KURZWEIL PC3 MANUAL PDF

Quick Links. Table of Contents. Kurzweil expressionmate midi controller: user guide pages. Page 5 TOC-i

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In addition to our renowned Triple Strike Grand Piano, the PC3 features hundreds of new sounds; basses, drums, guitars, and synths suited for every style and taste, along with a collection of flawless vintage keyboard emulations, KB3 Mode and over orchestral and string section programs. For good measure we include an unlimited-track sequencer with PPQ resolution and more effects processing power than our acclaimed KSP8 processor, making the PC3 a full blown music production workstation.

One thing which clearly sets Kurzweil apart from the competition is the fact that we design our own chips called ASICs for all Kurzweil products. Simply put, our chips are customized for optimum audio performance. What does this mean for the end user?

It means that all of the processing power in a Kurzweil chip is devoted exclusively to sound. It means no noticeable latency — the performance is always lightning fast. And most importantly, it translates into that rich, full, glitch-free sound for which Kurzweil has become famous. Yes developing our own chips is more expensive and more time consuming. The PC3 offers an enormous sound set of over programs, raising the bar once again for both audio quality and variety.

Also included is our Classic Keys ROM, which puts an impossibly large vintage keyboard rig at your fingertips. These are vintage emulations which actually sound like vintage instruments and classic recordings. The recognizable sounds of those classic electromechanical instruments, with all of their characteristic imperfections, have been faithfully re-created, along with pedals, amps and speakers.

Lush Mellotrons, growling electric pianos, and punchy Clavinets are all there at the touch of a button, programmed to sound just like those classic albums. The PC3 offers a full range of world class orchestral sounds, including our new String Section ROM bank, making it ideal for film-scoring and soundtrack projects.

Every type of articulation, every nuance has been captured, with samples of full and divisi sections of violins, violas, cellos, and double bass. The details, the warm swells, animated pizzicatos and the sound of scraping rosin all add to the breathtaking effect of these string sections. You can plug and play with sounds worthy of a finished production — instant gratification with uncompromising sound quality. Under the hood of the PC3 is simply the most powerful synthesis engine ever created by Kurzweil.

Dynamic V. Having up to 32 layers per program means that emulations of real instruments can be extremely detailed and accurate, while the synthesized sounds can be extraordinarily large and complex. Expanding upon our V. Users can now create and store their own DSP algorithms, with nearly limitless possibilities for routing.

Every layer in a program can be routed through the DSP of any other layer, in series or blended together, with up to 32 layers. Programs are categorized and can be selected by scrolling or by using bank and program select buttons. As every sound can have its own customized set of real-time, physical controllers sliders, modwheel, switches, CC Pedals, mono pressure, etc. Program selection and navigation, fast and easy. And these are simply the best effects in the business — burning distortions, transparent compressors, warm phaser and chorus effects, perfect reverbs — everything from flawless vintage emulations to concert halls which decay into complete silence.

The PC3 sports sixteen yes, 16! These are accompanied by a thorough collection of modes, scales and pre-programmed patterns to get your juices flowing.

Cascade Mode: lets the user route one layer through the DSP of any other layer within a program — up to 32 consecutive layers deep! File Compatibility: Loads from:. All RAM Samples are loaded. Song editing functions include both event and track-based tools like quantize, swing, remap, controller scaling and more. Effects: 16 insert effects distributed over 11 busses, two auxiliary sends and two Master Effects saved with each song and setup ; featuring over of our award winning effects — reverbs, delays, chorus, flange, phaser, EQs, distortions, Leslie simulators, compressors, and more.

Master FX Section: User controllable master EQ section and master compressor for quick adjustments during live performance or putting the final touches on your studio mix. These do not use up the insert effect resources. Arpeggiator: 16 full-featured independent arpeggiators with multiple latch modes, selectable play order, velocity, duration, tempo, and sync functions as well as pre-recorded beats and musical phrases.

Question: My PC3 seems to have lower output level than my other gear. How can I compensate for that? The first thing to realize is our units are unlike any other. The V. The headroom requirement to handle such demanding sound generation is substantial. In short this means that on average, the overall output gain is lower perhaps when compared to some synths to accommodate all of the potential sound programming possibilities read amplitude within the unit.

