The Ultimate Kawai K5000 Tips And Tricks Guide

Kawai K5000 Tips And Tricks Guide – Compiled from the archives of the Eat At Joe’s K5000 message board

The Kawai K5000 series synthesizers are powerful additive synthesis instruments that offer unique sound design capabilities. This comprehensive guide compiles the best tips, tricks, and techniques from the synthesizer community to help you get the most out of your K5000.

Overview of the K5000 Series

The K5000 features additive synthesis with up to 64/128 harmonics, PCM waveforms, harmonic envelopes, a formant filter, comprehensive effects section, morphing capabilities, and multitimbral operation. The K5KW model includes GM patches using the GMEGA sample library and offers 106dB signal-to-noise ratio with dual 32-note polyphony engines.

Sound Design & Programming Techniques

Pulse Width Modulation (PWM) Emulation

Creating authentic PWM sounds on the K5000 requires creativity since it’s not a traditional analog synthesizer:

Method 1: PCM Wave Mixing

• Mix PCM waves ‘Saw 2’ and ‘Saw 3’ (inverted Saw 2) with identical settings
• Detune slightly using fine pitch for authentic PWM effect

Method 2: Harmonic Envelope Modulation

• Square waves consist of sine fundamental and odd harmonics
• Use harmonic envelopes to simulate PWM: 1/n pulse width means absence of every ‘nth’ harmonic
• Modulate harmonic content using MIDI CC (pitch bend, aftertouch) for dynamic PWM

Method 3: Formant Filter as Comb Filter

• Use formant filter to create zeroes at multiples of low frequency
• Creates flanger-like PWM approximation (see example patch ‘PSDOFLNG.KA1’)

Method 4: Loop Function (Limited)

• Use loop1 function on harmonic envelopes up to 16 harmonics
• Note: Limited by linear amplitude changes and timing restrictions

Creating Fatter Bass Sounds

Effects Processing:

• Use ‘Enhancer’ effect to boost bass frequencies
• Apply EQ to bump up low-end response
• Add chorus for ‘muddy’ bass textures

Layering Techniques:

• Use multiple identical sources with slight detuning (5-15 cents)
• Add octave-down layers at -12 or -24 semitones
• Replace PCM waves with ADD counterparts for warmer, more analog sound

Synthesis Techniques:

• For sine-type basses (drum & bass style): Create additive waveform with only 1 harmonic set to 127
• Use lowpass filter with swept cutoff for ‘booming’ sounds

Resynthesis & WAV Import Tips

Source Material Guidelines:

• Use short samples (approximately 1 second)
• Avoid frequency modulation in source material
• Create balanced frequency content using tools like WavGen
• Better results with raw synth WAVs than acoustic instruments

Processing Techniques:

• Ensure samples are pure enough for clean looping
• For percussive sounds with >64 harmonics, consider dual Fourier series
• Use harmonic envelopes and Fourier Filter for motion
• Employ morphing capability to transition between up to four resampled waveforms

Programming Without Mathematical Expertise

Template-Based Approach:

• Start with full templates (saw wave) and subtract harmonics (‘Additive Subtractive’)
• Begin with thin templates (triangle wave) and add harmonics
• Focus on first 16 harmonics for most real/analog sounds

Specific Techniques:

• Pick individual harmonics for bells, organs, chimes (try series: 1, 4, 9, 16…)
• Copy harmonic spectra from real instruments (Sharc database)
• Max out harmonic groups, then shape with envelopes and effects
• For ‘sting’ sounds: Max higher harmonics (>8), sweep formant filter, add heavy distortion

Special Effects Creation

Compressor Simulation:

• Use distortion effect with drive set to 1 (acts like infinite compression)

Resonant Filter from Auto-Wah:

• Set auto-wah sensitivity to zero for pure resonant filter

Aliasing/Bit Reduction Effects:

• Chain two distortion effects
• First effect: High and low EQ to -12, very low level
• Second effect: High and low EQ to +12, boosted level
• Simulates bit depth reduction and re-amplification

MIDI Control & Programming

MIDI CC Assignments for Knobs

The K5000 supports extensive MIDI control via these CC numbers:

• Knobs: 16, 18, 74, 73, 17, 19, 77, 78, 71, 75, 76, 72, 80, 81, 82, 83
• Common Assignments:
  • CC 71: Even/Odd or Harmonic Content
  • CC 72: Release
  • CC 73: Attack
  • CC 74: Cutoff

Switch & Footswitch Control

Portamento Control:

• CC 65: Values 0 or 127 (hex: 41h = 0 or 7Fh)

Switch Controls (via NRPN):

• SW1 (Octave Down): CC 99=32, CC 98=64, CC 6=0 or 127
• SW2: CC 99=32, CC 98=65, CC 6=0 or 127
• FS1: CC 99=32, CC 98=66, CC 6=0 or 127
• FS2: CC 99=32, CC 98=67, CC 6=0 or 127

Arpeggiator Control (SysEx):

• On: F0 40 08 10 00 0A 60 00 00 00 00 00 7F F7
• Off: F0 40 08 10 00 0A 60 00 00 00 00 00 00 F7

