Kurzweil KSP8 MLAN IO OPTION - REV B Service manual

Kurzweil KSP8
Algorithm Reference
October 1, 2001
©2001 All rights reserved. Kurzweil is a product line of Young Chang Co. Kurzweil, KSP8,
KDFX, LaserVerb , and Pitcher are trademarks of Young Chang Co. All other products and
brand names are trademarks or registered trademarks of their respective companies.
Product features and specifications are subject to change without notice.
You may legally print up to two (2) copies of this document for personal use. Commercial
use of any copies of this document is prohibited. Young Chang Co. retains ownership of all
intellectual property represented by this document.
Part Number: 910359 Rev. A

!
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION:TO REDUCETHE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
THE COVER. NO USER-SERVICEABLE
PARTS INSIDE.REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
THIS PRODUCT IS INTENDED FOR
INDOOR USE ONLY.
!
The exclamation point within an equilateral
triangle is intended to alert the user to the
presence of important operating and
maintenance (servicing) instructions in
the literature accompanying the product.
The symbol of a house with
an arrow pointing inside
is intended to alert the user
that the product is to
be used indoors only.
The lightning flash/arrowhead symbol within 
an equilateral triangle is intended to alert the 
user to the presence of uninsulated "dangerous 
voltage" within the product's enclosure, which 
may be of sufficient magnitude to constitute a 
risk of electric shock to persons.
2
IMPORTANT SAFETY & INSTALLATION INSTRUCTIONS
INSTRUCTIONS PERTAINING TO THE RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS
WARNING: When using electric products, basic precautions should
always be followed, including the following:
1. Read all of the Safety and Installation Instructions and Explanation
of Graphic Symbols before using the product.
2. Do not use this product near water—for example, near a bathtub,
washbowl, kitchen sink, in a wet basement, or near a swimming
pool, or the like.
3. This product should be used only with a stand or cart that is
recommended by the manufacturer.
4. This product, either alone or in combination with an amplifier and
speakers or headphones, may be capable of producing sound
levels that could cause permanent hearing loss. Do not operate for
a long period of time at a high volume level or at a level that is
uncomfortable.If you experience any hearing loss or ringing in the
ears, you should consult an audiologist.
5. The product should be located so that its location or position does
not interfere with its proper ventilation.
6. The product should be located away from heat sources such as
radiators, heat registers, or other products that produce heat.
7. The product should be connected to a power supply only of the type
described in theoperatinginstructions or as markedonthe product.
8. This product may be equipped with a polarized line plug (one blade
wider than the other). This is a safety feature. If you are unable to
insert the plug into the outlet, contact an electrician to replace your
obsolete outlet. Do not defeat the safety purpose of the plug.
9. Thepowersupply cord ofthe product shouldbe unplugged from the
outlet when left unused for a long period of time.When unplugging
the power supply cord, do not pull on the cord, but grasp it by the
plug.
10. Care should be taken so that objects do not fall and liquids are not
spilled into the enclosure through openings.
11. The product should be serviced by qualified service personnel
when:
A. The power supply cord or the plug has been damaged;
B. Objects have fallen onto, or liquid has been spilled into the
product;
C. The product has been exposed to rain;
D. The product does not appear to be operating normally or
exhibits a marked change in performance;
E. The product has been dropped, or the enclosure damaged.
12. Do not attempt to service the product beyond that described in the
user maintenance instructions. All other servicing should be
referred to qualified service personnel.
13. WARNING: Do not place objects on the product’s power supply
cord, or place the product in a position where anyone could trip
over, walk on, or roll anything over cords of any type. Do not allow
the product to rest on or be installed over cords of any type.
Improper installations of this type create the possibility of a fire
hazard and/or personal injury.
RADIO ANDTELEVISION INTERFERENCE
WARNING: Changes or modifications to this instrument not expressly
approved by Young Chang could void your authority to operate the
instrument.
IMPORTANT: When connecting this product to accessories and/or other
equipment use only high quality shielded cables.
NOTE: This instrument has been tested and found to comply with the
limits for a Class A digital device, pursuant to Part 15 of the FCC Rules.
These limits are designed to provide reasonable protection against
harmful interference when the instrument is used in a commercial
environment. This instrument generates, uses, and can radiate radio
frequency energy and, if not installed and used in accordance with the
instruction manual, may cause harmful interference to radio
communications. Operation of this instrument in a residential area is
likely to cause harmful interference, in which case the user will be
required to correct the interference at his or her own expense.
Changes and modifications not expressly approved by the manufacturer
or registrant of this instrument can void the user’s authority to operate
this instrument under Federal Communications Commission rules.
In order to maintain compliance with FCC regulations, shielded cables
must be used with this instrument. Operation with unapproved
equipment or unshielded cables is likely to result in harmful interference
to radio and television reception.
NOTICE
This apparatus does not exceed the Class A limits for radio noise
emissions from digital apparatus set out in the Radio Interference
Regulations of the Canadian Department of Communications.
AVIS
Le present appareil numerique n’emet pas de bruits radioelectriques
depassant les limites applicables aux appareils numeriques de la
class A prescrites dans le Reglement sur le brouillage radioelectrique
edicte par le ministere des Communications du Canada.
SAVETHESE INSTRUCTIONS

3
Young Chang Contacts
Contact the nearest Young Chang office listed below to locate your local Young Chang/ Kurzweil representative.
Young Chang America, Inc.
P.O. Box 99995
Lakewood, WA 98499-0995
Tel: [phone]
Fax: [phone]
Young Chang Co., Ltd.
178-55 Gajwa-Dong
Seo-Ku, Inchon, Korea 404-714
Tel: [phone]
Fax: [phone]
Young Chang America, Inc. (Canadian Division)
3650 Victoria Park Ave. Suite 105
Toronto, Ontario Canada M2H 3P7
Tel: [phone]
Fax: [phone]
World Wide Web Home Page
http://www.kurzweilmusicsystems.com

