Sound Doctorin's current direction (1/2001)
    For the past five years it's been my privelege to service all
music electronics for the Gallatin Valley here in Bozeman, Montana.
The people at  Music Villa have been more than helpful in getting me 
established and authorized for warranty repair on Peavey, Marshall, 
Vox, Korg, Ampeg, Crate, Kawai, Fender, and Roland products.  They 
are just an outstanding crew to work with and compete with prices 
from catalog places,yet offer a personal service that really reflects 
a concern for the customer.  
    We perform a lot of simple jobs, but also construct occasional
custom solutions for people.  Recently, I finished one for  Todd Green 
who plays a large number of acoustic instruments, and creates "jam
loops" with four Lexicon Jamman devices.  Click here for a detailed
description of this rather useful device I call the  MultiMix .
    I can imagine applications of this device for guitarists and 
keyboardists who want to have real time control over the mix of
various devices (keyboards in a MIDI chain, stomp boxes, etc.) through
a single pedal.  And speaking of control, I also use a custom control
platform which allows me to have simultaneous control of volume and
Leslie for instance, with one foot, while controlling dampers for two
keyboards with the other.  I stand up when I play and there was just
nothing on the market like this years ago so I built it.  It's been
road tested and it's ready to release I believe in a more refined form.
    Meanwhile, the studio is expanding here.  For many years I've been 
using a modified movement Kurzweil K1200pro, a Korg Wavestation EX, a 
Kawai K1m and K5m, and the Alesis D4 to generate the sounds in my 
productions, along with an old old Olds Ambassador trumpet and a
Reynolds Medalist Trombone and my voice.   Now being mounted in
the framework are a Sequential Circuit "Six Trak", a Rhodes Chroma 
Polaris, and the Roland MKS-70 and Kawai K5000 modules.  So it's
time to redesign the control environment as well obviously.  Oh wait, now 
we have a bunch more stuff...let's do a list:

Digital Synths:
Kawai K1m- 8bit ROM sample architecture with AM and 4 samples wide 8voice
Kawai K5m- 1985 designed Additive synth with lots of parameters!
Kawai K5000R- 1995 release similar to K5 but with ROM samples and more/better
Korg WavestationEX- One of my favorites for ROM sample type architecture.
Korg DSS-1- I probably drooled over this very one in 1986 or 7.  Came to me
   broken and meshed parts from another unit.  Great NJM2069 filters, 12bit
   sampler with some interesting tricks, dual digital delay boards..
Kurzweil K2100pro- modified so it doesn't double trigger notes! :-) Nice
   piano, orchestra and voice samples on this 88key unit with db params!
Roland JV-1080- A studio standard, this one equipped w/ keyboards of 60/70's.
   Impressive CS80 brass emulation, great bread n butter sounds on card.
Alesis D4 and DM5- Drum trigger inputs, nice drum samples.
Yamaha DX21- Renown to have better attack than DX7 but 4 op for simpler sounds
Casio SK-1- The classic chezo sampler with mini keys
Analog Synths: (some have digital control but mostly analog signals)
Sequential Circuit six-trak-  1983 early midi synth 6 voice multimode vco's
Fender Chroma Polaris (ARP)- 186 processor driven 6 voice 2osc/voice synth with
   lots of cool sound potential and sliders and unique control features.
Roland Jupiter 4-  Looked a long time for a reasonably priced one.  Amazing
   sounding synth really.  One of my favorites if not THE favorite here. 4
   voices, 1 vco/voice but just..awesome sounding in many respects.  So real.
Crumar Performer- 1976 string/brass machine.  Uses organ architecture with
   filtering to create voice waveforms like brass and string..then puts a nice
   sounding resonant filter on brass and 3 EQ sliders on string..sweet for
   little it does.  Playing off the limitations can yield good results.
Moog Opus 3- Similar to Performer but with three volume/pan controls for String,
   brass and organ.  Chorus on string/organ mix.  Filter on Brass/Organ mix. Real
   moog filter for those star wars fx!  String and organ have own simple filter.
Farfisa VIP345- Cool retro slider switches with funky colors.  Classic Farfisa
Conn Electric Band- Hey it was 20 bucks and the reverb can is worth that as it
   WAS after all made by beautiful women in a controlled atmosphere environment
   in Milton, WI!  But sick gnarly organ on bottom, mono synth w/presets that
   have their own custom voicing on top.  Strange.  Nice reed lead though. AT!
Roland MKS-70-  And soon with PG-800 programmer, this synth is two 6 voice dual
   oscillator per board. Same filters as late Jupiters.  Very nice string pads
   and some very interesting more complex sounds possible.  
Roland JUNO-106-  Probably one of the most popular analogs of all time.  This
	   6 voice 1osc/voice synth makes some great filter sweeps from those
	   custom modules..whatever's in them.  Warmest digital controlled synth
	   I think in this collection in many aspects.
Siel DK600- 6 voice 2 osc/voice synth.  Impressive ethereal pads w/3lfo's.
Kawai SX=210- Like Siel w/SSM2044 filters, makes great helicopters :-).  This
   one is 8voice but 1osc/voice w/ sub osc.  Great thing is you can run it
   as 4 voice by stacking two arbitrary tones on the fly, or go all the way
   to monophonic stacking 8 arbitrary notes!  Digital input wheel w/ button
   for each parameter.  Nice smooth synth for live performance really.  I like
   the bender feel on it also.  Good solo sounds possible.


