K 5 0 0 0   R e s o u r c e s

b y   J e n s   G r o h   ( k 5 0 0 0 @ o p t i m o l c h . d e )

My Morphing Tutorial

and a Japanese translation.

Kenji's K5000 Message Board Digest

(archived from his old "Eat At Joe's Studio" website)

Kenji's K5000 Patch Repository

(archived from his old "Eat At Joe's Studio" website)

Kenji's "K5K Cuisinart", a K5000 patch editor program with algorithmic patch generation functions

(for Windows; using WineBottler I was able to let it run on a Mac, too)

Greg Waltzer's Arpeggiator Tutorial

(archived from his old website)

K5000W Topics Excerpt of Stoffel's Homepage

(archived from his old website) (in German but very valuable! Try Google's translation)

Links (updated 2020-12-28)

"Kawai-K5000" Group on groups.io
Raw Data Archive of Former Group "K5000" on yahoo.com, archived mid-december 2019. This mailing list, inherited from eGroups and in turn inherited from GeoCities, dated back to 1998!
Xaza's K5000 Editor

My Patches (.KA1 Files)

Name Description Sources
ADDpegio Additive synthesis can create a melody - carefully chosen DHE settings make it possible. The sound resembles a musical clock playing a 9/8 pattern. Experiment with the FF BIAS and USER1 control knobs. 2 * ADD
BioReact Pure digital aliasing artifacts - somewhat spooky. Note how sensitive to pitch changes it is. 2 * ADD
Chroom A dark ambient drone. 2 * PCM
Dingl An FM-like patch, created by using the MORF function. Adjust the metallic character with the USER1 knob. 2 * ADD
Etheo2 The timbre is somewhat choir-like, the dynamics is rather percussive. The Formant Filter setting was computed with a "virtual resonators" program made by me. 3 * ADD
FazeTalk From the "alien" contest: Extraterrestrial voices in dialogue. Playing suggestion: Hold any single note. Holding a chord makes a crowd of babbling robots. Recommended controllers: PitchBend, ModWheel, USER1, USER2, USER3, USER4. 2 * ADD
Ferno From the "PCM" contest. 4 * PCM
FettFett Turn the USER3 knob to change the timbre from a warm pad to a powerful fanfare. 3 * PCM
GasShutl From the "alien" contest: A robotic transporter flying by. Playing suggestion: Hold any single note. Try playing staccato if USER3 is turned all down. Recommended controllers: Velocity, USER1, USER2, USER3. 3 * PCM
Gulul Weird gargling sound. Suggestion: hold a chord and turn the USER2 knob left. 2 * ADD
Invasion From the "alien" contest: The big battle. Playing suggestion: Play the chord B2(note#47) - B3(note#59) - B4(note#71) - B5(note#83). Recommended controllers: None, sorry. 3 * ADD + 1 * PCM
KngzHall Lovely pad. Try the USER1 ... USER4 macro controllers, pitch bend, arpeggio... 2 * ADD
MothrShp From the "alien" contest: Calm atmosphere inside a huge spaceship. Playing suggestion: Hold any single note or a wide chord. Recommended controllers: PitchBend, Even/Odd, Cutoff, FF Bias, USER1, USER2, USER3. 4 * ADD + 1 * PCM
NoEase One more "industrial" texture. An attempt to get noise out of additive synthesis. Controllers: Mod Wheel, Cutoff, USER1, USER4. 2 * ADD
PsdoFlng A pseudo-PWM sound using the formant filter to emulate the spectral characteristics of pulse width modulation. No flanger used, and just one ADD source! 1 * ADD
Quartz-5 From the "drones" contest: A hypnotizing rhythmic-harmonic maze. (Who cares whether it's exactly a "drone" or a piece of Minimal Music?) Playing suggestion: Push the hold pedal and arpeggiate some chord, trying to match the rhythm. Recommended controllers: USER4 (controls echo amount). With a held-chord example (850kB MP3 file) - no sequencer or arpeggiator involved! 3 * ADD
Simoog A classic lead sound: A sawtooth wave is filtered with a 24dB/octave resonant lowpass filter. Nothing unusual - besides the fact that it is done completely with additive synthesis (even the "real" filter is switched off). 2 * ADD
TimeSurf From the "long evolving" contest: Calm, doze-in-the-sun atmosphere. Controllers: Cutoff, USER1...4. With a held-chord example (2.8MB MP3 file) - no sequencer or arpeggiator involved! 5 * ADD + 1 * PCM
Vacuum From the "alien" contest: Authentic emulation of what you hear in empty space. Playing suggestion: Anything. Recommended controllers: Every. 2 * ADD

