A somewhat edited version of the 1 Layer Piano sound that I've posted over at KSetList. This actually uses two layers, basically there's a silent Layer set to "opaque" that only sounds for extremely low velocities -- this mimics a real piano in that you can press very gently on the keys and not strike the strings. Everything else is on the second Layer.

1 Layer Piano demo

An attempt at making the "Lucky Man" Moog Modular lead sound heard at the end of the track. Minimal reverb is applied and I'm not playing the solo, this is just a test to see how close we can get to the original sound on the Kurzweil PC3.

Lucky Man Demo

WARNING: Lots of sub-bass and bass content, play at a suitable level for your system (start at a low volume and increase slowly, most of the bass comes in at the end of the clip).

Demonstrating using the auxiliary outputs on the PC3 to send an audio signal into the CC Pedal 2 input ("Foot" is the control source in VAST). Layer 1 is set to the aux outs, with a square wave; this is the modulation source. Layer 2 is a SAW into a 2 pole Lowpass filter. I have output gain on Layer 1 set to Slider A, and resonance set to Slider B. The nice thing about this setup is if you enable portamento the rate of your "LFO" (in this case the square wave on Layer 1) moves smoothly as notes glide. In this example, I start with the highest note on my keyboard (a PC361, so C7) and then hit the lowest note. I adjust Sliders A and B while the pitch glides down to C2.

Kurzweil PC3: Aux output to Control Pedal 2 Input

Two cymbal sounds created using a single Layer on the Kurzweil PC3. More info to follow...

Cymbal Demo

Buy it now in the Poser's Kitchen SynthAPP Store! http://pc3nerd.blogspot.com/p/the-synthapp-store-posers-kitchen.html

Track listing: Duarte preset 1, Duarte preset 2, Duarte preset 3, Duarte preset 4, Duarte preset 5, Duarte preset 6, Duarte preset 7, Duarte preset 8, Duarte preset 9, Duarte preset 10

Note: The following story is fictional, but the soundware is true.

Many people involved in synthesizers were inspired by the new sounds emerging in the early 80's, and Jessica Monarez was no exception. Jessica had just finished high school at the time Michael Jackson's "Thriller" hit the streets and was instantly drawn to the sound, especially the hit song "Beat It". As luck would have it, Jessica had just acquired her first synthesizer -- a Casio CZ101 -- and started emulating the sounds she heard on various records, including "Thriller". Not satisfied with the sounds she heard, and being the daughter of an electrical engineer (her father worked as an electrical engineer for City of Hope), Jessica decided to create her own synth. 

After dissecting her beloved Casio (and successfully reassembling it) several times and running tests using her father's bench equipment, Jessica set out to create her take on the "phase distortion" synthesizer for a class project at Harvey Mudd in Pomona. The Sonez fused early digital filters and FM-style synthesis using a unique approach to DA conversion -- her synth had voice cards and the low frequency of the DA's sample rate was locked to the key currently sounding (i.e. when playing A440, the frequency range on the DA spanned 440hz to 20440 hz). Thus the Sonez could approach the higher-quality sounds of far more expensive synths (such as the Synclavier used on "Beat It") while still using normal DA converters.

Jessica graduated with honors and soon thereafter began graduate studies at Caltech. By this time, her interests had evolved and she began experimenting with the nascent field of digital imaging. Thinking that visual synthesis was the future, Jessica pursued a dual PhD in electrical engineering and physics. After graduating, Jessica headed north to Silicon Valley to pursue various job opportunities. Meanwhile, the Sonez remained in her closet at her parent's house in Duarte and, when Jessica relocated to Salt Lake City to head up a computer vision group at Evans and Sutherland, the Sonez stayed behind.

We first learned of the Sonez through Jessica's father, an avid hobby musician who is something of a fixture of the San Gabriel Valley jam session scene. He found the Sonez in Jessica's closet one Saturday several years ago and, after a few test runs on his bench (to ensure that none of the now-vintage parts would burn up when full voltage was applied), began bringing it along to the sessions. He immediately reprogrammed it to reproduce a wide range of piano-like tones and is still using it today. We thank the Monarez family for allowing us to recreate the Sonez so now we too can all play along. While we cannot fully emulate the control logic of the Sonez, we have implemented many of its features with a focus on the electric piano-style sounds it is capable of producing.

NXTP Duarte Demo

Buy it now in the Poser's Kitchen SynthAPP Store! http://pc3nerd.blogspot.com/p/the-synthapp-store-posers-kitchen.html

Track listing: Gower preset 1, Gower preset 2, Gower preset 3, Gower preset 4, Gower preset 5, Gower preset 6, Gower preset 7, Gower preset 8, Gower preset 9, Gower preset 10

Note: The following story is fictional, but the soundware is true.

