[RWP] My Podcast and a samplomatic question

[Ken Downey]

This is wonderful! I don't know why I haven't heard about this. I mean, I've 
heard  of SFZ files but just thought it was another kind of sf2 requiring 
its own editor and everything. This info will be infaluable for the sound 
design courses I'll be teaching at the conservatory. Thanks!
----- Original Message ----- 
From: "Chris Belle" <cb1963 at sbcglobal.net>
To: "Reapers Without Peepers" <rwp at reaaccess.com>
Sent: Monday, October 27, 2014 5:41 AM
Subject: Re: [RWP] My Podcast and a samplomatic question


Ken, there is nothing better than the sfz format to build sample
libraries for us.

Of late my favorite sfz player is sforzando.

Learn a few opcodes, and you'll be in sample hog heaven, sfz supports
round robin, sequencial positioning, key-switching triggers, filters,
bout anything you could want, unlimited zones and regions,
it's all done with a text file and wavs or flac or ogg files at any
sample rate or bit depth.

I've been making my own sfz instruments for years,
I use sound forge to do the trimming and such, any old wav editor will do,
but the forge is nice to do looping samples and such, I don't bother
looping things much anymore because why bother when we have such big
memory and natural decay and envelopes sound so much better,
even from hardware synths now adays I just take the natural decay.

Sforzando also can parse sf2 files, but the old sfz is better for
playing multi-tembral fonts if you need that.

But sforzando supports level one and 2 sfz
and also plogue specific opcodes, and just to get you started here is
the manual for level one opcodes, this will keep you busy for a while.