Multitimbral Setup

Patch Changes via MIDI CC:

• Multi-bank: Control 0 (value 101), Control 32 (value 0), then patch number minus 1
• A-bank: Control 0 (value 100), Control 32 (value 0), then patch number minus 1
• D-bank: Control 0 (value 102), Control 32 (value 0), then patch number minus 1

Operating System Features

OS Version 4.00 Enhancements

Interface Improvements:

• Harmonic select buttons (L3, L4) have auto-repeat in multiview
• Multi-edit key zones: Set zones by holding button and playing notes
• Write section shows patch names when selecting destinations

Additional Features (S/R models):

• Assign PGM UP/DOWN to switches or footswitches (SYSTEM -> F SW)
• Load individual arpeggio patterns (L1-L4 selection)
• One-touch effect cancel/undo (L4 in play mode)

Bank Management:

• Link Bank: Access by pressing ‘Single’ button multiple times
• ME1 banks E and F: Select by pushing ‘single’ repeatedly
• Effect copy: Copy single effects to multi, comb mode (EDIT + F7)

Operational Tips & Workflow

Patch Management

Bulk Loading:

• Use ‘ka1tosyx’ utility for converting multiple patches
• Place patches and executable in same directory
• Run ‘ka1tosyx .‘ then load resulting SysEx files

Memory Management:

• Muted sources consume memory but not polyphony
• Remove sources by copying last source over unwanted one, then reduce total count
• Alternative: Set unwanted sources to extreme note ranges (1 or 128)

SoundDiver Usage

Best Practices:

• Set automatic backup to maximum time or manual mode
• Avoid cut/paste between patches – close first patch before opening second
• Disable screen savers to prevent lock-ups
• Increase MIDI timeout to 750ms for requesting multiple patches

Updates & Maintenance:

• Back up SoundDiver folder before updating modules
• Save remote changes to permanent memory using F4 backup on K5000

Hardware Tips

Sustain Pedal Split:

• Create identical patches, assign sustain to release time in one
• Use keyboard split in multi mode for half-keyboard sustain

Footswitch Issues:

• Check polarity in System section, change to ‘RVRS’ if needed

Display Noise Reduction:

• Install switch on white cables from power supply to display
• Switch blanks screen but eliminates noise

OS Installation & Updates

Installing OS Version 4

Internet Explorer Method:

1. Format floppy on K5000
2. Go to Kawai download page
3. Right-click file, ‘save target as’
4. Select A drive, re-enter filename in caps (e.g., ‘K5000SR.SYS’)

Zip File Method:

1. Unzip DIRECTLY to freshly formatted K5000 floppy
2. Avoid letting file touch Win95 hard drive (FAT32 issues)

Supplemental Disk Installation:

• Hold F1 while switching on with disk in drive
• For Phrase Sampler: Hold both Section up/down buttons with disk in drive

Known Issues & Workarounds

OS 3.01 Bugs

DHE Multiview Display Bug:

• Loop parameter shows harmonic #1 value regardless of selection
• Editing works correctly, display issue only

Memory Corruption:

• Deleting last patch in bank can corrupt memory
• Workaround: Always leave one patch in bank or reload from *.KAA file

Stuck Notes (K5000S OS 3.0):

• Arpeggiator notes may continue droning
• Solution: Press stuck note or switch patches

Hardware Limitations

Non-Functional Features:

• Stretch tuning beyond basic functionality
• Key Scale parameters may not work as documented
• MORF function occasionally sets harmonic levels incorrectly

Voice Management Issues:

• Voice stealing can occur before polyphony limits reached
• Formant Filter transposes with notes in SOLO2 mode

Advanced Techniques

General Additive Synthesis Tips

Starting Points:

• Begin editing existing sounds (ADDSaw, L7 patches)
• Ensure Formant Filter isn’t eliminating sound (max out, no offset/envelope)
• Use subtle decay to emphasize attack

Sound Enhancement:

• Effects like Chorus, EQ, Enhancer, Exciter add size and presence
• Layer multiple sources with slight detuning for thickness
• Replace PCM with ADD sources for warmer analog character

Professional Workflow

Patch Development:

1. Start with appropriate template
2. Modify harmonic content systematically
3. Shape with envelopes and filters
4. Add effects processing
5. Test across keyboard range
6. Save incremental versions

Performance Setup:

• Configure multitimbral patches for live use
• Assign real-time controls to key parameters
• Use arpeggiator creatively with external sync
• Program footswitches for performance functions

Conclusion

The Kawai K5000 series offers unprecedented control over harmonic content and sound design possibilities. These tips and techniques, gathered from the synthesizer community, provide a foundation for exploring the instrument’s capabilities. Whether you’re creating analog-style sounds, designing unique textures, or pushing the boundaries of additive synthesis, the K5000 rewards experimentation and creative programming.

Remember that the best sounds often come from understanding both the technical capabilities and the musical context. Don’t be afraid to break conventional rules and discover your own signature sounds with this powerful instrument.

---

This guide was compiled from the Eat At Joe’s K5000 message board archives and various community contributions. Special thanks to all the synthesizer enthusiasts who shared their discoveries and techniques.