The Complete Bundle
Use the button above to buy all of our soundware packages for $99.99 USD. Purchase includes free tech support and email assistance if you have any issues. This bundle includes all of the soundware listed on this site (currently NXT Suprasaw, NXT ODA ODD, NXT JUNP, and PK Signature Series Wurlitzer 200a), any new soundware created within the next year from your date of purchase, plus our "legacy" collection which includes:
*NXT 1.0*NXT Adelanto
*NXT Yermo
*NXT Duarte
*NXT Rosemead
*NXT Gower
*NXTT Shroom
*NXTT Fourier
As time goes on, we will be adding more soundware. And the price will remain the same, so you can always purchase everything available at any particular time for $99.99.
Included below is all of the documentation for each of the "legacy" soundware packages:
NXT 1.0
What is NXT 1.0? It is a collection of 100 Programs for your Kurzweil PC3, PC3LE or PC3K (note: the SP4 is currently not supported). It consists of ten synthesizer "models" with ten presets apiece. Each model exploits a unique form of synthesis, and most of the models use synthesis that can only be done via VAST on the PC3-series instruments. A video manual is available online via the Poser's Kitchen YouTube channel: NXT 1.0 Video Manual
Please be sure to enter your current email address (or ensure that the email address provided by PayPal is where you want the soundware to be delivered). The package will come in the form of a .zip file. If for any reason you cannot receive .zip files through email, simply let me know in the optional comment field when you place your order and we will contact you directly for download instructions.
Here is a description of the synth "models" included in NXT 1.0:
* PLINK: Useful for lead synth and piano sounds. You can switch between lead synth and piano -style envelopes using the mod wheel.* AteBit: Useful for computer-music-ish sounds and various synth sounds.
* ForM: Sandwiches two formant filters in parallel between three FM Operators. Useful for horn-like sounds and other things where you want to emulate a resonant body.
* BAD: Two oscillators, one a variable pulse width square wave, the other a variable shape Sawtooth wave. Both exhibit little to no aliasing. These are mixed and passed through the "Mogue" 4-pole lowpass filter.
* BLOW: Bandpassed noise through DIST and into SHAPER, then into a PITCHER effect block with PITCHER set to track the lowest note played. This can be useful for sounds that have a pronounced "chiff" (such as blowing on a glass bottle) and other effects. Try using the included replacement Control Setup and the arpeggiator -- enter an arpeggio pattern on the higher-pitched keys, engage SusLatch (Program button 8 in the included Control Setup), then play some bass notes.
* FAM: One AM "Operator" and one FM Operator in series, with a non-resonant filter at the end of the chain. This simple arrangement can do more than either AM or FM alone, since AM and FM produce different sets of side bands.
* WHUT: Exploits a SHAPED SAW wave passed through two WRAP blocks. There is no pitch tracking on the SHAPED SAW, instead the amount of WRAP is tracked across the keyboard. This, surprisingly enough, can produce sounds that play across the keyboard in a normal 12-tone scale at certain settings. It can be used for sound effects and general sonic mayhem.
* Ole Miss: Similar to WHUT, but with some modifications to make it sound "nicer". This employs pitch tracking on SHAPED SAW, but most of the time the pitch is too low to hear without using WRAP (which, by its nature, raises the pitch of the sound). I've found this to be very useful for older-style synth sounds. It also contains my implementation of free-run oscillators.
* PADMAN: A pad-generation "model". Included are 8 Keymaps that have been modified to play "forever" (with the modwheel all the way up) to create evolving sound texture. Uses a sine wave LFO to play through four "slots" that each modify the keymap in a different way. The speed of the LFO can be controlled manually or be tempo-locked via the SW button.
* SIMPLR: A simple Keymap-manipulation model. Load up any keymap in the first Layer and play around with the sliders, basically. You have control over two different volume envelopes -- with SW off, you are controlling a synth-like envelope that will sustain forever. With SW on, you can control the "natural" envelope for the keymap. Useful for all sorts of sounds, but generally works best on sounds with relatively simple spectra (single-cycle waveforms, electric pianos, non-KB3 organs, etc).