In addition, if you are using the analog outs, another important aspect to look at in optimizing levels is whether you are running balanced or unbalanced connections. In brief, although the PC3 supports both balanced and unbalanced connections, balanced connections will generally provide you much better signal level and improved signal-to-noise ratio over unbalanced ones.

In other words, if the device you are connecting into only offers unbalanced inputs, simply using a balanced cable alone will not provide you with any benefits. The cables must be balanced TRS variety and the inputs of the device to which you are connecting must also be balanced in order to qualify.

With all that said, if in what you are personally doing you still find you need more level, there are two easy ways to adjust things:. Realize too if you wish to make such gain adjustments not even talking about using the effects themselves yet on a per Song or per Setup basis i.

Need to run a duplicate signal to two different destinations? Now any audio being routed to the Main outs Pri. Aux 2 is unused. This could come in handy for situations where you may want external control over the mix of certain elements within a program. Take for example a drum kit where you may want to isolate just the kick from the rest of the kit or perhaps a program that combines a layer of strings with piano.

This means if the program itself had an insert assigned as globally set on the PROGFX page that the layer in question now has no insert effect applied to it. Additionally the Aux send level will now initially be set to off. In our example here, the program happened to not have an insert but did have a small amount of reverb applied on Aux 1. As you are routing things externally you may simply opt to leave things this way and effect this feed externally.

How can this be done? KB3b creates the leslie portion of the effects process. Removing it thus disables the internal leslie. In addition to removing the leslie, you will likely also want to disable the internal cabinet simulation as well, which is a separate process generated by one or possibly two KB3a blocks. This will disable the cabinet sim. Prior to OS v2, routing individual setup zones to the aux outs is achieved by editing the program in question itself.

Prior to OS v2, all output routing occurs at the program level; routing individual song tracks to the aux outs is achieved by editing the program in question itself. When in Program Edit, the PC3 allows you to temporarily disable all sounding effects for that program just by pressing the front-panel Effect button also labeled FX Bypass.

This is a great way to quickly hear what the dry unprocessed program sounds like minus all its applied effects. When working with effects Chains though, it can also be useful to be able to disable a particular effects process within a Chain of effects so you can better hear the result that one effect is imparting.

That box is now temporarily muted. You can do this independently for every box in the chain. By doing so, you can isolate or solo a given effect or combination of effects to better audition things. I need a basic overview of the whole process. Before beginning it is critical to realize that like with any form of communication, there are three parts involved:. MIDI is no different. In order to assign a given controller to perform a select task requires accounting for all 3 of these components:.

Controller assignments are chosen within the Setup Editor. Each Setup is its own custom environment, containing your chosen sounds and controller assignments. Therefore, a single controller could send just one message on one MIDI channel, or 16 different messages on 16 different channels, or the same message on 16 different channels, or any combination of the above. Outside of Setup Mode i. The ControlSetup is a special setup that is used to dictate what controller assignments are in effect when operating outside of the actual Setup mode.

Like any Setup, the ControlSetup can be edited too only the settings for Zone 1 are used in the case of the Control Setup. To make some things easier, you will note the defaults for the 9 Sliders as dictated by Internal Voices are silk-screened onto the PC3 front panel, immediately beneath each slider.

You will now be in the Setup Editor. Scroll through the pages and you can see what controller numbers are assigned to each physical controller. But of course, these can be altered. Notice, the volume is now under the control of the ModWheel. This is a pretty generic application however. What about something more program specific, like a filter sweep or cross fading layers? Read on. Note, if you exit the above example, not saving the changes and find yourself with no volume perhaps you left the ModWheel down for ex.

However there are many other MIDI messages and potential uses that require customization to function. A great out-of-the-box feature supporting this effort is the INFO button, located at the bottom of the Program Mode screen:.

Pressing INFO brings up a handy screen documenting the custom physical controllers which are in use and the tasks they perform within the currently selected program. For each of the controllers noted, there is a MIDI message that has been routed within the program as a Control Source.

Of course, you can use any physical controller you wish if you prefer. This is a plain, single-layer, monophonic program using a sawtooth waveform as its sound source. Play the keyboard and notice the dulled sawtooth tone, caused by adding the LPF to the signal path.

You can tweak this if you wish, but as is, it serves as a good starting point for our purposes here.

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