4
KSP8 Algorithm Reference Contents
•KSP8 Algorithms Listed by ID . . . . . . . . . . . . . . . . . . . . 5
•KSP8 Algorithms Listed by Name . . . . . . . . . . . . . . . . . 9
•KSP8 Algorithm Specifications . . . . . . . . . . . . . . . . . . 12
• MiniVerbs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
• Reverbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
• Combination Reverbs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
• Vocal Combination Algorithms . . . . . . . . . . . . . . . . . . . . . . . 50
• More Reverbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
• Delays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
• Choruses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
• Flangers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
• Phasers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
• Comb Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
• Tremolo Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
• Panners and Stereo-Image Effects . . . . . . . . . . . . . . . . . . . 131
• Guitar Cabinet Simulators . . . . . . . . . . . . . . . . . . . . . . . . . . 143
• Rotary Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
• Distortion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
• Guitar Combination Algorithms . . . . . . . . . . . . . . . . . . . . . 178
• Compressors and Expanders . . . . . . . . . . . . . . . . . . . . . . . 195
• Gates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
• EQs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
• Miscellaneous Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
• Enhancers, Suppressors, and Modulators. . . . . . . . . . . . . 245
• Combination Algorithms . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
• Configurable Combination Algorithms. . . . . . . . . . . . . . . . 295
• More Combination Algorithms . . . . . . . . . . . . . . . . . . . . . . 305
• Monaural (Mono) Algorithms. . . . . . . . . . . . . . . . . . . . . . . . 310
• 5.1 and Surround Algorithms . . . . . . . . . . . . . . . . . . . . . . . 311

5
KSP8 Algorithms Listed by ID
ID Name PAUs Page
Stereo Algorithms
1 MiniVerb 1 12
2 Dual MiniVerb 2 12
3 Gated MiniVerb 2 16
4 Classic Place 2 19
5 ClassicVerb 2 19
6 TQ Place 3 19
7 TQVerb 3 19
8 Diffuse Place 3 19
9 DiffuseVerb 3 19
10 OmniPlace 3 19
11 OmniVerb 3 19
12 Panaural Room 3 32
13 Stereo Hall 3 35
14 Grand Plate 3 38
15 FiniteVerb 3 40
50 Reverb+Compress 2 42
51 Reverb<>Compress 3 42
52 ClascVrb<>Comprs 3 46
53 Gate+Cmp[EQ]+Rvb 4 50
54 Gate+Cmp<>EQ+Rvb 4 50
100 LaserVerb 3 56
101 LaserVerb Lite 2 56
102 Mono LaserVerb 1 56
103 Revrse LaserVerb 4 59
104 Gated LaserVerb 3 62
105 LasrDly<>Reverb 2 65
106 LasrDly<>Rvrb ms 2 66
150 4-Tap Delay BPM 1 67
151 4-Tap Delay 1 67
152 8-Tap Delay BPM 2 71
153 8-Tap Delay 2 71
154 Spectral 4-Tap 2 75
155 Spectral 6-Tap 3 75
156 Complex Echo 1 80
170 Degen Regen BPM 4 83
171 Degen Regen 4 83
172 Switch Loops 2 89
173 3 Band Delay 2 92
174 Gated Delay 2 94
190 Moving Delay 1 97
191 Dual MovDelay 1 98
192 Dual MvDly+MvDly 2 98
200 Chorus 1 1 102
201 Chorus 2 2 102
202 Dual Chorus 1 1 102
203 Dual Chorus 2 2 102
225 Flanger 1 1 109
226 Flanger 2 2 109
250 LFO Phaser 1 116
251 LFO PhaserTwin 1 116
253 SingleLFO Phaser 1 116
254 VibratoPhaser 1 116
255 Manual Phaser 1 116
256 Allpass Phaser 3 3 122
257 Allpass Phaser 4 4 122
258 Barberpole Comb 4 125
270 Tremolo BPM 1 128
271 Tremolo 1 128
275 AutoPanner 1 131
276 Dual AutoPanner 2133
280 Stereo Image 1135
281 Mono -> Stereo 1137
282 DynamicStereoize 2139
284 Cabinet 3143
290 VibChor+Rotor 2 2144
291 Distort + Rotary 2144
292 VC+Dist+HiLoRotr 2144
293 VC+Dist+1Rotor 2 2144
294 VC+Dist+HiLoRot2 2144
295 Rotor 1 1144
296 VC+Dist+Rotor 4 4144
297 VC+Tube+Rotor 4 4144
298 Big KB3 Effect 8144
ID Name PAUs Page

