Pro Select: K1

Comp sounds, Analog & Digital Synths

$14.99

SKU: SEP-013 Category: Tags: , , , , , , , ,

Description

A deluxe combination of keyboard comp sounds and analog and digital synths

The K1 Proselect Bank. The Kawai K1 is capable of producing very clear and detailed acoustic and digital sounds. Included are realistic guitars, vibes, brass and woods, choirs, killer bells, string pads and sections, basses, clavinets, and percussion.

 

 

Our sound demo uses EQ on a few of the sounds and an overall “light reverb” – no other mastering, compression, or modulation effects were used. You will get these sounds!

These are topped off with some beautiful analog, fantasy/new age, electronic, and hybrid (voice/bells, ice strings, Amplitude Modulation supercharged brass, tuned percussion) patches. A full set of Multis are Included. We really enjoy this synth, and these patches show it!


Single and Multi Patch Descriptions: 
Single Patches:

IA1 GRAND PIANO: Source 4 can have a different piano Wave, if you want a different character in the the upper octaves of this patch. Alter Level Mod: KS to accommodate change!

IA2 GOOD VIBES: Source 4 provides a sharp ting at the beginning of the sound; S2 and 3 produce the vibe Wave. S2 is AMd by S1, which produces tremolo effect. Decrease S3s Envelope Level to hear this more clearly.

IA3 AM BRASSES: This patch sounds best when played in chords. S1 and 2 are AMd to produce the tone that is lower in pitch. Change S1s Wave; try #81. Try Wave #149 on S3, and then lower the Auto Bend Depth.

IA4 GREGORIAN: A combination of two voice Samples (S1 and 4), a string Sample (S2), and a voice Wave (S3). Change the Fine Frequencies to alter the thickness of this patch. Change Vibrato Depth & Speed, as it is used to randomly detune Sources 1 and 3.

IA5 ELECTRIC PIANO 1: Source 3 is responsible for the overall tonal quality of this patch. Change its Wave (try electric piano Waves). Change its Envelope Level, too!

IA6 STRING PAD: S1 is a string Sample, and the rest are various string Waves. Try increasing the Releases of all the Sources. Change the Vibrato Depth and Speed. Try different string Waves, or use the string Sample on other Sources!

IA7 ACOUSTIC BASS: Source 4 provides the pluck, S1 a sine Wave for body, and S2 and 3 the bass Waves, detuned. Change S2s Fine Frequency. Try Wave #113 on S3 at lower volume for mellower sound.

IA8 SLAP BASS 1: Try increasing every Release.

IB1 ANALOG LEAD!: Try this in Common Poly Mode: Poly 2, with more Release. Try increasing Vibrato Depth for an ensemble effect. Use different Waves!

IB2 LOWNESS…: This is almost Cluster Additive, except for the different Waves. S1 and 2s Waves produce overall tonal quality, so try different Waves on them! For more mid-bass, try Wave #3 on S3. Try less Release!

IB3 SAWTOOOOTH: A polyphonic analog patch. Add velocity sensitivity by increasing every Sources Level Mod: Vel equally. Set S1, 2, and 3 to a new Wave.

IB4 SYN STRINGS: Try Wave #s 27 through 30 inclusive on S3. Each gives a slightly different tonal quality. Use a longer Attack and Release for a “floatier” character. Set Level Mod: Vel equally for an even tone at all velocities.

IB5 POLISYNTH 1: Soft analog patch. Use a different Wave on S3 and 4 for different sound.

IB6 FRIPP SYNTH: Change the Attack and Release settings, and play with different Waves.

IB7 WONDERFUL: Reduce the Frequency Fine settings for less of an ensemble effect.

IB8 IM SO HAPPY: Nice analog poly. Try less Vibrato Depth.

IC1 ORCHESTRAL: S1 and 4 are piano Samples, while S2 and 3 are string Samples. S4 has some delay on it, which gives the double strike effect. Reduce S4s Delay to make it faster; reduce its Envelope Level to give it less volume. Try S1 and 4 at Frequency Coarse 0.

IC2 THE DREAMER AM: Using a Fixed Frequency sine Wave at sub audio pitch, creates tremolo, just like on Good Vibes and Tremelo Guitar. Source 2 can have any Wave you want. Try the looped Samples! Change S1s Frequency.

IC3 MELLOW PAD: This is Cluster Additive. Longer Releases all the way around would be dandy. Increase the Vibrato Depth. Try a different Wave on all the Sources.

IC4 NICE 1, DUDE: Bell-like Wave (actually an electric piano Wave, on S2), and a voice Sample. The Samples reinforced by S1, which produces a voice Wave, and S3, which is the shakuhachi Sample (to add a little hollow breath). Try Sample #238 on S3 instead, at a higher volume. Try different Waves on S2, such as #159, etc.

