Hey,everybody --
Now you really have me confused!
Because I used a KN2000 for years, I had tailored close to 100 combinations of styles (some of them altered) and sounds(some in sound memory) and saved them to panel memory and then to floppy disk.
When I got my Kn7000, I had the chore of replicating them on the KN7000 because although the KN7000 had superior voices, it did not necessarily have the voices nor the styles that would really fit a particular song.
The converted Kn2000, 3000, 5000, 6500 styles from the Technics website solved the style problem, and I thank you deeply for providing them -- It saved a whale of a lot of time and work.
By copying the special sounds that I wanted to use from disk to sound memory, the sounds appeared to be identical to those that I had used before on the KN2000 (played through an external sound system for comparison).
The point of all this is that I assumed that the actual sound samples were copied from disk to sound memory, at least it appeared so.
Were they simply "tweaks" of the new KN7000 built in samples?
Confused (but happy),
Walt

precisley Willum, by Jove you've got it!
in the same way that a missing preset style from previous model will be replaced by the closest equivalent, a missing sample will be replaced by an equivalent. Thus it is a hit and miss affair. If you just record a piano you "may" not notice a great deal of difference in playback of a recording. If you specialist edit sounds tailored for each song, particularly using them in composer and pads with defined internal pitch points and chord modify changes designed for the progressions in the song as I do, you will notice far more problems with replaced samples.

The silence is when there is no equivalent sample built in.

The soprano only works for 2 octaves... the natural vocal range. Either side is other samples, the top one from a built in sample with vibrato added in the edit, not recorded in the sample. Thus this octave is the same with the card removed. Many sounds are "padded" out with sounds not necessarily produced naturally to prevent silent keys beyond the natural lower and upper range of the voice.

As for the Jazz Guitar Mute, this is just the same point I made in the experiment in my previous post. However this needs to be done in sound memory for accurate results, this exactly reproduces the effect of the removal of the card while still having the card in place, panel memory will just produce extra variables. Even though the entire mapping of tone, amplitude, pitch, filter, LFOs and effects are identical, the primary arbiter of timbre is the base sample. Change that, and you've effectively changed the recording to that of a new instrument.

The "nasty noises" are programmed modulation effects. For M&F Choir Ooh, M&F Choir Aah, Heavenly Voices and Softly Speaking they are easily removed in filter envelope by flattening decay 1 to 100 for all active samples.

best regards

you're welcome



yes.
The reasons are many but basically the 2k did not have that many samples, so the chances of the many more 7k samples being able to cover most circumstances are good.

Thanks Alec and All,
That explains a lot about what to expect when saving setups. If I had understood this in the beginning, It would have saved a lot of frustration.
Anyway, it all worked out and will be easier in the future.
Cheers,
Walt

Wow to Willum and Alec, thanks both for your thorough analysis in the technique of technics sample technology. It is instructive. No kidding now
Cees

I just would like to know why as an example, a breathy tenor sax sequenced on a 3000 would sound like a high pitched kazoo on a 7000 and if there is anything that can be done on either the recording end(3000) and/ or the recieving end(7000)
Thanks
Larry Hawk

because the octave has changed, shift the track 12 semitones in the mixer.