Digitech DSP128+- These old units were amazing considering the technology of
   the time and their low price.  MIDI control over everything in real time.
Digitech DSP256- Slightly newer version of 128+ with more stuff of course.
BBE462- The classic sonic maximizer for adding clarity to vocals, etc.
Behringer Modulizer pro- cheap but cool fx...big flanges and stuff
various eq's mixers and mics, the infamous alesis for me at
the time of writing still...


  Using a 1.2G machine for recording right now with Power tracks pro v8 and
  for sequencing still using a 486 machine with Voyetra spg...need to get the
  new card installed so I can run three midi ports on the thing.  Obviously
  two isn't enough even for the rack gear and digitals I leave set up all the
  time.  In my current space I have only two two tiers set up plus stuff on
  the conn organ (the farfisa and usually the moog or crumar).  Potential to
  use two ports well with just Kurzeil, WS-EX and JV1080 easily.  Chroma can
  use three channels at once believe it or not.  Not bad for 1985!  The K5, K1
  can do 15 and 8 respectively but I seldom use more than a few sounds at once
  from them.  K5000R actually can only use..what is it 5?  It was set up for 
  individual sound depth, figuring most people would only use one or two at a
  time from it I guess.  Good enough for me so far.  Yet to use more than one
  in a track at a time actually.  When you find one that works though it's a
  great thing!
    I've always had a desire to do some moving scoring so I intend to 
put some serious time into getting this stuff all working together
as it should.  I really can't say enough about the expressive potential
of real analog synthesizers and though some cool sounds can come out
of digital modelling, there's nothing like the real thang baby!

    What I'd like to see here eventually is a list of every synth ever made, with a standard 
set of notes for each one.  These would include links to pages that relate to that synth,
reset codes or a note that no known ones exist.  There are plenty of great pages that have
pictures and basic descriptions of these machines, but I've found it very difficult to find
any decent technical information, or practical things like patches, editors, etc.  So if 
you know of good pages that have this kind of information, please e-mail me here.

 ARP    Fatar 

        EM Products available from Sound Doctorin'

   K5MP, the ultimate concept to patch pathway for the Kawai K5
 Synthesizer. Including patches.(Available for IBM/MPU/DOS platform only) $55

   Patch bank for K5, written using K5MP
                                     - $15

   Patch bank for Kawai K1 or K1 II (Great sci-fi techno sounds!)
                                     - $15

   Patch bank for Korg Wavestation (techno/ethereal or hybrid keys)
                                     - $25 ea. (Or $35 for both banks.)
(dreams that I might return to programming.....)

   ALSO ask about products under development, including a Kurzweil K1000
   series editor, AND MIDI Network Manager!  MNM will be one of the most
   exciting releases ever for those who dream of having things organized
   in a way never before possible, and who want to have unlimited creative
   headroom in the use of triggers and continuous controller devices!

   Prices include handling charges, and shipping will be estimated or
    added depending on your location.

