harp voice 34 PRCCLOCK 142 Same as CLOOCK but with decaying envelope 35 ORGNLOOP2 143 Same as ORGNLOOP I with a different length loop 36 BLURBBLE 144 See section 15 3 37 SPACEDHM 145 Harmonic sound with spaced out higher harmonics 38 GLASHARM 161 Synth glass harmonica 39 ORGNS WEP 162 Synth electric organ with swept notch filter S M P Version 2 0 15 16 2 VOICES none 16 3 PROGRAMS Use the Models and Voices listed above NAME STRI
199. mitones away from the played note wheel rotation can bend the sound Use INCR and DECR to change the value by 1 semitone increments or enter a value using the numeric button pad and press ENTR The value given is the amount in each direction For instance if 3ST is the value the pitch wheel will bend the played note 3 semitones up and 3 semitones down The maximum range is 6O semitones New programs have their P BEND set at a default value of 2ST The sign of the value shows the relationship between the direction the pitch wheel is rotated and the direction of the pitch The convention is usually Wheel Direction Note Direction Sign of Semitone Value clockwise or up up 6 3 counterclockwise or down down If your pitch wheel is different or you want to reverse the relationship change the sign of the value Key Pressure Bending Assuming that your MIDI keyboard sends after pressure information notes can be specified to bend when played the range of the bend depending on the force with which you press the keys The direction of the bending is specified by the sign of the range A positive value means the sound bends up from the played note A negative value means the sound bends down In order to hear the effects of your changes the P BEND parameter in one or more of the layers being played must be set to Press or Both There must also be proper MIDI assignment of the key velocity signal from your keyboard to the K150X When the d
200. must follow the voice header A field in the voice header specifies how many models follow so the KI50FS knows when it reaches the end of the model header list The data arrays follow the model headers They can be in any sequence desired so long as the offset fields in the corresponding model headers point to them Note that each offset is relative to the beginning of the associated model header The format of the voice header is as follows VOICER VHNAME BYTE ABCDEFGH 8 character uppercase voice name in ASCII VHNUMBR BYTE 200 Voice ID number in K150FS VHNMDLS BYTE 6 Number of models in the voice DS B 22 22 bytes for expansion make zero The voice ID number is how voices are referred to in the KI50FS sound program editing system Generally numbers greater than 100 should be used to prevent conflict with the built in ROM voices 2 SYSTEM EXCLUSIVE MESSAGE FORMAT Exchange of non musical data such as voices and remote front panel programming is accomplished via MIDI System Exclusive messages The KI50FS message system uses a closed loop handshaking protocol to regulate the flow of system exclusive data The formats of the messages and the protocol are described below 2 1 MESSAGE HEADER Every system exclusive message in either direction consists of a header optional data and MIDI EOX status code F7 A message thus consists of the following bytes SFO MIDI system exclusive status code 07 Kurzweil ID cod
201. n of the noise tables was to enhance the realism of piano notes A Frequency Register setting of 8 with an initial Phase Register setting of 0 low or 4 high will step through these samples as intended Many additional noise effects are possible by using other Frequency Register settings that may step through the noise tables slower or faster and also intermix noise samples This will require experimentation Amplitude Register Whereas the Phase and Frequency registers controlled the generation of the basic waveform the Amplitude and Slope registers control the generation of amplitude envelope segments The Amplitude Register contains a 16 bit unsigned integer which gives amplitude in units of 6 4096 dB Thus the minimum amplitude is OdB which is silence and the maximum is 95 9985dB Please note that the register content really is decibels not a simple multiplying factor For example if the maximum amplitude of a single partial corresponding to an Amplitude Register setting of FFFF is 1 0 volts 0 5 volt 6dB less would be produced by a setting of F800 not 8000 The amplitude register setting can be read or changed at any time but a large change is likely to produce a click Slope Register Unlike frequency infrequent updating of amplitude values is generally an unsatisfactory method of producing amplitude envelopes This is because a sudden change in amplitude produces a step discontinuity in the resulting waveform which is heard as a cl
202. n slot 2 then go to section 2 4 named Changing the MIDI Interface Slot If you wish to be able to print the screen on a dot matrix printer go to section 2 5 named Installing a Print Screen Program Otherwise installation is complete and you may immediately begin using your working master If changes were made to accommodate a different MIDI interface slot or a screen print program was installed you may wish to make a copy of your Working Master and use that so the installation procedure won t ever have to be repeated 2 2 APPLE Ilc An Apple IIc requires a different modification of S M P because it must use a MIDI interface connected to a serial port rather than plugged into a slot A Passport MIDIPRO interface or equivalent is required and it must be plugged into the modem port The modified program files for an Apple Ic are found on the backside of the distribution disk Use the fol lowing procedure to delete the Apple Ile modification of S M P from your working master and replace it with the Apple IIc modification The procedure uses just drive 1 so it is the same whether you have one or two disk drives 1 Boot your working master and then press 9 to exit to BASIC 2 Enter DELETE SMP_IIE_ 2 0L 3 Enter DELETE SMP IIE _2 0H 4 Insert the distribution disk upside down and enter LOAD HELLO_IIC 5 Insert your working master and enter SAVE SMP_HELLO 6 Enter CALL 151 This enters the m
203. n the Sound Modeling program may be as long as 65 seconds Different editing functions will require different lev els of detail in viewing the contours of the model you are editing This option lets you determine how wide a time frame you will be using to view your model The most you may see of a model at a given time is ten seconds the least giving higher resolution and definition between breakpoints 50 milliseconds For models whose length exceeds the window of the time scale you have selected you may use the cursor keys to scroll through the pages which display the model s contours at differ ent times Hold the open apple key and press the right cursor key to scroll to later times the left key to scroll to earlier times The increments you shift are determined by the time scale you have chosen each stroke of the cursor key shifts the time win dow 20 of the range of the time scale For example if your time scale is set at 1 second then a stroke on the right cursor key while holding down the open apple key will shift the time window two tenths of one second later so that if time 0 had been at the left of the time scale it would be replaced by time 0 2 If the time scale were 50 milliseconds the shift would be ten milliseconds If you hold down both the open and solid apple keys this shift is increased by a factor of four In the pre vious examples the shift would then be eight tenths of a second and 40 milliseconds respectively Note
204. nd 3 keys These meanings are significant only in the Region Editor They allow you to quickly select which region of the keyboard you want to edit The Display The K150X communicates back to you visually using the display which is capable of displaying up to 16 alphabetic and or numeric characters The display gives you the information concisely using abbreviations and information Fields to show you what s happening The location of a number or abbreviation within the display is important It can be divided approximately into 5 fields as shown in Figure 2 2 Figure 2 2 Fields of the K150X Display When you re using the Program Region or Layer Editors the number of that program region or layer appears in Field 1 Outside of these editors Field 2 usually moves over into this field The name or an abbreviation for the name of the parameter being edited appears in Field 2 When applicable the sign of the value in Field 4 appears in Field 3 This can be and sometimes or The value for the parameter in Field 2 appears in Field 4 An abbreviation for the units of the value in Field 4 when applicable appear in Field 5 Table 2 3 shows the abbreviations the K150X uses in Field 5 and their meanings Table 2 3 Units in the K150X Display Abbreviation Unit Meaning C cents 1 cent 1 100 of a semitone ST semitone 1 2 of a whole tone 50 cents dB decibels a measurement of loudness ms milliseconds 1 millisecond
205. nd of the previous segment so altering the first segment will affect the average amplitude of the entire contour The alterations in the first segment come from a separate table for each partial Val ues from this table are assigned according to MIDI key velocity Editing the attack function changes the data in these tables LOOPING THE 150FS AND THE SOUND MODELING PROGRAM A loop may be used to repeat a portion of a model s contours for as long as a note is held When a note is played the 150FS follows all of the partial contours from its beginning time 0 to the LOOP FROM time At that time all of the partials loop back to the LOOP TO time and repeat the contour shape as long as the note is held Releasing the note will cause the contour to evolve as it normally would according to the parameters set for it Because of the way contours are represented in the 150FS looping can produce results much different from those achieved with a sampling synthesizer When looping with the Sound Modeling Program there are four possibilities regarding the location of the loop points LOOP FROM and LOOP TO They may both be at breakpoints in the contour One may be at a breakpoint and one not 2 possibilities Both may be at locations which are not breakpoints Figures 1A and 1B illustrate two of three possibilities with both loop points located at breakpoints in the contour In the first case the amplitude at the LOOP FROM point is equal to the amplit
206. new layer from an existing one select an existing layer and press F2 to copy it then press F3 to insert the copied layer into the region Note that F3 always inserts layers Deleting Layers To delete an existing layer press F1 You will be asked for confirmation Delete Layer Press ENTR to delete a layer or to cancel the request Voice The voice is the built in sound selected as a basis for all editing changes in this layer When a new layer is first defined the default voice is acoustic piano When the display reads VN you can select the voice Enter the number of the desired voice using the numeric button pad and press ENTR or use INCR and DECR to step through the available voices 8 2 The built in voices are either accurate electronic reproductions of conventional instruments or unconventional sounds which highlight the unique sound generation capabilities of the K150X The built in voices include these Resident Voices listed in Table 8 2 Table 8 2 Resident Voices Voice Number Display Reads Sound Name 1 PIANO Acoustic Piano 2 ROCK PNO Rock Piano 3 SOFT PNO Soft Piano 4 ELECPNO Electric Piano 5 BR E PNO Bright Electric Piano 6 HARPISCHD Harpsichord 7 SOFTHPCD Soft Harpsichord 8 A BASS Acoustic Bass 9 E BASS Electric Bass 10 SOFT EBS Muted Electric Bass 11 VIBES Vibes 12 MARIMBA Marimba 13 JAZZ ORG Jazz Organ 14 ROCK ORG Rock Organ There are also additional Sound Block Voices Tuning Each layer can be individ
207. ng Scroll contour display to beginning time 0 CNTL E End Scroll contour display to latest endpoint on any contour CNTL S Stretch Redraw contour using next shorter time scale CNTL C Compress Redraw contour using next longer time scale CNTL I Increase Increase amplitude dynamic range displayed CNTL D Decrease Decrease amplitude dynamic range displayed 5 0 FILENAME HANDLING Version 2 0 attempts to minimize the need for typing filenames If the disk catalog display is showing then any function that requires entry of an existing filename Load Delete source of Copy or Rename etc will first copy the filename the cursor is on into the entry area This name may then be accepted as is by simply pressing Return or edited with left right cursor overstrike or ctrl X and then accepted Blanking the field with the spacebar or ctrl X followed by Return will abort the func tion For functions that require entry of a new filename Save destination of Copy or Rename a default name is placed in the en try area For example for model save the KISOFS model name is copied for editing For Copy or Rename the source file name is re presented for editing With the addition of Voice Files and Program Files there is now an implicit file type associated with every S M P file name Files with the same name but of different types are permitted For functions like Load Model Load Voice or Load Program the file type is handled autom
208. ng Editor lets you specify instrument wide tuning set a master transposition value and activate the programmable intonation table Using the Tuning Editor Select Tuning Editing by pressing EDIT F2 The abbreviation TUNE is printed above the F2 key on the button pad The parameters shown in Table 4 1 can be edited One will appear in the display the others can be selected by using NEXT and PREV Table 4 1 Tuning Editor Parameter Display Reads Parameter Adjustable Values What it Does use INCR and DECR MAST TUNE Master Tuning 0 125C Tunes the entire instrument TRANSPOSE Transposition 60ST Transposes the entire instrument INTONATION Intonation Switch On Off Switch for intonation parameters REFERENCE KEY Reference key Entire Musical Scale Sets a reference key for intonation Tf the value is numeric you can also enter the value directly with the right button pad and press ENTR Note that you can specify tuning and transposition values for individual layers with the Layer Editor see Layer Editing See the sections on each parameter later in this chapter Master Tuning When the display reads MAST TUNE the pitch of the K150X may be tuned by 125C Enter a value using the numeric button pad and press ENTR or use INCR and DECR to change the value by 10 cent increments If a value greater than 125 is entered using the numeric button pad the value will be set to 125 when ENTR is pressed This tuning is in a
209. nse for sustain pedal 12 Modulator and demodulator for audio cassette storage 13 General purpose parallel interface not normally assembled on CPU board 14 Miscellaneous output port for diagnostics and power fail shutdown 15 Frequency units converter functions as a large lookup table 16 Sound generator with 240 sine noise waves and automatic linear interpolation of amplitude envelopes SECO SON ON Opa 68000 CPU The 68000 is clocked at 1OMHz which is substantially faster than personal computers using the 68000 such as the Atari ST and Apple Macintosh Furthermore for accesses to the primary program EPROM and scratch RAM there are no wait states Programs normally run in Supervisor Mode and there is no special hardware for memory write protection or illegal address detection In fact attempting to read or write a nonexistent address may cause the 68000 to hang due to lack of a DTACK The 68000 RESET instruction will reset the sound generator and peripherals The 68000 address map is as follows ADDRESS RANGE ALIASES FUNCTION 000000 OOFFFF Program EPROM 1 64K sockets U55 U57 010000 OLFFFF Program EPROM 2 64K sockets U54 U56 020000 020003 O23FFF MC6850 MIDI UART see below for actual addresses 024000 02000F O27FEF MC6840 Timer see below for actual addresses 028000 O2BFFF Scratch RAM 16K 02C000 O2C7FF 02FFFF old style Parameter RAM 2K K150FS Programmer s Model 1 Rev A 26 APR