6
300 Mono Distortion 1158
301 MonoDistort+Cab 2158
302 MonoDistort + EQ 2158
303 PolyDistort + EQ 2163
304 StereoDistort+EQ 3158
305 Subtle Distort 1167
306 Super Shaper 1168
307 3 Band Shaper 2169
308 Quantize+Alias 1170
309 Quantize+Flange 1174
310 Gate+TubeAmp 3178
311 Gate+Tube+Reverb 4178
312 Gt+Tube<>MD+Chor 4178
313 Gt+Tube<>MD+Flan 4178
314 Gt+Tube<>2MD 4178
315 Gt+Cmp+Dst+EQ+Ch 4178
316 Gt+Cmp+Dst+EQ+Fl 4178
317 TubeAmp<>MD>Chor 3188
318 TubeAmp<>MD>Flan 3188
319 PolyAmp<>MD>Chor 3188
320 PolyAmp<>MD>Flan 3188
321 Flange<>Shaper 2193
322 Shaper<>Reverb 2194
330 HardKneeCompress 1195
331 SoftKneeCompress 1195
332 Compress w/SC EQ 2198
333 Opto Compress 2201
334 Opto Comprs SCEQ 3201
335 Band Compress 3205
336 3 Band Compress 4209
340 Expander 1213
341 Compress/Expand 2216
342 Comp/Exp + EQ 3216
343 Gate 1221
342 Gate w/SC EQ 2216
347 Dual SKCompress 2195
348 Dual Comprs SCEQ 3198
349 Dual 3 Band Comp 8209
ID Name PAUs Page
350 3 Band EQ 1226
351 5 Band EQ 3226
352 Graphic EQ 3229
353 Dual Graphic EQ 3229
354 Dual 5 Band EQ 3226
360 Env Follow Filt 2232
361 TrigEnvelopeFilt 2234
362 LFO Sweep Filter 2237
363 Resonant Filter 1240
364 Dual Res Filter 1240
365 EQ Morpher 4242
366 Mono EQ Morpher 2242
370 2 Band Enhancer 1245
371 3 Band Enhancer 2247
372 HF Stimulate 1 1249
373 HF Stimulate 3 3249
374 HarmonicSuppress 2251
375 Tone Suppressor 2251
380 Ring Modulator 1256
381 Pitcher 1260
382 Poly Pitcher 2264
383 Pitcher+MiniVerb 2266
384 Flange<>Pitcher 2269
385 Frequency Offset 2270
386 MutualFreqOffset 2270
387 WackedPitchLFO 3274
390 Chaos! 2276
391 ADSR Synth 4279
392 Env Synth 3279
ID Name PAUs Page

7
400 Chorus+Delay 1285
401 Chorus+4Tap 1285
402 Chorus<>4Tap 2295
403 Chor+Dly+Reverb 2285
404 Chorus<>Reverb 2295
405 Chorus<>LasrDly 2295
406 St Chorus+Delay 1305
407 St Chorus+4Tap 1305
408 St Chor+Dly+Rvrb 2305
409 Pitcher+Chor+Dly 2285
410 Pitch+StChor+Dly 2305
411 MonoPitcher+Chor 2291
412 MonoPitch+StChor 2305
420 Chorus+Delay ms 1305
421 Chorus+4Tap ms 1305
422 Chorus<>4Tap ms 2305
423 Chor+Dly+Rvrb ms 2305
425 Chor<>LasrDly ms 2305
426 St Chor+Delay ms 1305
427 St Chor+4Tap ms 1305
428 StCh+Dly+Rvrb ms 2305
429 Ptch+Chor+Dly ms 2305
430 Ptch+StCh+Dly ms 2305
450 Flange+Delay 1285
451 Flange+4Tap 1285
452 Flange<>4Tap 2295
453 Flan+Dly+Reverb 2285
454 Flange<>Reverb 2295
455 Flange<>LasrDly 2295
456 St Flange+Delay 1305
457 St Flange+4Tap 1305
458 St Flan+Dly+Rvrb 2305
459 Pitcher+Flan+Dly 2285
460 Pitch+StFlan+Dly 2305
461 MonoPitcher+Flan 2291
470 Flange+Delay ms 1305
471 Flange+4Tap ms 1305
472 Flange<>4Tap ms 2305
473 Flan+Dly+Rvrb ms 2305
475 Flan<>LasrDly ms 2305
476 St Flan+Delay ms 1305
477 St Flan+4Tap ms 1305
478 StFl+Dly+Rvrb ms 2305
479 Ptch+Flan+Dly ms 2305
480 Ptch+StFl+Dly ms 2305
498 FXMod Diagnostic 1307
499 Stereo Analyze 1308
ID Name PAUs Page

8
Monaural Algorithms
600 Mn MiniVerb 112
605 Mn LaserVerb 256
608 MnGt+Cmp[EQ]+Rvb 350
609 MnGt+Cmp<>EQ+Rvb 350
610 Mn 6-TapDelayBPM 167
611 Mn 6-Tap Delay 167
612 Mn Spectral 4Tap 175
613 Mn Complex Echo 180
614 Mn DegenRegenBPM 483
615 Mn Degen Regen 483
616 Mn 3 Band Delay 192
617 Mn Gated Delay 294
620 Mn Chorus 1 1102
625 Mn Flanger 1 1109
630 Mn LFO Phaser 1116
631 Mn LFOPhaserTwin 1116
632 Mn SingleLFOPhsr 1116
633 MnVibratoPhaser 1116
634 Mn Manual Phaser 1116
635 Mn AP Phaser 3 2122
636 Mn AP Phaser 4 2122
637 Mn Barberpole 2125
640 MnTremolo BPM 1128
641 MnTremolo 1128
645 Mn Cabinet 2143
646 MnVC+Dist+Rotor 2144
650 Mn Distortion 1158
651 Mn Distort+Cab 2158
652 Mn Distort + EQ 2158
653 Mn Super Shaper 1168
654 Mn 3 Band Shaper 1169
655 MnQuantize+Alias 1170
656 Mn Gate+TubeAmp 3178
660 Mn HK Compress 1195
ID Name PAUs Page
661 Mn SK Compress 1195
662 Mn Expander 1213
663 Mn Gate 1221
664 Mn Comprs/Expand 2216
665 Mn 3 Band Comprs 3209
670 Mn Graphic EQ 2229
671 Mn 6 Band EQ 2226
672 Mn 3BandEnhancer 1247
673 Mn HF Stimulate1 1249
674 Mn HF Stimulate2 2249
675 Mn Env Filter 2232
676 MnTrig Env Filt 2234
677 Mn LFOSweepFilt 1237
678 Mn Res Filter 1240
679 Mn EQ Morpher 2242
680 Mn Ring Modulate 1256
681 Mn Pitcher 1260
682 Mn Freq Offset 2270
690 Mn Chaos! 2276
691 Mn ADSR Synth 4279
692 Mn Env Synth 3279
699 Mn Analyze 1308
5.1 Surround Algorithms:
700 OmniPlace 5.1 12 311
701 OmniVerb 5.1 12 311
702 TQ Place 5.1 12 311
703 TQVerb 5.1 12 311
704 Surround 321
720 Compress 5.1 8326
ID Name PAUs Page

