In this installment, we will continue our tour of the K1v user interface and focus on the Source Editing Parameters in Single mode. We started our programming UI tour by examining the common parameters, which are those parameters that affect all oscillators in the patch. As mentioned in past posts, while there may not be a deep synthesis available to us in K1v and its forerunner the Kawai K1 (and m and r), the synthesizer still makes some great sounds by largely mixing four waveforms in four oscillators. In K1v lingo, these oscillators are “Sources.”
The Voice Architecture diagram shows that each Source have Frequency, Waveform, and Envelope values. Several modulation sources from the Common level can modulate each Source within a patch in varying amounts. Let’s grab the worklight and examine each parameter individually.
Tune Up and Start Up
The TUNE and WAVEFORM areas of Source editing are the heart and soul of the tones we will generate with K1v. In the TUNE section, three parameters are available. Coarse provides a +/- 2-octave tuning range for our Source oscillator. Fine allows for adjustments of +/- 50 cents. Keytrack is the “key follow” setting that enables the Source oscillator to track the MIDI note input.
WAVEFORM offers a well-organized selection of 256 short waveforms. Most of these are looped waveforms, with about 25 classified as “one-shots.” Reviewing the list reveals sections of pure synth waveforms that can be incorporated into our planned “Crosswave Synthesis” module. The combination of four waveforms and creative use of modulation allows variety of interesting sounds through mixing and amplitude modulation.
Nils did a great job organizing the waveforms into logical groups to expedite their audition and selection. Note the One-Shot list in the PCM Wave Group, along with various loops and Omnibus Loops that I find somewhat useless. These are likely “discovered” loops of physically adjacent waveforms within the K1’s waveform ROM—definitely included after the release of its competitor, the Roland D50, months earlier.
May I Have the Envelope, Please?
The K1v Envelope implementation is straightforward; it features an ADSR topology with a 0-100% volume scalar on its output.
Things become slightly more interesting in the optional selection of the VelCurve that the Envelope follows; there are eight different curves that can alter how the Envelope responds to Velocity. There’s also a Delay parameter that postpones the triggering of both the waveform and the envelope. The K1’s parameter was a nondescript 0-100 value, and Nils K1v follows suit. Without any deep diagnostic testing, a value of 100 is approximately 10 seconds. I believe that useful values fall between 0 and 50.
Let’s Modulate
Since the K1 and K1v primarily use amplitude modulation for their synthesis method, there are six options in each Source to influence the amplitude envelopes. Vel>Level modulates the envelope’s output level based on the velocity of the MIDI note input. Pressure (Press > Level) can also modulate envelope levels and serves as our only real-time, continuous controller that affects waveform volume once the MIDI note is received. Keyboard position can scale the Envelope level through KS > Level. Envelope times can be adjusted via Velocity – Vel > Time – and keyboard position through KS > Time.
Pitch modulation response can also be configured in K1v. KS > Freq allows the sound designer to adjust the extent to which the Source waveform follows the keyboard position. Previously, we identified the Keytrack switch, which determines whether the waveform follows the keyboard or not. The KS>Freq parameter adds subtlety by adjusting the pitch interval between notes. Additionally, there is a switch that determines whether a Source responds to Vib & Autobend modulation from the Common level and whether Pressure can also influence the Source Frequency.
Wrapping Up
That concludes our tour of the K1v Source section editing UI, friends. As you exit the tram, please watch your step! In all seriousness, we’ve mostly covered editing on K1v. There are additional programming options for MULTIs that we will discuss in later episodes, where we aim to maximize the synthesis available to us in K1v.
As we conclude our exploration of the K1v Source editing parameters in the Nils K1v VST synthesizer, we hope you’ve gained insights into this faithful digital recreation of the classic K1. These parameters lay the foundation for sound design in the K1v, offering a variety of possibilities for crafting unique and expressive patches.
To deepen your understanding of this versatile instrument, we encourage you to explore our complete K1v Owner’s Manual series, which covers all aspects of the synthesizer in detail. Remember, mastering a synthesizer is a journey of continuous learning and experimentation. We look forward to providing you with more articles that demystify synthesis techniques and inspire your creative process. Keep exploring, and don’t hesitate to push the boundaries of what’s possible with the Nils K1v.
If you want to keep up with everything we’re doing with the K1v – consider signing up for our K1v Mailing list – we’ll updated you with new posts, free sounds, and more “Master Mechanic” programming tips. Next time, we’ll be looking at AM and what it offers us with regards to sound design. Until then, thank you for reading!
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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