Kawai K3m

I think in a synth this old of this type the software is irrelevant. I just use this thing for the sounds and the hands-on programmability. Presets? Well...there is no such thing really. Maybe in the original factory setup...but it's so easy to change and write your own presets that I'm sure most people just eventually overwrite nearly all the presets. I know I have, and I don't regret it one bit. Editing is the cinchiest job ever! I mean easier than a virtual analog with knobs and faders because you can scroll really fast through the paramerters by holding buttons down and parameters are digitally precise - when youre there youre there! You don't have to recheck things and make sure the knob is in the same position it was a minute ago.
I don't have a manual and for the most part I don't care. There's only a few things about the MIDI capabilities I don't always know how to change. I have had some minor trouble tuning this synth to my other synths via MIDI (namely my Korg DW8000, which I admit is a HORRIBLE controller anyway). The K3 seems to transpose itself as I am playing the other members of my kit. As far as editing sounds goes, I feel totally confident using the controls I have with no manual at all.

This is a module so there's no keyboard. However, it seems to respond well to all kinds of data, velocity, aftertouch, etc. It only has a chorus effect which I never use. I run it through a Vox Tonelab and get wicked throaty tones out of it, or really spacey filtered bell-like stuff with a delay running. It takes a ROM card and I have occasionally seen them online. I'd only use one to store my user patches. It's so easy to edit I don't think I need to buy anyone else's patches on a card. This synth is "no-frills" in this category, but I also wasn't looking for any heavy features in this synth, I just liked it's simplicity...all the waveforms...and the warmness of it's analog filter!

I will admit that the sampled waves this thing has are nothing special, but I'll also testify that it's samples sound better (to my ear) than the low-fi Korg DW-8000's 12-bit samples. The waves on my K3 sound much clearer and stronger to me. Everyone makes a big stink about the "classic" DW-8000 (which gets a rating of around 4.8 out of 5 which I think is ridiculous) and I'm still trying to figure out why. I actually play the DW8000 and my K3m side-by-side in my studio and they are often in competition. Sometimes the Korg wins for Keith Emerson type leads because you can stack voices in an ultra-fat unision mode. However, I recently got a really good analog saw-lead (like the one in Pink Floyd's Shine On You Crazy Diamond) out of my K3m. And that Korg had better count it's blessings that I don't find some way to fatten that K3 up a little!
One thing I really love the K3m for is the analog filter. There are a several bell and piano like waves and I like to set the cutoff low and the resonance high so I get these great bouncy analog *ping* sounds to layer over some of my percussion sounds on other synths. There is something natural about it even though it isn't "acoustic" by any means.

The K3 also has about double the waves available on a Korg DW8000 and they are very distinct. The DW-8000's sound very similar sometimes so it just frustrates you to flip back and forth trying to decide which to use. With the K3m you KNOW what you'll be using right away. Each waveform is quite distinct and the resolution isn't that bad for a late 80's synth at all. I'm really torn between gicing this synth a 7 or an 8 for sounds. I'll put 7, but I think if you spend enough time programming it, then it could in some cases deserve an 8.
One thing you have to consider is what I use it for. My main synth is a Roland JV1080 followed closely by a Yamaha TG77(SY77 module). These two I use for the main beef of my recordings: Strong basses, etheral pads, guitar sounds, and leads of all kinds. I also use an E-mu B-3 organ module as my icy glaze on things. However, the K-3 and the DW-8000 play a special role in my recordings. I basically ad-lib my recordings up & down with unique self-made patches from the K3 or DW-8000 to give my music strong analog overtones. Sometimes I like to arpeggiate a little with a resonant synthclav sound, or accent my percussion with punchy stabs. Analog progressive rock strings are a good bet too. Somehow it brings everything together and covers up the sterile digital sound of my other synths. For this purpose alone, I would give the K3 an 8! But if I was using it as the backbone of my music instead of the embellishment I'm sure I'd sound a little too much like 80's cheese. And maybe that would bump it down to a 7.

Seems very solid. No scratches. Buttons work fine. Display works fine.

Never had to use them.