9
KSP8 Algorithms Listed by Name
Name ID PAUs Page
2 Band Enhancer 370 1245
3 Band Compress 336 4209
3 Band Delay 173 292
3 Band Enhancer 371 2247
3 Band EQ 350 1226
3 Band Shaper 307 2169
4-Tap Delay 151 167
4-Tap Delay BPM 150 167
5 Band EQ 351 3226
8-Tap Delay 153 271
8-Tap Delay BPM 152 271
ADSR Synth 391 4279
Allpass Phaser 3 256 3122
Allpass Phaser 4 257 4122
AutoPanner 275 1131
Band Compress 335 3205
Barberpole Comb 258 4125
Big KB3 Effect 298 8144
Cabinet 284 3143
Chaos! 390 2276
Chor+Dly+Reverb 403 2285
Chor+Dly+Rvrb ms 423 2305
Chor<>LasrDly ms 425 2305
Chorus 1 200 1102
Chorus 2 201 2102
Chorus+4Tap 401 1285
Chorus+4Tap ms 421 1305
Chorus+Delay 400 1285
Chorus+Delay ms 420 1305
Chorus<>4Tap 402 2295
Chorus<>4Tap ms 422 2305
Chorus<>LasrDly 405 2295
Chorus<>Reverb 404 2295
ClascVrb<>Comprs 52 346
Classic Place 4 219
ClassicVerb 5 219
Comp/Exp + EQ 342 3216
Complex Echo 156 180
Compress 5.1 720 8326
Compress w/SC EQ 332 2198
Compress/Expand 341 2216
Degen Regen 171 483
Degen Regen BPM 170 483
Diffuse Place 8 319
DiffuseVerb 9 319
Distort + Rotary 291 2144
Dual 3 Band Comp 349 8209
Dual 5 Band EQ 354 3226
Dual AutoPanner 276 2133
Dual Chorus 1 202 1102
Dual Chorus 2 203 2102
Dual Comprs SCEQ 348 3198
Dual Graphic EQ 353 3229
Dual MiniVerb 2 212
Dual MovDelay 191 198
Dual MvDly+MvDly 192 298
Dual Res Filter 364 1240
Dual SKCompress 347 2195
DynamicStereoize 282 2139
Env Follow Filt 360 2232
Env Synth 392 3279
EQ Morpher 365 4242
Expander 340 1213
FiniteVerb 15 340
Flan+Dly+Reverb 453 2285
Flan+Dly+Rvrb ms 473 2305
Flan<>LasrDly ms 475 2305
Flange+4Tap 451 1285
Flange+4Tap ms 471 1305
Flange+Delay 450 1285
Flange+Delay ms 470 1305
Flange<>4Tap 452 2295
Flange<>4Tap ms 472 2305
Flange<>LasrDly 455 2295
Flange<>Pitcher 384 2269
Flange<>Reverb 454 2295
Flange<>Shaper 321 2193
Flanger 1 225 1109
Flanger 2 226 2109
Frequency Offset 385 2270
FXMod Diagnostic 498 1307
Gate 343 1221
Gate w/SC EQ 342 2216
Gate+Cmp<>EQ+Rvb 54 450
Gate+Cmp[EQ]+Rvb 53 450
Gate+Tube+Reverb 311 4178
Gate+TubeAmp 310 3178
Gated Delay 174 294
Gated LaserVerb 104 362
Gated MiniVerb 3 216
Grand Plate 14 338
Graphic EQ 352 3229
Gt+Cmp+Dst+EQ+Ch 315 4178
Gt+Cmp+Dst+EQ+Fl 316 4178
Gt+Tube<>2MD 314 4178
Gt+Tube<>MD+Chor 312 4178
Name ID PAUs Page