My KAA-to-KA1 File Conversion Utility

(DOS/Win executable) (No warranty - use at your own risk!) (including source code)

My KAA File Analysis Utility

with explanations by Mike Hester.

My File Repair Utility for corrupted .KA1 files

(DOS/Win executable) (No warranty - use at your own risk!) (including source code)

Instructions for Iwamoto's KA1-to-KAA File Utility

The SHARC patches (ZIP Archive of .KA1 Files)

This set of 39 K5000 patches of mine is derived from orchestral instrument timbres. To create these patches, I made use of the SHARC timbre database by Gregory Sandell [disclaimer] and a special software written by me.
The purpose of these patch files is to provide a set of harmonic and formant spectrum "building material". They are not meant to be ready-to-use imitations of acoustic instruments.
Here is a complete list of the instrument names:
Bach_trumpet          bass_clarinet         altoflute_vibrato
Bb_clarinet           bass_trombone         piccolo
CB                    bassflute_vibrato     trombone
CB_martele            bassoon               trombone_muted
CB_muted              tuba                  violin_vibrato
CB_pizz               cello_martele         viola_martele
C_trumpet             cello_muted_vibrato   viola_muted_vibrato
C_trumpet_muted       cello_pizzicato       viola_pizzicato
Eb_clarinet           cello_vibrato         viola_vibrato
English_horn          contrabass_clarinet   violin_martele
French_horn           contrabassoon         violin_muted_vibrato
French_horn_muted     flute_vibrato         violin_pizzicato
alto_trombone         oboe                  violinensemb
All 39 patches are based on a template patch which I made as neutral as possible, besides applying a slight reverb and a soft amplitude envelope. You can control the envelope speed by key velocity. The template patch has two sources, one for the 64 low harmonics, one for the 64 high harmonics. Only the harmonic levels, the formant filter levels and the key zone vary from instrument to instrument.
Note that I did not edit these values after calculating them. So, do not be surprised that harmonic and formant curves are cut off somewhere, and that outside the note range of the original instrument nothing is to be heard: I took only what is actually in the database. Occasionally, I had to throw bad data away. This explains some "holes" in the formant spectrum. Sometimes, you can hear "jumps" in timbre from note to note. This comes from my conversion algorithm, which is not yet perfect, in conjunction with the variations that are already in the SHARC data. I hope to improve that some day. Likewise, the loudness relations between different notes cannot be expected to reflect the true ones.

Table of Vowel Formants

Valid .KA1 file sizes:

File Size Number Of Sources
254 bytes 2 PCM
340 bytes 3 PCM
426 bytes 4 PCM
512 bytes 5 PCM
598 bytes 6 PCM
1060 bytes 1 PCM + 1 ADD
1146 bytes 2 PCM + 1 ADD
1232 bytes 3 PCM + 1 ADD
1318 bytes 4 PCM + 1 ADD
1404 bytes 5 PCM + 1 ADD
1866 bytes 2 ADD
1952 bytes 1 PCM + 2 ADD
2038 bytes 2 PCM + 2 ADD
2124 bytes 3 PCM + 2 ADD
2210 bytes 4 PCM + 2 ADD
2758 bytes 3 ADD
2844 bytes 1 PCM + 3 ADD
2930 bytes 2 PCM + 3 ADD
3016 bytes 3 PCM + 3 ADD
3650 bytes 4 ADD
3736 bytes 1 PCM + 4 ADD
3822 bytes 2 PCM + 4 ADD
4542 bytes 5 ADD
4628 bytes 1 PCM + 5 ADD
5434 bytes 6 ADD

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