IC5 ICICLE: This unusual sound comes from AM. For a different tonal quality, try different Waves on S1, such as #s 1 through 13, 37, 55, etc. Increase S2s Release.

IC6 *LOVERLY*: Source 1 creates a sharp ping. Sources 2 and 3 use Wave #140, and are heavily detuned creating the character of this sound. Change Source 3s Frequency Fine setting to alter the detuning.

IC7 *FEMININE*: Alter Vibrato Depth and Speed. If you experience a crackling distortion with this sound (or any of the other K1 sounds), reduce the Overall Level. Try increasing the Releases!

IC8 GLASS LEAD Change Source 1s Wave, as it provides the percussive part! Try Waves 1 thru 13, then others, such as 35, 36, 37, etc!

ID1 RAPPIN KICK Source 2 is a wooden click. Change its Frequency Fixed Key, and Decay and Release equally. Source 3 is the kick Sample. Alter its pitch, too. Change Source 1 and 4s pitches equally to alter bass.

ID2 KICK ALL DAY Edit this the same way as Rappin Kick. Increase the Decay and Release settings on Source 1 and 4. Increase these for a fatter sound. Change their pitches, too!

ID3 DANCE KICK This is the same sort of thing as the two previous kicks, with Source 1 providing the low frequency tone, S2 the higher tone, and S3, the click. (Source 4 is unused; try inserting a new bass tone.) Raise and lower Source 1 and 2 equally in pitch. Change S3s Wave. (Try the different percussion Samples at different pitches and Releases!)

ID4 TWO SNARES Change Source 1s Coarse Frequency. Try C -4. Source 1 is brightened by Source 2s Wave, which is the electronic snare Sample. Change its pitch to substantially alter the tonal quality. Try D 3 for more brightness; D 2 or C 2 for heaviness. The snare on the right side of the keyboard has Source 4 to brighten it. Its a noise Sample; so change its pitch!!

ID5HI-HAT, R>L Tap (and dont sustain) notes on the right side of the keyboard to make a closed high-hat pattern. The left side of the keyboard contains the open portion; hit and sustain a note, then cut it off with a closed note. Release the open note just before you hit the closed note. To make this easier, simply imagine that you are playing two pads on a drum machine, and that the open pad can be sustained as long as the sample lasts. Neat Tricks Department: Hold down a closed note and play open notes, sustaining at will. This also works the opposite way when you hold down an open note and play closed notes. This is because of the Poly Mode this patch is in, which is Solo.

ID6 TALE O 2 TOMS Source 1 and 2 are the toms on the right side of the keyboard, S3 and 4 are the toms on the left. Source 2 makes a snap that you might want lower in volume, or muted altogether. Change its Frequency.

ID7 HAT TRICK This patch was neededfor a cover of Blue Monday (by New Order, for the uninitiated). It worked great! This is fun to play with different amounts of sustain on each note. Make a pattern! The high-hat Sample is tuned to the same pitch as High-HatR>L, and the kick portion is tuned to Kick All Day and Crash Kick, so you can use all of these sounds in the same music. If you change its pitch, dont forget to edit the other patch accordingly! You may want more Release in Source 1 (the high-hat Sample).

ID8 CRASH KICK This is what you use at the end of a drum roll, or for accenting weak spots. You can increase Source 1s Release (cymbal Sample).

iA1 ELECTRIC GUITAR This is Event Additive: Source 1 produces the guitar sample, and the rest provide the guitar waves. Change Source 2 and 3s Fine Frequency.

iA2 CLAVINET 1. Real clavinets have less velocity sensitivity. Reduce every Sources Level Mod: Vel accordingly, to 0 if you like.

iA3 SYN VOICES A Cluster Additive patch, thickened even further by adding vibrato. Change Vibrato Depth to alter the effect. Try a Source one octave down.

iA4 VOICAMUNDO Here is where you experiment with Envelope parameters! Try adding Attack, and also more Release!

iA5 CLARINET This was modeled after a bass clarinet, so you will hear more reed (Source 4) than you might want at higher frequencies. Alter the Envelope Level! Vibrato Depth adds a little to the realism of this sound, so alter it! Change the Auto Bend Parameters.

iA6 SOLO BRASS Change Waves and Fine Frequencies, but play!

iA7 METAL CLAVINET Reduce the velocity sensitivity, like on Clavinet 1. Source 2s Wave is the biggest factor in determining the tone of this patch. Arm yourself with the Wave List and attack!! Source 3 produces the metal in this patch, Wave 40. Change this Sources Envelope Level and Decay.