10
Gt+Tube<>MD+Flan 313 4178
HardKneeCompress 330 1195
HarmonicSuppress 374 2251
HF Stimulate 1 372 1249
HF Stimulate 3 373 3249
LaserVerb 100 356
LaserVerb Lite 101 256
LasrDly<>Reverb 105 265
LasrDly<>Rvrb ms 106 266
LFO Phaser 250 1116
LFO PhaserTwin 251 1116
LFO Sweep Filter 362 2237
Manual Phaser 255 1116
MiniVerb 1 112
Mn 3 Band Comprs 665 3209
Mn 3 Band Delay 616 192
Mn 3 Band Shaper 654 1169
Mn 3BandEnhancer 672 1247
Mn 6 Band EQ 671 2226
Mn 6-Tap Delay 611 167
Mn 6-TapDelayBPM 610 167
Mn ADSR Synth 691 4279
Mn Analyze 699 1308
Mn AP Phaser 3 635 2122
Mn AP Phaser 4 636 2122
Mn Barberpole 637 2125
Mn Cabinet 645 2143
Mn Chaos! 690 2276
Mn Chorus 1 620 1102
Mn Complex Echo 613 180
Mn Comprs/Expand 664 2216
Mn Degen Regen 615 483
Mn DegenRegenBPM 614 483
Mn Distort + EQ 652 2158
Mn Distort+Cab 651 2158
Mn Distortion 650 1158
Mn Env Filter 675 2232
Mn Env Synth 692 3279
Mn EQ Morpher 679 2242
Mn Expander 662 1213
Mn Flanger 1 625 1109
Mn Freq Offset 682 2270
Mn Gate 663 1221
Mn Gate+TubeAmp 656 3178
Mn Gated Delay 617 294
Mn Graphic EQ 670 2229
Mn HF Stimulate1 673 1249
Mn HF Stimulate2 674 2249
Mn HK Compress 660 1195
Mn LaserVerb 605 256
Mn LFO Phaser 630 1116
Mn LFOPhaserTwin 631 1116
Mn LFOSweepFilt 677 1237
Name ID PAUs Page
Mn Manual Phaser 634 1116
Mn MiniVerb 600 112
Mn Pitcher 681 1260
Mn Res Filter 678 1240
Mn Ring Modulate 680 1256
Mn SingleLFOPhsr 632 1116
Mn SK Compress 661 1195
Mn Spectral 4Tap 612 175
Mn Super Shaper 653 1168
MnTremolo 641 1128
MnTremolo BPM 640 1128
MnTrig Env Filt 676 2234
MnVC+Dist+Rotor 646 2144
MnVibratoPhaser 633 1116
MnGt+Cmp<>EQ+Rvb 609 350
MnGt+Cmp[EQ]+Rvb 608 350
MnQuantize+Alias 655 1170
Mono -> Stereo 281 1137
Mono Distortion 300 1158
Mono EQ Morpher 366 2242
Mono LaserVerb 102 156
MonoDistort + EQ 302 2158
MonoDistort+Cab 301 2158
MonoPitch+StChor 412 2305
MonoPitcher+Chor 411 2291
MonoPitcher+Flan 461 2291
Moving Delay 190 197
MutualFreqOffset 386 2270
OmniPlace 10 319
OmniPlace 5.1 700 12 311
OmniVerb 11 319
OmniVerb 5.1 701 12 311
Opto Compress 333 2201
Opto Comprs SCEQ 334 3201
Panaural Room 12 332
Pitch+StChor+Dly 410 2305
Pitch+StFlan+Dly 460 2305
Pitcher 381 1260
Pitcher+Chor+Dly 409 2285
Pitcher+Flan+Dly 459 2285
Pitcher+MiniVerb 383 2266
Poly Pitcher 382 2264
PolyAmp<>MD>Chor 319 3188
PolyAmp<>MD>Flan 320 3188
PolyDistort + EQ 303 2163
Ptch+Chor+Dly ms 429 2305
Ptch+Flan+Dly ms 479 2305
Ptch+StCh+Dly ms 430 2305
Ptch+StFl+Dly ms 480 2305
Quantize+Alias 308 1170
Quantize+Flange 309 1174
Resonant Filter 363 1240
Reverb+Compress 50 242
Name ID PAUs Page

11
Reverb<>Compress 51 342
Revrse LaserVerb 103 459
Ring Modulator 380 1256
Rotor 1 295 1144
Shaper<>Reverb 322 2194
SingleLFO Phaser 253 1116
SoftKneeCompress 331 1195
Spectral 4-Tap 154 275
Spectral 6-Tap 155 375
St Chor+4Tap ms 427 1305
St Chor+Delay ms 426 1305
St Chor+Dly+Rvrb 408 2305
St Chorus+4Tap 407 1305
St Chorus+Delay 406 1305
St Flan+4Tap ms 477 1305
St Flan+Delay ms 476 1305
St Flan+Dly+Rvrb 458 2305
St Flange+4Tap 457 1305
St Flange+Delay 456 1305
StCh+Dly+Rvrb ms 428 2305
Stereo Analyze 499 1308
Stereo Hall 13 335
Stereo Image 280 1135
StereoDistort+EQ 304 3158
StFl+Dly+Rvrb ms 478 2305
Subtle Distort 305 1167
Super Shaper 306 1168
Surround 704 321
Switch Loops 172 289
Tone Suppressor 375 2251
TQ Place 6 319
TQ Place 5.1 702 12 311
TQVerb 7 319
TQVerb 5.1 703 12 311
Tremolo 271 1128
Tremolo BPM 270 1128
TrigEnvelopeFilt 361 2234
TubeAmp<>MD>Chor 317 3188
TubeAmp<>MD>Flan 318 3188
VC+Dist+1Rotor 2 293 2144
VC+Dist+HiLoRot2 294 2144
VC+Dist+HiLoRotr 292 2144
VC+Dist+Rotor 4 296 4144
VC+Tube+Rotor 4 297 4144
VibChor+Rotor 2 290 2144
VibratoPhaser 254 1116
WackedPitchLFO 387 3274
Name ID PAUs Page

12
KSP8 Algorithm Specifications
MiniVerbs
1 MiniVerb
2 Dual MiniVerb
600 Mn MiniVerb
Versatile, small stereo and dual mono reverbs
PAUs: 1 for MiniVerb
2 for Dual MiniVerb
MiniVerb is a versatile stereo reverb found in many combination algorithms, but is equally useful on its
own because of its small size. The main control for this effect is the Room Type parameter. Room Type
changes the structure of the algorithm to simulate many carefully crafted room types and sizes. Spaces
characterized as booths, small rooms, chambers, halls and large spaces can be selected.
Figure 1 Simplified Block Diagram of MiniVerb
Each Room Type incorporates different diffusion, room size and reverb density settings. The Room Types
were designed to sound best when Diff Scale, Size Scale and Density are set to the default values of 1.00x.
If you want a reverb to sound perfect immediately, set the Diff Scale, Size Scale and Density parameters to
1.00x, pick a Room Type and you’ll be on the way to a great sounding reverb. But if you want to
experiment with new reverb flavors, changing the scaling parameters away from 1.00x can cause a subtle
(or drastic!) coloring of the carefully crafted Room Types.
Diffusion characterizes how the reverb spreads the early reflections out in time. At very low settings of
Diff Scale, the early reflections start to sound quite discrete, and at higher settings the early reflections are
seamless. Density controls how tightly the early reflections are packed in time. Low Density settings have
the early reflections grouped close together, and higher values spread the reflections for a smoother reverb.
L PreDelay
R PreDelay
Miniverb
Core
L Input
R Input
L Output
R Output
Wet Out Gain
Dry
Dry

