Conference napalm::commusic_v1

1584.0. "Kawai K3m Rackmount Wavetable Synth" by HPSTEK::RHODES () Mon Aug 01 1988 17:14

Here is the review of the K3-m that I promised months ago.  I have lived 
with mine for a few months now.

The K3-m is a monotimbral, 6-voice rack mount expander module that employs
wavetable synthesis.  It responds to velocity and aftertouch.  MIDI
IN/OUT/THRU.  Stereo outputs.  Comes with 50 internal factory sounds and  50
sounds on cartridge, both of which can be overwritten.  It can be had  for
around  $300-$350.

Each voice is made up of two unique waveforms that are mixed in a specified
amplitude ratio, routed through a VCF, and then through a VCA.  There are 33
waveshapes to choose from for each waveform, 32 of which are predefined and one
of which is user definable via additive sine wave synthesis.  The 32 waveshapes
are based on piano, electric piano, electric bass, oboe, orchestral strings,
brass, trumpet, sax, bells, chimes, etc.  Also included in the 32 are the
traditional subtractive synthesis waveshapes - square wave, triangle wave, sine
wave, noise.

The user definable waveshape:  The user can specify non-zero values for any 32
of the first 128 harmonics.  The values range in amplitude from 0 (off) to 31
(max).  I have played with this and find it very interesting. I am now in
search of literature containing info on the harmonic breakdown of common
acoustic instruments so that I can recreate their spectrum. (Anybody have any
good references?)  Upon tweaking harmonic parameters, a button has to be
pressed to mathematically recalculate the waveform before it can be heard.  The
good news is that it takes only about 1 second for the calculation.

You can store up to 50 voices on-board (RAM or EEPROM, I'm not sure), and up to
50 in a single removable cartridge.  This gives access to 100 sounds from the
front panel at any one time.  LIMITATION: Only one user-definable waveshape may
be saved per each 50 voices.  In other words, all 50 voices (either internal
or cartridge based) must use the same user defined waveshape.

Voice programming parameters:
-----------------------------

OSC         
---
Waveshape 1 select
Waveshape 2 select
Mix (Waveshape 1 and 2 amplitude ratio)
Octave range for waveshape 1 and 2 (16/8/4)
Portomento speed
MIDI pitch bend range
Auto pitch bend amplitude given note-on.  Slew time set by LFO Delay.
Course (semitone pitch ratio of waveshape 1 and 2)
Fine (fine pitch ratio of waveshape 1 and 2 for slight detune)

VCF
---
Cutoff freq
Resonance (none thru self-oscillation)
Low freq cut (high pass filter)           
Envelope factor (how much affect the EG has on cutoff freq)
VCF A
VCF D
VCF S
VCF R

VCA          
---
Output Level
VCA A
VCA D
VCA S
VCA R

LFO
---
Shape (7 to choose from, 2 are random)
LFO Speed
LFO Delay
VCO LFO send
VCF LFO send
VCA LFO send

Touch Sense
-----------
Key velocity -> VCF cutoff
Key velocity -> VCA level
Key pressure -> Oscillator 1:2 mix
Key pressure -> VCF cutoff
Key pressure -> VCA level
Key pressure -> LFO level

Kbd Scaling & Chorus
--------------------
VCF cutoff keyboard scaling
VCA cutoff keyboard scaling
Stereo Chorus (6 chorus settings and 1 stereo delay setting)


Why I like it:

	- This machine is *very* analog sounding - especially the triangle 
	  and square-wave waveforms (great strings!).  Witness Karl Moeller's
	  'Unreleases' release.	 Karl turned me on to this machine without 
	  knowing it.

	- I've always wanted to tinker with additive synthesis - the user
	  definable waveform allows for this.

	- The manual gets an A+.

	- Clean, clean, clean sound.  Built-in *stereo* digital effects are 
	  nice and clean as well.

	- The VCF in this machine is incredible.  Nice clean filters!

	- The note stealing algorithm is intelligent.  I haven't studied it
	  closely, but it makes 6-voices go a long way.  Again, listen to
	  Karl's 'Unreleases' and try to hear the 6-voice limitation (granted
	  reverb helps the masking).

	- The front panel is a matrix of over 50 buttons.  Each one selects
	  either one of the 50 built-in voices or a unique voice programming
          function if in voice programming mode.  The user interface is as 
	  clean as they get.  No external programmer needed here, folks.

	- Kawai is supposedly a great company to deal with.  I plan on 
	  picking up a librarian for the C-64 so that I can save the factory
	  sounds on the cartridge to MIDI and send the cart in to Kawai for 
	  more factory sounds.

	- Performance feature that allows the user to traverse thru a
	  precreated chain of voices with a foot switch.
	  
	- Extensive MIDI implementation allows complex split ranges or
	  note spillover.

Cons:

	- Inner parameter mapping is not very flexible.  This is no matrix 12.
	  It does seem to cover 95% of the necessary mappings tho, and keeps
	  the user interface simple.

	- Only enough storage for one user definable waveshape in the internal
	  or cartridge memory.

	- Six voice limit.  Units easily daisy chained, however.  One day I may
	  pick up a K3.

	- Monotimbral.


Highly recommended for a budget-conscious person looking for those good old
analog sounds with the capability of generating complex timbres as well.  Nice
complement to an FM tone generator.

Todd.

    One thing I noticed while recording with the K3 was that the velocity
    response wasn't always linear.. some sounds would just leap up with
    only a little increase in finger speed..
    
    LOVE the sounds, wish I could've found an extra $400 or so to get
    one (the rack unit..)
    
    karl

    Hi,
    I have a K3 wich is used booth as a complement to FM modules and
    as a master keyboard. I think the keyboard it self is rather good
    but as I am not very familiar with programming analog synths i wonder
    how to get those strings mentioned in .0.
    
    I have also DR T's editor on the ST. It's basically the same as
    the 4 ops FM editor used for Yamaha's. 
    With this editor there were also a library with another 50 sounds
    but to my opinion these don't sound that good. 
    
    My problem is, knowing this is a rather flexible and good piece
    of equpiment I dont get what I want, i.e. good strings, piano and
    saxophone.
    
    Any advice??
    Torbjorn
    Stockholm/Sweden
    

    In my (rather limited) experience, the only way currently to get
    really good piano/strings/sax is to use a ssampler. Witness Karl
    Moeller's pieces on Comm 5, and try out a few samplers in your local
    music merchant.
    
    Richard.