iA8 TREMELO GUITAR This is two pairs of guitar sounds Sources 2 and 4), which are Amplitude Modulated by Sources 1 and 3, respectively. Change the Fixed Frequencies of S 1 and 3 equally to change the tremelo speed. Try different Waves on these sources.

iB1 DIJIBELL This is another pair of AMd Sources. Source 3 provides the sharp ting at the beginning of the sound; Sources 2 and 4 have long Releases and fade away slowly. Change these Releases! Change S 2 and 4s Waves! Great results are easy to come by!

iB2 BELL/ORGAN can be a regular organ patch by reducing every Release to 25, Sustain to 100, S 1, 2, and 4s Coarse Frequencies to 0, Source 3s to -12, and Vibrato Depth to 10. Hopefully, youll like it as is!

iB3…SO HAPPY is heard at the end of Meineke Brakes Lineman and Bus Driver commercials, due to Mike’s involvement! This is an excellent example of Event Additive synthesis. Listen to each Source alone to hear what it adds to the sound. Try reducing S 3 and 4 one octave (Frequency Coarse= 0 and 12, respectively). Try a different Wave on Source 2, or leave it muted.

iB4 I LIKE IT! Alter Source 2s Fine Frequency amount to evoke different sorts of character. Change Source 1s Wave; try #178.

iB5 ICE STRINGS For a grungier sound, return to my original settings: Coarse Frequency= 0 on S 2, and -12 on S 3. This sound is a variation on Icicle, in that AM is used to mess up Samples. For more Ice (not grunge), increase Source 3s Coarse Frequency to 7, 12, 16, 19, or 24, noting that the sound becomes weirder the further you depart from the companion Sources pitch.

iB6 METAL MELODY True Cluster Additive, using Wave 40. Thicken sound by increasing each Sources Fine Frequencies position away from zero. Try Source 1 at a Coarse Frequency of -12. Reduce the Releases. Use this wherever you want it nasty. Say what you mean, and say it mean, as Clint Ruin says…

iB7 STICKMAN! This isn’t something you will use every day, but I know that when it finds the right piece of music, it will become irreplaceable. Source 1 produces a mellow Wave. Try different Waves on this Source, such as #44. Sources 2 and 3 produce Wave # 191; they are slightly detuned and bent by the Auto Bender. Reduce their Releases! Change both of them to a different Wave!

iB8 ESQ-1 BELL The K-1s oriental bell Wave sounds just like the Bell wave on the Ensoniq ESQ-1. Strange… Anyhow, heres a nifty patch using two of these Waves, slightly detuned, with another Source (#2) producing a bright attack. Change the Fine Frequency of Source 3. I find that a value of 6 is alright.

iC1 FAERY TALE Try different Envelope Levels for tine Waves. Change Auto Bend Time.

iC2 RASP LEAD Source 4 is AM’ed against S3 and provides rasp. Change Envelope Level, Decay, Sustain, and especially, its Wave.

iC3 ORCHESTRA* PAD Almost Cluster Additive, because there are three orchestra Waves, detuned for thickness. Using a string Sample on one of the Sources instead of another orchestra Wave gives tons more realism.

iC4 HARPSICHORD For deeper chorus/phasing, increase the value of Source 1s Fine Frequency. You might want velocity sensitivity, so increase each Level Mod: Vel parameter to taste. I suggest that the brighter Waves be given more sensitivity than the mellow.

iC5 PIPES 1$ Source 2s Wave produces bright upper harmonic. Change its Envelope Level, and try different Waves, such as #36. Also try less Attack and more Release on every Source.

iC6 FM LEAD OOOH, NASTY!!! I love it!! This really isn’t FM (the K-1 has AM, not FM), however, I have gotten this sound out of a DX-7! It is done by using a feedback setting of 6, and the right algorithm (such as editing the factory patch Heavy Metal). Try this sound in Solo mode. Reduce the Releases. This patch is set so that the second set of Sources are producing the same sound as the bottom two, which makes it all sound thicker. To thin it out, set the Common Sources mode to 2. Raise the Fine Frequency of Sources 3 and 4 equally for more detuning.

iC7 CYBRG WARNING: Your Kawai K-1 contains several portions of a human brain. It lives and breathes. Its language is MIDI, and it can and will take control of your equipment… Try un-muting Source 2 for a grungier sound. Change Source 1 and 3s Fixed Key Frequencies to alter the speed of the effects. iC8 ALIEN WORLD Alter Source 2s Release. The speed of the echo is determined by Source 1′ s Fixed Key Frequency, so fiddle with it! Also set S1s Key Track to ON, Coarse Fequency to 12 for a sound that tracks the keyboard. Try Wave #7, etc. for Source 2.

iD1 MEAN FUZZ Alter Source 2 and 4s Waves to change the character. Source 2 gives most of the tonal quality; Source 4 creates fuzz.