210. nter region Keyboard events which occur below the left split point are routed to the left region events which are above the right split point are routed to the right region Each region can be given its own distinct layers allowing the keyboard to be divided into up to three different voices of arbitrary keyboard width Setting the Split Points Select each split point individually when the appropriate display is visible For the left split point the display is number L SPLIT current note and for the right split point the display is number R SPLIT current note number is the program number being edited and current note is the keyboard position of the appropriate split current note will be flashing In a program without a current left hand split the left hand split is defined to be C in the 0 octave the bottom most keyboard key CO would be flashing In a program without a current right hand split the right hand split is defined to be C in the 9th octave the top most keyboard key C9 would be flashing 6 4 When the display shows L SPLIT or R SPLIT you can use INCR and DECR to step through the keyboard keys Alternately you can select the MIDI number of the key at which you want the split to occur The key selected becomes the last key in the center region The MIDI number for each key is shown in Table 6 2 and Figure 6 2 relates the MIDI numbers to keys on the keyboard Table 6 2 MIDI Key Number Chart Note Octave 0 1 2 3 4 5
211. o multiple partials There is no undo function so it is very advisable to save the model on disk before executing one of these functions Since the skew feature barely fitted into memory less than the usual amount of error checking is performed It is possible for an initially valid shift skew stretch or compress value to be skewed to a ridiculous extreme after a few partials with possibly S M P 1 8 Manual Supplement 4 Rev A 23 MAR 89 undesirable results Thus save your model first then check the current skew value initial value and number of partials that will be processed before executing the function Be particularly wary if the function warns that Overlapped breakpoints will be deleted and you didn t expect that to happen 3 33 K150FS PROGRAM RENAME FUNCTION This minor addition to the LOAD SAVE PROGRAM menu allows you to edit the name of any program in the K150FS quickly and easily much more easily than using the 150 s front panel To change the name of a program press 4 FROM K150FS and enter the number of the program you wish to change Then press 7 RENAME and edit the current name chosen 8 character maximum Finally press 3 TO K150KFS and enter the same program number Or if you enter a different number the program will be copied to that number along with its new name leaving the original unchanged Note that this method of naming allows the entry of a pure blank into the name something not possible through the fr
212. odification from your working master and replace it with the Apple II GS modification The procedure uses just one 5 disk drive so it is the same whether you have one or two 5 disk drives 1 Boot your working master and then press 9 to exit to BASIC 2 Enter DELETE SMP IIE 1 8L 3 Enter DELETE SMP IIE 1 8H 4 Insert the distribution disk upside down and enter LOAD HELLO IIGS 5 Insert your working master and enter SAVE SMP HELLO 6 Enter CALL 151 This enters the machine language monitor S M P is written in machine language so that it will fit into memory and run fast 7 Insert the distribution disk upside down and enter BLOAD SMP IIGS 1 8L 8 Insert the working master and enter BSAVE SMP IIGS 1 8L A 800 LS37FF 9 Insert the distribution disk upside down and enter BLOAD SMP IIGS 1 8H 10 Insert the working master and enter BSAVE SMP IIGS 1 8H AS4000 LS5851 Your working master disk has now been modified to run properly on an Apple II GS with Passport MIDI interface card in Slot 3 If you wish to be able to print the screen on a dot matrix Apple Imagewriter or equivalent go to Section 2 and read the Apple II GS paragraph If you wish to change the MIDI interface slot because you already have something plugged into Slot 3 refer to Section 2 4 in the 2 0 Addendum The filenames you will BLOAD and BSAVE in that procedure will be the same as in steps 7 10 above Please note that if
213. of the display has room for only four digits Entering or calculating frequencies higher than 9999 9 Hz will overflow the display and may be inaudible anyway but will not damage anything 3 2 D GRAPHIC F brings up an X Y grid display with the partial number on the horizontal axis and the harmonic multiple on the vertical axis No editing is possible from this display although you may audit from this level The 2 D display is in cluded to give a different visualization of the relationship between the frequencies of the partials 9 AUDIT S calls up the normal audit options 0 EXIT S takes you up one level 4 RELEASE S gives you the following options menu RELEASE RATES 1 GLOBAL ON OFF 2 EDIT GLOBAL GLOBAL RELEASE 256 3 EDIT SEPARATE P T RLSE P T RLSE P T RLSE P T RLSE 4 1 R 256 5 2 R256 6 7 8 9 AUDIT 0O EXIT 1 GLOBAL ON OFF F toggles the highlighting on and off of the global release value indicator When the value is high lighted the global value is enforced for all partials and the release rates will be uniform at whatever value is set using the following option 2 With the global release rate disabled not highlighted each partial will release at the rate indicated in the table The default condition has global release rates on Note that the model s release option must be set to TERMI NATE for the release rate to have any aud
214. og partial or model listing P Flip to previous page on catalog partial or model listing Also the cross hair cursor is controlled by the game paddles rather than the cursor and Apple keys They should be plugged in and in good operating condition before attempting to do any graphic editing with S M P The modified program files for an Apple II are found on the backside of the distribution disk Use the following procedure to delete the Apple Ile modification of S M P from your working master and replace it with the Apple II modification The procedure uses just drive 1 so it is the same whether you have one or two disk drives 1 Boot your working master and then press 9 to exit to BASIC 2 Enter DELETE SMP_IIE_ 2 0L 3 Enter DELETE SMP_IIE_2 0H 4 Insert the distribution disk upside down and enter LOAD HELLO_IIPLS 5 Insert your working master and enter SAVE SMP_HELLO 6 Enter CALL 151 This enters the machine language monitor S M P is written in machine language so that it will fit into memory and run fast 7 Insert the distribution disk upside down and enter BLOAD SMP_IIPLS_ 2 0L 8 Insert the working master and enter BSAVE SMP_IIPLS_2 0L A 800 LS37FF 9 Insert the distribution disk upside down and enter BLOAD SMP_IIPLS_2 0H 10 Insert the working master and enter BSAVE SMP_IIPLS_2 0H A 4000 L 5851 Your working master disk has now been modified to run properly on an App
215. on It is supplied here only for reference you don t need to study it in order to use the K150X large complex hardly readable original diagram not included Figure 2 3 The K150X Expander Effects Processing Chart 2 6 The Channel Editor The Channel Editor lets you assign programs to individual MIDI channels If the instrument is in Omni mode changing the channel number in the Channel Editor also changes the basic MIDI channel number In addition changing the channel will also change the currently selected program see program editor below unless there is no program assigned to the channel or the currently selected program has been changed Using the Channel Editor Enter the Channel Editor by pressing EDIT F1 and the display will show Cxx P xxx program name Where Cxx is the currently active channel and Pxxx is the currently active program number To change the channel enter the new channel number with the numeric button pad and press or use the NEXT and PREV keys to step through the numbers 1 through 16 If a number greater than 16 is entered using the numeric keypad the channel number will be set to the previous channel number when ENTR is pressed To de activate a channel use CLEAR or 0 ENTR Channel Editor Hints The Channel Editor will not allow you to assign a non existent program to a channel In particular the INCR and DECR keys will skip over non existent program numbers 3 1 The Tuning Editor The Tuni
216. on levels curves With 7 LINES highlighted you will see the lines on the screen Press 7 to remove the highlighting and the levels will be indicated by breaks in the lines representing the partials at the points where the attack function level lines would cross the partial lines 8 SELECT PARTIALS S is identical to other SELECT PARTIALS options 9 AUDIT S is identical to other AUDIT options 0 EXIT S brings you up a level to DEFINE MODEL 0 EXIT S returns you to the top menu level which reads KURZWEIL SOUND MODELING PROGRAM CONSTRUCT OR EDIT A COMPLETE VOICE Pressing 3 at this level enables you to work with various models to construct or modify a compiled voice remember a voice consists of one or more models The following options menu appears DEFINE VOICE CATALOG SEND VOICE CREATE VOICE EDIT VOICE COMPILE VOICE LOAD VOICE EXTRACT MODEL IDI CHANNEL EXIT DODANDAUBPWNE 1 CATALOG F calls a list of all files on the disk 2 SEND VOICE F is not implemented for Version 1 3 CREATE VOICE S is not implemented for Version 1 4 EDIT VOICE S is not implemented for Version 1 5 COMPILE VOICE is not implemented for Version 1 6 LOAD VOICE F instructs the 150FS to send voice information to the computer A list will be generated showing each model in the voice 7 EXTRACT MODEL S once a voice has been loaded individual models may be extracted for editing 9 MID
217. on 2 of the Sound Modeling Program will include a function for flipping catalog pages to view all filenames Two functions under the EDIT CONTOURS option are unimplemented for Version 1 They are AMPLITUDE ADJUST and TIME ADJUST Presently pressing the keys for these functions will do nothing Both functions will be implemented in Version 2 Four functions under the DEFINE VOICE option are unimplemented They are SEND VOICE CREATE VOICE EDIT VOICE AND COMPILE VOICE All of these functions involve linking several Sound Modeling Program models from dif ferent pitch ranges creating a single integrated voice similar in structure to any of the 150FS s resident voices Presently when models are sent to the 150FS via the AUDIT or LOAD TO 150FS function they become single model voices covering the entire standard piano keyboard range It is possible to assemble the equivalent of a three model voice by defining a three region program on the 150FS Each region in the 150FS program can then have a different model assigned as the voice for the layer s in that region See the Layer Editor chapter of the 150FS User s Guide for more details on this function Full voice assembly will be available in Sound Modeling Program Version 2 WHAT THE SOUND MODELING PROGRAM DOES The Sound Modeling Program primarily provides a graphic method for constructing and manipulating these data structures In addition it translates between a data representation that
218. on of the S M P and are shown here simply as mnemonic aids To make reading easier decimal values are given with no prefix and hex values have a prefix MODELH Beginning of a model header MHNAME BYTE ABCDEFGH 8 Character uppercase model name in ASCII MHKEY BYTE 72 Highest MIDI key number for the model C5 MHF LAGS BYTE 00 Model option flags Bit 0 1 Ignore release 1 1 Global release slope 2 0 always 3 1 Ignore sustain pedal 4 1 Hold at end 5 7 0 always MHNPART BYTE 3 Number of partials 1 64 MHNAFLV BYTE 3 Number of Attack Function LEVELS 1 254 MHNUPDC WORD 24 Number of Update COMMANDS HNUPDA WORD 23 Number of Update ARGUMENTS HOF PEG WORD PFGLIST MODELH 48 Offset to partial flags list MHOFPFQ WORD PFOQLIST MODELH 52 Offset to partial frequency list EVEN MHOFATF WORD PAFLIST MODELH 58 Offset to attack function array HOFUPC WORD PUCLIST MODELH 74 Offset to update commands list HOFUPA WORD PUALIST MODELH 98 Offset to update arguments list EVEN MHOFIRR WORD PRSLIST MODELH 144 Offset to release slope list if individual EVEN actual release slope if global MHLOUD BYTE 8 Attenuation of the model 3dB DS B 19 19 bytes unused set to zero NOTE These lists need not directly follow the model header nor be in the order shown below as long as the offsets given in the model header are accurate PFGLIST BYTE 00 Li
219. onic multiple that is being shown If the deviation shown becomes very large the partial cross may hit the top of the screen where it will still be shown or the horizontal axis where it will degenerate into a single dot just above the axis line S M P Version 2 0 11 14 0 PARTIAL SELECTION Partial selection has been added to several menus that previously did not have it Also selection of arbitrary partials and ranges has been made easier through use of the cursor When the Select Partials menu appears the current screen content is saved and a listing of partials is displayed along with a block cursor that may be moved by the cursor keys or U D L R on Apple II or II in a Mac versions Pressing 1 Sel or Unsel will flip the selection status of the partial the cursor is on 2 and 3 All Odd Relative and All Even Relative work as before and select the odd or even numbered relative partials Like wise 5 All Absolute and 6 all Noise work as before 8 Unsel All will unselect all of the partials 4 Range works a little differently than before When Range is pressed the first time the partial under the cursor is selected and Range is highlighted on the menu to show that range selection is active The cursor may be moved to any other partial either after or before the one just highlighted When Range is pressed again all of the partials between the two will be se lected and Range will revert to its normal appearance 15 0 ADDITIO
220. ont panel 4 VERSION 1 8 LIBRARY ADDITIONS A few illustrative sounds were added to Sound Library 1 7 listed in the Version 2 0 Addendum These are described below With the addition of these very little space remains on the working master for user sounds Therefore it is recommended that you prepare a blank data disk see Addendum section 15 2 1 and save any sounds you modify or create on it VOICE MODEL 150 SHEPARD This is an attempt at the infamous Shepard tones or endlessly rising PROGRAM 190 SHEPARD glissando The program is 4 layers of the voice SHEPARD which in turn is a single model of 60 partials It thus uses up all 240 partials and is monophonic Playing G2 sounds smoothest but the effect is there with almost any key VOICE 151 NOISES This multi model voice is an aid in using noise partials for constructing PROGRAM 191 NOISES your own sounds Each key from C4 F5 addresses a different model which has a single noise partial Thus you can be quickly reminded what a NOTE RATE NOTE RATE given noise rate sounds like but more importantly can hear how several C4 1 A4 9 noise partials sound together by playing several keys at once Of course CH4 2 A 4 10 this only covers 18 of the thousands of possibilities so you way wish to D4 3 B4 11 construct a more elaborate noise voice Note that the high or low D 4 4 C5 12 noise designator doesn t make any difference unless the noise rate is E4 5 C 5 13 divisible by 8 F
221. orus Mode SW Chorus Mode Detune CC Chorus Delay CC Chorus Decay CC Vibrato Switch SW Vibrato Depth CC Vibrato Switch SW Vibrato Depth Shape CC Vibrato Rate CC Vibrato Mode CC Vibrato Mode SW Vibrato Symmetry CC Vibrato Delay CC Data Entry CC Increment SW Decrement SW Next Program SW Previous Program SW Notes Off SW Legend SW CC CC Trademark of Kurzweil Music Systems Inc How Assignment is Done 67 Unassigned Unassigned Unassigned Unassigned Unassigned Unassigned Unassigned Unassigned Unassigned Unassigned Unassigned Unassigned Unassigned Unassigned Unassigned 6 96 97 Unassigned Unassigned 127 switch continuous controller bidirectional continuous controller Table 12 2 contains the assignments for standard MIDI control numbers according to the latest MIDI specification Unassigned control numbers are available for assignment to any K150X control destination Table 12 2 MIDI Control Assignments Default Assignment ignored Modulation Wheel unassigned Data Entry Volume Balance unassigned Expression unassigned all LSBs ignored Sustain Pedal unassigned Sostenuto Pedal Soft Pedal unassigned Timbre Freeze Pedal 12 2 70 95 unassigned 96 Data Increment 97 Data Decrement 98 121 unassigned The following numbers are not valid MIDI control numbers They are used internally to designate MIDI control sources which are transmitted as separate MIDI messages T