Gerald Lynn Berman came from a home with a Jewish father and an African-American mother. He grew up surrounded by both traditional Jewish folk music and all the various idioms of American pop music. It was natural, therefore, that he should develop an interest in learning an instrument, so in 1960 at the age of 13 his father bought him an accordion and arranged for him to take lessons from a local teacher in his Central LA/Hollywood neighborhood. At around the same time, some of the local (and not-so-local) kids who were into new music met irregularly at Jose Cuaron's house (the inventor of the "Alameda", see below) near East LA. Here he also crossed paths with Jerome Gill (the inventor of the "Slauson") and other underground luminaries in Southern California's synth scene. 

Gerald’s accordion and keyboard skills kept him busy in his free time, with gigs playing Bar Mitzvahs and subbing for organists at local churches on Sundays. Gerald began to dream up an instrument that he could use in all his music. Pipe organs and accordions both used forced air to create their sound, he reasoned, so why not combine the two instruments.

With the help of his friends and some after-hours time at Gerald’s employer (a machine shop specializing in producing aerospace components), Gerald created a portable foot-“pumped” keyboard. The foot actually controlled air blown by an electric pump in the keyboard case (the original instrument is approximately the size of a Fender Rhodes). Air moved through a series of pipes with metal reeds on the ends. Gerald’s genius was to use a number of small pickups that allowed him to capture and blend the sound from both the reed and pipe, with each pickup placed so it sat directly below the harmonic “nodes” of the pipes. Using primarily the sound from the reed would produce an accordion tone. Blending in the other pickups would create variations on that tone, and the whole arrangement responded to the varying air pressure as controlled by the foot pedal.

The overall tone of the resulting instrument could thus span a wide range of sounds between accordions, harmoniums, and pipe and tone wheel organs. With his instrument complete, Gerald went on to play many gigs (and, it is rumored, on a few studio recordings) with his creation, which Gerald nicknamed the “Guardian”. As its fame spread, several manufacturers approached Gerald to license his design for production.

However, it proved difficult to machine all the small parts necessary on a large scale, so while several attempts were made to produce the Guardian, none came to fruition. 

Gerald died in a tragic accident at the shop where he worked in 1979. At he time of his death the Guardian was in Jose Cuaron’s warehouse on the east side of Los Angeles. Jose continued to play and use the instrument, as did the others within their small circle of friends. Over time the instrument fell into disrepair, and it wasn’t until very recently that anyone could find Gerald’s original schematics. 

We’re happy to report that the original Guardian is being restored to working condition. We want to thank Jose for making the schematics available to us in return for supporting the restoration work. We have implemented the Guardian using a unique combination of FM synthesis and bandpass filtering; while not technically a “physical model” of the original design, our implementation is faithful to its sound and functionality.


NXTP Gower Demo

NXTT Moors 2

NXTT Moors 1

Another iteration on my way to either a Wurly or a Rhodes (whichever happens first). This one includes simulation of hammers instead of a sample for the hammer sound.

3 Layer EP, Pt 2

Intro

Demo of a Program I put together to, as accurately as possible, replicate the bass synth sound from the Headhunter's track "Chameleon". The only thing missing is running this through an amp in a room, I left that off so that, if you're using this patch, you can add your own amp (or use an amp sim). The Program can be found here: http://www.ksetlist.com/viewtopic.php?f=11&t=41

Headhunters "Chameleon" bass synth demo

Now available for $10 for all PC3-compatible instruments: 

http://pksoundware.blogspot.com/p/pk-wurlitzer-200a.html

The PK Wurlitzer 200A is an all-synthesis* Wurlitzer 200A Program for Kurzweil PC3-compatible instruments. Because no samples are used, the Program's response to velocity is continuously variable.

*I stole the key-up noise from one of the ROM sounds, but otherwise everything you here is pure synthesis magic

The PK Wurlitzer 200A

Now available, $10, for all PC3-compatible instruments:

http://pksoundware.blogspot.com/p/pk-wurlitzer-200a.html

Another demo of the PK Wurlitzer 200A, this time with some more dynamics to demonstrate the Program's tonal range.

