Let’s examine how to make high-level patch changes in K1v. We have already covered getting started, selecting sounds, and importing new ones in Nils’ K1v VST. Even though there are almost 1,000 sounds in K1v, I still want to make slight adjustments to each sound as I audition them. In my experience, there are three types of changes that I generally want to make. These are:
- Volume adjustments
- Envelope adjustments
- LFO Amount and Rate Adjustment
These are the three sections of a sound that I’ll think, “That’s annoying,” and want to make changes – we’ll cover all three sections of K1v in this post.
As we’ve learned, selecting sounds in the K1v VST couldn’t be simpler. If you are unsure how to do it or need a refresher, please check out this post. I’ll be working with a couple of sounds from the installed banks – adjusting the volume, envelopes, and LFO.
Volume Adjustment
Each voice or note of polyphony in K1v has four digital oscillators. Each of these oscillators is a “Source” in Kawai lingo. A key down event generates distinct waveform. You can adjust the volume of each of these oscillators – essentially changing the mix of the four – by changing the Envelope Level on each of the [EDIT SOURCE] pages.
Admittedly, changing four volumes to achieve an overall volume change is inconvenient. Fortunately, Kawai also added a single control in the Common section. Adjust the overall Single Patch volume by entering [EDIT COMMON] – it is located in the upper right portion of this section.
LFO Rate and Level
Another common annoyance in pre-programmed is LFO rates or levels. Sometimes, it feels like there is either too much or too fast an LFO. Adjust these, as they are also common parameters, on the same page as the Patch Volume. The LFO Speed adjustment is located to the left of the Volume control. The LFO Depth adjustment is located in the lower right under the MODULATIONS header.
Envelopes also can be troublesome. Too long an attack, too short an attack, too long a release, too short a release – these are all subjective assessments that can be the difference between a sound you skip or a sound to make your own. Let’s figure out how to make adjustments to envelopes in K1v patches.
And Now, Envelope Adjustment
To Edit envelopes on K1v, edit a Single sound. Nils has been kind enough to offer graphic representations of each Source’s envelope. This is a definite improvement over the 2×16 LCD of the hardware K1 synthesizers. While in SINGLE mode, press [EDIT] then [1] under the [EDIT SOURCE] section of the user interface. Under the [ENVELOPE] section, is the ADSR Envelope for each of the four Sources within a K1v Single Patch.
As a sidebar, the [MUTE SOURCE] buttons on the right hand side of the K1v screen are handy tools. You can get into how the sound is synthesized using the four Sources. By soloing each Source – essentially muting the other three – a sound designer can hear each element in place. You can understand its contribution to the final Patch and also hear its envelope. At the end of the day, PCM waveform elements, volumes, and envelopes are really the main source of “synthesis” available to us in K1v, and the Kawai K1 family as well.
We can adjust the envelopes for each Source within our Patch here – pressing each Source button on the left and optionally muting other Sources on the right, while editing each source’s Attack (A) and Release (R) as we proceed through all four Sources. It’s not often that all four envelopes need to be adjusted to address an overall undesirable Envelope in a patch, so keep that in mind while you are auditioning each Source. It’s entirely possible that only one Source envelope will need adjustment to meet your desired sound.
Volumes, LFOS, Envelopes – Check!
We have edited what generally are the most problematic parameters of a sound – either in Factory or Imported patches, or even our own creations, for that matter. Commonly, here is where we save our edits. In K1v, all edits are preserved – meaning that edited sounds are kept in place within a bank. I’m still adjusting to this workflow, so I prefer to keep backup copies of my WIP (work-in-progress) using the [EXPORT] function on the front panel.
Pressing [EXPORT] creates a dialog allowing you to save a SysEx (.SYX) file. My practice is to save interim work with a working Bank Name and a date. In this case I would say, “SoundEngine High Level XX-XX-XX”, where the XXs are the date format of your choice.
There you have it!
We’re starting to learn our way around the user interface of Nils K1v, and we’ve taken our first step by making high level patch changes. It’s not without its “speed bumps” as we drive along, but neither was the Kawai K1. We’ll soon dive into what I consider the more advanced parameters of the K1, keeping in mind that we don’t have filters or effects to work with as we shape sounds in this classic 80s synth. Still, the sounds that are drawn out of that limited engine are still really good to my ears – as I said in previous posts, a tribute to the engineers and sound designers who developed this cost-effective box.
If you’re as excited as I am to push the boundaries of what the K1v can do, there’s plenty more ahead! We’ll be diving into deeper editing techniques, creative patch design, and tips to make the most of this classic sound engine. Make sure you don’t miss a post—sign up for our K1v Mailing List today and stay in the loop for exclusive insights, updates, and expert guidance. The journey doesn’t stop here, so keep an eye out for the next installment of the K1v Owner’s Manual—we’re just getting started!
Resources
- SoundEngine’s K1v Owner’s Manual Start Page:
- The K1v plug-in:
- K1 Wikipedia Page:
- SoundEngine’s Pro Select: K1 (100% compatible with K1v)
- SoundEngine’s Rebuild: K1 (Mostly compatible with K1v)
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