Also included is a replacement Control Setup, which re-maps the Program select buttons to the following functions:
button 1: Monophonic/Polyphonic play modebutton 2: Portamento on/off
button 3: Portamento time 1 (portamento time 2 when you turn it off, fastest) -- slower
button 4: Portamento time 3 (portamento time 2 when you turn it off, fastest) -- slowest
button 5: Arpeggio note length -- 1/4 note
button 6: Arpeggio note length -- 1/8 note
button 7: Arpeggio note length -- 1/16 note
button 8: Latch. This will latch currently-held notes while allowing you to play along with the arpeggiating notes.
Sustain Pedal: With arpeggio off, acts as normal sustain pedal. With arpeggio on, acts as "Latch". You can hold down the pedal and add notes to the arpeggiating pattern, then hit button 8 and take your foot off the sustain pedal to keep those notes playing while you play other notes. Pressing on the sustain pedal again will allow you to add more notes to the pattern currently playing.
About NXTP
NXTP is a collection of Programs for your Kurzweil PC3-compatible instrument. Whether you purchase the "apps" separately or as part of a collection, each one consists of 10 Programs and a few Effects chains. The 10 Programs demonstrate the wide range of tones each "app" can produce simply by adjusting your instrument's physical controls (Note: All control mapping follows the PC3 standard, so Slider A = Midi 6/Data, Slider B = Midi 13, Slider C = Midi 23, and so on. Mapping on your instrument may vary). The Effects chains are made to work with the Programs, which use Sliders H and I and SW to control the effects in the chains. You can create your own effects chains, of course, simply set up mods for Sliders H, I and SW to control whatever parameters you wish.
The goal of NXTP is to create "new" keyboard instruments. Much new keyboard instrument design seemed to end with the Yamaha DX7; the DX7's electric piano emulations had a huge effect on music in the 1980's. However, since that time most soundware development in the keyboard sound realm has focused on recreating existing instruments via sampling (or variations on that theme) and/or "physical modeling". We have seen a number of attempts, some of which have become iconic in their own right (the Korg M1 piano, for example). Now we feel it is time to "move the ball" so to speak and introduce some new keyboard instruments created primarily using new or relatively unknown synthesis techniques. We have provided "backstories" so you can get a flavor for what each instrument does and its range of sounds (Please note that the characters in the backstories are all fictional, any resemblance to any real persons is unintentional). We have also provided names to the physical controls that give some indication of how they affect the sound so you can start tweaking immediately. We hope that you will find our new keyboard sounds useful in your music and, maybe, one day NXTP will be the foundation for some new genre of music. If so, we really hope that genre includes at least one Rick Astley...
What You Get In the Box
When you purchase an NXTP "app" or the full collection, you will get the following items:
- A .pc3 file containing the 10 Programs and the Effects
- A .pc3 file containing the 10 Programs and no Effects
- A .pc3 file containing just the Effects
- Free email tech support
About The Effects
The Effects included with NXTP are designed to work with Sliders H and I (midi CCs 27 and 28) and the SW button (midi CC 29). All the effects include adjustable "Soundboard Resonance" on Slider I and a Cabinet simulator that can be enabled/disabled via the SW button. Slider H is used to control a parameter related to the effect. So, for instance, NXTP Chorus uses Slider I to control the Send amount to the Chorus, and NXTP Phaser uses it to control the speed of the phaser effect. Since the Effects all share the same control layout, you can easily swap between them without having to worry about control mappings. Of course more in-depth editing can be done to tweak the Effects by highlighting the effect name on the PROGFX or LYR_FX pages and hitting "edit".