                       Kawai K5 Synth Notes

                The Kawai K5 is one of the most revolutionary 
        synthesizers to ever hit the consumer market.  With so
        many features ahead of its time, one might wonder why 
        it didn't make even more of a splash than it did.  The
        architecture, to my knowledge, provides the most flexible
        sound generator of its kind available in this price range. 
                Aside from noise problems, whose partial remedy
        can be found by clicking here, this fabulous machine
        has some other problems which led to its discontinuation. 
        The biggest one I found when I started programming it was
        the difficulty remaining goal oriented with the sea of
        possibilities whipping my mind to and fro.  Surveying, I find
        users became easily frustrated with on board editing, and
        weren't all that pleased with the bulk of the available
        patch libraries.  The number of parameters and absence of
        presets, leaves doubt that there are really any people who
        can sit down at the K5, or any available editing program,
        and crank out the sound they are desiring without several
        hours of hard work!  (Unless they desire something very 
        simple).  That's why I wrote K5MP. ( K5 Macro Processor ) 

                        K5MP FEATURES:

       *  Runs on any IBM compatible with DOS 3.2 or higher,  floppy DD
          and an MPU-401 compatible (UART) midi card.

       *  Eases the process of becoming K5MP proficient, by providing
          COMPLETE MENUS, which prompt for all options available.

       *  Allows you to create custom MACRO LIBRARY files, which help
          you generate complex sounds in minutes!  A library file for
          each "page" of data on the K5 can be accessed.  Just imagine
          selecting your favorite piano timbre without searching your
          patch libraries for the sound that contained that timbre, and
          then extracting it into your working patch.  Setting up these
          libraries as you please will allow you to remove the obstacle
          which has kept your imagination from running wild on the K5!
       *  Takes out the guess work when editing delays and envelopes
          by letting the user enter real times. (eg. trend of 4.2 sec.)
       *  Provides logical and imaginative tools for creating timbres, a
          very efficient discrete harmonic entry utility, and a waveform
          plot utility.

       *  Patch can be sent to or received from the K5 with one keystroke.

                        Kawai K5 Synth Modification

 (Another version of this fix, as well as LOTS of other K5 information
is available HERE!  )

From Fri Oct 28 22:01:56 1994
From: (Curt Malouin)
Subject: K5 output level mod
Date: 27 Oct 1994 23:10:28 GMT
Organization: University of Michigan Engineering, Ann Arbor

Over the past week I performed the output level mod on my K5
and K5m, replaced the inverter on my K5m, and upgraded the
OS on both.

Upgrading to OS 1.2 is a cinch.  Call Kawai technical support,
tell them your serial number, and they ship it to you.  It's
free as long as you return your old EPROMS.  You pop open
your K5(m), swap EPROMs, and close it back up.  The EPROM is
readily accessible in both the K5 and K5m (once you've got it
open, that is).

If you're LCD backlight is not working, the first thing you
should try is heating up the joints and applying a bit more
solder (a lot of the inverters suffer from cold solder joints,
I guess).  If that doesn't work, you need to replace it or
live with it (which I've done for a few years - it's not that
bad).  You may want to look for an alternate source for the
inverter, as Kawai now charges $45 a piece!  When you open
your unit you will be able to see the inverter.  It's a white
rectangle mounted on the backside of the LCD assembly, mine
is labelled "N103-05-5 Nichia 14S7ZT".  Remove the board it
is mounted on, turn it over and you will see the three solder
joints.  You'll need quite a bit of heat, but be careful 'cause
it's sensitive/expensive.  After replacement, my K5m blew the
1A 250V fuse on the LCD assembly a few times.  It's fine now,
but makes the typical K5 LCD buzz.  Anyone know how to get rid
of that?

Now to the fun stuff.  I've avoided setting the flat level low
for resonance-type effects because it was just way too noisy.
No such problems now :-)  The mod basically involves changing
the feedback resistors in the output op amps from 56k to 147k.
Plenty of volume, even with 0 flat level and a sharp cutoff.
You have to watch your volume levels, though, to avoid distortion.
Here's what's involved:

(1) Get some small 1/8 W 147k resistors.  I used Mouser
    part no. ME 278-147k (1/8 W 147k 1%).  There isn't
    a lot of room on the board, and you would have a
    tough time getting typical 1/4W resistors in there.
    Also, the holes are only 7 or 8 mm, and you don't
    want to have to bore them out so you can get your
    resistor leads through the board.

