of Microprocessors

substantially.
SONIK : The KSP8 has turned out to be a lot more than "KDFX in a box"; what
is it do you think that users will enjoy when using it?
HAL : The KSP8 is one of those products that looks very different depending on
one's approach and attitude toward it.
If you're a straight-laced recording engineer looking for a subtle, accurate
ambience to complement a classical recording, you'll think the KSP8 engineers
had read your mind when they designed the numerous finely crafted "clean"
reverbs that are available. If you approach it as a tool for enhancing and mixing
more contemporary material, you'll find a wealth of delays, gates, EQs, cabinet
simulators, and distortions plus combinations of these, many of which are new.
And, although its not my bag, I've heard that its ability to create a space in 5.1
surround sound and place an actor in it using the joystick of the remote is just
astounding.
The way I approach it though is as a synthesizer. Not a music synthesizer with a
keyboard but as a SOUND synthesizer. This is way beyond effects processing - its
truly sound creation from source material that may be little more than random
fluctuations. Many of the new algorithms, such as Degen-Regen, Super Shaper,
Frequency Offset (like the old Bode frequency shifter box), Wacked Pitch LFO,
Chaos and the new chaotic LFOs are reminiscent of how analog synthesis was
before Moog and Carlos - just sound, marvelous sound, never before heard sound
- without a keyboard in sight. Using the remote's 8 knobs and joystick to
interactively control the parameters of some of these wild, feedback-based
algorithms is loads of fun - just be sure your hard disk recorder is rolling.
Simply put, the KSP8 is probably the most versatile piece of gear you could buy
right now.
SONIK : Have you ever put forward names for any of the products?
HAL : Once an engineering project gets past a couple of pages and the back of an
envelope, one has to name a folder to put the stuff into. Usually that changes later
but sometimes the names stick. Probably the best known project that kept its
initial name was the Midiboard - after all, what else would you call it, especially
in 1985? - But there were others.
The most internally infamous name of mine was the "RG" series of low-cost
digital pianos that came out after the Mark-5 and Mark-10 high-end units around
1993-94. I had just started spending significant time in Korea and my manager
there presented a challenge to design the least expensive piano possible that had
the same Kurzweil sound quality but dispensed with all of the expensive features.
He probably had in mind, having an acoustic piano marketing background,
something with a power cord and perhaps a power switch and that's all. After it