The Models
NXTP Adelanto
Backstory:
Caltech has many famous alumni, including Nobel laureates and scientists who've pushed the envelope of our knowledge about the universe, both on extremely large and extremely small scales. Shi Shen Jin is one of these, although his life veered momentarily in a different direction when he ended up living in Adelanto.JPL (Jet Propulsion Laboratory, a NASA laboratory currently operated by Caltech) established an observatory in the San Gabriel Mountain range at Table Mountain during the early-mid 1900s. The main instrument, a 0.6 M telescope, was installed in 1966. It was this telescope that brought Shi Shen to Adelanto in 1972. Shi Shen's focus was optics and the electro-mechanical mechanisms necessary for proper telescope alignment, and he tested his designs at Table Mountain. He was also an avid music fan and spent many hours listening to jazz and funk music of the time while at work and at home in Adelanto with his family.
Life at Table Mountain could be rather slow, so Shi Shen took to designing instruments during downtime on the job. The music he heard had different "colors" of piano sounds; some were very similar to acoustic pianos, others suggested possibilities and instruments that didn't exist yet or were just barely coming into existence, and Shi Shen was moved to "fill the void" and expand on what he was hearing. Over the course of his four-year stint at Table Mountain, Shi Shen drew up a number of electric piano designs. One in particular made it to the prototype stage; it incorporated several sound generation techniques that were truly ahead of their time. He never gigged his creation or showed it off, except to a few lucky visitors to his home in Adelanto. Eventually Shi Shen transferred to a NASA facility in another state. However, during the move his prototype failed to make it onto the truck. The movers claim that they didn't have instructions to check the basement for items that needed to be shipped, and Shi Shen's wife neglected to inform them of his "space" in the basement which, she though, he'd packed the week before he left. The Jins installed a new hardwood floor in the house when it went on the market, and the installers covered over the entrance, believing it to be of little value. Thus his prototype sat sealed in the basement, awaiting discovery by future owners.
Some years later and after several sales, the owner heard a strange sound when a bowl fell on a certain spot of the floor in the kitchen. Upon further investigation, she found the basement and Shi Shen's prototype along with other technological relics from his experiments. A local antiques dealer purchased the basement’s contents as a lot and, after a bit of research, tracked down Shi Shen and told him about the find. Shi Shen is now the happy owner of his original prototype, and has granted us permission to present the Adelanto in "software" form as part of this collection.
Controls:
Mod Wheel: WeightSlider A: Tamber
Slider B: Register
Slider C: EQ Frequency
Slider D: EQ Bandwidth
Slider E: EQ Volume
Slider F: Brightness
Slider G: Strike Force
Preset/Effects Assignments
Adelanto 1: NXTP ChorusAdelanto 2: NXTP Flanger
Adelanto 3: NXTP Protor
Adelanto 4: NXTP Chorus
Adelanto 5: NXTP Chorus
Adelanto 6: NXTP Chorus
Adelanto 7: NXTP Dub Delay
Adelanto 8: NXTP RoomVerb
Adelanto 9: NXTP RoomVerb
Adelanto 10: NXTP RoomVerb
NXTP Duarte
Backstory:
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.
Controls:
Slider A: ToneSlider B: Bite
Slider C: Dampening
Slider D: Hammer Amount
Slider E: Pitch 1
Slider F: Pitch 2
Slider G: Attack to Grit
Preset/Effects Assignments
Duarte 1: NXTP Chorus
Duarte 2: NXTP Chorus
Duarte 3: NXTP Chorus
Duarte 4: NXTP Chorus
Duarte 5: NXTP Chorus
Duarte 6: NXTP Chorus
Duarte 7: NXTP Chorus
Duarte 8: NXTP Chorus
Duarte 9: NXTP Wagh
Duarte 10: NXTP Tremolo
NXTP Yermo
Backstory:
Ray Channing played gigs in Los Angeles and Las Vegas. He never really hit the big-time; mostly he played second-tier casinos and various small bars in both cities. Since he divided his time roughly equally between the two, and his income wasn't particularly large, Ray relocated to Yermo, California in 1976 so he could more easily make the commute to Las Vegas while still being relatively close to LA.Yermo is a small desert town, a quiet place where one can sink into their own thoughts. After spending a year or two reflecting on his musical life in Yermo, Ray decided to set out and create his own keyboard instrument, something that could work for his gigs and for his personal music. He began exploring sounds and compositions that reflected the desert landscape, and found inspiration in musical genres from reggae to the budding experimental electronic music coming from bands like Tangerine Dream.