The sfz Format: Basics
What is the sfz format?
The sfz format is a file format to define how a collection of samples
are arragned
for performance.
The goal behind the sfz format is to provide a free, simple,
minimalistic and expandable
format to arrange, distribute and use audio samples with the highest
possible quality and the highest possible performance flexibility.
A sfz format file can be played in our freeware sfz player.
Soundware, software and hardware developers can create, use and
distribute the sfz
format files for free, for either free or commercial applications.
Some of the features of the sfz format are:
Liste de 15 éléments
• Samples of any bit depth (8/16/24/32-bit) support, mono or stereo
• Samples taken at any samplerate (i.e. 44.1k, 48k, 88.2k, 96k, 176.4k,
192k, 384k)
• Compressed samples. Compressed and uncompressed can be combined
• Looped samples
• Unlimited keyboard splits and layers
• Unlimited velocity splits and layers
• Unlimited regions of sample playback based on MIDI controllers
(continuous controllers,
pitch bend, channel and polyphonic aftertouch, keyboard switches)
and internal generators (random, sequence counters)
• Sample playback on MIDI control events
• Unlimited unidirectional and bidirectional exclusive regions (mute groups)
• Unlimited release trigger regions with release trigger attenuation control
• Unlimited crossfade controls
• Trigger on first-note and legato notes
• Sample playback synchronized to host tempo
• Dedicated Envelope Generators for pitch, filter and amplifier
• Dedicated LFO for pitch, filter and amplifier
Fin de la liste
How is the sfz format structured?
The sfz format is a collection of sample files plus one or multiple .sfz
definition
files. This structure, containing multiple files instead of a single
file is defined as non-monolithic.
Two kinds of sample files were selected to be included in the sfz
format: a basic
PCM uncompressed format (standard Windows wave files) and a basic,
adjustable-quality,
royalty free compressed format (ogg-vorbis encoded files).
The inclusion of a compressed format allows sample developers and
soundware creators
to easily create preview or demonstration files in a small package
so they can be transferred with minimum bandwidth, while retaining
complete performance
functionality.
Both formats are 100% royalty-free, so players can be created to
reproduce them without
fixed or per-copy fees. They can also be freely distributed on the
web (provided that the contents of the files are copyright cleared).
Each .sfz definition file represents one or a collection of instruments.
An instrument
is defined as a collection of regions. Regions include the definition
for the input controls, the samples (the wav/ogg files) and the
performance parameters
to play those samples.
How is the .sfz definition file created?
A .sfz definition file is just a text file. Consequently, it can be
created by using
any text editor (i.e. Notepad).
Why non-monolithic?
While both monolithic and non-monolithic formats have advantages and
disadvantages,
there are several reasons which moved us to adopt a non-monolithic sample
format. Technological and conceptual reasons can hardly be separated, so
here's a
basic explanation.
The most important reason is the file size limitation of a non-monolitic
file on
FAT32 partitions. Samples are getting really big nowadays, with thousands
of individual samples collected in single instruments, and triggered
according to
many input control combinations.
Samples with high bit resolution (i.e. 24-bit samples) and high
samplerate settings
(96kHz, 192kHz) make the collection size even bigger. In the case of
a non-monolithic format, the limitation still applies, but it applies to
each sample
instead of to the sum of all samples, making the limit virtually
unreachable.
While this limitation doesn't apply to NTFS, NTFS partitions are less
efficient than
FAT32 disks in terms of raw disk performance for streaming applications.
Additionally, editing a single sample in a monolithic file implies
loading the whole
file, and after edit, saving the whole file again to disk. When collection
size is big, the loading and saving operation is very time-consuming.
However, we have not discharged the possibility of incorporating a
monolithic format
for the sfz format, as soon as the format structure is completely
implemented.
Small sound sets (or NTFS users) could chose between the two options
appropriately.
Why not XML?
XML was actually the first choice for the .sfz definition file, mainly
due the simplicity
from the development point of view as the XML parser and transaction
code is already available.
However, XML was designed to exchange data over the web. Musicians,
players, composers,
soundware developers and audio technicians generally do not know
about XML at all.
In addition, as a universal information exchange format designed for
general-purpose
applications, XML is inefficient (in terms of information over total
data terms), and editing a XML file requires the use of a XML editor
instead of a
text editor.
A .sfz file is extremely self-explanatory. Most of the functionality of
an instrument
can be easily discovered by reading the file.
Is there a .sfz dedicated editor?
 From rgc:audio, not yet... and not anytime soon.
However, we're working with several developers in the industry, creators
of sample-conversion
software to implement the .sfz format in their converters
and editors.
The nature of the format allows creating instruments using other
general-purpose
software, like spreadsheets, wordprocessors, simple-scripting languages
and other custom tailored software applications.
Implementation
How is an instrument defined?
The basic component of an instrument is a region. An instrument then, is
defined
by one or more regions. Multiple regions can be arranged in a group. Groups
allow entering common parameters for multiple regions.
A region can include three main components: the definition for a sample,
a set of
input controls and a set of performance parameters.
Sample
The sample opcode defines which sample file will be played when the
region is defined
to play.
If a sample opcode is not present in the region, the region will play
the sample
defined in the last <group>. If there's no previous group defined, or