iD2 PIANO LOW, MULTI A1, iD3 PIANO MID, MULTI A1, iD4 PIANO HIGH, MULTI A1. These three patches are scaled to represent the respective sections of the acoustic piano. They are combined in the first Multi patch, IA1. When you want to edit these, first play the Multi patch and see which of these is the one you want to edit. Then select it and plug away. Key Scaling is used extensively to alter the volume of the Sources to allow an even sound across the Multi patch, so use the Multi patch as the final reference. In regards to tone quality, each Single patch has one or two Waves that make or break the realism. These are: Piano Low: Source 3. Piano Mid: Sources 2 & 4. Piano High: Source 2. Change Envelope Level of each of these to taste, and listen to the overall effect on the Multi patch.

iD5 AMBIENT SNARES: One snare lives on each side of the keyboard, each consisting of two neighboring Sources (1 and 2 on the left, 3 and 4 on the right.) Sources 2 and 4 produce the same snare as their preceding neighbor, but have a little Delay. This produces a slapback echo effect. Change the Delay amounts of each. Adjust Envelope Level of Delayed snares.

iD6 MELODIKICK: Play a repeating kick pattern, but follow the chord changes of the music! This patch was inspired by the first song on Princes Black Album. Sustain notes to give accents, or increase the Release of Source 2. Set Decay and Release equally.

iD7 TRIK SNARES: Avant Garde percussion for the adventurous… Go nuts when editing these, as there is no standard for comparison! Change their Coarse Frequencies! Releases! Waves! All is fair in Experimental Music!

iD8 TWO CYMBALS: Not much to edit. Find the right notes & play!

The Multi Patches

A1. Acoustic PiaNO Single patches Piano Low thru Piano High are split across keyboard in this patch. Change their Volumes to taste.

A2. GlasStrings Glass Lead layered with String Pad. Try reducing String Pads Attack!

A3. Dream Rhodes Electric Piano & The Dreamer.

A4. Pad Voices Orchestra* Pad and Nice 1, Dude! Try adding Syn Voices to this.

A5. Scary MONSTER CYBRG, Metal Melody, MelodiKick, and Crash Kick.

A6. BMR: Big Man Restless, not Yuppie Automobile. Increase *Feminine*s Decay, and reduce its Attack.

A7. Open Spaces Mellw Pad, *Feminine*, and Bell/Organ.

A8. Take D Lead Three Analog Leads, spread out in stereo and detuned, with Glass Lead.

B1. BASH EM: Lowness, Icicle, and two Slap Bass #1s.

B2. SeriousNESs: Nice 1, Dude, plus Orchestral.

B3. SWEET STRINGS: Thicken it up by adding another Syn String, panned L+R, Tune= +4, then Tune the first Syn String to -4.

B4. String/Brass: A split with Syn String on the bottom, and AM Brasses on the top.

B5. Big Brass! AM Brasses spread in stereo, and detuned, in the same form as Take D Lead.

B6. Big Bellz DijiBell, ESQ-1 Bell, and Bell/Organ layered together.

B7. BASS and PIANO: Another split, this time with Acoustic Bass and Grand Piano.

B8. BEE HIVE!!: A total of eight Sawtooooths, panned in stereo and detuned.

C1. Orchestra Orchestra*Pad layered with Ice Strings; High-Hat R>L, Slap Ball 1, and Hat Trick are on other MIDI channels.

C2. MIDI JAM! Clavinet 1, Orchestra* Pad, Good Vibes, Voicamundo, KickAll Day, Two Snares, High-Hat R>L, Take D Lead, & Tale O 2 Toms, on separate MIDI channels for sequencing.

C3. MIDI JAM 2!Sawtooooth, Two Snares, High-Hat R>L, Tale O 2 Toms, Kick All Day, Slap Bass 1, *Loverly*, and Glass Lead on separate MIDI channels.

C4. MIDI JAM 3! :Grand Piano,Two Snares, High-Hat R>L, Tale O 2 Toms, Kick All Day, Acoustic Bass, String Pad, AM Brasses.

C5. Jazz Jam (MIDI) Clarinet, Solo Brass, Grand Piano, String Pad, Acoustic Bass, Mellow Pad, GlassLead, High-Hat R>L.

C6. Killer Percussion Rappin Kick, Kick All Day, Dance Kick, Two Snares,High-Hat R>L, Hat Trick, Tale O 2 Toms, Crash, Kick.

C7. Dance Set Dance Kick, Two Snares, Etc.

C8. MIDI DRUMS High-HatR>L, Two Snares, Dance Kick, Tale O 2 Toms, Kick All Day, Two Cymbals, Hat Trick, Crash Kick. The 8 remaining Multi-Patches are bonus patches (24~32).