222. ould always save your model on disk before using any global function that has the potential to radically alter the model 11 0 TIME ADJUST FUNCTIONS Time Adjust is similar to Amplitude adjust except that it alters the time of breakpoints while leaving the amplitudes alone It can be used to slow down or speed up portions or all of a sound or delay or advance certain events in the evolution of a sound s contours The Time Adjust menu is reached by pressing key 6 on the Edit Contours menu The bottom half of the Time Adjust menu is identical to the Amplitude Adjust menu while the top half has 4 choices for the time adjustment Like Amplitude Adjust a time interval must be specified and an adjustment amount entered Unlike Amplitude Adjust details of the time interval can be important which will be explained below The simplest time adjustment is SHIFT Here the times of all breakpoints within the interval are adjusted by adding the shift amount given in milliseconds to the original times Thus if the interval covers the entire contour from 0 to 65000 and the adjust amount is 1000 then the times of all breakpoints except the first one at zero will be made 1 second later thus delay ing the sound except for the attack which is stretched by 1 second A negative adjustment will make things happen earlier A little thought will reveal that it is easy with Shift to have a breakpoint s time shift beyond the boundaries of the interval This
223. p forward through the options PREV previous go back to the last parameter i e step backward through the options EDIT edit special button used in sequence with the others above Above the Buttons Written above the buttons are abbreviations for the K150X s different editors The EDIT button gives you access to the K150X s editors You access the editors by pressing the EDIT button first and then the button below the abbreviation If you ve ever used a scientific calculator in which keys have different meanings depending on whether you ve pushed the function key this works the same way For instance pressing EDIT F2 selects TUNE the Master Tuning Editor The editors are summarized in Table 2 2 Table 2 2 Button Sequences for Editors Word or Abbreviation Abbreviation Buttons Sequence Meaning Above Button For to Press CHAN Channel EDIT F1 Selects the Channel Assignment Editor TUNE Tune EDIT F2 Accesses the Master Tune Editor MIDI MIDI EDIT F3 Selects the MIDI Editor PROG Program EDIT SAVE Accesses the Program Editor REGION Region EDIT QUIT Selects region to edit LAYER Layer EDIT UNDO Accesses the Layer Editor CHORUS Chorus EDIT INCR Accesses the Chorus Editor VIB Vibrato EDIT DECR Accesses the Vibrato Editor EQ Equalization EDIT CLR Accesses the Graphic Equalization Editor CONTROLS Controls EDIT NEXT Accesses the MIDI Control Editor MISC Miscellaneous EXIT PREV Accesses the Miscellaneous Editor The Right Button pad There a
224. peed of the crosshairs in any direction selected with the cursor keys Hold down the open apple key and use the cursor keys to scroll time Note that amplitude values below the horizontal axis can be entered by moving the crosshair below the axis If it is moved to the very bottom of the screen an amplitude value of 95 6 dB silence is entered regardless of the amplitude scale 1 MOVE POINT F instructs the program to select the point nearest the time vertical crosshair and moves that nearest point to the point indicated by the crosshairs dragging the connecting lines with it There is always a point at time 0 it can not be moved 2 INSERT POINT F adds a point at the intersection of the crosshairs It is not possible to insert a point at the same time as an existing point 3 DELETE POINT F selects the point nearest to the time crosshair and removes that nearest point 7 POINT READOUT F gives the time and amplitude coordinates of the point nearest the time crosshair Note that this is effective only for the contour displayed in the lower half of the screen 8 CURSOR READOUT F gives the time and amplitude coordinates at the intersection of the crosshairs 9 AUDIT S calls up the usual auditing options 0 EXIT S takes you up a level to EDIT CONTOURS 4 EDIT X SECTN EDIT CROSS SECTION S gives you six options EDIT X SECTION 1 REL TIME MOVE POINT DOWMDANDUAWNDY ALL SEL PAR
225. pixel 0 1 Key 5 Increase moves in the opposite direction and key 3 1X Scale will restore the normal vertical scale factor A scale indicator to the left of the display shows the deviation scale factor currently in effect For example say the model has 7 partials the fourth partial is of interest and the base fundamental frequency is 500Hz The automatically selected normal scale in this case shows multiples up to about 10 11 and the deviation scale factor which is the same as the overall multiple scale factor is about 5 5 of the fundamental frequency 27 7Hz per pixel This was calculated by noting that there are 18 pixels between 0 and 1 on the vertical axis Pressing Decrease once gives a devia tion scale factor of 50 per 10 pixels or 5 per pixel not very different from before for this example it would be more dif ferent however if the sound had say 20 partials which would have compressed the vertical scale considerably Pressing De crease twice more would give a 10 per 10 pixel deviation scale factor which would be 1 or 5Hz per pixel So if the 4th partial was 3 dots above the diagonal line its multiple would therefore be 4 03 which is 15Hz sharp or 2015Hz With very low scale factors such as 1 per 10 pixels the partial frequency cross can be considerably off the diagonal line and in fact well past its equivalent harmonic multiple position on the vertical axis Remember though that it is the deviation from a perfect harm
226. play columns are activated The leftmost character activates the leftmost button column etc The state of the 4 buttons in the selected column may be read at address 038003 Bit 0 is the topmost button in the column and bit 3 is the bottommost A zero indicates a pressed button Bits 4 7 are undefined and the other 10 display columns do not select any buttons Assuming a display refresh rate of approximately 60Hz debouncing of the button presses is not necessary CASSETTE INTERFACE The cassette interface consists of a simple signal generator for writing and a signal polarity detector zero crossing detector for reading Modulation and demodulation of the signal and coding and decoding of the data is up to the driver software The cassette signal generator is separate from the much more sophisticated sound generator and consists of a poor man s D to A converter and a low pass filter The D to A converter can produce 9 different voltage levels for an effective resolution of 3 bits according to the 8 bit pattern written to address 03400E The voltage level is proportional to the number of ONE bits in the pattern The location of the ones in the pattern is not important but it is desirable that they be evenly distributed among the zeros when possible A waveform is produced by simply writing an appropriate sequence of KI50FS Programmer s Model 4 Rev A 26 APR 88 patterns to the converter The low pass filter cutoff frequency is about 7KHz wi
227. pple keyboard for such testing A unique 4X Slow function temporarily slows the sound by a factor of 4 without affecting pitch for detailed aural study WHAT YOU DO Configured for the Apple Ile the Sound Modeling Program uses the digit keys as 10 function keys and the arrow keys to move a graphic crosshair block selection cursor around the screen The current function name and what each digit key does in that function is always clearly labeled on the screen Thus program operation consists mostly of pressing function digit keys and arrow keys and occasionally entering names and numbers When errors occur informative messages are overlayed in a temporary message window Even the storage recall and manipulation of sound model disk files is under function key control thus minimizing your direct contact with the Apple e operating system The Sound Modeling Program itself is written entirely in 6502 assembly language complete with its own high speed graphic and compact text routines Most functions execute in less than a second while function key menu changes are practically instantaneous Since additive synthesis sound models are so compact typically under 1K each they load into the 150FS very quickly for evaluation SWI T 74 A 8 ULE APPLE TIk 7 Kyi PORTER SYKTHESIZER SOUND MODEL ING PROGRAM PLEWSE FRESH ow hy 1 SOUND FILE MANIPLLATION e DEF IME OR EDIT amp SIHGLE SUHT MODEL 3 COMSTRUGCT OF
228. presented by a series of breakpoints with straight lines between them Plotted on a normal graph every breakpoint has a time and an amplitude Amplitude values between breakpoint times lie along a straight line connecting the breakpoints Breakpoint times may be unequally and arbitrarily spaced and specified to a precision of 51 2uS The breakpoint times of each contour are completely independent and need have no relation with each other However voice memory may be saved and loading of the K150FS s internal processor reduced if some of the breakpoint times coincide Whereas the Sound Modeling Program stores breakpoint data in absolute time 16 bit milliseconds and amplitude 8 bit fraction of maximum breakpoints must be communicated to the K150FS in delta time and slope format Thus the time of a breakpoint is specified relative to the previous breakpoint and the amplitude is specified as the slope of the line segment connecting to the next breakpoint Thus everything is relative to the first breakpoint which is always zero time and zero amplitude The example below should be studied to understand this 40 0 100 0 dB O 200 16 16 60ms 310 24 0 dB s 100ms 3 160 dB s 110ms 48 72 7 dB s 0 dB s 40ms 64 2400 dB s 0 50 100 150 200 250 300 350 400 450 msec 200 32 40m 300 dB s 130ms 330 48 48 184 6 dB s 450 56 130ms 64 123 dB s 30ms 120ms 80 2667 dB s 66 7 dB s 0 50 100 150 200 250 300 3
229. produce sound The 150FS is an additive synthesis machine generating sounds by combining waveforms to replicate the waveform models of acoustic or electronic sounds The acoustic physicist Fourier asserted that any sound may be represented as a waveform composed of simple sinewaves The 150FS takes its name from this pioneering scientist because it uses a microprocessor to assemble a collection of sin ewaves or noise waveforms reproducing a waveform model associated with voice information stored in the 150FS s memory The 150FS contains 240 independent oscillators all of which may be called into operation simultaneously Each oscillator produces a waveform which becomes part of the composite of waveforms necessary to reproduce the waveform model of an acoustic or electronic sound Each of these composite waveforms may consist of up to 64 individual waveforms one per os cillator Each individual waveform is a part of the collection of 64 or fewer waveforms and is referred to as a partial Each collection of partials is known as a model and is the basic building block of sound in the 150FS Models in turn are com bined to form voices which are used in the 150FS programming structure to create complete programs Refer to the 150FS manual for further information regarding voices and programs Each partial is generated through an independent oscillator with a frequency range of 0 9 4 kHz with incremental resolu tion of 0 3 Hz Waveforms may
230. r most conventional instruments the harmonic content of the timbre changes over time while the nominal pitch remains reasonably constant The harmonic content of the timbre also changes with the loudness of the note 8 3 All built in sounds have a pre selected timbre formula as a component of every note Timbre Shift allows you to override the default timbre and choose another timbre for a keyboard key when it is pressed With Timbre Shift you can override the internal formula and use the timbres from other notes in the scale in conjunction with the nominal pitch Timbre shifts are similar to transpositions but they only change the harmonic content of the note and have no effect on the pitch of the note The effect of timbre shifting varies depending on the built in voice In the case of the acoustic piano voice positive timbre shifts which will cause the timbres from lower notes to played at higher pitches result in a bright funky sound Negative adjustments which use the timbres from higher notes to be played at lower pitches result in a darker sound The Timbre Mode Options When the display reads T MODE you can choose among four options for selecting your timbres The default option is manual Use INCR and DECR to step through the choices Manual When used with the default value for T SHIFT 0 semitones this option creates the default timbre mode Picking a shift in semitones with T SHIFT changes the sound See Timbre Shift Value
231. r the center region of Program 1 would look like P1 CNTR LYR 1 1 If there are currently two or more layers defined select a layer to work on by using INCR DECR NEXT or PREV or select it by number using the numeric button pad and press ENTR If there is only one layer defined that layer is the default layer to edit unless INCR is pressed creating a new layer see Creating and Deleting Layers Press ENTR to start choosing among the parameters for the selected layer The display will show on the left side e the region L for LEFT Cfor CENTER R for RIGHT e the Layer number The parameters shown in Table 8 1 can be edited One will appear in the display the others can be selected using NEXT and PREV Table 8 1 Layer Editor Parameters Display Reads Parameter Available Values What it Does use INCR and DECR VN Voice a voice Assigns the number and name of the voice to the sound layer TUNE Tuning 125C Adjusts the tuning of the layer TRANSPOSE Transposition 60ST Transposes the layer T MODE Timbre Mode Fixed Selects the way timbre is chosen Slider A Veloc Select T SHIFT Timbre Shift 60ST Controls the amount and direction of timbre shifting T SELECT amp Timbre Select C0 C9 Selects one note for all timbre shift T LEVEL Timbre Level 30dB Selects Timbre Proportions B MODE Balance Mode Fixed Controls the mode of layer balancing Slider A Veloc BALANCE Balance
232. ram and gives you access to a new menu of options SOUND FILE MANIPULATION Pressing at the top level gives you the following display FILE MANIPULATE CATALOG LOAD TO 150FS COPY RENAME DELETE DRIVE SLOT EXIT DODANDADUBWNE 1 CATALOG F provides a list of all sound files stored on a disk When loading a model or voice file to the 150FS you need to enter the name exactly as it appears in the CATALOG The CATALOG display gives the name of the sound file the size of the file in kilobytes and the type of file M for model V for voice It also lists the free space on the disk being read 2 LOAD TO 150FS F instructs the program to load a sound file directly to the KI50FS resulting in a dialog box ENTER MODEL FILE NAME 8 CHAR MAX Type in the name of the model or voice you wish to load press RETURN and the program will load the sound file This usually takes just a few seconds When send xxx disappears the sound may be played xxx here refers to the number of bytes in the model 3 COPY F allows you to duplicate a sound file so you may edit it without sacrificing your original file This is helpful when you have composed a model or voice that you like but wish to have one or more slightly or dramatically modified variations Copies stored to the same disk must be assigned different names 4 RENAME F permits you to identify the new modified sound files you have created or s
233. ranspose control is additively combined with the Master Transpose and Layer Transpose Note that transposition is a static effect Varying the control will not effect notes that have already started Timbre Shift Control The timbre shift control is used to scale the layer transpose value Its effect can be selectively enabled at the layer level Note that timbre shift is only effective at the start of a note Balance Control The balance control is a bidirectional controller used to scale the balance adjustment in the sound layer Its effect can be selectively enabled at the layer level This control is only effective at the start of a note The balance control can be used to change the level between two sound layer give one layer a positive balance adjustment and the other a negative value Enable the balance control for both When the control is at the midpoint both layers will be equally loud Moving the control above or below center will increase the loudness of one layer and decrease the loudness of the other Pressure Control The pressure control allows any continuous controller to act like polyphonic key pressure The default assignment for the pressure control is monophonic channel pressure which means that mono channel pressure acts like polyphonic key pressure Expression Control The expression control is a bidirectional controller which converts the incoming MIDI value from 64 to 63 This value gets added to the key velocity value aft