if the previous group doesn't specify a sample opcode, the region will
be ignored.
Input Controls
Input controls define when the sample defined in a region will play,
based in real-world
controller values and/or internally calculated values.
Real-world controllers are the elements that players, musicians or
composers actually
use to play music. Internal values are calculated by the player, like
sequence counters and random generators.
The sfz format relies in the standard Musical Instruments Digital
Interface (MIDI)
specification for all input controls. Most available performance controllers
implement MIDI, and it's still the dominating specification for software
audio sequencers
in all platforms.
Keyboard controllers are the most significant example of an Input
Controls generator.
Other generators could be MIDI guitars and string instruments, wind
controllers, drum and percussion controllers. With individual
differences, they all
generate a common set of messages defined in the MIDI specification.
A set of input controls then, are the combination of a played MIDI note
with its
velocity, continuous controllers, pitch bend, channel and polyphonic
aftertouch,
etc.
When a particular set of input controls matches the definition for a
region, the
sample specified in that region plays, using a particular set of performance
parameters also specified in the region.
Inside the definition file, a region starts with the <region> header. A
region is
defined between two <region> headers, or between a <region> header and
a <group> header, or between a <region> header and the end of the file.
Following the <region> header one or more opcodes can be defined. The
opcodes are
special keywords which instruct the player on what, when and how to play
a sample.
Opcodes within a region can appear in any order, and they have to be
separated by
one or more spaces or tabulation controls. Opcodes can appear in separated
lines within a region.
Opcodes and assigned opcode values are separated by the equal to sign
(=), without
spaces between the opcode and the sign. For instance:
sample=trombone_a4_ff.wav
sample=cello_a5_pp first take.wav
are valid examples, while:
sample = cello_a4_pp.wav
Is not (note the spaces at the sides of the = sign).
Input Controls and Performance Parameters opcodes are optional, so they
might not
be present in the definition file. An 'expectable' default value for
each parameter is pre-defined, and will be used if there's no definition.
Example region definitions:
<region> sample=440.wav
This region definition instructs the player to play the sample file
'440.wav' for
the whole keyboard range.
<region> lokey=64 hikey=67 sample=440.wav
This region features a very basic set of input parameters (lokey and
hikey, which
represent the low and high MIDI notes in the keyboard), and the sample
definition.
This instructs the player to play the sample '440.wav', if a key in the
64-67 range
is played.
It is very important to note that all Input Controls defined in a region
act using
the AND boolean operator. Consequently, all conditions must be matched
for the region to play. For instance:
<region> lokey=64 hikey=67 lovel=0 hivel=34 locc1=0 hicc1=40 sample=440.wav
This region definition instructs the player to play the sample '440.wav'
if there
is an incoming note event in the 64-67 range AND the note has a velocity
in the 0~34 range AND last modulation wheel (cc1) message was in the
0~40 range.
Performance parameters
The Performance Parameters define how the sample specified will play,
once the region
is defined to play.
A simple example of a Performance Parameter is volume. It defines how
loud the sample
will be played when the region plays.
Groups
As previously stated, groups allow entering common parameters for
multiple regions.
A group is defined with the <group> opcode, and the parameters enumerated
on it last till the next group opcode, or till the end of the file.
<group>
ampeg_attack=0.04 ampeg_release=0.45
<region> sample=trumpet_pp_c4.wav key=c4
<region> sample=trumpet_pp_c#4.wav key=c#4
<region> sample=trumpet_pp_d4.wav key=d4
<region> sample=trumpet_pp_d#4.wav key=d#4
<group>
<region> sample=trumpet_pp_e4.wav key=e4 // previous group parameters reset
Comments
Comment lines can be inserted anywhere inside the file. A comment line
starts with
the slash character ('/'), and it extends till the end of the line.
<region>
sample=trumpet_pp_c4.wav
// middle C in the keyboard
lokey=60
// pianissimo layer
lovel=0 hivel=20 // another comment
Where do the sample files have to be stored?
Sample files can be stored either in the same folder where the .sfz
definition file
resides, or in any alternative route, specified relatively to the location
of the definition file. Consequently:
sample=trumpet_pp_c3.wav
sample=samples\trumpet_pp_c3.wav
sample=..\trumpet_pp_c3.wav
Are all valid sample names.
Alternatively, the player might specify one or several 'user folders',
where it will
search for samples if it doesn't find them in the same folder as the
definition file.
What can the sfz format do?
The sfz format is aimed to allow the arrange of a sample collection in a
flexible
and expandable way. It's up to the player to decide which functionality
it wants to implement.
Units
All units in the sfz format are in real-world values. Frequencies are
expressed in
Hertz, pitches in cents, amplitudes in percentage and volumes in decibels.
Notes are expressed in MIDI Note Numbers, or in note names according to
the International
Pitch Notation (IPN) convention. According to this rules, middle
C in the keyboard is C4 and the MIDI note number 60.
Opcode List
The following is a description of all valid opcodes for the sfz format
version 1.0:
Tableau: 5 colonnes et 181 lignes
Opcode
Description
Type
Default
Range
Sample Definition
sample
This opcode defines which sample file the region will play.
The value of this opcode is the filename of the sample file, including
the extension.
The filename must be stored in the same folder where the definition
file is, or specified relatively to it.
If the sample file is not found, the player will ignore the whole region
contents.
Long names and names with blank spaces and other special characters
(excepting the
= character) are allowed in the sample definition.
The sample will play unchanged when a note equal to the pitch_keycenter