PK Wurlitzer 200A Demo 2

Demo track showcasing the "capabilites" of the NXTT Shroom soundware, available here:

http://pc3nerd.blogspot.com/p/the-synthapp-store-posers-kitchen.html

This is the first semi-modular soundware for the PC3 and PC3K. Patch the Aux 3 (Right) output into CC Pedal 2 to use "Operator 2" as a mod source for the paraphonic filter's cutoff frequency. The filter is switchable between lowpass, bandpass, highpass, and notch modes, with controllable resonance/width. Lots of fun stuff going on here. Enjoy! 

NXTT Shroom Demo

Introducing the Ol' Dirty Analog ODD soundware for Kurzweil PC3 compatible instruments, available now for $8.00 USD:

http://pc3nerd.blogspot.com/p/the-synthapp-store-posers-kitchen.html

The ODD is inspired by a loose combination of various analog synths of yesteryear, including the ARP Odyssey and the Roland Juno 106, but with a unique design all its own.

NXT Ol' Dirty Analog ODD Demo

Building on the 2 Layer Supersaw, then diving deep, deep inside...

Third Trance From The Sun

First attempt at modeling the Hohner D5 Clavinet on a Kurzweil PC3. The model isn't 100% accurate, but it's close enough for pre-release. This uses FM + filtering + other synthesis to do the main "body" of the sound, plus the key up/down samples from the PC3 ROM.

PK Hohner D5 Clav Demo

More "room" style drums done in Reason using samples and creative use of reverbs/delays/etc to mimic miking drums in a room.

Lock

Much closer, a bit of tweaking to the detuning and she's read to, uh, tweak...

NXT Suprasaw

Next demo, I've implemented the "Mix" and "Detune" sliders per the JP8xxx

NXT Suprasaw Mix Detune

Glowstick-Glowstick-Glowstick-Glowstick... All sounds except drums are Suprasaw.

EP!!!C -- NXT Suprasaw Demo

I'm looking for any information about this song. I found it on an Audiodiscs home recording blank with the title written on the label in pen as "Whistle Like A Missile". The rhythm and structure are rather unique, it's a very catchy tune and whomever recorded it should be quite proud of the songwriting and arrangement IMHO. So, internet/universe/series of tubes, help me out! More info about audiodisc here, this is the "Audiodisc, Type 2" black and yellow label: http://www.phonozoic.net/recordio/ -- mine, alas, is undated. Side two (also to be uploaded) is titled "Lotta Lotta Lovin'"

[HELP unknown artist] Whistle Like A Missile

A groove, just because. I ain't no Harvey Mason, but I think this came out a'ight.

Charmelon

boom bap with QY-100 and Volca Sample

Jazz Valley Blues

Janiper

Using NXT ODD to do synth bass on a classic tune...

Chameleon Cover -- Demo for NXT ODD

A synthesized "horn" sound for the Kurzweil PC3. The synthesis is done using bandpass filters in series with FM operators, the basic signal flow is FM operator --> FM operator --> bandpass filters a & b in parallel --> FM operator. This, essentially, is a combination of formant and FM synthesis in a manner that's only possible on a handful of synthesizers. 

TutHorn Demo

Half a layer of V.A.S.T., no LFOs, no FUNs, no anything, really, aside from aftertouch and pitch control. Two effects -- a Kurzweil proprietary effect called "Pitcher" (slightly modified by me) and a preset called "Cathedral Chorus". This short clip is me playing one key and modifying pitch and aftertouch.

KKrazy

This track is my envisioning of what "Acid" techno might have sounded like if the original producers had used advanced digital synths instead of the TB 303.

The pad sound is PC3 preset "Airy Pad" with some Cathedral Chorus thrown in for good measure. The drum sounds are the XL-7's 909 kit. All sequencing and performance was done on the XL-7.

Same Program as KKrazy, only I've removed the Pitcher effect. The same two notes are always playing, throughout the track I'm messing with the touchstrip on the XL-7 (which is controlling the PC3). This simple arrangement of V.A.S.T. blocks (SAW into WRAP) is capable of a wide range of sounds. Here, I've pitched SAW up 60 steps so almost everything is aliasing noise. I've disabled pitch tracking on the keyboard and enabled db tracking with WRAP (0.5 db/key). The way WRAP works, 0.5db of key tracking will sometimes produce sounds that are pitched correctly across the keyboard, thus turning it into an "oscillator" of sorts. I've picked a frequency that aliases with a predominant sub-audio component; WRAP then (by wrapping the waveform) brings this up to audible pitch levels. However, even tiny changes in the pitch of the SAW oscillator will produce wild swings in pitch and tone since the aliasing noise may change drastically from one frequency to the next. Every so often you land on a frequency that produces a "good" waveform -- in this case, the tune begins and ends with that particular frequency.

poserp

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