Around this time, Ray happened upon a former Yamaha engineer during a break at a gig in Vegas. As they began talking, the conversation drifted to sound synthesis and the engineer told Ray about a new method of synthesis then in development at Yamaha -- FM. This sounded intriguing, as it didn't require lots of expensive analog components and could be implemented using a computer (still a very new concept at the time). So, in 1979 Ray set off on a journey that began with a kit computer and some analog components and ended in the only known prototype of an FM synthesizer with an analog signal path post-"operator". In this new instrument Ray discovered a world of possibilities and sounds that were useful for his gigs, but also reflected the barren yet beautiful landscape that surrounded him in Yermo.
Ray's keyboard never made it out of obscurity. He finished the instrument in 1982 and began to use it on gigs, capturing the ears of listeners in both cities. However, because of the proprietary nature of FM (Yamah filed for the patent several years prior) Ray couldn't legally produce his instrument, and none of the major manufacturers at the time wanted to license an unproven technology from an unknown synth designer based in Yermo. A year later the DX7 came out, and Ray's keyboard faded into obscurity. He died shortly thereafter, in 1986 at the age of 48, from liver cancer.
Ray's invention would have been lost to history if not for an eagle-eyed picker who bought it as part of a storage unit auction in 2012. No one knows how it ended up in storage; Ray's house (really a trailer) and all of its contents were sold to cover his debts to an unknown buyer after his death. Thanks to that chance purchase, we are now able to enjoy Ray's invention and get to hear and understand his groundbreaking contribution to synthesis.
Controls:
Mod Wheel: Vel to Final Tone
Slider A: Tamber
Slider B: Register 1
Slider C: Register 2
Slider D: Sharpness
Slider E: Emphasis Freq.
Slider F: Emphasis Amount
Slider G: Final Tone
Preset/Effects Assignments
Yermo 1: NXTP Chorus
Yermo 2: NXTP Chorus
Yermo 3: NXTP Chorus
Yermo 4: NXTP Chorus
Yermo 5: NXTP Flanger
Yermo 6: NXTP Phaser
Yermo 7: NXTP Dub Delay
Yermo 8: NXTP RoomVerb
Yermo 9: NXTP RoomVerb
Yermo 10: NXTP Protor
NXTP Rosemead
Backstory:
“Tim” Thien Duoc grew up in northern Orange County in the late 1960's. The son of Vietnamese immigrants, he learned to play various traditional instruments (such as the four-stringed Dan Ty Ba) at home. Of course tradition had its contenders, and in an immigrant community trying to “fit in” many outside influences were welcomed and even fostered. Tim’s outside influences included anything and everything in American popular culture at the time, which meant funk, disco, rock, and other forms of music.Armed with his skills on various stringed instruments and hungry for a challenge, Thien set out to create a harpsichord-like instrument. Physical attempts failed as any instrument large enough to house a keyboard were too resonant for what he wanted to accomplish. Undeterred, he started looking at other synths and keyboards that could get him closer to his goal.
In the early 80s the PPG Wave hit the scene, and along with it came a rush of ideas. Now in his 20s and finishing a degree in mathematics at CSU Long Beach, Thien immediately saw a greater potential within wavetable synthesis.
The Delta Wave came of age in Thien’s college apartment, borne out of computer code and various academic papers. Among the papers was “Digital Synthesis of Plucked String and Drum Timbres” by Kevin Karplus and Alex Strong. Realizing immediately that one could “…produce the variation in sound by modifying the wavetable itself” by “reading” the wavetable with another oscillator that has passed through various DSP processes first. So, if a sawtooth wave could “read” a sine wave in a wavetable, then the sawtooth (using a lowpass filter) would “read” a sinewave with the filter fully open. However, as you close the filter the sawtooth approaches a sine wave and the “readout” distorts accordingly.