If I lost it I might try another K-series Kawai synth, maybe a K-4, 5 or even 5000 for the same purpose. I think they are really unique and what you can do with them is unique. There's really nothing like them! But don't expect solid conventional rock and blues sounds. You can DO it with some tweaking, but you can get better. I think for the purpose of making recordings sound really unique and interesting in a warm analog kind of way, the K3 deserves an 8. It's reliable and simple to use. Presets are right there - each has it's own button! NO SCROLLING. So I'd definately gig with it if I had a need for it. And one of these days it may just push my DW8000 out the door.

I have no idea what software version is being used, I don't think there was any upgrades for the K3m - but I could be wrong. Looks like the patches were all written by the previous owner, who was quite fond of the Elecric Piano sounds. As this was purchased from a seller in Germany via eBay, the manual supllied was in French and German. I now have a PDF, but the thing is so easy to use, it hardly gets looked at. 50 buttons on the front access all parameters, as well as choosing from the 50 patches. Sheer simplicity.

The K3m is 6-note poly, and monotimbral. A simple chorus or short delay (40-60ms)is the only effect, there are seven variations to choose from. The chorus (or delay) is not editable, but sounds quite good, not too clean, if that is what you are looking for, a nice analogue-y, warm fuzzy sort of effect. No PCM cards or anything here, just a cartridge which offers another 50 patch locations in terms of expansion. No sequencer, or MIDI clocks for LFOs' etc. But easy to use? Oh yeah.

Let's face it - we're looking at a synth which is older than the K1, released in 1988, which has 34 waveforms, one of which is white noise, with one user-definable (!) additive waveform. So, this is not a contender for your Korg Tritons, etc. But It will sit quite happily in your rack whatever your style, unless true emulation is needed, in which case you would be using a sampler anyways. Works quite well with velocity, aftertouch, etc. Analogue filters to beef your 8-bit digital waves, we'll have some of that!

Apart from obvious worries about batteries, etc, the module seems well constructed, and does not have any really obtrusive knobs or whatever. You would not use this as your main synth, but it seems rugged enough for general use.

I had to phone Kawai a while ago regarding a power supply for a Q-80 sequencer about 2 years ago - looks like their UK interests are being looked after by some aged gent who is about ready for retirement. He was ready to help, despite not being very clued up on the Kawais' synths (Kawai seem now to sell only grand pianos). Nice old guy, though, was there for me when I needed.

As this was a bargain on eBay, I would be some what annoyed if this was stolen, but would probably not replace it. Not because I think it is lame, but because I have so much equipment already.I have had 2 Kawai K4 racks in the past, but thought I would try the K3 as I heard only good things about it, and now know why. It is a wee gem of a synth, so easy to use, and with that warm and fuzzy tone. Although it might sound underpowered in 2006 - who wants to sound like a plug-in anyway?

The K3 & K3m are most contradictory synths on the planet, I guess.
These are hybrid, digitally controlled synthesizers with digital oscillators (sample playback) and analog filrers and amplifiers.

The preset sounds sound pretty neat, showing much of this machine's ability- but still that's not everything it can do.

Editing is very intuitive, however you'll need to get used to using 52 control keys. You'll need manual sometimes- because of simplicity and short naming, sometimes it's pretty ambiguous to know what a function does. The manual is pretty descriptive- guides you thru editing steps.

6 voices polyphony doesn't make much of a punch, but that is a performance synth, and it shows! Additive synthesis, driven thru two analog filters (yeah, people tend to forget that K3 actually has two :-) ), with MIDI control all around (it's not true that it doesn't respond on CCs, it just doesn't respond on most of them).

There's a simple, stereo chorus with some nice programs: it sounds good, but there's no program for subtle flowing of sound in stereo pan.

There's a propertiary RC-2 cartridge, which gives you another 50 sounds and user waves.

The architecture of this synth, as you already read, is very basic, but not "cheap".

for sound you have two digital oscillators with detune and mixer. Each oscillator has 31 waves, one being additive, user made (and can be stored) with up to 128 harmonics, and "white" noise. They're the weakest part of this synth: noisy, clicky- with whole lot of aliasing. But they're charming in some warm way. There's a simple glide envelope for pitch. Mixing between DCOs can be influenced by aftertouch and velocity too.

Then you have two filters, a HPF and envelope and aftertouch driven LPF. They're really analog (SSM2044). As any other Curtis chips, this is full blown 24db/oct LPF with resonance up to self oscillation- and it SHOWS!