(2) Open up your K5/K5m.  The K5 is simple.  Remove the four
    long screws from the sides of the case and pull up the
    hinged panel above the keyboard (which is actually every-
    thing above the keyboard).  If you have a K5, lay it face
    down and remove the appropriate screws.  You will need to
    unscrew the rack ears and the rotating output assembly.

(3) Locate the PCB labelled "MI-004".
    K5:  it's on the left side above the keyboard.
    K5m: it's below MI-003 (it would be on the bottom if
         you table-mounted the K5m.  You need to remove
         MI-003 and the spacers between MI-003 and MI-004
         (the spacers screw into MI-004).  You'll see a
         silver shield between MI-004 and MI-003.  Actually,
         the side facing MI-004 is a conductor and the side
         facing MI-003 is an insulator, so make sure you
         put it back the right way or you will short every-
         thing on MI-003!  NOTE: this is how it is on my K5m,
         yours may differ.  There are also some rubber spacers
         attached to the underside of MI-004 (to prevent the
         shield from touching it).  I had to remove one of
         them to get at a few of the resistors in question.
         You'll probably want to peel all of the foam off
         the pads before you melt it with your iron.  I used
         some Elmer's glue to stick it back on.  Anyone know
         the conductivity of Elmer's glue when it dries?
    You'll need to disconnect a bunch of ribbon cables, but
    they're all different sizes, so it's pretty easy to figure
    out what goes where.  Also, keep track of ground lugs and
    be sure to reattach them.

(4) Locate, remove, and replace the resistors:
    R26,R27,R28,R29 - individual outputs
    R19 - mix output

    They're on the left side of the board (looking from the component
    side).  They are all 56k.  I had pretty good luck just using
    desoldering braid, but had to heat and pull a couple of them.
    If one of the holes closes up, you can melt a little solder onto
    it (if necessary) and use a desoldering pump/bulb from the component
    side while you heat the trace side.

(5) Put your K5 back together and enjoy!  No more need to crank up
    the preamps to hear your K5...

Other tips:  individual outs are quieter than the mix out, and
multi mode is quieter than single mode.

DISCLAIMER: If you are not comfortable handling and soldering
sensitive electronic equipment, forget the mod and buy a noise
gate.  It is not my fault or problem if you cause irreparable
damage to your synth.  I wouldn't recommend using a $5 Radio
Shack soldering iron, either.


Curt Malouin                             Senior, Graduating May '95                  Dept of Electrical Engineering
CAEN Systems Group                       University of Michigan
(Thanks Kurt for one of those bright moments in internet history....
I only wish it could have illuminated my display as well...:-)  Mine
appears to be one that needs the new inverter, and since I use the
software to edit on it when I get serious, just isn't worth it.

K5000 Page

                          MultiMix Details

        If you get a chance to see Todd Green in concert, it's
a very enjoyable experience.  He plays some of the most beautiful
instruments ever created and showcases them by layering them with
each other.  If you get a chance to look at his setup, you'll notice
a little box in the back of his Jamman/preamp box which controls
the volume of the signals coming out of those four Lexicon Jamman
        At his feet you will see a single volume pedal, and an
aluminum box which houses the prototype of MultiMix's brain/control
interface.  It gives Todd the ability to, for instance, create a
track using the switches in the blue box which control the Jamman
units themselves, and set a volume on that particular unit's loop.
He can see an LED readout of the approximate volume, (only 4 lights
on this prototype), and can choose to Mute it for a time, or gradually
fade it's volume, while leaving the other tracks alone.  Or he can
fade any number of them at the same time.  A single LED for each
channel will be off if the tracks is live, and immune to changes
in the volume pedal.  It is green if it is live and affected by the
current position of the volume pedal.  It is Red if it is muted and
immune to changes in the volume pedal. (This allows you to bring it
back in the future at it's previous volume setting).  It is orange if
it is muted and affected by changes in the volume pedal.  
        So there is one bar graph to show the current volume setting
of that channel (Whether or not there is any signal currently coming
into or out of it), one LED to display the conditions listed above
which is a special dual color LED, one mute switch, and one pedal
select switch per channel.  Also, there are two switches in the front
of the bottom which can be pushed to turn all channels of volume
control on or off.  This allows for smoother control when, say, we
are playing all tracks at full volume, and which to gradually fade
them all.  It is also useful when we want to simply kill all tracks
suddenly.  (Desect all, drop the volume pedal to zero, then hit select
all at the right moment!)
         The creative uses for this device are obviously endless.
If you would like to see this device in your performance setup,
call to specify the custom options you'd like and we'll work a
quote up.  -Bob Weigel

