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Kawai | K5000S |
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Description | The K5000S is an Advanced Additive Synthesizer that combines real-time performance features and unique synthesis capabilities into a single unit. ADVANCED ADDITIVE TONE GENERATOR The K5000S series updates the famous K5 synthesizer tone generator and its unique additive harmonic synthesis approach. The Advanced Additive Tone Generator contains 32 source generators, which depending on how they are used, can yield up to 32 voice polyphony. PCM samples can also be mixed with additive sources. As few as one or as many as six sources can be used to make a single sound. For example, a PCM wave of a piano hammer can be superimposed with the sound of the piano string created by additive harmonics. 128 BAND FORMANT FILTER A new addition to the Advanced Additive tone generator is the 128 Band Pennant Filter, which can used as a Parametric EQ or several other con?gurations. The Formant Filter is completely controllable by envelopes or LFOs. MACRO CONTROL Unique to the K5000S model are the macro controls for major sound parameters, available on the front panel for instant access. In addition, four user controls are programmable for each patch. PROGRAMMABLE ARPEGGIATOR The K5000S Programmable Arpeggiator, features a wide range of control, ideal for use in Tekno and other modern musical styles. DIGITAL EFFECTS SYSTEM The K5000S contains an advanced digital effects processor (DSP), which allows four individual effects of chorus, delay, distortion, etc., in addition to reverb and a graphic equalizer. When playing a single sound, individual sources can be routed to individual effects; when playing multiple sounds in Multi mode, individual sounds can be routed to individual effects. |
| Brand | Kawai |
| Model | K5000S |
| Device | Synth |
| Type | Keys |
| Engine Type | Digital |
| Engine | PCM |
| Voices (max) | 32 |
| Multitimbral | 4 |
| LFO | 4 digital modulators (triangle, saw, random and square ) and 4 destinations: 1- oscillator pitch 2- amplitude 3- filter "standard" 4- filter formant. |
| Engine Detailed | Digital Additive Synthesis plus PCM samples; Harmonics: 64 per source; Waveforms: 123 synth. |
| Filter (VCF) | 128-band formant filter, 24dB/oct low-pass and high-pass |
| Envelope (VCA) | ENVELOPE 5 EGs: 1- amplitude osc: 4 segments+ 2 levels 2- pitch osc: 4 segments+ 2 levels 3- standard filter: 4 segments+ 2 levels 4- formant filter: variable structure 5- harmonic: variable structure every harmonics has its own EG with possible loops scan between decay segments. |
| FX | 4 effects algorithms with 32 different effects |
| Memory | 200 patches, 64 performances |
| Arpeggiator | 40 patterns, 8 user |
| Controllers | 1 pedalswitch input - 1 expression pedal input - 2 assignable pedalswitch inputs |
| Keys | 61 |
| Key type | Keys |
| Velocity | Y |
| Aftertouch | Channel |
| Midi | I-O-T |
| Produced: | 1996 - 1996 |
| Legend: | Obvious | Y: Yes, N: No, N/A: Not Applicable | |
| VCO | Voltage Controlled Oscillator | DCO | Digital Controlled Oscillator |
| LFO | Low Frequency Oscillator | Sub | Sub Oscillator |
| VCF | Voltage Controlled Filter | VCA | Voltage Controlled Amplifier |
| Velocity | As with a piano, the harder you hit a key, the louder the sound, unlike most organs which always produce the same loudness no matter how hard you hit a key. | Aftertouch | Pressing a key after you activated it. Channel Aftertouch, no matter which key, it will send a Channel message. Poly Aftertouch, sends the pressure per key instead of the whole channel. |
| Values for OSC, LFO, Filter, Envelope are per voice unless stated otherwise. | |||