13
Figure 2 Simplified Block Diagram of Dual MiniVerb
Dual MiniVerb has a full MiniVerb, including Wet/Dry, Pre Delay and Out Gain controls, dedicated to
both the left and right channels. In Figure 2, the two blocks labeled MiniVerb contain a complete copy of
the contents of Figure 1. Dual MiniVerb gives you independent reverbs on both channels which has
obvious benefits for mono material. With stereo material, any panning or image placement can be
maintained, even in the reverb tails! This is pretty unusual behavior for a reverb, since even real halls will
rapidly delocalize acoustic images in the reverberation. Since maintaining image placement in the
reverberation is so unusual, you will have to carefully consider whether it is appropriate for your
particular situation. To use Dual MiniVerb to maintain stereo signals in this manner, set the reverb
parameters for both channels to the same values. The Dry Pan and Wet Bal parameters should be fully left
(-100%) for the left MiniVerb and fully right (100%) for the right MiniVerb.
MiniVerb Parameters:
Page 1
Page 2
Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB
Rvrb Time 0.5 to 30.0 s, Inf HF Damping 8 to 25088 Hz
L Pre Dly 0 to 620 ms R Pre Dly 0 to 620 ms
Room Type Hall1 Diff Scale 0.00 to 2.00x
Size Scale 0.00 to 4.00x
Density 0.00 to 4.00x
Pan
Pan
MiniVerb Balance
Balance
L Input
R Input
L Output
R Output
MiniVerb
Dry
Dry
Wet
Wet

14
Dual MiniVerb Parameters
Page 1
Page 2
Page 3
Wet/Dry A simple mix of the reverb sound with the dry sound.
Out Gain The overall gain or amplitude at the output of the effect.
Rvrb Time The reverb time displayed is accurate for normal settings of the other parameters (HF
Damping = 25088kHz, and Diff Scale, Room Scale and Density = 1.00x). Changing Rvrb
Time to Inf creates an infinitely sustaining reverb.
HF Damping Reduces high frequency components of the reverb above the displayed cutoff frequency.
Removing higher reverb frequencies can often make rooms sound more natural.
L/R Pre Dly The delay between the start of a sound and the output of the first reverb reflections from
that sound. Longer predelays can help make larger spaces sound more realistic. Longer
times can also help improve the clarity of a mix by separating the reverb signal from the
dry signal, so the dry signal is not obscured. Likewise, the wet signal will be more audible
if delayed, and thus you can get by with a dryer mix while maintaining the same
subjective wet/dry level.
Room Type Changes the configuration of the reverb algorithm to simulate a wide array of carefully
designed room types and sizes. This parameter effectively allows you to have several
different reverb algorithms only a parameter change away. Smaller Room Types will
sound best with shorter Rvrb Times, and vice versa. (Note that since this parameter
changes the structure of the reverb algorithm, you don’t want to modulate it.)
L Wet/Dry 0 to 100%wet R Wet/Dry 0 to 100%wet
L Out Gain Off, -79.0 to 24.0 dB R Out Gain Off, -79.0 to 24.0 dB
L Wet Bal -100 to 100% R Wet Bal -100 to 100%
L Dry Pan -100 to 100% R Dry Pan -100 to 100%
L RoomType Hall1
L RvrbTime 0.5 to 30.0 s, Inf
L Diff Scl 0.00 to 2.00x L Density 0.00 to 4.00x
L Size Scl 0.00 to 4.00x L HF Damp 8 to 25088 Hz
L PreDlyL 0 to 620 ms L PreDlyR 0 to 620 ms
R RoomType Hall1
R RvrbTime 0.5 to 30.0 s, Inf
R Diff Scl 0.00 to 2.00x R Density 0.00 to 4.00x
R Size Scl 0.00 to 4.00x R HF Damp 8 to 25088 Hz
R PreDlyL 0 to 620 ms R PreDlyR 0 to 620 ms

15
Diff Scale A multiplier which affects the diffusion of the reverb. At 1.00x, the diffusion will be the
normal, carefully adjusted amount for the current Room Type. Altering this parameter
will change the diffusion from the preset amount.
Size Scale A multiplier which changes the size of the current room. At 1.00x, the room will be the
normal, carefully tweaked size of the current Room Type. Altering this parameter will
change the size of the room, and thus will cause a subtle coloration of the reverb (since the
room’s dimensions are changing).
Density A multiplier which affects the density of the reverb. At 1.00x, the room density will be the
normal, carefully set amount for the current Room Type. Altering this parameter will
change the density of the reverb, which may color the room slightly.
Wet Bal In Dual MiniVerb, two mono signals (left and right) are fed into two separate stereo
reverbs. If you center the wet balance (0%), the left and right outputs of the reverb will be
sent to the final output in equal amounts. This will add a sense of spaciousness.