234. re numbers printed on most of the buttons of the right button pad You use these buttons to enter values after you ve selected parameters to change with the left button pad The new values don t take effect until you press the ENTR button Three of the buttons ENTR 0 and have special meanings ENTR You ll be using the ENTR button often Pressing ENTR means different things at different times e enter a selected editor e indicate you re finished entering a value Use ENTR after entering a number to let the K150X know you re finished If you ve used a computer before think of ENTR as the RETURN button of a computer when used in this context If nothing seems to be happening try pressing the ENTR button Don t worry you can always press undo to undo the change The 0 button serves 2 different purposes e enters 0 for numeric values e answers Yes to K150X questions the sign button is no The sign button 2 2 Pressing the sign button means different things at different times e it starts entry of a negative number When you intend to enter a negative number press first e it steps through 4 way signs Some K150X values can be positive negative starting positive or starting negative Pressing steps through these 4 values e it answers no to K150X questions No is printed above the button Left Center and Right The words LEFT CENTER and RIGHT appear above the 1 2 a
235. ric bass with chorusing Vibraphone Layered vibes with slow vibrato amp tune adjust Marimba Marimba chorused with 1 octave detune amp a short delay Jazz organ Soft electric bass jazz organ split at C3 Jazz organ chorused layered with marimba in octaves Rock organ Chorused rock organ with vibrato Ramp Wave Square Wave Sine Wave Soft electric bass amp chorused electric piano split at C3 Phased electric piano with timbre shift and chorusing Bright acoustic bass with timbre shift Bright electric bass with timbre shift Vibrato depth is controlled by key pressure Vibes with vibrato depth controlled by mod wheel Acoustic bass vibes layered with piano split at C3 Acoustic bass jazz organ with vibrato controlled by mod wheel split at C3 Electric bass rock organ with chorus depth controlled by mod wheel split at C3 Rock organ with chorus depth controlled by key pressure Rock organ with chorusing transposed up an octave Jazz organ with chorusing trans posed down an octave split at C 4 Steel string acoustic guitar Acoustic bass Guitar split at C3 Bright steel string guitar Electric bass Guitar2 split at C3 Nylon string acoustic guitar Acoustic bass Guitar3 split at C3 Guitar layered in octaves Guitar2 with chorusing KURZWEIL MUSIC SYSTEMS Questions and Answers About the Kurzweil 150 Fourier Synthesizer What is the Kurzweil 150 Fourier Synthesizer The Kurzweil 150 Fourier Synthesizer is a multi timbr
236. river and the vector sum will result in a counterclockwise torque to the knob insert Alternatively you can file a slot into the end of a conventional large screwdriver to clear the center shaft and then you ll have an official 150FS Volume Knob Removal Tool With the front panel loose unplug the various cables going to it and set it aside Next remove the connector board at the left which connects the three boards together Some new style units use a flexible mylar sheet for the circuit traces treat it very carefully to avoid creases which tend to break the traces Pull out the power cable and just let the connector board dangle from it Next remove the weird white board retainer by unhooking each end from from the top and bottom panels It is not really necessary to put it back except when the unit is shipped by common carrier The CPU board is the top one Before it can be removed the pedal jack mounting nut must be removed from the rear panel Also on old style units there are two screws holding the MIDI jack assembly to the rear panel that must be removed The Engine board is the middle one and can simply be slid out it s a little smaller than the other two The Sound board is the bottom one The nut holding the audio output jack to the rear panel must be removed before it can come out The power supply seldom causes problems but it can be removed by removing the screws holding the partition to the top bottom and rear panels You will al
237. s For rapid amplitude changes steep slopes units of 0 001465 dB per sample 28 61 dB per second are used while slower changes shallow slope use units 16 times smaller 0 00009155 dB per sample 1 788 dB per second The crossover global parameter determines whether the large or small slope units are actually used The slope is first computed using the large units and if the number of steps is smaller than the value set for crossover the slope is recomputed using the smaller units The disadvantage to the smaller units is that they can generate undesired noise at low frequencies Therefore setting a smaller value for the crossover parameter will usually result in a quieter sound since the number of steps required to compute the slope is likely to be larger than a smaller value Both the delta time and slope values must be expressed in integers therefore there is some roundoff error in the conversion of each breakpoint The Sound Modeling Program however keeps track of the error preventing it from accumulating THE ATTACK FUNCTION The attack function is a spectral modification of the whole sound model according to the MIDI key velocity received This function is very simple to implement when contours are represented in delta time slope format The attack function simply alters the first line segment in the contour of each partial The time and amplitude positions of every contour segment in delta time slope form depend on the positions at the e
238. s DX 7 you can use that instead But then the pressure will affect all notes at once With polyphonic afterpressure you can control each note individually What other MIDI controls do I have You have MIDI destinations for Sustain and Sostenuto pedals like those on an acoustic piano And a Timbre FreezeTM pedal that works like a sostenuto pedal with a difference the notes sustain without decaying And a real soft pedal that alters the timbre of the notes without changing their loudness The control assignment table is programmable any MIDI control number may be assigned to any control destination Is that all No The 150FS also features programmable MIDI velocity mapping selectable loudness mapping and programmable intonation Programmable intonation Right You can tune each scale step individually You can also set the key that you wish to play in so that the altered intonation can be applied to any scale Can I program my own basic sounds too Hal Chamberlin has developed the Sound Modeling ProgramTM which runs on an Apple Ile personal computer Sounds with up to 64 dynamic partials and any number of pitch roots and timbre levels may be interactively created using the Apple s graphics capability This powerful sound creation tool comes standard with the Kurzweil 150FS at no extra cost You said it s free Is any other hardware required Your Apple Ile must have a disk drive and a good monitor The only other hardware you have to b
239. s a diagnostic program to read the low 20 bits of the last calculated sample one bit at a time Anti Alias Filter Considerations KI50FS Programmer s Model 7 Rev A 26 APR 88 In order to simplify its design and also reduce audible noise the anti alias low pass filter used in the K150FS does not have a maximally flat passband instead it gently slopes downward and then cuts off suddenly near the Nyquist frequency The effect of this slope is to make the actual output amplitudes of high frequency partials somewhat less than their programmed amplitudes The existing K150FS operating software takes this curve into account when it starts notes User software should do the same to ensure a flat frequency response The filter response curve is reproduced below to aid in applying the correction Response dB 4 0 kHz PROGRAM DEVELOPMENT TECHNIQUES While program development for the K150FS can be successfully done by erasing and reprogramming EPROMs and testing operation each time a change is made such a procedure is much like using a batch processing mainframe computer 15 years ago Although Kurzweil programmers use an expensive Hewlett Packard development system for programming one can be almost as productive with a personal computer a MIDI interface and the suggestions below V V 5 5 4 100 From RS 232 MIDI Transmit Data 220 x2 to 8 2N2907 K150 4 200 2 2 2K VVV 6N138 To RS 232 MID Receive D
240. screwdrivers successfully Apply a counterclockwise torque to each screwdriver and the vector sum will result in a counterclockwise torque to the knob insert Alternatively you can file a slot into the end of a conventional large screwdriver to clear the center shaft and then you ll have an official 150FS Volume Knob Removal Tool With the front panel loose unplug the various cables going to it and set it aside Next remove the connector board at the left which connects the three boards together Some new style units use a flexible mylar sheet for the circuit traces treat it very carefully to avoid creases which tend to break the traces Pull out the power cable and just let the connector board dangle from it Next remove the weird white board retainer by unhooking each end from from the top and bottom panels It is not really necessary to put it back except when the unit is shipped by common carrier The CPU board is the top one Before it can be removed the pedal jack mounting nut must be removed from the rear panel Also on old style units there are two screws holding the MIDI jack assembly to the rear panel that must be removed The Engine board is the middle one and can simply be slid out it s a little smaller than the other two The Sound board is the bottom one The nut holding the audio output jack to the rear panel must be removed before it can come out The power supply seldom causes problems but it can be removed by removing the scre
241. self for temporary storage 4 It must make balanced use of the stack and return to the caller with an RTS instruction after the printout is complete The machine registers A X and Y may be freely used and the decimal mode should remain off Except for the II GS interrupts should be enabled on return For the II GS interrupts should remain disabled and the return must be in emulation mode memory bank 0 2 2 PRINT PROGRAM INSTALLATION INSTRUCTIONS Follow these directions for replacing the default null screen print program on your working master disk with the program file selected from the list above Boot your working master disk and select option 9 to exit to BASIC Enter CALL 151 to enter the machine language monitor Enter DELETE SMP SCREENPRINT to delete the default null print program Insert the S M P distribution disk upside down and enter BLOAD XXXXXXXXXX where XXXXXXXXX lt X is the filename selected above 5 Insert your working master disk and enter BSAVE SMP SCREENPRINT A 300 LSDO oN The print program has now been installed Before pressing CNTL P when running S M P be sure the printer is connected powered up and ready Although the print program is designed to abort immediately if the printer is not ready it may be possible for S M P to hang anyway if the printer is not ready Save your work on disk before attempting a print for the first time If you accidentally press CNTL
242. simply by writing appropriate data in the appropriate sequence to the appropriate registers Readback capability is provided for diagnostics and so that software can find out where an oscillator currently is in amplitude and phase if necessary Note that 68000 CPU access is permitted only once every 3 2uS so there will be a variable number of wait states associated with accessing these registers The four registers are described below Phase Register KI50FS Programmer s Model 5 Rev A 26 APR 88 Most fundamental is the Phase register In generating sound the current content of the phase register is used as an address to lookup in a sine table If one considers the content of the Phase Register to be an unsigned integer between 0 and 65535 the sine table yields the value SIN 2 PI P 65536 where P is the Phase Register content and PI 3 14159 Thus a Phase Register content of zero gives a zero result 8192 gives 7071 16384 gives 1 and 49152 gives 1 Note that it is the Sine that is being looked up not the more conventional Cosine The phase register for each partial may be freely read or written at any time although writing when the amplitude is non zero will probably produce a click Typically it is desirable to begin a sound with all partials initialized to zero phase in order to avoid attack clicks Frequency Register The Frequency Register contains a 15 bit unsigned integer for controlling frequency in bits 0 14 and the sine noise sele
243. sing buttons 1 2 or 3 corresponding to left center and right and press ENTR Display Reads Region Region Number LEFT left region 1 CNTR center region 2 RGHT right region 3 Additional information is given on the right side of the display on the number of layers in that region The right side of the display can read 0 LYRS meaning that there are currently no layers defined or it can read LYRS n where n is the number of layers currently defined for that region See the Layer Editor chapter for information on creating sound layers F1 F2 and F3 in the Region Editor F1 deletes the selected region You will be prompted before the region is deleted F2 copies the region in a storage buffer You can then use F3 to insert that region somewhere else F3 replaces the selected region with the region stored in the storage buffer with F2 7 1 The Layer Editor Most of the sound shaping editing takes place at the layer level Up to seven sound layers may be defined for each region of a program Using the Layer Editor Selecting and Editing Layers Select Layer Editing by pressing EDIT UNDO The layers selected to be edited are those of the center region unless you specified another region previously using the Region Editor When you enter the layer editor the display will show the program number region LEFT CNTR or RGHT layer number flashing and total number of layers in the region For instance the display fo
244. slope pro jected toward the next breakpoint at the LOOP FROM amplitude It begins at the LOOP TO point at the same amplitude and slope and continues for x additional seconds x being the time difference between the LOOP TO point and the first breakpoint after the LOOP TO point The reader may predict the result of a loop containing no breakpoints Loop To Loop From First Loop bd a a PR e t x reel Launch Angle Launch Angle 4 NEITHER LOOP POINT AT BREAKPOINT SECTION V DESCRIPTION OF SMP FEATURES First a few specifications MODEL SIZE 128 bytes minimum 6 99K bytes maximum 2700 breakpoints PARTIALS PER MODEL from 1 to 64 MODELS PER VOICE 1 to 127 typically 2 to 4 per octave ATTACK LEVELS 1 to 127 typically 4 to 10 MODEL LENGTH 65 seconds maximum indefinite when looped TIME RESOLUTION 1 millisecond AMPLITUDE RESOLUTION 0 375 dB at breakpoints FREQUENCY RESOLUTION 0 298 Hz At the top menu level the level at which the program boots there are four options available 1 SOUND FILE MANIPULATION S This is your sound file librarian allowing you to perform organizational functions on your sound models without doing any actual editing At this level you may browse through your collection of sound files using the catalog option load sound files to the 150FS copy rename or delete sound files and switch disk drives to gain access to various files 2 DEFINE OR EDIT A SINGLE SOUND