What interested Thien more was the possibility of using comb filters on the sawtooth, thus merging in a new and unique way both physical modeling and wavetable synthesis. He began coding and, after a few attempts and finally sourcing the right components (with the furtive help of some EE students) the Delta Wave was born. Here “Delta” meant “change”, and his hybrid synthesis technique was truly a change.
However, life soon changed for the crazier as Thien began to realize the math he was learning could potentially earn a fortune on Wall Street. Thus with his experience programming and with a firm grasp of Stochastics (his particular interest) he set off to New York after graduation where he rode all the highs of the 80’s while making a killing using algorithmic trading techniques.
Unfortunately the flying included heavy drug use, and Thien died in 1988, just three short years after arriving in New York, from a heroin overdose. His money went to various causes back in Vietnam, and his Delta Wave went to one of his college buddies. The Delta Wave languished and ultimately found its way to a Goodwill store, where we purchased it several years ago. Thanks to various items we found with the keyboard, we were able to track down Thien’s family and now present to you the Delta Wave, implemented here as the “Rosemead”.
Controls:
Slider A: Harmonics
Slider B: Brightness
Slider C: Velocity To Tone
Slider D: Resonance 1 Freq
Slider E: Resonance 1 Width
Slider F: Resonance 2 Freq
Slider G: Resonance 2 Width
Preset/Effects Assignments
Rosemead 1: NXTP Chorus
Rosemead 2: NXTP Chorus
Rosemead 3: NXTP Protor
Rosemead 4: NXTP Chorus
Rosemead 5: NXTP Chorus
Rosemead 6: NXTP Wagh
Rosemead 7: NXTP Tremolo
Rosemead 8: NXTP Flanger
Rosemead 9: NXTP Chorus
Rosemead 10: NXTP Chorus
NXTP Gower
Backstory:
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.
Controls:
Mod Wheel: Expression
Slider A: Fundamental
Slider B: Harmonic 1
Slider C: Harmonic 2
Slider D: Harmonic 3
Slider E: Harmonic 4
Slider F: Harmonic 5
Slider G: Tone
Preset/Effects Assignments
Gower 1: NXTP Chorus
Gower 2: NXTP Chorus
Gower 3: NXTP Protor
Gower 4: NXTP Chorus
Gower 5: NXTP Chorus
Gower 6: NXTP Tremolo
Gower 7: NXTP Chorus
Gower 8: NXTP Chorus
Gower 9: NXTP Dub Delay
Gower 10: NXTP Dub Delay
About NXTT
NXTT or "NXT Textures" is a collection of Programs for your Kurzweil PC3-compatible instrument, designed specifically to be used for making pad and/or "texture" sounds. As the NXT name implies, NXTT strives to bring the latest synthesis methods to bear on creating sonic textures. Whether you purchase the "apps" separately or as part of a collection, each one consists of at least one or more specially-designed Programs and (depending on the app) some effects chains. The mappings and control schemes vary widely across the NXTT range, so be sure to check the documentation for your app below to determine how various physical controllers / midi CCs are mapped. Mappings between CCs and physical controls may vary on your instrument.