16
3 Gated MiniVerb
A reverb and gate in series
PAUs: 2
This algorithm is a small reverb followed by a gate. The main control for the reverb is the Room Type
parameter. Room Type changes the structure of the algorithm to simulate many carefully crafted room
types and sizes. Spaces characterized as booths, small rooms, chambers, halls and large spaces can be
selected.
Each Room Type incorporates different diffusion, room size and reverb density settings. The Room Types
were designed to sound best when Diff Scale, Size Scale and Density are set to the default values of 1.00x.
If you want a reverb to sound perfect immediately, set the Diff Scale, Size Scale and Density parameters to
1.00x, pick a Room Type and you’ll be on the way to a great sounding reverb. But if you want experiment
with new reverb flavors, changing the scaling parameters away from 1.00x can cause a subtle (or drastic!)
coloring of the carefully crafted Room Types.
Diffusion characterizes how the reverb spreads the early reflection out in time. At very low settings of Diff
Scale, the early reflections start to sound quite discrete, and at higher settings the early reflections are
seamless. Density controls how tightly the early reflections are packed in time. Low Density settings have
the early reflections grouped close together, and higher values spread the reflections for a smoother reverb.
The gate turns the output of the reverb on and off based on the amplitude of the input signal.
A gate behaves like an on off switch for a signal. One or both input channels is used to control whether the
switch is on (gate is open) or off (gate is closed). The on/off control is called “side chain” processing. You
select which of the two input channels or both is used for side chain processing. When you select both
channels, the sum of the left and right input amplitudes is used. The gate is opened when the side chain
amplitude rises above a level that you specify with the Threshold parameter.
The gate will stay open for as long as the side chain signal is above the threshold. When the signal drops
below the threshold, the gate will remain open for the time set with the Gate Time parameter. At the end of
the Gate Time, the gate closes. When the signal rises above threshold, it opens again. What is happening is
that the gate timer is being constantly retriggered while the signal is above threshold.
Figure 3 Gate Behavior
0
1
attack
time gate time release time
signal rises
above threshold signal falls below threshold

17
If Gate Duck is turned on, then the behavior of the gate is reversed. The gate is open while the side chain
signal is below threshold, and it closes when the signal rises above threshold.
If the gate opened and closed instantaneously, you would hear a large digital click, like a big knife switch
was being thrown. Obviously that’s not a good idea, so Gate Atk (attack) and Gate Rel (release) parameters
are use to set the times for the gate to open and close. More precisely, depending on whether Gate Duck is
Off or On, Gate Atk sets how fast the gate opens or closes when the side chain signal rises above the
threshold. The Gate Rel sets how fast the gate closes or opens after the gate timer has elapsed.
The Signal Dly parameter delays the signal being gated, but does not delay the side chain signal. By
delaying the main signal relative to the side chain signal, you can open the gate just before the main signal
rises above threshold. It’s a little like being able to pick up the telephone before it rings.
Parameters
Page 1
Page 2
Page 3
Wet/Dry A simple mix of the reverb sound with the dry sound. When set fully dry (0%), the gate is
still active.
Out Gain An overall level control of the effect’s output (applied after the gate).
Rvrb Time The reverb time displayed is accurate for normal settings of the other parameters (HF
Damping = 25088kHz, and Diff Scale, Room Scale and Density = 1.00x). Changing Rvrb
Time to Inf creates an infinitely sustaining reverb.
HF Damping Reduces high frequency components of the reverb above the displayed cutoff frequency.
Removing higher reverb frequencies can often make rooms sound more natural.
L/R Pre Dly The delay between the start of a sound and the output of the first reverb reflections from
that sound. Longer predelays can help make larger spaces sound more realistic. Longer
times can also help improve the clarity of a mix by separating the reverb signal from the
dry signal, so the dry signal is not obscured. Likewise, the wet signal will be more audible
Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB
Rvrb Time 0.5 to 30.0s, Inf HF Damping 8 to 25088 Hz
L Pre Dly 0 to 620ms R Pre Dly 0 to 620 ms
Room Type Hall1 Diff Scale 0.00 to 2.00x
Size Scale 0.00 to 4.00x
Density 0.00 to 4.00x
Gate Thres -79.0 to 0.0 dB Gate Time 0 to 3000 ms
Gate Duck In or Out Gate Atk 0.0 to 228.0 ms
Gate Rel 0 to 3000 ms
GateSigDly 0.0 to 25.0 ms
|||||||||||||||||||||||||||||| Reduction
-dB 60 40 ❃16 ❃8 4 0

18
if delayed, and thus you can get by with a dryer mix while maintaining the same
subjective wet/dry level.
Room Type The configuration of the reverb algorithm to simulate a wide array of carefully designed
room types and sizes. This parameter effectively allows you to have several different
reverb algorithms only a parameter change away. Smaller Room Types will sound best
with shorter Rvrb Times, and vice versa. (Note that since this parameter changes the
structure of the reverb algorithm, you may not modulate it.)
Diff Scale A multiplier which affects the diffusion of the reverb. At 1.00x, the diffusion will be the
normal, carefully adjusted amount for the current Room Type. Altering this parameter
will change the diffusion from the preset amount.
Size Scale A multiplier which changes the size of the current room. At 1.00x, the room will be the
normal, carefully tweaked size of the current Room Type. Altering this parameter will
change the size of the room, and thus will cause a subtle coloration of the reverb (since the
room’s dimensions are changing).
Density A multiplier which affects the density of the reverb. At 1.00x, the room density will be the
normal, carefully set amount for the current Room Type. Altering this parameter will
change the density of the reverb, which may color the room slightly.
Gate Thres The input signal level in dB required to open the gate (or close the gate if Gate Duck is on).
Gate Duck When set to Off, the gate opens when the signal rises above threshold and closes when
the gate time expires. When set to On, the gate closes when the signal rises above
threshold and opens when the gate time expires.
Gate Time The time in seconds that the gate will stay fully on after the signal envelope rises above
threshold. The gate timer is started or restarted whenever the signal envelope rises above
threshold.
Gate Atk The attack time for the gate to ramp from closed to open (reverse if Gate Duck is On) after
the signal rises above threshold.
Gate Rel The release time for the gate to ramp from open to closed (reverse if Gate Duck is On)
after the gate timer has elapsed.
Signal Dly The delay in milliseconds (ms) of the reverb signal relative to the side chain signal. By
delaying the reverb signal, the gate can be opened before the reverb signal rises above the
gating threshold.