You have separate ADSR envelopes for filter and amp, with aftertouch responce, and a fantastic response.

Also there's a single (and I mean it) LFO for the synth. It's very stable, and can influence pitch, amp and filter cutoff frequency.

Got a hudge blow in the face while it got to me from UK, and still works!

N/A

Oh, yeah- that's my little baby :), for me it was love at the first sight. I'd never part with mine, even if it's just one day I have it.

A poor-man's Fairlight. A fantastic performance synth. And it's just pleasure to look at.

Simple & easy to understand: rows of buttons who are mostly self-explanatory. No data slider (!) which makes it sometimes hard to tweak, but it's never been a BIG problem.

Polyphony: 6, with 2 ocs per voice. All voices are samples (single cycle?). Monotimbral. A card slot gives you another 50 preset places but the cards are rare. OK chorus. The usual midistuff such as note, program number, pressure etc, but no CC. It's also not possible to modulate cutof or res with the modulation slider, but fortunately you can modulate the filter with velocity.
Other 'bad' points: no cross modulation, oscillator sync or PWM...

Realism: no way. However, the sampled osc's do sound very beefy and warm. Probably that's why this synth reminds me a lot of the Korg DW 6000/8000, who operate with the same principle. The K3m can make a thunderous bass sound and probably would be a good subbass for R&B stuff...
Velocity and aftertouch (excellent aftertouch!) are all there but it still doesn't make the K3m the most expressive synth around. The filter itself is definitely the thing that gives it true analog credibility: easy to use, big and warm.

Never had a problem of any sort. Don't know about the previous owner...

Never dealt with Kawai but I doubt whether they would still care for a twenty year old piece. The K3M is very different both from the Teisco/Kawai SX series (who preceded it) as from the K1/5/etc, who came after: a digital/analog hybrid with sampes wavefrorms and analog filters, bit of a strange bird in the Kawai cage...

The actual SOUND of the unit is good but it's low on features. Therefore, it's a good but limited polysynth. Not very well known and therefore usually good value for money. Truly spectacular sounds are not easy to get, but for simple usefull sounds this synth is fine. I've noticed that I do not often use it as a 'lead' instrument, but it does excell in its supporting role...

as easy to use as pressing a button on the front control panel. in other words, one button per parameter. i do yearn for a data entry pot (ala SCI gear) as opposed to the incremental up/down buttons, though...

6-voice poly, 31 preset lo-fi, crunchy, digital (single-cycle?) waveforms, 1 user-defined additive waveform, 1 noise wave sample. nice MIDI (has a thru!) SSM2044 ANALOG FILTERS!

wow. first i had to deal with the awful presets but when properly programmed...my god...does this box have some LOW END. i can't even replicate this sort of bass on my prophet-600 in unison mode. i find that i mostly use this box for pads (in poly mode) and bass (in unison 'mono' mode). don't even get me started on the chorus...it's simply amazing. silky, fat, you name it, you have 7 meaty selections to choose from.

broken when i got it, took like 5 minutes to figure out it was a faulty fuse holder on the board side of the transformer. what a deal. has worked flawlessly ever since. i hear kawai made some good stuff back then. have no idea about their track record since.

never needed it.

don't pass it up if you can find it as cheap as i did (not broken, of course). it's like a korg dw series-meets-juno. i don't know if the early ensoniq stuff blows this away as i haven't had a chance to play an esq-1 or sq-80 but i believe they're in the same category.

This is a VERY easy to use Digital/Analogue hybrid additive/subtractive synth. The presets are awesome if you don't think of them as trying to sound acoustic. Saying that, I don't know if my presets are factory standard (I've just received it)... If this beast had knobs, I'd have given this category 10/10

It only has 6 notes of polyphony, but as a monotimbral synth of that era it is pretty sufficient. I am seriously considering buying another though :-)

I never heard one until I bought one (for a good price too) and to be honest, I wasn't expecting much, but when I played it!!! Wow... Juno/Super JX springs to mind.

Solid! Built like a brick sh!t house...