245. so have to free the AC power connector from the rear panel HOW TO DO COMMON BUT OBSCURE THINGS A Using Multi Mode assign different sounds to different MIDI channels 1 Power up or get to base mode by pressing EDIT ENTER Display shows C1 P1 PIANO or some other pro gram name Press EDIT then F3 This will get you into the MIDI editing mode Press INCR to get to Multi mode display shows MIDI MODE MULTI Press SAVE then YES This changes the power up default to Multi Mode instead of the factory default of Omni mode Get back to base mode by pressing EDIT then ENTER Press NEXT or PREV to get to the desired channel The number after the C in the display is the channel Select a program for the channel by using INCR or DECR or enter the program number then ENTER Repeat steps 6 and 7 for additional channels and programs Note that any channel with PO assigned to it will not respond to MIDI program changes on that channel If anything else is assigned to it then a program change on a given channel will change the program for that channel 9 If you want to save the program assignments you ve just done as a power up default press SAVE then YES geek POV N B Make the 150 ignore All Notes Off messages This problem is manifested by the unit cutting notes off or the sustain pedal not seeming to work properly It generally oc curs when using Roland equipment as a controller 1 Power up or get to base mode by pressin
246. st of partial flags one byte per partial BYTE 00 00 relative 01 absolute 03 low noise BYTE 00 07 high noise add 10 to mark optional PFOQLIST PAFLIST PUCLIST PUALIST BY BYTE BYTE BY BY BYTE BYTE BY BY BYTE BYTE BY BY BYTE BYT SBY BY BYTE BYTE Pisa d BY BYTE sB VLE BY WOR WOR WOR CBLE BYTE BYTE BYT BYTE BYTE BYT WOR WOR WOR WOR WOR WOR WOR WOR WOR WOR WOR WOR WOR WOR WOR WOR WOR WOR WOR WOR WOR 0 2048 3246 20 14 11 8 16 255 220 185 32 255 212 170 255 255 212 162 NONDRFPOWOFORFRPAOANDWWOFON OO W N O Il w 27 195 6 195 0 195 8 amp SBFFF 390 6 amp SBFFF 585 5 amp SBFFF T952 45 4 amp SBFFF 976 7T amp SBFFF 1171 0 390 47 2343 1 000 List of partial frequencies 2 000 multiples for relative partials 3 000 Earliest second breakpoint time in actual mS CODES for second breakpoint times of 3 partials Amplitude defining highest attack level 6dB Corresponding second breakpoint amplitudes Amplitude defining mid attack level 12dB Corresponding second breakpoint amplitudes Amplitude defining lowest attack level 95 6dB Corresponding second breakpoint amplitudes Update 3 772 5dB S Wait 10mS Update 2 171 7dB S Wait 10mS Upd
247. successful maintenance of an S M P sound library are briefly described below 15 2 1 Formatting a Blank Data Disk If your computer has two disk drives you will probably want to operate with the S M P program disk in drive 1 and a data disk with just sounds on it in drive 2 With a one drive system you may boot S M P And then switch to a data disk since the entire S M P program version 2 0 resides in memory during operation A blank data disk may be formatted as fol lows 1 Boot your working master S M P disk in drive 1 and then press 9 to escape to BASIC Insert the S M P distribution disk upside down in drive 1 and enter LOAD SMP_HELLO_DATA 3 Remove the S M P distribution disk and insert the disk to be formatted in drive 1 and enter INIT SMP_HELLO DATA 4 Formatting takes a couple of minutes When the disk stops spinning the disk is ready for use as a data disk with 123 5K free The SMP_HELLO_DATA program simply informs you that the disk is an S M P data disk if you should ever try to boot it Steps 3 4 may be repeated to format as many disks as desired 15 2 2 Making anew S M P Program Disk Without any Sound Files You may also wish to make S M P system disks which have the S M P program files but no sound files This could be accomplished by copying the entire disk and then deleting all of the sound files but there is an easier way especially with two disk drives using the FID program 1 Boot your
248. supply detects that voltage is dropping such as when the unit is turned off or the power company fails There MUST be a power fail service routine and it MUST pulse the SRAM SAFE signal as described below in the Miscellaneous I O section If this is not done the non volatile RAM contents will be lost and the backup battery drain will become high enough to deplete the battery in a couple of months The SRAM SAFE signal is required to flip a flip flop into the standby power mode It is recommended that during program development the backup battery be removed to prevent unnecessary drain MEMORY The KI50FS has several classes of memory present Program EPROM and scratch RAM run at full 0 wait state speed and are present as pairs of memory chips Sound EPROM sound RAM and parameter RAM require wait states but are present as individual chips for greater flexibility The table below identifies each kind of memory chip its function and its U number on the CPU board ADDRESS RANGE U LOCATION FUNCTION SIZE CHIP TYPE SPEED 000000 00FFFF U55 H U57 L Program EPROM 64K 27256 200nS 010000 O1FFFF U54 H U56 L Program EPROM 64K 27256 200nS 028000 02BFFF U40 H U41 L Scratch RAM 16K 6264 150nS old 02C000 02C7FF U42 Parameter RAM 2K 6116 150nS new 02C000 02DFFF U42 Parameter RAM 8K 6264 150nS 040000 04FFFF U14 Sound EPROM 32K 64K 27256 27512 200nS 060000 06FFFF U15 Sound EPROM 32K 64K 27256 27512 200nS 080000 08FFFF U16 Sound EPROM 32K 64K 27256 27512
249. t according to bits 11 14 of the word written to the frequency converter If these bits are all zeros then there is no shifting 0001 shifts once etc Zeroes are shifted into the most significant bit of the result Bits O and 15 of the word written to the frequency converter are not used One complication is that several of the address and data signals to the EPROM have been scrambled The table below documents those that have been scrambled REAL EPROM REAL EPROM SIGNAL SIGNAL SIGNAL SIGNAL Al A2 A2 A4 D1 D2 K150FS Programmer s Model 9 Rev A 26 APR 88 A4 A8 D3 D6 A5 A10 D4 D7 A6 A9 D6 D3 A8 AS D7 D1 A9 A3 A10 Al Sine Noise Wave Table EPROMs The other table of interest is the sine noise table This table was designed to use two 8K by 8 masked ROMs but boards are shipped with 27128 16K by 8 EPROM s installed 150nS access time is required for these EPROMS They are in positions U39 high byte and U40 on the Sound Board which is the bottom board in the K150FS box The most significant address input A13 is tied high so all of the data is in the upper half of the EPROMS One could connect a switch or unused bit of the Miscellaneous Output Register to this pin and select between the standard sine noise tables and custom ones A12 of the EPROMs selects between the sine half and the noise half Zero selects sine and one selects noise Considering the sine half of the table the 4096 locations are addressed by bits 2 13 of the Phase R
250. t all partials of a listenable sound are going to be at maximum at once and the slight frequency errors due to the 0 3Hz quantization ensures that phases are going to be scrambled in the long term The programmer may therefore feel free to use any amplitude range desired Sound Generator Control Status The overall sound generator is controlled by a write only register at 030800 The bit assignments are as follows BIT O 0 Halt 1 Run BIT 1 1 Single cycle execution for each write O no effect BIT 2 don t care BIT 3 0 Mute 1 Normal operation Bit 4 7 don t care Thus normal operation is achieved by writing 09 to 038000 Normally the sound generator is started at power up after clearing all of the Amplitude and Slope registers and then is left running continuously For effective muting of startup and power down transients Mute should be held active for several hundred milliseconds after initializing and starting the sound generator and also immediately forced on in the power fail interrupt service routine see description above Single cycle execution is for diagnostic and hardware debugging use Also at address 038000 is a read only status register for the sound generator Its bit assignments are BIT 0 1 Access timeslot to sound generator registers BIT 1 1 Run mode BIT 2 Serial data for sample readback BIT 3 1 16th sample slow slopes will be applied Bit 4 7 undefined These bits are provided for diagnostic purposes Bit 2 allow
251. ter 0 and the highlight will go away Interpretation of the skew amount depends on the time adjust function used For SHIFT the skew amount is added to the Shift Amount after each partial in the group is processed Thus if the skew is 25 and the specified shift amount is 10 the first partial in the group will be shifted 10 the second 35 the third 60 and so on until all of the partials in the group either all partials or just selected partials have been processed Likewise if skew is 50 and the shift amount is 70 the first partial is shifted 70 milliseconds later the second 20mS later third 30mS earlier and so on SHIFT ignores the fractional part of the skew amount WARP works just like SHIFT and also ignores the fractional part This means that you can t specify a skew of say 0 5 to get warp factors of say 1 1 2 2 3 3 Itis also perfectly acceptable to specify zero as the shift or warp amount for the first partial STRETCH and COMPRESS do use the fractional part of the skew amount which has 2 digit resolution Note that skewing can change the stretch or compress factor enough after a few partials so that stretch becomes compress the stretch factor decrements below 1 0 or compress becomes stretch compress factor increments above 1 0 This is allowable and the program automatically shifts from one mode to the other Care should be exercised in using skew or in fact any of the time or amplitude adjust functions that apply t
252. ters Display Reads Parameter Adjustable Range What it Does use INCR and DECR P BEND pitch wheel bend 60ST Sets the range and direction of the pitch bender K BEND key pressure bend 60ST Sets the range and direction of key pressure pitch bending SFT PDL soft pedal 30dB Sets the range of the soft pedal L SPLIT left split point C0 C9 Delineates the lower bound of the center region R SPLIT right split point C0 C9 Delineates the upper bound of the center region L BAL left region balance 15dB Adjusts the volume of the left region R BAL right region balance 15dB Adjusts the volume of the right region Tf the value is numeric you can also enter the value with the right button pad and press ENTR See the sections on each parameter later in this chapter F1 F2 and F3 in the Program Editor In the Program Editor F1 initiates program renaming F2 initiates program copying and F3 deletes the current program as described below Renaming Programs Undefined and user created programs have the default name UNTITLED To change the name 1 Press Fl The display will ask RENAME PROGRAM Press 0 yes to continue the re naming process or press to quit If you press 0 yes the first letter of the current name will start blinking For instance if the current name is UNTITLED the U will start to blink 2 Press the INCR or DECR button The letter will change to another character For instance the
253. th a cutoff slope of 12dB octave so an update rate of 20KHz or more is advisable This method of producing audio cassette signals allows rounded off waveforms of known spectral content to be used which can minimize the adverse effects of phase distortion in typical cassette recorders For best results the modulation scheme should restrict the signal bandwidth to about 500 2000Hz The cassette readback circuit is a simple zero crossing detector connected to bit 3 of the byte at 03400B When the instantaneous signal input is negative the bit will read as a zero otherwise it will be read as a one Low and high pass filters minimize the effects of low frequency thumps and high frequency transients and hiss but let the 500 2000Hz band of interest through unaltered GENERAL PURPOSE PARALLEL INTERFACE Circuitry for the general purpose parallel interface is present on the CPU board but the required integrated circuits and cable connector are not normally soldered in place The parallel port is actually a tiny bus expansion with a 256 byte address space and the capability of reading and writing bytes to any selected address within that space MISCELLANEOUS 1 0 One 4 bit status register and 6 bit control register are used for miscellaneous functions The Miscellaneous Status Register is at address 03400B and has the following bit assignments BIT 3 Cassette read input O negative 1 positive BIT 2 Low battery detector 1 battery voltage is low BIT 1 L
254. th the MIDI interface card in place you may replace the Ie access panel The MIDI cables will interfere with the panel s fit and it will not close completely If you wish to place your monitor atop the Ile you may press the access firmly until it reaches a nearly closed position This will be sufficiently level to prevent your monitor from sliding off Connect the video cable between the He and the monitor The jack on the Ie is at the far left and bottom of the rear panel as you face it Connect the power cables for the Ile and the monitor Depress the CAPS LOCK key on the Ie keyboard Insert the Sound Modeling Program disk into drive 1 and power up your IIe and monitor After the program loads which takes about 30 seconds you should see a display which reads KURZWEIL Apple IIe K150 Fourier Synthesizer Sound Modeling Program IF THE SYSTEM DOES NOT WORK Check to see that the disk is inserted properly in the disk drive and the door is properly latched Make sure all your cable connections are in place IIe and monitor power cables IIe to monitor video cable disk drive rib bons Check that your MIDI interface card is firmly inserted in slot 2 and that your disk drive interface card is firmly inserted in slot 6 CONNECTING THE 150FS Connect the power cable to the 150FS and to a power source 100 120V or 220 240V Be sure that the voltage adjustment switch is set to the proper voltage rate for your location I
255. th the sustain pedal All programs have default chorusing and vibrato that may be turned on at the layer level and controlled by mod wheel key pres sure or set at the fixed setting Kurzweil Music Systems Inc Waltham MA ADDRESS RANGE ALIASES FUNCTION 02C000 O2DFFF O2FFEFF new style Parameter RAM 8K 030000 O307FF Sound Generator Partial Control Words 030800 033FFF Sound generator control amp status 034000 03400A reserved 03400B Miscellaneous Status Register 03400C reserved 03400D Cassette output D to A Register 03400E O37FEFF Miscellaneous Control Register 038000 380003 Front panel 038004 03800F 03BFFF Reserved for test fixtures 03C000 O3C7FF Frequency units converter 03C800 O3C8FF 03FFFF General purpose parallel I O 040000 O5FFFF Sound ROM 32K 128K socket U14 060000 O7FFFF Sound ROM 32K 128K socket U15 080000 O9FFFF Sound ROM 32K 128K socket U16 SOA0000 OBFFFF Sound ROM 32K 128K socket U25 SOCOO000 OC7FFF 0DFFFF Sound RAM 32K socket U26 0E0000 0E7FFF 0FFFFF Sound RAM 32K socket U27 100000 FFFFFF 16 alias copies of all of above Interrupts use the autovector method of linking to the service subroutine Only 3 of the possible 7 interrupts are used as follows LEVEL AUTOVECTOR ADDRESS FUNCTION 7 00007C Power fail 5 000074 6850 MIDI Interface 2 000068 6840 Timer The Power Fail interrupt only happens when the power
256. that require entry of a filename the name may be selected by moving a cursor around the disk file catalog listing 2 The catalog listing can now page flip to show up to 250 files 3 Disk file names may now be 9 characters long to facilitate identification of multiple versions of the same model or voice 4 The catalog display is updated after a save copy delete or rename operation if it was showing 5 A macro Time Adjust function has been implemented 6 A macro Amplitude Adjust function has been implemented 7 Multiple models may be linked together into a complete voice 8 Some menus have been reorganized and many often needed functions appear in formerly empty menu boxes 9 Itis now possible to save K150FS programs on disk and then reload them 10 The Sign on Screen will now only be shown once after the program has been loaded Subsequently EXITing to the top level will display a highlighted menu labeled TOP LEVEL and leave the rest of the screen display intact 11 It is now possible to print a graphic screen dump on a dot matrix printer at any time 12 A number of functions can now be executed any time with a single keystroke even if they are not part of the current menu 13 Graphic display of partial frequencies has been improved and it is now possible to directly edit the display with the cross hair 14 The partial selection functions have been improved 15 A loop may be removed from a contour by selecting Loop on