19
Reverbs
4 Classic Place
5 ClassicVerb
6 TQ Place
7 TQVerb
8 Diffuse Place
9 DiffuseVerb
10 OmniPlace
11 OmniVerb
Reverb algorithms
PAUs: 2 (Classic) or 3 (others)
This set of 2- and 3-PAU algorithms can be divided into 2 groups: Verb and Place. Verb effects allow user-
friendly control over medium to large spaces. Their decay times are controlled by Rvrb Time or
LateRvbTim parameters, and Room Types range from rooms to large areas. Place algorithms on the other
hand are optimized for small spaces. Decay time is controlled by the Absorption parameter, and Room
Types offers several booths.
Each reverb algorithm consists of a several components: a diffuser, an injector, predelay, an ambience
generator with feedback, and various filters. These components provide sonic building blocks for both the
body of the reverb and the early reflection portions.
The ambience generator is the heart of each reverb algorithm and creates most of the “late” reverb in
algorithms with an Early Reflections circuit. It consists of a complex arrangement of delay lines to disperse
the sound. By using feedback in conjunction with the ambience generator, a reverb tail is produced. The
length of this reverb tail is controlled by the Rvrb Time parameter in the Verb algorithms, or the
Absorption parameter in Place algorithms.
In order to create reverbs that are smoother and richer, some of the delays in the ambience generator are
moved by LFOs. The LFOs are adjusted by using the LFO Rate and LFO Depth controls. When used subtly,
unwanted artifacts such as flutteriness and ringiness that are inherent in digital reverbs can be reduced.
In the feedback loop of the ambience generator are filters that further enhance the sonic properties of each
reverb. A lowpass filter is controlled by HF Damping and mimics high frequency energy that is absorbed
as the sound travels around a room. A low shelving filter is controlled by LF Split and LF Time, which are
used to shorten or lengthen the decay time of low frequency energy.
At the beginning of each algorithm are diffusers. A diffuser creates an initial “smearing” quality on input
signals usually before the signal enters the ambience generating loop. The DiffAmtScl and DiffLenScl
parameters change the amount and the length of time that the sound is smeared. The Diffuse reverbs,
however, implement diffusion a little differently. See the sections on Diffuse Verb and Diffuse Place on
page 25 for detailed information.
Some algorithms use injector mechanisms when feeding a signal into the ambience generator. An injector
creates copies of the input signal at different delay intervals and feeds each copy into the ambience
generator at different points. This results in finer control over the onset of the reverb. By tapering the
amplitudes of early copies vs. late copies, the initial build of the reverb can be controlled. Inj Build controls
this taper. Negative values create a slower build, while positive values create a faster build. Inj Spread
scales the time intervals that the copies are made. Inj Skew (Omni reverbs) delays one channel relative to
the other before injecting into the ambience generator. Negative values delay the left side while positive

20
values delay the right side. Inj LP controls the cutoff frequency of a 1-pole (6dB/oct) lowpass filter
associated with the injector.
Predelay can give the illusion that a space is more voluminous. Separate control over left and right
predelay is provided that can be used to de-correlate the center image, increasing reverb envelopment.
In addition to filters inside the ambience feedback loop, there also may be filters placed at the output of the
reverb including a low shelf, high shelf, and/or lowpass.
Algorithms that use Early Reflection circuits employ a combination of delays, diffusers, and filters to
create ambience that is sparser than the late portion of the reverb. These early reflections model the initial
near-discrete echoes rebounding directly off of near field surfaces before the reverb has a chance to become
diffuse. They add realism when emulating real rooms and halls.
Your starting point when creating a new reverb preset should be the Room Type parameter. This
parameter selects the basic type of reverb being. Due to the inherent complexity of reverb algorithms and
the sheer number of variables responsible for their character, the Room Type parameter provides
condensed preset collections of these variables. Each Room Type collection has been painstakingly
selected by Kurzweil engineers to provide the best sounding combination of mutually complementary
variables modeling an assortment of reverb families.
When you select a room type, an entire incorporated set of delay lengths and diffusion settings are
established within the algorithm. By using the Size Scale, DiffAmtScl, DiffLenScl, and Inj Spread
parameters, you may scale individual elements away from their pre-defined value. When set to 1.00x, each
of these elements is equivalent to its preset value as determined by the current Room Type.
Room Types with similar names in different reverb algorithms do not sound the same. For example, Hall1
in Diffuse Verb does not sound the same as Hall1 in TQ Verb.
The Size Scale parameter scales the inherent size of the reverb chosen by Room Type. For a true
representation of the selected Room Type size, set this to 1.00x. Scaling the size below this will create
smaller spaces, while larger scale factors will create large spaces. See Room Type for more detailed
information.
The InfinDecay switch is designed to override the Rvrb Time parameter and create a reverb tail with an
infinite decay time when On. However, certain HF Damping settings may reduce this effect, and cause the
tail to taper away.
ClassicVerb and Classic Place
Classic reverbs are 2-PAU algorithms with early reflections. The late portion consists of an input diffuser,
ambience generator with low shelving filters, lopass filters, and LFO moving delays, and predelay.
The early reflection portion consists of one delay per channel sent to its own output channel controlled by
E Dly L and E Dly R, and one delay per channel sent to its opposite output channel controlled be E Dly LX
and E Dly RX. Each of these delays also use a Diffuser. Diffusion lengths are separately controlled by
E DifDly L, E DifDly R, E DifDly LX, and E DifDly RX while diffusion amounts are all adjusted with
E DiffAmt.
The late reverb and early reflection portions are independently mixed together with the Late Lvl and
EarRef Lvl controls. The wet signal is passed through a final high shelving filter before being mixed with
the dry signal.