                           About Sound Doctorin'

            My name is Bob Weigel.  I decided to begin my own company 
      in 1992.  The name says a lot about what I like to do now.  It 
      also represents a real transformation in my life. 
            At a very young age, I began to get very interested in 
      science, and particularily its tools.  My interests went from one 
      area to another, hoping that someday I would grow up to be a 
      great scientist or astronaut.  I built telescopes, photo 
      enlargers, a view camera, and many electronic gadgets.  After 
      college, my dad died.  I used a motor I had helped him rebuild to 
      build a car from parts that weren't meant to be fit together.  It 
      was the first major thing I remember that he hadn't helped me a 
      lot with.  I had a really good dad.  
            Until this time, I had absolutely no interest in the 
      audio world, aside from the speaker on my ham radio.  I enjoyed 
      music, but the audio world looked like such a complicated, 
      expensive mess, that I just couldn't see getting into it. 
            Mom tried to teach me piano when I was young.  I picked 
      up trumpet instead.  I became very frustrated with piano, but 
      when we got an electronic organ, I regained  some interest 
      because I all the sudden had some control.  The piano lacked 
      dimensions of expression to me, an inexperienced player.  I 
      wanted to be able to tweak things as I played to change the sound 
      I was making, and the old Gulbransen gave me some of that, but 
      eventually, it too seemed too static. 
            After High School, I continued to play trumpet, and got a 
      trombone.  My range was fairly good, (nearly 4 octaves at my 
      peak).  It was just like anything else people try to excel at I 
      suppose, but I began to be challenged about my motives for  
      playing.  When I was young I asked Jesus Christ into my heart, 
      and I began a walk that would transform me from the goals I had 
      set, and shake the motivations of my heart.  I began to realize 
      that I needed to step out in the faith I was professing.  After 
      all, if God died for me, and he loves all of us the same, how can 
      I not give my life for those around me, given that I had asked 
      his spirit of love to lead me?   I began to feel a desire to use 
      the gifts of music he had given me for something other than self 
            I began to form lyrics from deep thoughts of compassion 
      that wanted to come out.  I began to give away my life, as Christ 
      gave his for me.  God taught me a lot of discernment during this 
      time, and the words began to flow more freely.  This was about 
      the time I moved to Eugene to begin working for the Institute of 
      Molecular Biology repairing laboratory equipment.  (Aug. 1985)
            It wasn't long till I had purchased a friends Rhodes 
      electric piano.  After a year of working with that instrument, I 
      got a Kawai K-3 and began learning subractive and harmonic 
      addition synthesis. It took about a year to feel the need for 
      more creative headroom, as I took on a K-1 module, and entered 
      the world of MIDI.  (~1988)  Since that time I sold the K-3 
      keyboard, and replaced it with a Korg Wavestation, shortly after 
      acquiring a Kawai K-5m.  (The K5 became the subject of my first 
      major software endeavor.  It is a very complex synth, and the 
      software basically breaks it down into "bite sized" chunks of 
      more conceptual data, called "macros").  The addition of the
      Alesis D-4 drum module, which I have built a custom Hi-Hat 
      trigger/switch assembly for, and a home made portable PC completed
      the sequence production studio.  I also acquired a Kurzweil K1200
      and modified the key springs for stiffer response for a controller.
           I've written at least one sound bank for each machine I've
      owned, except the K1200.  Taking the time to develop those sounds
      was a great investment.  They are extensions of my being in a way,
      and many were written to precisely complement particular tunes. 
      It's kind of nice to know that nobody else on the planet is going
      to be producing a song with exactly the same sounds.
           Having compiled a lot of lyrics and tunes ready, for years 
      I've been trying to use my current setup to produce a demo in the 
      near future.  Being able to share the words laid on my heart is 
      the most pressing goal in my life.  Sound Doctorin' is my effort 
      to use the skills I have attained along the way, much as Paul the 
      apostle used his tentmaking skills so as not to be a burden on 
            Currently, I'm servicing professional music equipment here in MT.
                  Contact Sound Doctorin'