User manual KURZWEIL PCR-2 FOR PC1 REV C

[. . . ] Kurzweil PCR-2 Classic Keys Expansion board for the PC1 User's Guide November 7, 2005 TM ©2005 All rights reserved. Kurzweil is a product line of Kurzweil Co. , Ltd; Kurzweil, PC1 and KDFX are trademarks of Kurzweil Co. , Ltd. 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. [. . . ] Using our Pianet samples and bit of processing, we were able to craft some realistic imitations of the Hohner Electra-Piano, and we've included them in the Pianet section of Classic Keys. Yamaha CP-80 Known commonly as the "electric grand", the CP-80 (88 notes), along with it's smaller counterpart, the CP-70 (76 notes), was the product of clever engineering combined with traditional piano-making craftsmanship. Inside the CP-80, are the basic workings of a real acoustic piano, which have been altered to fit into a smaller enclosure. On the outside, the CP-80 looks like a "grand" version of the Rhodes, covered in tolex, with the top portion extending in the rear to accommodate the piano harp inside. Up until the mid1980's, when sampled pianos became available, the CP-70/80 was the only instrument capable of providing a decent substitute for a real piano. While it served this purpose well, the CP-70/80 had some unique features, which allowed it to have its own very distinct sound when desired. With single strings on the lower notes, and double strings on the rest, the CP-70/80 included a modified Yamaha grand piano action and employed piezo-electric transducers in lieu of pickups. The original CP series featured bass and treble tone controls and a tremolo circuit. Later, seven bands of EQ, balanced outputs and MIDI capabilities were added (CP-70/80B and M models). Often used with chorus and compression effects, the CP-80 was known for having more "punch" than an acoustic piano. Production began in 1977 and ended in 1987. RMI Electra-Piano Built by Rocky Mount Instruments, a division of the Allen Organ Company, from 1967-1980, the RMI Electra-Piano is the one electric piano represented in Classic Keys, which did not produce sound by electro-mechanical means. With an electronic tone-generator for each note, un-weighted plastic keys, which were not touch-sensitive, and a set of "stops" for sound selection, the RMI more closely resembled an organ than anything else. Both sustain and volume pedals were included with the unit. Most were black tolex-covered consoles with 61 (later 68) keys, and rested on a set of metal legs. There were five stops on the RMI, which controlled the tone: Piano, Piano PP, Harpsi, Harpsi PP, and Lute. There were two additional stops; Accenter, which added in an attack "thump" as well as Organ Mode, which extended the decay of held notes. Though not capable of producing a realistic piano sound, the RMI did provide a viable "electric harpsichord/clavichord" tone. In addition, the overall sound of the RMI was warm, yet manageable, and lent itself nicely to the use of effects processors and pedals. The RMI appeared on a variety of albums in the early and mid seventies, and was featured prominently in the music of the progressive rock bands Genesis and Yes. 6 PC1 Classic Keys User's Guide PC161 or PC1x Version 2 Operating System Feature CC Pedal Parameter Many of the patches in the Classic Keys expansion board make use of controller 04 - Foot, as a "wah" pedal. Also used to control the volume of certain layers within a program. Knob D (MIDI 13) Controls filter resonance on many programs. Controls tremolo, phaser, and LFO rates. Also used to control the volume of certain layers within a program. [. . . ] Wah (Bandpass Freq) FX-A Wet/Dry FX-B Wet/Dry Lyr 3 Volume Control (Attack Thump) Bandpass Width Modwheel Knob A Knob B Knob C Knob D SW 2 SW 4 CC Pedal Wah (Bandpass Freq) SW pedal 1 063 Dual Wah (bandpass freq) Rufus/Marley WAH Modwheel Knob A Knob B Knob C Knob D Bandpass Width SW 2 SW 4 CC Pedal Wah (Bandpass Freq) SW pedal 1 Reproduction of the high-sweeping wah sound on Billy Preston's "Outta Space". Wah (Bandpass Freq) FX-A Wet/Dry FX-B Wet/Dry Inspired by the Clav parts from Bob Marley's "Stir It Up"and "Tell Me Something Good" by Rufus and Chaka Khan. 17 Classic Keys Programs Prog 064 Program Name Yesesis Tron Str Controller Modwheel Knob A Knob B Knob C Knob D SW 2 SW 4 CC Pedal SW pedal 1 Description Vibrato Depth FX-A Wet/Dry FX-B Wet/Dry Brightness (filter cutoff freq) Filter Resonance Enable Octave Lyr Prog 068 Program Name Octave Tron Str Controller Modwheel Knob A Knob B Knob C Knob D SW 2 SW 4 CC Pedal SW pedal 1 Description Vibrato Depth FX-A Wet/Dry FX-B Wet/Dry Brightness (filter cutoff freq) Filter Resonance Disable Octave Lyr 065 Moby Tron Modwheel Knob A Knob B Knob C Knob D SW 2 SW 4 CC Pedal SW pedal 1 Recreates the definitive progrock Mellotron String sound, used by Yes, Genesis and King Crimson. Env attack control lyr 1 FX-A Wet/Dry FX-B Wet/Dry Brightness (Bandpass Freq) Lyr 4 Volume Control (Turntable Noise) 069 Siberian Khatru Modwheel Knob A Knob B Knob C Knob D SW 2 SW 4 Detune Lyrs 2 and 3 (Organ) CC Pedal SW pedal 1 Lyr 2 and 3 Volume Control (Organ) FX-A Wet/Dry FX-B Wet/Dry Brightness (Filter Cutoff Freq) Lyr 1 (Strings) Filter resonance Lyr 4 Volume Control (Turntable Noise) 066 Space Oditty Modwheel Knob A Knob B Knob C Knob D SW 2 SW 4 CC Pedal SW pedal 1 Inspired by string sound on "Porcelain" from Moby's "Play" Lyr 2 (Hi Strings) Volume Control FX-A Wet/Dry FX-B Wet/Dry Brightness (filter cutoff freq) Filter Resonance 070 LightYearStrings Modwheel Knob A Knob B Knob C Knob D SW 2 SW 4 CC Pedal SW pedal 1 Another one of Rick Wakeman's sounds from "Close To The Edge, " featuring Mellotron strings doubled with Hammond organ on "Siberian Khatru". Tremolo Depth FX-A Wet/Dry FX-B Wet/Dry Brightness (filter cutoff freq) Filter Resonance 067 RocknRollSuicide Modwheel Knob A Knob B Knob C Knob D SW 2 SW 4 Enable Lyr 3 (Piano) CC Pedal SW pedal 1 Rick Wakeman's Mellotron strings and flutes from David Bowie's "Space Oddity". [. . . ]