N/A

From now on, I will always have one of these in my setup which includes a Fairlight Series III, Roland MKS-80, Waldorf XTk, Supernova II, Juno 1, TX802, S5000, AN1x, Motif Rack, XV5080, etc, etc. Get one NOW!!!

Well, the editing is nothing for the faint but compared to other 80s synths of the "we get rid of knobs" era it's not too bad as you at least don't have to enter the parameter address. Instead, you have direct access to each and every parameter. The manual's ok and covers also the MIDI implementation -- nice for those who want to create their very own editor software

As other reviewers pointed out, the factory sounds are almost useless.

Polyphony is just 6 which is why I instantly bought a 2nd K3m after getting my first... Yes, this machine is addictive. With two you can either link them to get a 12-voice K3m or run them in split mode where one synth does the low part, the other the high part.

Being a true 80s machine it comes with the inevitable on-board chorus built from lovely BBDs; run it through an external chorus in addition and "stereoize" the signal -- it's a killer.

Forget about the machine if you search for realistic acoustic instrument imitations (if you buy a synth for that reason you're obviously doing something wrong anyway). But if pads, bass sounds and killer organs are your type of thing you definitely should get one. It's a nice digital/analog hybrid, so it is able to really kick butt with the SSM2044 filters but also sound somewhat PPGish if you want.

Never had any problem with it. It's built like a rock.

However, you can severely mess up your MIDI setup if you press the wrong buttons. So only 9 out of 10.

Casio USA is very helpful and still provide support; you can even get replacement boards if you need.

Didn't understand, though, why I had to sign an NDA to get a service manual for a 1980s machine... But, hey, at least they're selling it to "ordinary people".

As I just had to buy a second one after I got my first (used) one I'd say that this machine is highly addictive. It makes a perfect supplement to my other synths (Ensoniq SQ80, Yamaha SY77, Roland MT-32).

Still in search for a machine which gives me real PWM, though :)

This old analog tank doesn't know what an update is. The presets are fine and I've used them on my original material, but the editing is what makes this piece really neat. Basically a nice old phat MIDI capable synthesizer.

This unit is the rack version, so the keyboard action is N/A. There is a built-in chorus effect and it's very self explanatory. There are memory cards available for more sounds or to save your own programs. I have not explored the MIDI capabilities, other than using it as a slave. It responds to touch sensitivity, but never tried external resonance/cutoff or other standard analog synth parameters.

This is a nice-sounding, inexpensive analog synth that can either fill out the bottom of a sterile sounding digital recording. I use the synth in conjunction with other keyborads, and while it does hold it's own next to a Sequential T8 and an Oberheim OB8, I've never expected any one keyboard to fill every need. I think they work best when used together. I think the sounds are as good as a Mini Moog, though have not yet ever tried them side-by-side.

Always reliable. Held up for many years in my studio. Never taken it out anywhere, but it is an old tank.

Never contacted Kawai. Never needed to.

I would probably have to hunt down another if this one were ever stolen. I like it because it's always there with a good idea and it compliments my other synths well. It would only be better if it had been free.
If you want to hear a sampling of some of my group's music please visit <a href="http://www.idlemirth.com">www.idlemirth.com</a> for access to our live performance dates and our MP3.com site.

I don't think there was such a thing as "software upgrades" when this beast was made... manual is also typical of the time and the unit is pretty easy to figure out, especially when stacked up against today's synths. Presets are useless... most of em try to emulate acoustic instruments and fail miserably, even the better sounds among them are still pretty cheesy. But great sounds can be made with the right editing! Speaking of which, you can figure out editing from the front panel on this one, as all of the button functions for edit mode are labelled. I figured it out before I got my hands on the manual (though understanding both additive and subtractive synthesis will be a plus in this dept.) The only useful feature that's not immediately obvious is the function that allows you to amplify 32 of the first 128 harmonics on the user waveforms (more on this later)... needed the manual for that.