257. the Contours menu and entering 0 for the loop from time 16 A patch program is included for modifying the slot S M P uses for MIDI communication Additionally some bugs and arithmetic round off error that were found in Version 1 0 have been fixed Sound files created by version 1 0 are fully compatible with 2 0 and vice versa except that 9 character files saved by version 2 0 cannot be re trieved by version 1 0 Because of the different computer options provisions for alternate slot usage and screen printing installation of S M P Version 2 0 is more complex than 1 0 Be sure to read the next section before attempting to use the program with other than an Apple Ile computer 2 0 INSTALLATION The S M P Version 2 0 distribution disk is double sided On the normal side with the label is a pre installed version for an Apple Ile computer along with the sound library and two utility programs for copying disks If you have been using Version 1 0 successfully in the past then this installed version of 2 0 should be suitable as is If you have an Apple He or equivalent clone or an Apple II with language card modifications designed specifically for your machine may be found on the back side of the distribution disk The II in a Mac version for use on Apple Macintosh computers is supplied already installed on a 3 1 4 disk A separate document describes how to run the II in a Mac version and the differences between it and the Apple II vers
258. the block data message see below Appendix B contains a description of the master parameter block and list of offsets and lengths of its contents Dump Program s 4 lo msb lo lsb hi msb hi lsb all flag This command may be used to request the K150 to dump one or more programs Two program numbers are given as a range over which to dump Non existent program numbers in the range are ignored If the all flag byte is zero only RAM based programs in the range are dumped Otherwise all programs are dumped Each program is transmitted as a separate block data message see below A final ACK is sent after the last program Computer K150 dump request ACK block data first program K150FS Version 1 6 Software 2 block data last program ACK Load Program 3 This command may be used to load a program into the K150 The next block data message should contain the program Since the program number is contained in the program data no other data is required for this message Computer K150 send load request ACK send block data ACK Dump Instrument Voice File 6 vno msb vno lsb model flag This command is used to request the 150 to dump one or more sound models which together comprise an instru ment voice The voice number is transmitted as two nibbles Since voice files may be large the model flag determines what portion of the voice data is transmitted If it is zero only the voice header 32 bytes plus t
259. the user may call up and utilize but which may not be altered by the user SELECTION OPTION A Sound Modeling Program option which does not execute any function but simply calls up an other menu of options Compare to function options SUSTAIN An envelope function which determines how long a sound will continue to be audible VOICE A collection of models Voices usually consist of a number of models with a range of base fre quencies such that the voice covers most or all of the range of the standard piano keyboard SECTION Ill SETUP EQUIPMENT NEEDED absolute minimum e Kurzweil 150FS Synthesizer equipped with Sound Modeling Program software e Sound Modeling Program disk Apple Ile Microcomputer with at least one disk drive Connector cable from Ile to monitor RCA on the Ie end Monochrome monitor color may be used with color turned off Passport Designs MIDI interface card for the Apple Ie 2 MIDI cables Headphones or sound system for monitoring 150FS sounds Power cables for all machines Note The 80 column card for the Ile is not needed by the Sound Modeling Program The Sound Modeling Program allows you to use the Apple Ile keyboard as a simulated piano keyboard to trigger sounds from the 150FS If you prefer to trigger the 150FS from a more standardized keyboard you will also need the following e MIDI controller such as the Kurzweil MIDIBOARD any keyboard with MIDI capability is adequate e MIDI merger J L Cooper MI
260. there are 5 screws along the top of the front panel 4 along each side 5 along the rear and 4 on top into the internal partition between the power supply and the boards Note that the side screws are larger than the front amp rear screws If a screw seems stuck don t turn too hard or the threaded insert might come loose and then you re really up the creek Instead put some Liquid Wrench on it and go read the newspaper awhile For new style units green displays there are fewer screws and they all are of the self tapping variety To actually remove any of the boards it is necessary to remove the front panel Obviously all of the front panel screws must be removed but the real trick is removing the volume control knob DON T JUST PULL ON IT OR YOU LL HAVE POT GUTS ALL OVER YOUR HANDS Instead pry off the little round plastic button in the center of the control with a pocket knife to reveal a strange looking slotted screw head This screw head must be turned counter clockwise while holding the knob itself stationary to release its grip on the volume control shaft Unfortunately the shaft in the middle of the slot prevents using an ordinary screwdriver to turn the slot If the knob wasn t tightened excessively before it is usually possible to use two 1 8 blade screwdrivers one in each side of the slot and two people one to hold the knob and the other to manipulate the screwdrivers successfully Apply a counterclockwise torque to each screwd
261. they are 16 bits wide The 8 to 16 bit conversion hardware adds 5 wait states for a 16 bit access in order to do two 8 bit accesses However if the 68000 instruction is a byte mode instruction only 2 wait states are added It is possible to put program code in these memories but operation would be substantially slowed due to the extra wait states The Sound EPROM sockets will accept either 27256 EPROMs for 32K bytes each or 27512 EPROMs for 64K bytes each They can also accept 1 megabit mask ROMs 128K bytes each but not 1 megabit EPROMs the latter have 32 pins instead of 28 MC6840 TIMER The MC6840 contains 3 independent counter timers Timer 1 is completely general purpose and has nothing connected to its clock input or timer output Timer 2 can be used by software to count sample periods 51 2uS each of the sound generator Its clock input is connected to a square wave with a 51 2uS period Timer 3 must be programmed to output a 500KHz square wave which is used as the baud rate input of the MC6850 MIDI UART described below Nothing is connected to timer 3 s clock input but the system clock Enable frequency is 1 0MHz The gate inputs to all three timers are wired to permanent ones The 6840 register addresses are as follows 024001 write Control Register 1 and 3 024003 read Status Register 024003 write Control Register 2 024005 read Timer 1 counter 024005 write Write MSB Buffer Register 024007 read Read LSB Bu
262. tials the same As the final dialog box which asked for the begin time of the destination interval indicates the destination interval may overlap the source interval This is nothing unusual if the source and destination contours are different but can have some interesting effects when they are the same First if the source and destination intervals are the same then there is no net change This might occur for One to Selected or One to All for example When the destination begins later than but overlaps the source then effect will be to copy the shape between the beginning of the source and the beginning of the destination multiple times into the destination See section 15 2 below for an example of this An overlap with the destination beginning earlier than the source will just amount to shifting the source shape earlier 13 0 GRAPHIC FREQUENCY DISPLAY EDIT Graphical editing or partial frequencies has been added to S M P 2 0 Graphical display and editing of partial frequencies is most useful for sounds whose partials are nearly but not exactly harmonic To be useful the relative partials should come first in the partial listing and be in ascending order by multiple When Graphic is selected from the Partial Frequencies menu a graph with partial numbers on the horizontal axis and fre quency multiples on the vertical axis is drawn and the Graphic Frequency menu is displayed The horizontal axis is auto matically scaled according to the num
263. time shifted a different amount higher partials shifted more using Time Adjust Finally the time scale of the entire sound was warped using Time Adjust again so that the repetition rate gradually slowed down One could go one step further and use Amplitude Adjust on each contour to give another level of evolution to the sound s average spectrum 16 0 SOUND LIBRARY 1 7 Below is a listing of models voices and 150FS programs on the label side of the S M P distribution disk All of these may be loaded into the 150FS at once by using the Load Library function in the File Manipulate menu and specifying First File 1 and Last File 57 This will avoid loading those models which are part of multi model voices twice 16 1 MODELS Become single model voices when loaded FILE NAME VOICE DESCRIPTION 1 SAWEY_1 100 Sawtooth with looped random contours amp long release 2 STRNGZ_A 102 Sawtooth with looped random contours amp short release 3 STRNGZ_B 103 Same as STRNGZ_A except different loop length 4 STRNGZ_C 104 Same as STRNGZ_A and B except different loop length 5 CLEARZ_A 105 Same as STRNGZ_A except no 2nd amp 4th harmonics 6 CLEARZ_C 106 Same as CLEARZ _C except different loop length 7 XZPHONE 107 Synth xylophone 8 CLOOCK 108 Percussive attack lead synth sound 9 ORGNLOOPI1 109 Synth electric organ with looped random contours 10 AH_EXP_1 110 Spectrum of vowel AH around C3 11 STEELDRM 111 Steel drum voice 12 SYNCHIME 120 Synth chi
264. tination partial number Assuming that the fundamental is being dealt with 1 is entered for both Next the begin ning and ending time for the source interval is requested For this example 50 and 300 would be entered Note that unlike Time and Amplitude Adjust breakpoints at exactly the begin and end times of the interval will be included Finally S M P will ask for the destination time which for this example would be 300mS The result of all this is that the breakpoints between 50mS and 300mS will be copied onto the contour beginning at 300mS and extending to 550mS The time of each source breakpoint relative to 50mS is added to 300mS and along with the ampli tude is inserted into the contour at the new time Note that any breakpoints within the destination interval between 300 and 550mS are deleted first so they won t interfere If the screen was showing the contour at the time it will be updated after the copy is complete S M P Version 2 0 10 Of course besides duplicating a shape somewhere else along the same contour key 1 can copy the shape to a different par tials contour at the same or a different time Key 2 One to Selected does the same except that it copies the single source shape onto the contours of all of the selected partials Key 3 One to All copies to all partials including itself Keys 4 Selected to Selfs and 5 All to Selfs is the same as using the key 1 function multiple times with source and destination par
265. to enabling options in Layer Editing The Vibrato parameters being modified are those for the currently active program In order to hear the effects of your Vibrato editing turn on one of the active modes Fixed K Press or M Wheel of the Vibrato Enable switch for the layer or layers you want to add Vibrato to see Layer Editing Using the Vibrato Editor Select VIBRATO editing by pressing EDIT DECR The abbreviation VIBR is printed above the DECR key on the button pad The parameters shown in Table 10 1 can be edited One will appear in the display the others can be selected by using NEXT and PREV Table 10 1 Vibrato Editor Parameters Display Reads Parameter Available Values What it Does use INCR and DECR TRIANGLE triangle wave Triangle Selects the base waveform used for modification SQUARE square wave Square DEPTH Depth of Oscillation 0 3600 C Adjusts the range in which the sound will vary RATE Oscillation Rate 0 49 9 Hz Adjusts the frequency of oscillation SYMMETRY Symmetry of Waveform 10 Adjusts the symmetry of the waveform DELAY Vibrato Delay 0 1000ms Specifies a delay before vibrato reaches full intensity Tf the value is numeric you can also enter the value directly with the right button pad and press ENTR See the sections on each parameter later in this chapter The Vibrato parameters work in conjunction with each other For instance until an audible value is set for RATE changes to
266. tton pad as shown in Figure 2 1 Each of these halves is used to perform different functions CHANNEL TUNE MIDI LEFT CENTER RIGHT F1 F2 F3 1 2 3 PROG REGION LAYER SAVE CANCEL UNDO 4 5 6 CHORUS VIB EQ INCR DECR CLR 7 8 9 CTRLS MISC NO YES NEXT PREV EDIT 0 ENTR left button pad right button pad Figure 2 1 The Front Panel Buttons The Left Buttonpad The left button pad is used to select parameters to edit and to perform various other operations while editing Although there are only 12 keys they perform many operations by doing different things depending on what you re up to and how you got there Sequences of previous button selections can make a difference in what a button does Don t worry the display helps you keep track of your button selections On the Buttons Written on the buttons are names or abbreviations for what they do if you press them directly i e if you haven t just pressed the EDIT button as shown in Table 2 1 Table 2 1 Left Button pad Buttons Button Meaning What It Does F1 Function 1 changes we ll get back to them F2 Function 2 F3 Function 3 SAVE save save the current changes CANC cancel cancel all changes since the last time save was pressed UNDO undo undoes re does the last value change INCR increment increment the value i e raise it 2 1 DECR decrement decrement the value i e lower it CLR clear clear the value usually to 0 NEXT next advance to the next parameter i e ste
267. ty check is minimal however a few locations are checked for specific values so a partially corrupted memory may cause invalid pro gram data to be loaded and cause an immediate software crash usually with an address error display shows AERR and then two hexadecimal numbers The only way to get past this is to thoroughly corrupt the memory so that the internal software recognizes the corrupt ion and restores the default factory programs This may be accomplished by powering off removing the access plate on the top cover see Disassembly below and momentarily shorting out C111 the large capacitor visible It only takes a second Power up again and the Piano program should be selected Of course any user programs or voices have been wiped out THE MEMORY BACKUP BATTERY The memory backup battery is under the small plate attached to the top cover with a couple of screws Simply remove the two screws with the power cord unplugged then lift the plate off The backup battery is a 3 volt Lithium unit about the size of a quarter held in a black plastic holder A voltmeter connected across the battery after power has been off for at least an hour should read at least 2 8 volts If its less than that less than 10 of the battery s life remains Also if its less than about 2 4 volts memory loss is likely The 150 s battery voltage monitor triggers at approximately 2 75 volts During power up the display should show LOW BATTERY if the battery vo
268. ual controls and virtual switches Virtual controls recognize the full range of MIDI data values 0 thru 127 while virtual switches only respond to 0 OFF and 127 ON There is however no restriction on assigning MIDI switches to virtual controls or MIDI controllers to virtual switches Virtual controls are either unidirectional 0 is minimum 127 is maximum or bidirectional with 64 as the center point The direction of the value as indicated by the arrow symbol in the K150X display can be reversed by pressing the key For example a control which sends higher MIDI values when turned clockwise can be reversed having its signal interpreted as being lower MIDI values when turned clockwise The pitch bender is an example of a bidirectional control When a continuous controller is assigned to a virtual switch the switch will only react to the extremes of the controller range OFF and ON any intermediate values are ignored In the opposite case the virtual switch will only see two values 0 and 127 which correspond to the minimum and maximum range of the controller Note that the pitch wheel and monophonic channel pressure are treated as extra continuous controllers they can be assigned to any control or switch destination Polyphonic key pressure is distributed directly to individual notes and can be used to scale a number of sound layer parameters For controllers that do not generate polyphonic pressure a virtual control is provided whi
