48 voice polyphony. This may seem fair, but in 5 years of use on stage and in the studio, I've never been really annoyed.
The possibilities are endless device for both sounds from samples (those in ROM, RAM, or those loaded via a map or SM Xd) than those from the synthetic "analog" (based waveforms called in VAST Kurzweil) with infinite possibilities.
The addition of extensions available (ROM cards "vintage piano" and "triple strike piano") is in my view essential to have a full sound range and still be able to quickly find the "sound right" when you want to reproduce such closer to the sounds of a song.
The multi-effect KDFX present in the latter based on the K-series synthesizer, adds to each program a setup the effect of his choice, eg. Leslie effect on organs, or by adjusting their tone equalizer.
No miracle, if you want to tame this machine capable of reproducing all so unique, it must devote sufficient time (at least 15 full days) to read the voluminous manual and absorb the principles of the VAST synthesis and architecture KDFX particular. For those who have trouble with English, there is a translation of the manual very well done. There are sound libraries (free) countless web, allowing, if you take the time to classify by genre, going rapidly towards its close to what you want, and then a little to the touch achieve almost perfection.
Do not hesitate, in case of difficulty with a function of the processor, or if it is difficult to program a complex question to the Technical Support forum or the Kurzweil USA (Mr. Bellefeuille). For my part, I have always found the answer to the questions I blocked, and in 5 years the machine has never buggy.
In fact, this machine has all the sounds. Sounds "acoustic" (taken from samples) are varied enough to never be caught short, and RAM can load sounds from CD ROM formats (including AKAI) that digests easily K2661.
For sound synthesis pieces techno / electro eg, we can always quickly find what you looking for, especially if we refer to a list of synthetic sounds classified by gender, and we in the ear types of sounds produced by signals triangle, square, PWM etc ... If the result is not rich enough, just keep stacking "layers" in the detuning to produce big sounds of old analog synths.
I use the K2661 intensely for 5 years, but I've owned previous models of the K series (K2000 in the 90's and K2500) whose programming philosophy was the same (except KDFX). The K2661 has "only" brought what was lacking in its predecessors, plus the interface cards SM easier to use than SCSI drives.
I have owned many synths before (with KORG Poly 61, Yamaha TX802, Roland Jupiter 8 and U20) all had endearing aspects, but none as exciting especially as comprehensive as the K2661.
I recently bought a PC3K6 designated as his successor is a good machine but does nothing compared to the fundamental K2661.
As a result, the ratio Q / P K2661, especially bought secondhand, is unbeatable in my opinion (hint: look for a synth with two options ROM).
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stiiiiiiive's review (This content has been automatically translated from French)
This is basically a K2600 with a 5 octave keyboard with no ballast and no ribbon. It retained the 8 faders, modulation wheel and pitch, the VLOC and monophonic aftertouch.
The polyphony is 48 tracks, it's not standard, but often enough. The sounds are acoustic as well as synthetic samples are available as well as real oscillators. ROM programs are among about 500.
The effects are those of renowned DJs KDFX embeds in the synth SERIES.
We have a squenceur 16 tracks + 16 tracks of arrangement (1 squence dclenchables 16 tracks in real time). The sampler optional adj proven in other instruments SERIES K: I have not used but it is relatively intuitive and efficient. The converters are trs enjoyable: both dynamic and gentle.
Rear facing, it has 2 outputs MIX, 4 outputs spares, the trio (MIDI switchable thru-out), I / O ADAT optical, 4 footswitch input, 2 inputs control / expression, accounts for a breath controller, between a tape (optional, so), the SETTING THE contrast and brightness for the screen, a SCSI, and a SmartMedia slot for the sampling option and e / s and analos numriques format S / PDIF and AES, switchable by software.
More subjectively, we note that the keyboard is a bit noisy and plastoc compared with 76 keys of agile K2500 I had before. Too bad also that the small ribbon is gone.
8 mdiocrit for the keyboard.
Edit: I spend 8 9 because I t STRID. The keyboard is really limited, but Manir gnrale is an excellent machine.
Novices will be pure dstabiliss the interface, but once the brand philosophy understood, everything flows. We can edit everything the screen by pressing a single button. The manual is standard, there are several amme, but again, when we understand the operation is relatively simple.
The strength of the K2661 (and the entire K SERIES, for that matter) is the synthse Obviously VAST. It has a standard MIDI modulation matrix. The implmentation that is more flexible. Any hard Controller (fader, aftertouch, pedals, wheels, switches, etc.) or soft (LFO, random, envelope, clock, constants, math functions and even matic between two controllers! etc.) can control any paramtre (pitch, cutoff, reverb time, delay feedback, amount of distortion, gain of a band of EQ, envelope depth, fr LFO frequency etc.). Some DSP modules are assembled as various filters, distortion, oscillator, and the matrix paramtre MIDI at all, this for each layer (up to 32 per program). Note: only MIDI control signals can be routs, no audio, it is not a true modular.
I correct myself: The fast mode of assignment of a hard Controller (enter + movement of said controller), dj Submitted on K2500, Submitted is here too. Barbenzinc thank you, I made a handling error.
In small inconvnients, I note that the signal does not prlev MIX when cable is connected a spare output (as on the K2500: c 'silent weird but practical ...) and also a little slow and LFOs imprcis in frquences high.
I use it for the time of Manir following squence of including a track clik spare output for the drummer, I play the same parts, and a combo rock / metal ct.
9 for small default, filled with the quality of the OS and MIDI implmantation any evidence. Nobody is perfect.
The sounds are partly behind the prestige of the brand. This is not trivial. The orchestral imitations or more gnralement ralistes acoustic, synths and trs trs dynamic and expressive.
The algorithms are rev KDFX persuasive rverbration to the simple simulation models through the dynamic filters. The effects are really embellish the sounds, but they hide in any case a quality mdiocre
This synth sounds great: dynamic, warm, it sounds pro. The expressiveness trs is good, especially considering the matrix MIDI ... DLIR all are allowed. This can make it sound like you will, in many styles .. The VAST synthse has this charm that when you can not do directly what you want, a programming trick is always possible to get there. Programming sounds is fun. From the perspective of control in real time, even if it does not have an interface worthy of a vintage, we can assign custom settings to 8 faders ...
Note also the prsence KB3 Mode, trs modlisation pointed fawn B3 organ drawbars (dj Submitted on K2500), the liveMode (with sampling option) which allows for passing the signal input through the engine and KDFX synthse VAST (dj Submitted on K2500), and increasing the possibility tripleMode algorithms (excuse the s K26xx series).
Finally, the grain is as always subject to each got ...
9 because no one is perfect.
This machine is a workstation, no doubt: synth sampler, squenceur, interface control, everything is there and with a good quality overall trs. Certainly it is expensive, like all instruments of the brand.
I have been using some prs October 2004. I had before it a K2500 with which I took a lot of fun, except for transport each week. With the K2661, I dlest of 10-15 kg and I won a KDFX. I lost a good keyboard, against, but it dtail in light of the rest.
Anyway, I knew I wanted to keep the philosophy and the flexibility Kurzweil, so I have not tried other. I think that few machines can offer a vast freedom of programming (hardware, I mean the exit reaktor etc. I prfre hard on when I go out of my house). And that's why I do not intend at all to change instrument.
If c'tait again, I do it again because I think I would not find my happiness elsewhere.