Carts are available for extra storage (RC-2)... haven't got one yet, but got a line on one for $25. Polyphony is limited, but not an issue for what I use it for (sound design)... it's yer basic 2-osc. synth, with 31 preset digital waveforms, #32 being user-defineable (these are the ones you can tweak harmonics on) and 33, which is white noise. These goes through an analog high-pass and resonant low-pass filter and an amplifer section. This unit is basically good for making very low or very high pitched strange sounds to sit in the backround of your mix - the type you don't necessarily notice are there unless you take them out. And it goes surprisingly low and screechingly high quite well. The lows don't push air but are nice and solid, and the highs can tear your head off if you want them to. The harmonic tweaking feature really helps with emphasizing the highs, even to ear-bleeding point if you wish (which I often do)... suffice to say, this synth can helps you make the type of music I like to refer to as "uneasy listening".

Oops, well, I guess I said most of what I had to say in this department above. I don't "play" per-se, so I can't really comment on how well it responds to aftertouch etc. But for what I want to do with it, as I said, it's great. The actual sound quality is pretty dirty, but no more so really that anything from it's era, especially pieces with analog components.

Well, it sits in a rack in my studio, but it feels like it could take a pretty heavy beating and still keep working. Although, a friend of mine got one from a pawn shop a while back with one of the oscillators not functioning properly, but since I have no idea how that happened or how his unit had been treated beforehand, I won't rate this section.

No need.

I've considered selling this, then reconsidered when I got some more great sounds out of it. Not necessarily the first thing I reach for... it's nice to have around, but I'm not sure I'd replace it if I lost it somehow. I own some newer beasts and a few golden oldies and I like to keep the older beasts around for grit and simple editing. I bought it solely based on some sounds I got when playing with the aforementioned one that my friend owns. A wish list for these older products is pretty pointless, they are what they are, "vintage" usually means it doesn't have a fraction of the features that are standard in today's machines, so "deal with it" is my attitude toward that subject. It helps me make music more often than not, since it almost always surprises/inspires me with the sounds I can get out of it. The fact that I hung onto it after some uncertainty speaks for itself, I think.

(about software version: i have no idea; however, as far as i know there aren't any upgrades available anyway)
Due to its limited set of features, this synth is very simple to program. OK, so the 3 digit display SUXX, but ones you've figured it out (i found it very easy) it doesn't take much time to make a sound. However, it can be quite tedious. I haven't seen any patch editor, that would really help alot, at least if it included some type of sliders for setting parameters. I might write one someday. The pages from the manual i have (fotocopied) suck quite alot, not hard to follow, but very they're boring and there's alot of empty space on each page. (btw, if you're having problems figuring out the additive-thingy, mail me, that sure took a manual).
about the presets; i have no idea (exept for what i've heard from others, and they usually say the presets such quite alot, they're aimed at being realistic-acoustic, and one thing i can tell you is that this machine does NOT sound anything like a 'real' instrument). i read somewhere that if you hold down the first three buttons on the first row, it should reset all pathes to the original. i haven't felt like trying that.
It is very easy to make the standard analog sounds, just select two sawwaves, detune em, lower the octave for one of them, it only takes a couple of seconds. Also bells, organs, pads and noises (not very many types of noises however) are very easy to make. I wouldn't dream of making anything like a piano though (allthough i've actually read the piano's supposed to be quite ok - i don't believe it at all).
Basicly, making simple analog synthsounds is supersimple. Thats what i use it for, it isn't exactly an allround synthesizer...

The 6-note poly can be quite a problem when playing pads! Other than
that, it's ok, the thing's monotimbral youknow...

The chorus is quite cool i think, it sounds really strange, but since
you will probably want some external effects on this synth, it isn't
very useful. Basicly, unless you're doing something that is supposed to
sound retro, shitty, and bad, consider this machine a no-fx one.
If you happen to get two K3m's, or one K3m and one K3, you can connect
them and get a 12-note poly machine (i'd think i'd buy another one if
i could just for the pads (also, i really like to have the name Kawai
on my gear :) as well as Casio, Radioshack...)) (you'll need the
manual to figure this one out!)