269. ually tuned by cents This tuning is in addition to the master tuning for the entire device as specified with the Tuning Editor For example if the Master Tuning for the K150X is set at 3C and a layer is given a tuning of 2C the layer will have a 5C tuning relative to the natural pitch When the display reads TUNE you can adjust the tuning of the layer from 0 to 125 Cents Enter a value using the numeric button pad and press ENTR or use INCR and DECR to change the value by 10 cent increments If a value greater than 125 is entered using the numeric button pad the value will be set to 125 when ENTR is pressed Transposition Each layer can be individually transposed by semitones This transposition is in addition to the master transposition for the entire device as specified with the Tuning Editor For example if the master transposition for the K150X is set at 3ST and a layer is given a transposition of 2ST the layer will have a 5ST transposition relative to the natural tone When the display reads TRANSPOSE you can adjust the transposition of the layer from 0 to 60 semitones Enter a value using the numeric button pad and press ENTR or use INCR and DECR to change the value by 1 semitone increments If a value greater than 60 is entered using the numeric button pad the value will be set to 60 when ENTR is pressed Timbre Mode About Timbre Timbre describes the harmonic content of the note in addition to the nominal pitch Fo
270. ude at the LOOP TO point This will repeat the looped section of the contour as long as the note is held with no net change in amplitude In the second case the amplitude at the LOOP FROM point is greater than that at the LOOP TO point Unlike the looping of sampled sounds there will be no click in the loop as a result of the amplitude discontinuity What occurs is a spiraling of the contour s amplitude For example if the LOOP FROM amplitude is 14 dB and the LOOP TO amplitude is 16 dB the partial s amplitude will increase 2dB each time through the loop Conversely if the LOOP FROM amplitude is less than the LOOP TO amplitude the partial s amplitude will decrease each time through the loop by the difference between the two amplitudes It is feasible to set up a loop in which some partials spiral up in amplitude and some down with some remaining unchanged Loop To Loop From 1A BOTH LOOP POINTS AT BREAKPOINTS LOOP FROM AND LOOP TO AMPLITUDES EQUAL Loop To Loop From Loop From Amplitude Loop To Amplitude 1B BOTH LOOP POINTS AT BREAKPOINTS LOOP FROM AMPLITUDE gt LOOP TO AMPLITUDE Figure 2 demonstrates the effect of looping with the LOOP FROM point at a location which is not a breakpoint and the LOOP TO point at a breakpoint The effective LOOP FROM amplitude is the amplitude of the contour when it reaches the breakpoint In other words the loop will begin at the same amplitude as the amplitude at the LO
271. unning S M P KI150FS Version 1 6 Software Ralph Muha Kurzweil Music Systems Inc Waltham MA 02154 These notes describe changes to the version 1 6 release of the K150 FS software The major changes are e Next Prev and Incr Decr button positions are reversed e MIDI Channel and Mode are memorized All program assignments are remembered in Multi mode e Seven user editable Intonation Tables plus fourteen ROM based tables designed by Wendy Carlos are provided Optional keyboard control of reference key for real time modulations e System Exclusive messages for loading and dumping master parameters programs and voices with optional Voice RAM e System Exclusive messages to support remote front panel control Button Reversal One of the most common complaints about the K150 is the position of the INCR DECR and NEXT PREV buttons Although one thinks of them from left to right their normal positioning on almost all electronic equipment is from right to left The new software reverses the position of these keys Upgrading an existing unit requires reversal of the key caps Better Multi Mode Support MIDI channel and mode Omni Poly or Multi are memorized in the non volatile RAM In addition program assignments in Multi mode are remembered This allows complete instrument setups to be saved across power downs Expanded Intonation Features Version 1 6 supports seven user definable intonation tables In addition fourteen ROM base
272. ure bending are enabled Chorus Mode This parameter selects whether chorusing is active in this layer and specifies how The switch selected here works in conjunction with the chorus settings edited with the Chorus Editor one set of chorus parameters can be defined for each program When the display reads C MODE you can choose among the Chorus switch options Use INCR and DECR to step through the available switch options The default is off Off Chorusing is disabled for this region Fixed Chorusing is enabled in a normal mode i e the chorus detuning will not respond to MIDI key pressure or modulation wheel signals 8 6 K Press Assuming your MIDI controller can transmit key after touch information the amount of detuning as specified with the DTUNE parameter of the Chorus Editor can be proportional to the after touch with which the key is held down with this option see Chorus Editing for more information M Wheel Allows the amount of detuning as specified with the DTUNE parameter of the Chorus Editor to be controlled with your MIDI controller s modulation wheel see Chorus Editing for more information Vibrato Mode This parameter selects whether vibrato is active in this layer and specifies how The switch selected here works in conjunction with the vibrato settings edited with the Vibrato Editor one set of vibrato parameters can be defined for each program When the display reads V MODE you can choose among the Vi
273. urth function has been added to the top level menu Load Save Programs This is a convenience function that has been added that allows S M P to serve as a K150FS program librarian S M P cannot do any editing or even detailed display of KI50FS programs but it can save and retrieve them by name from disk very quickly Section 8 describes this menu in detail S M P Version 2 0 5 4 00 SPECIAL POWER KEYS For experienced users S M P Version 2 0 offers a number of power keys which are control key combinations that per form often needed functions While all of the power key functions may be accessed through the menu structure and other operations using the power keys executes the function immediately without running through alot of menus and possibly re drawing the screen unnecessarily Many of the power keys are active only at certain times For examples those that deal with scrolling the contour display are not active when a contour is not showing To execute a power key function press and hold the CONTROL key while striking the indicated letter key The keyboard should be in uppercase mode The available power keys are as follows these are in addition to the special control keys that substitute for the cursor and Apple keys in the Apple I and II in a Mac modification CNTL A Re audit Send model buffer to K150FS using last used Audit options CNTL M Move Scroll contour display so time at cross hair is near left edge CNTL B Beginni
274. useful when changing program numbers remotely from your MIDI controller Depending on how many programs your controller selects from at one time you can set up the K150X to have up to 128 programs accessible directly from your controller Using the Program List Editor When the display reads PROGRAM LIST press ENTR The display will read STEP n PROG n where STEP is the program list number currently being assigned and PROG is the program number being assigned to that program list number To change the STEP number use NEXT and PREV The program number will advance at the same time To change the PROG number independently use INCR and DECR or enter a value directly using the numeric keypad and Press ENTR F1 F2 and F3 in the Program List Editor F1 jumps to the next 16 steps For example pressing F1 several times from STEP 5 would jump to STEP 17 STEP 35 STEP 51 STEP 67 etc F2 inserts a step at the current point incrementing all the steps above it by step F3 deletes a step at the current point moving all the steps above it down step Intonation Table Editor Used in conjunction with the Intonation Switch and Reference Key parameters in the Tuning Editor the Intonation Editor allows you to micro tonally adjust the width of the intervals between each note Be aware that in order to hear your changes the Intonation Switch in the Tuning Editor must be on see Tuning Editor Using the Intonation Editor When the display rea
275. uses classical additive synthesis These sheets also describes the SYS EX messages that are passed back and forth between the Apple II and the 150 when running S M P 150FS APPENDIX Z or What the Manual Never Admits Since the K150FS is a discontinued product and Kurzweil Music is no longer around to support it anyway I ve tried to sum marize the most frequently encountered problems and answers to commonly asked questions in this short note CONTENTS Documentation Standard Optional Sounds Included Crashed Unit Syndrome The Memory Backup Battery Disassembly How to do Common but Obscure Things Known Software Bugs Cassette Interface DOCUMENTATION PACKAGE This is not as organized as one might like but actually contains much more material than what is typical I ve included the standard stuff plus the Software Developer s Package plus the Hardware Developer s Package There are some extra cost optional items available as well STANDARD K150 USER S MANUAL This orange covered manual describes front panel editing of the 150 and most of its MIDI features The author intended it as a draft but because the project schedule was hopelessly behind it became the production manual and was never revised K150FS VERSION 1 6 SOFTWARE These corner stapled sheets describe the new features offered by version 1 6 actually 1 7 internal software In particular there is info on the intonation tables and SYS EX messages 150 FOURIER
276. using a slot other than 3 it will be necessary to enable the slot using the Apple II GS s control panel function Installation is now complete and you may begin to use your working master However you may wish to make a copy of your working master first and use that so the installation procedure won t ever have to be repeated Be sure to read Section 3 1 in this supplement which describes how to use the mouse to control the graphic crosshair cursor used in some S M P functions 2 INSTALLING A SCREENPRINT PROGRAM S M P 1 8 has a provision for printing the high resolution graphics screen at any time a menu selection is expected Pressing CONTROL and P together will trigger an attempt to print the screen However due to the very wide variety of printers commonly used with Apple II systems a program separate from S M P is used to do the actual printing Thus installing a print screen program amounts to ensuring that an appropriate screen print program is loaded into memory along with S M P Loading of the print program into memory is accomplished just before S M P itself is loaded by the 1 option of the initial bootup screen The default print program supplied on the label side of the S M P distribution disk actually just displays a message to the effect that a print program needs to be installed The backside of the distribution disk contains several print programs configured for an Apple Imagewriter or equivalent connected to a seri
277. ust be on and vertical axes should be swapped 3 To scroll the time axis use the following keys F forward 4 5 screen 1 5 not available B backward 4 5 screen 1 5 not available 4 On the live keyboard notes toggle on and off rather than sustain when a key is held Also the keyboard buffer should be turned off see below Other keys recognized are D down one octave U up one octave 5 An Op Code MIDI interface plugged into the modem port is expected Using the Live Keyboard or any function that sends a sound to the 150 without the interface plugged in will hang the program 6 Presently models voices and programs cannot be read back FROM the K150FS since the data rate is too fast for the emulated S M P to keep up with S M P Version 2 0 17 II IN A MAC S M P QUICK STARTUP PROCEDURE 1 2 Insert the supplied disk and double click on the II IN A MAC icon it is a 400K disk WITHOUT a system folder After the LOADING screen appears in the simulated Apple II area select the OPTIONS pull down menu and click on the following in the order given A Disable keyboard buffer B Reverse vertical axes C Use joystick When the S M P sign on screen appears you may proceed as desired using the Macintosh keyboard digit keys to select from the various S M P menus To exit to the Macintosh operating system press the special option key to left of spacebar and click the mouse while holding This exits joystic
278. uy is the Passport Designs MIDI interface board which costs less than 100 How does the Apple communicate with the 150FS Via standard MIDI using the 150 s MIDI In jack User created sounds are loaded into the 150FS which can hold up to 64 of them in its non volatile sound memory The loading process via standard MIDI is much faster than with samplers due to the very compact sound model format How much user sound can the 150FS really hold The sound RAM is 64K bytes The entire factory sound set of 27 complex acoustic sounds only takes 128K while additional ROM sound blocks are a mere 32K each For the simpler synthetic sounds likely to be created with the Sound Modeling Program you will probably hit the 64 sound limit before the 64K limit In any case sounds can be saved on disk And since they are so compact possibly hundreds will fit on a single 5 1 4 floppy disk Can the Sound Modeling Program do everything Kurzweil engineers do in creating sounds Actually it can probably do more The factory sounds were produced mostly by staring at and editing long lists of numbers from acoustic instrument analyses The Sound Modeling Program unleashes the power of graphics to accomplish the same things in much less time Can I examine and modify the factory sounds with the Sound Modeling Program too Yes One feature of the program will be the ability to read any ROM sound or previously loaded RAM sound back into the Apple for examination modifi
279. varying amounts With negative adjustments all breakpoint times will become earlier Note that warping breakpoint times can never make them go outside the interval there is always enough tension in the rubber strip to keep it from collaps ing 12 0 CONTOUR SHAPE COPY FUNCTIONS Another very useful macro function that has been added is Contour Shape Copy This is just below Time Adjust on the Edit Contours menu and is called Copy Pressing Copy key 7 will display the Copy Contours menu Two of the items on this menu 8 Select Partials and 9 Audit are as before and need no further explanation The purpose of the contour shape copy function is to copy breakpoints from a portion of a contour to another portion of itself or another contour To do this S M P needs to know which partial s a beginning and ending time which defines the source interval and a beginning destination time which defines where the source breakpoints are copied to The simplest example would be a single partial with a short amplitude feature such as a single cycle of tremolo Lets say that the feature starts at 50mS and extends to 300mS which is also the end of the contour It is desired to duplicate the feature again at the end of the contour without having to draw it again point by point Key 1 One to Another will do this if the destination partial is the same as the source partial Upon pressing key 1 S M P will ask for the source partial number and then a des