What You Get In the Box
When you purchase an NXTT "app" or the full collection, you will get the following items:
- A .pc3 file containing the included Program(s) and the Effect(s)
- Free email tech support
NXTT Moors
Description:
A low mist clings to the ground. Twilight allows you to see, but only dimly. Off in the distance you can hear nature. Perhaps even things that are not natural, or at least not human. Walking involves courage, as pressing forward means you're further from civilization, and deeper into unknown and potentially dangerous territory. The moors can be a deadly place, if you're not careful. And, as you are about to discover, its sounds can haunt and startle, with shrieks and moans from worlds beyond our own, from somewhere beyond the mists...Controls:
Slider A - Filter Cutoff
Slider B - Filter Resonance
Slider C - Shaper Even Harmonics
Slider D - Shaper Odd Harmonics
Slider E - Bandpass Frequency
Slider F - Bandpass Width
Slider G - Output Trim
Slider H - Delay Time 2 to 400ms
Slider I - Reverb Wet/Dry
SW Button - Amp Sim
NXTT Shroom
NOTE: Because it uses the Aux outs, Shroom is not officially supported on the PC3LE series keyboards
Description:
At first, you black out a bit. The hit comes fast, but smooth in an odd way. After the initial jolt, you think everything is cool. No weird hallucinations, nothing out of the ordinary. However, things start to get strange. First it's the walls. They're starting to visibly vibrate. But not just any vibration, they're giving off colors (are those colors?) when they move. Then different objects in the room start to melt, but just around the edges. You look closely at a table and notice, for the first time, the fractal depth of the edge. Staring into the abyss of the table edge, you start to feel yourself disassociate from the person sitting where you're sitting. And that, my friend, is when the real trip begins...NXTT Shroom is the first semi-modular soundware for the PC3/PC3k. Patch the Aux 3 (Right) output into the CC Pedal 2 input on the back of the PC3/PC3K to use "Operator 2" as a mod source for the paraphonic filter's cutoff frequency. Here patching isn't just a gimmick, it provides a direct link between the "VAST" and "KDFX" sides of the synth that would otherwise be impossible.
The paraphonic filter is switchable between lowpass, bandpass, highpass, and notch modes, with controllable resonance/width. Operator 2 has two sliders assigned to pitch control, which effectively doubles its frequency range (from 7200 to 14400 cents) and allows pitch to go from sub-sonic LFO way up into the audio range.
Controls:
Slider A - Wave Shape Sine To Saw
Slider B - FM Op 2 Gain into Op 3
Slider C - Op 3 Pitch
Slider D - Op 2 Pitch A
Slider E - Op 2 Pitch B
Slider F - Filter Wet Dry Mix
Slider G - Filter Mode LP HP BP NOTCH
Slider H - Filter Resonance or Width
Slider I - Reverb Send
SW Button - Op 2 Keyboard Tracking
MWheel - Filter Cutoff
Patch Points:
Aux Right Out - Op 2 out
CC Pedal 2 In - Filter Cutoff
NXTT Fourier
Description:
Sine waves make up everything you hear, and see (kinda-sorta, at least), and feel, and... Fourier synthesis is all around, although you may not notice it. Nevertheless, be it in the form of n-dimensional strings or real strings or a leaf hanging from a tree, simple harmonic motion is everywhere and part of everything. We are all bundles of sine waves, interacting. And trading more sine waves with the universe, as speech or heat or motion or photons. If you listen carefully, you can hear all of this. Listen really carefully, and you'll also hear the universe's response...NXTT Fourier provides organ-like control over any keymap. Simply load a keymap into Layer 1 (several specially-modified keymaps are included as part of this package) and start playing. All the settings are already made to allow any keymap to loop indefinitely (assuming that a loop point is set). You can change the harmonic content of the sound while you sustain notes to morph the sound over time. You can add a Shaper to the mix as well, giving you a way to "sharpen" any pad sound in an instant.
So, go ahead and experiment with the factory keymaps (or your own keymaps). Or load your own samples if you happen to be on a PC3K. Either way, the NXTT Fourier gives you the ultimate control over any "pad" sound.
Controls:
Slider A - 1st Harmonic Level
Slider B - 2nd Harmonic Level
Slider C - 3nd Harmonic Level
Slider D - 4th harmonic Level
Slider E - 5th harmonic Level
Slider F - 6th harmonic Level
Slider G - Unfiltered Level
Slider H - Effects-specific parameter A
Slider I - Effects-specific parameter B
SW Button - Shaper in/out
MWheel - Filter Cutoff
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