As the only cartridge i've seen costed more than twice as much as the
synth itself, i haven't thought about buying one. 50 user patches is
enough i think since you can only make a limited range of really
differing sounds with this box.
The midi lags sometimes in that peculiar kawai way, even if you only
play one note at a time - seems to be a really underpowered processor (z80?
anyone know?) - really i think this is kinda cool, it adds a strange
kind of "shuffle" to bassline's and such. i think most people won't
like it though :)

the main complaint about this synth is usually that it has no realtime
control of the filter cutoff. i solve this by assigning the pressure
modifier to the VCF and then using my JP8000 to control the pressure
via MIDI - et voila, realtime cutoff control. you could also use the
aftertouch in a similiar way, or the velocity (maybe all this sounds
stupid, but you'll see what i mean when making a TB303-type bass).

this isn't a feature synth, but it is very cool anyway: it is a really
strange bird, an digital-additive-analog-subtractive synthesizer! yes
it's true, it has digital additive oscillators, and subtractive analog
filters. really a one-of-its-kind. the additive 'oscillator' uses 32
harmonics out of 128 possible, you choose which ones, and at what volume.
this together with the wacky chorus and the overdriving lowpass resonant
filter together with a individual highpass filter gets is 5 points from
me. but then again, i really like this synth.

It can sound very early 80's - think jx3p, but also very nice organs,
digital sounds (like depeche mode) and very good trance/techno sounds.
with some distortion you can get a fantastic 303 out of it! it has a
quite soft sound, maybe this is poor hiend? even bright digital stuff
sounds mellow and warm on this one. love it or hate it.
for techno, trance, retrosynth, electro, acid, goa, kraftwerkish etc.
this is a machine you'll love. for pop, eurocrap, realistic music,
classical, soundtracks, and stuff like that, get some other synth.
the portamento sucks so bad it is unusable *period*.
I've managed to get really nice moogs, hammonds, 303's, superwarm
synpads, technohits, synthbasses, and trancestuff out of it. wouldn't
use it for leads, but this might be due to the fact that i have a jp8000...
note that while i have a jp, i still use this one for some pads the jp
just can't make, and some extraordinary basses. also i love the
ultraretro synthbrass a la jx3p.
the 9 points are for the sound, not the expressiveness which is more
a 5.

I've got it secondhand, but it's working just fine. it's very simple to remove the cover and blow away some dust.
I've used in on some gigs (don't gig much though) and it was no problem. its doesn't feel tank stable, but not casiostable either. you wouldn't want to drop it. but since it's a rackmount module you wont drop it right?
i go on gigs without a backup, but thats simply because i don't have any :)

Hmm, kawai still has the original programs on their homepage, but other
than that i don't know. haven't needed to, if you desperately need some
manual pages, i might be able to help (don't have all of it though).

If it was stolen, i'd get another synth. don't get me wrong - i really like this one, but it's not exactly the most important part of my studio setup. however, as said before, if i found another one cheap (for under about $100) i think i'd buy it. i find the sound absolutely wonderful.
I really wish it had some fm modulation :) really, it's a very simple synthesizer, but it does what it does great. 10-note poly would be great (see above). also, the outputs are a bit noisy. a faster processor would be nice.
as a cheap 303emulator, a pad machine or nice basses, it's a great addition to my setup of an emu8000 (awe32) sampler (mainly for drums and samples) and jp8000 synthesizer. it was afterall very cheap.

The presets are mediocre at best for today's needs, but building your own is very easy, once you've managed to figure out the display. A patch editor is not available (as far as I'm aware of). There are relatively few parameters, but those few ones still give you a broad pallette to work from.

Poly: 6 notes. No keyboard - tone module Chorus effects built in. 3 types. Best when used in bi-waveform mode with a detuning on the waves. Accepts 1 RAM cartridge, looks like an Atari cartridge. Velocity and AT - quite good... has a fast logarithmic taper at the high end of the velocity map. No onboard sequencer. Everything is easy to use, but not very versatile.

None of the instruments sound realistic. They are an early form of wavetable. What you DO get is a pallette of warm, analog sounding pads and comps, good for dance and progressive rock. The organ sounds can be tweaked quite well for an old synth. Very analog sounding for a "digital" synth from that era. Not too bad for expression. You can get quite a bit out of the AT.

Um... I tried to use it in a gig without a backup, and it went. I've had some power supplu problems, but beyond that, it has been very reliable since I bought it several years ago.

I have never dealt directly with Kawai

I think it's the best sounding synth in my rig. Mind you non of my synths date post 1988 (much to my dismay). The outputs are fairly clean for a unit like this, though I'd clean it up in a studio. It's a good warm synth that (not by default) has some very nice, full pad sounds in it.