280. will trigger notes in the active keyboard region Use the left and right cursor arrow keys to select the current region Each region covers eighteen notes from G to C an octave above it Note that the C key refer ring to the C key on the Ie is highlighted The C key corresponds to the lower C in the active region It will always refer to a C regardless of the active region A little imagination will reveal that the Ile keys represented in the above dia gram resemble the layout of a section of a piano keyboard The A S F G J K L and keys the upper of the two rows correspond to black keys and the lower row keys correspond to the white keys Pressing any of these keys while holding the open apple key will cause the corresponding note to hold until the open apple key is released 1 ALL OFF F Turn off all notes that were turned on from the Ie keyboard 2 ATTK VEL 64 F allows you to set the attack velocity value via MIDI to enable different playback volume levels The default value is 64 ATTK VEL calls up a dialog box ENTER NEW VELOCITY 1 127 Type in a value press RETURN and the new value will appear in the option menu 7 PROGRAM F allows you to send a MIDI program change command changing the current 150FS program ENTER PROGRAM 8 MIDI CHANNEL F enables you to select the MIDI channel over which all communications with the 150FS take place The value for this option must match the channel
281. wn Otherwise they will release Soft Pedal The soft pedal is actually a continuous control that acts as an attenuator to control the timbre of notes If assigned to a switch controller it is either fully up OFF or fully down ON If it is assigned to a continuous controller then it can take on any value between 0 and its maximum attenuation value which is a program level parameter Mute Pedal When the mute pedal is depressed ON all active notes on the associated channel are released Subsequent notes started while the pedal is still down are not effected The mute pedal is permanently assigned to the All Notes Off MIDI message Pitch Bender The pitch bender is a bidirectional controller which bends the pitch of all notes on a particular channel Its range is adjustable in semitones and it set at the program level Its effect can be selectively enabled at the layer level Pitch Shifter The pitch shifter is a bidirectional controller which changes the pitch of notes in semitone steps providing a shift range of 63 to 64 semitones 12 3 The pitch shifter can be used in conjunction with the programmable buttons on the MIDIBoard to create buttons that shift the pitch up or down in semitones For example programming a button to send 64 when OFF and 76 i e 64 12 when ON creates an octave up switch Transpose Control The transposer is a bidirectional control which transposes all notes on a particular channel The value of the t
282. working master S M P disk in drive 1 and then press 9 to exit to BASIC Remove the working master and insert a blank disk into drive 1 and enter INIT SMP HELLO which will format the disk 3 After the disk has stopped a couple of minutes later remove it and put it into drive 2 if you have two disk drives or else hold it Insert your working master again and enter RUN then press 2 to run FID Select 1 Copy Files Source Slot is 6 Source Drive is 1 and Destination Slot is also 6 If you have two disk drives Destination Drive is 2 otherwise it is 1 6 When it asks for FILENAME enter SMP carriage return right after the This means copy all of the files that begin with SMP which will be all of the S M P program files 7 Answer N to the Prompting question and press return when it says Insert Disks Ona two drive system all of the S M P program files will be copied automatically On a one drive system you will be asked to swap the disks sev eral times Reply with a return to the question about SMP_HELLO already existing 8 When the copy is complete the FID menu will be redisplayed Entering 9 will escape to BASIC If you plan to prepare S M P program disks frequently you may wish to keep one without sound files as a working master that can then be just duplicated exactly which is a much faster process A 15 2 3 Copying Multiple Related Sound Files The S M P modified FID program can also be used
283. ws holding the partition to the top bottom and rear panels You will also have to free the AC power connector from the rear panel HOW TO DO COMMON BUT OBSCURE THINGS A Using Multi Mode assign different sounds to different MIDI channels 1 Power up or get to base mode by pressing EDIT ENTER Display shows C1 P1 PIANO or some other pro gram name Press EDIT then F3 This will get you into the MIDI editing mode Press INCR to get to Multi mode display shows MIDI MODE MULTI Press SAVE then YES This changes the power up default to Multi Mode instead of the factory default of Omni mode Get back to base mode by pressing EDIT then ENTER Press NEXT or PREV to get to the desired channel The number after the C in the display is the channel Select a program for the channel by using INCR or DECR or enter the program number then ENTER Repeat steps 6 and 7 for additional channels and programs Note that any channel with PO assigned to it will not respond to MIDI program changes on that channel If anything else is assigned to it then a program change on a given channel will change the program for that channel 9 If you want to save the program assignments you ve just done as a power up default press SAVE then YES geek POV N B Make the 150 ignore All Notes Off messages This problem is manifested by the unit cutting notes off or the sustain pedal not seeming to work properly It generally oc curs when using Roland
284. x8 200nS EPROMs and a manual 10 00 if you supply two 27256 15 or 20 EPROMs or 20 if I must supply them DEBUG MONITOR EPROM SET This two EPROM set is the debugging monitor mentioned in the Programmer s Model and Address Map manual described above To use you must construct a MIDI to RS232 and RS 232 to MIDI converter simple plans included so your com puter can communicate with the monitor program in ASCII at 4800 baud The monitor can display and set memory con tents set breakpoints display the 68000 registers load object files and other common but rudimentary debugging func tions Any computer with a terminal emulator program can be used A manual is included 10 00 if you supply two 27256 15 or 20 EPROMs or 20 if I must supply them SOURCE CODE FOR INTERNAL SOFTWARE I make this available reluctantly to those who are either masochists or geniuses It is the raw 68000 assembly source code in the non standard format used by the HP64000 development system on which the the 150 was developed It is not very well commented and makes extensive use of the 64000 s macro facility which is also non standard No I don t really understand it either so you re on your own with respect to interpreting it About 1MB in size see the S M P source offer above for disk formats available and cost SOUNDS INCLUDED All of the units I ship have the original factory sounds programs 1 39 and 253 255 Voice Block A programs 50 76 and
285. xperimenting with other notes Otherwise as you may have noticed already you may not play a new note while another key is being held Press 2 You have called up a dialog box which allows you to change the attack velocity signal sent when you press one of the note keys on the Ie Press 1 2 7 RETURN You have changed the attack velocity to 127 the maximum Pressing a note key should now result in a louder sound The default value is 64 you may wish to return to this value Note that if the current value has three digits as in this example and you enter a value of fewer digits you must use the space bar to clear all extraneous digits before pressing RETURN The He will register the display exactly as it appears and you may end up with a value other than the one you intended so be careful as you enter values from the Ie keyboard Press 0 0 You should now see the LOAD SAVE MODEL options menu Press 3 You have loaded the default model which has 16 partials We ll use this model to explore some of the SMP s options First we want to take a look at the global parameters and how to alter them Press 0 You have backed up one level to the DEFINE MODEL options menu to gain access to the global parameters Press 2 This takes you to the level of the GLOBAL PARMS options menu Pressing the various numeral keys allows you to change the global parameters which are displayed above the table of partial information Try changing the
286. y and either re entering a value or canceling the highlighted character by pressing the space bar The entire field may be cleared by holding the CONTROL key and pressing X In the section describing the Sound Modeling Program features the levels of the program are suggested by the indentation of the paragraphs describing the feature The further indented the text the deeper the level of the program being described Every section of this manual is important for a thorough understanding of the 150FS Sound Modeling Program Neverthe less reading it straight through at once is not necessary It is designed to allow you to use the section s most useful to your approach to learning Section II Definition of Terms may be the single most helpful starting point The Sound Modeling Program employs terminology which may be unfamiliar to you or may be viewed differently by the logic of the program Most of the manual assumes your familiarity with the terms used by the Sound Modeling Program Reading the definitions of terms first will make the remainder of the manual more comprehensible Section III Setup gives a verbal and visual explanation of the necessary connections Section IV 150FS Functions provides background on the 150FS and how it operates with the Sound Modeling Program Section V Description of SMP Features reads through every option in the program beginning with the lowest numbered option in the main menu and moving always to t
287. y sounds programs 1 39 and 253 255 Voice Block A programs 50 76 and Voice Block B programs 80 103 Additionally 64K of voice memory has been installed and the standard S M P voice library programs 150 195 and some voices which are not used by any programs has been loaded into it See the Version 1 8 Supplement for a list of these sounds The S M P sounds are volatile so they will be lost if the battery runs out or the voice memory is cleared from the front panel CRASHED UNIT SYNDROME When the 150 is powered down the power supply generates a power fail interrupt which is supposed to save the current edit state in non volatile RAM and then switch the memory power to battery backup However if the software is in a crashed state no display or just one character showing brighter than normal then this interrupt is never recognized and the power switch over doesn t take place resulting in high battery drain Thus never turn off a crashed unit and leave it off always switch it back on a second later and get a normal display before shutting it off permanently I know this isn t good engineer ing but that s the way the units were built and putting in a passive switch over circuit would be alot of rework wires Conversely when the 150 is powered up the internal software makes a quick check of non volatile RAM integrity and then attempts to load program 1 piano or the last edited program if it was never explicitly saved The integri
288. y to use 2 5 INSTALLING A SCREEN PRINT PROGRAM S M P 2 0 has a provision for printing the high resolution graphic screen at any time a menu selection is expected Pressing CONTROL and P together will trigger an attempt to print the screen However due to the very wide variety of printers S M P Version 2 0 4 commonly used with Apple II systems a program separate from S M P is used to do the actual printing Thus installing a print screen program amounts to ensuring that an appropriate screen print program is loaded into memory along with S M P Loading of the print program into memory is accomplished by the 1 option of the HELLO program that runs when you boot an S M P disk The default print program supplied on the label side of the S M P distribution disk actually just dis plays a message to the effect that a print program needs to be installed The back side of the distribution disk contains a print program configured for an Apple Imagewriter connected to the printer port of an Apple IIc which is similar to a Super Serial card installed into slot 2 of an Apple II or Ile If either case applies to you you may replace the default print program on your working master by doing the following same for one and two drive systems Boot your working master disk and select option 9 to exit to BASIC Enter CALL 151 to enter the machine language monitor Enter DELETE SMP_SCREENPRINT to delete the default print program Insert the S
289. y to use cursor selection on the catalog display to select those model voice and program files which have the underline character It is suggested that Apple II users rename these files if they are ever edited or modified NOTES FOR II IN A MAC VERSION OF K150FS SOUND MODELING PROGRAM V1 4 II In A Mac is a Macintosh program that emulates an Apple Ile Through II In A Mac it is generally possible to run Apple Ile programs in much the same manner as they run on an actual Apple II Not everything can be emulated exactly however For example the Macintosh keyboard has fewer keys than an Apple Ile and recognition of held keys is somewhat different Also since the emulation speed is substantially less than a real Apple Ile delay loops and beep routines act differently and the capacity for the emulated program to keep up with input data for example a MIDI stream is less Accordingly the II In A Mac version of the Sound Modeling Program is somewhat different in operation from that described in the S M P manual These differences are described below 1 Since there are no cursor or Apple keys on the Macintosh keyboard movement of the block cursor is accomplished with the following keys CAPS LOCK must be on U cursor up D cursor down L cursor left R cursor right N next screen open apple down P previous screen open apple up 2 The graphic crosshair cursor is moved using the mouse and simulated joystick Joystick option m
290. you can readily understand and the internal format used by the 150FS For example you display and manipulate contours in familiar time amplitude form while they are communicated to the 150FS in time increment and slope form To the 150FS a sound model is really a 3 dimensional surface combining time frequency partial number and amplitude For detailed editing on a CRT only two of these dimensions can be dealt with at once Of course the Sound Modeling Program allows you to draw and edit envelopes of the partials individually which means that you are working in the time amplitude domain But it also allows you to work in the amplitude frequency domain where you specify the sound s spectrum at points in time and the Sound Modeling Program will smoothly interpolate spectral changes between these points The Kurzweil 150FS Sound Modeling Program also provides carefully designed interactive screens for setting the partial frequencies 2 methods attack function and combining several models into a single wide range musical voice Existing models such as the standard factory sounds can be read in from the 150FS and displayed or modified In fact anything that the Kurzweil 150FS can do can be specified using the Sound Modeling Program Normally a Kurzweil MIDIBOARD or other keyboard with MIDI output would be wired in for testing and playing the new sounds The Sound Modeling Program however provides an audition function which uses the A
291. you had a model with more than one attack function level you would simply use the up or down cursor keys to position the horizontal crosshair at the level you wished to select or more precisely between the gaps which indicate that level and press RETURN 2 MOVE POINT F acts like a graphic equalizer enabling you to boost or cut the amplitudes of each partial Use the cur sor keys to position the intersection of the crosshairs at the partial vertical crosshair and amplitude horizontal crosshair you wish to modify and press RETURN The new amplitude setting will be displayed at the frequency you selected 8 SELECT PARTIALS S is identical to previous SELECT PARTIALS options and allows you to choose which partials are to be displayed in the EDIT ATTK CURVES display Keep in mind that you will not notice a difference in the display unless you go back up one level and highlight SEL PAR 9 AUDIT S gives you the usual auditing options 0 EXIT S returns you to the ATTACK FUNCTION menu level 2 EDIT LEVELS S enables you to add move or delete attack function levels Pressing 2 EDIT LEVELS calls up a five option menu 1 ADD F inserts a level which begins at the amplitude indicated by the position of the horizontal crosshair when 1 is pressed A gap will appear at that height in the bold vertical bar at the left side of the amplitude time display 2 MOVE F moves the gap in the bold vertical bar the gap represents the level reme

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