opcode value
is played. If pitch_keycenter is not defined for the region, sample
will play unchanged on note 60 (middle C).
Examples:
sample=guitar_c4_ff.wav
sample=dog kick.ogg
sample=out of tune trombone (redundant).wav
sample=staccatto_snare.ogg
string
(filename)
n/a
n/a
Input Controls
lochan
hichan
If incoming notes have a MIDI channel between lochan and hichan, the
region will
play.
Examples:
lochan=1 hichan=5
integer
lochan=1
hichan=16
1 to 16
lokey
hikey
key
If a note equal to or higher than lokey AND equal to or lower than hikey
is played,
the region will play.
lokey and hikey can be entered in either MIDI note numbers (0 to 127) or
in MIDI
note names (C-1 to G9)
The key opcode sets lokey, hikey and pitch_keycenter to the same note.
Examples:
lokey=60 // middle C
hikey=63 // middle D#
lokey=c4 // middle C
hikey=d#4 // middle D#
hikey=eb4 // middle Eb (D#)
integer
lokey=0, hikey=127
0 to 127
C-1 to G9
lovel
hivel
If a note with velocity value equal to or higher than lovel AND equal to
or lower
than hivel is played, the region will play.
integer
locc=0, hicc=127
for all controllers
0 to 127
lobend
hibend
Defines the range of the last Pitch Bend message required for the region
to play.
Examples:
lobend=0 hibend=4000
The region will play only if last Pitch Bend message received was in the
0~4000 range.
integer
lobend=-8192,
hibend=8192
-8192 to 8192
lochanaft
hichanaft
Defines the range of last Channel Aftertouch message required for the
region to play.
Examples:
lochanaft=30 hichanaft=100
The region will play only if last Channel Aftertouch message received
was in the
30~100 range.
integer
lochanaft=0, hichanaft=127
0 to 127
lopolyaft
hipolyaft
Defines the range of last Polyphonic Aftertouch message required for the
region to
play.
The incoming note information in the Polyphonic Aftertouch message is
not relevant.
Examples:
lopolyaft=30 hipolyaft=100
The region will play only if last Polyphonic Aftertouch message received
was in the
30~100 range.
integer
lopolyaft=0, hipolyaft=127
0 to 127
lorand
hirand
Random values. The player will generate a new random number on every
note-on event,
in the range 0~1.
The region will play if the random number is equal to or higher than
lorand, and
lower than hirand.
Examples:
lorand=0.2 hirand=0.4
lorand=0.4 hirand=1
floating point
lorand = 0
hirand = 1
0 to 1
lobpm
hibpm
Host tempo value. The region will play if the host tempo is equal to or
higher than
lobpm, and lower than hibpm.
Examples:
lobpm=0 hibpm=100
lobpm=100 hibpm=200.5
floating point
lobpm = 0
hibpm = 500
0 to 500 bpm
seq_length
Sequence length. The player will keep an internal counter creating a
consecutive
note-on sequence for each region, starting at 1 and resetting at seq_length.
Examples:
seq_length=3
integer
1
1 to 100
seq_position
Sequence position. The region will play if the internal sequence counter
is equal
to seq_position.
Examples:
seq_length=4 seq_position=2
In above example, the region will play on the second note every four notes.
integer
1
1 to 100
sw_lokey
sw_hikey
Defines the range of the keyboard to be used as trigger selectors for
the sw_last
opcode.
sw_lokey and sw_hikey can be entered in either MIDI note numbers (0 to
127) or in
MIDI note names (C-1 to G9)
Examples:
sw_lokey=48 sw_hikey=53
integer
sw_lokey=0, sw_hikey=127
0 to 127
C-1 to G9
sw_last
Enables the region to play if the last key pressed in the range
specified by sw_lokey
and sw_hikey is equal to the sw_last value.
sw_last can be entered in either MIDI note numbers (0 to 127) or in MIDI
note names
(C-1 to G9)
Examples:
sw_last=49
integer
0
0 to 127
C-1 to G9
sw_down
Enables the region to play if the key equal to sw_down value is depressed.
Key has to be in the range specified by sw_lokey and sw_hikey.
sw_down can be entered in either MIDI note numbers (0 to 127) or in MIDI
note names
(C-1 to G9)
Examples:
sw_down=Cb3
integer
0
0 to 127
C-1 to G9
sw_up
Enables the region to play if the key equal to sw_up value is not depressed.
Key has to be in the range specified by sw_lokey and sw_hikey.
sw_up can be entered in either MIDI note numbers (0 to 127) or in MIDI
note names
(C-1 to G9)
Examples:
sw_up=49
integer
0
0 to 127
C-1 to G9
sw_previous
Previous note value. The region will play if last note-on message was
equal to sw_previous
value.
sw_previous can be entered in either MIDI note numbers (0 to 127) or in
MIDI note
names (C-1 to G9)
Examples:
sw_previous=60
integer
none
0 to 127
C-1 to G9
sw_vel
This opcode allows overriding the velocity for the region with the
velocity of the
previous note. Values can be:
current: Region uses the velocity of current note.
previous: Region uses the velocity of the previous note.
Examples:
sw_vel=previous
text
current
current, previous
trigger
Sets the trigger which will be used for the sample to play. Values can be:
attack (default): Region will play on note-on.
release: Region will play on note-off. The velocity used to play the
note-off sample
is the velocity value of the corresponding (previous) note-on message.
first: Region will play on note-on, but if there's no other note going
on (staccato,
or first note in a legato phrase).
legato: Region will play on note-on, but only if there's a note going on
(notes after
first note in a legato phrase).
Examples:
trigger=release
integer
attack
attack,
release, first, legato
group
Exclusive group number for this region.
Examples:
group=3
group=334
integer
0
0 to 4Gb (4294967296)
off_by
Region off group. When a new region with a group number equal to off_by
plays, this
region will be turned off.
Examples:
off_by=3
off_by=334
integer
0
0 to 4Gb (4294967296)
off_mode
Region off mode. This opcode will determinate how a region is turned off
by an off_by
opcode. Values can be:
fast (default): The voice will be turned off immediately. Release
settings will not
have any effect.
normal: The region will be set into release stage. All envelope
generators will enter
in release stage, and region will expire when the amplifier envelope
generator expired.
Examples:
off_mode=fast
off_mode=normal
text
fast
fast, normal
on_loccN
on_hiccN
Sample trigger on MIDI continuous control N. If a MIDI control message
with a value
between on_loccN and on_hiccN is received, the region will play.
Examples:
on_locc1=0 on_hicc1=0
Region will play when a MIDI CC1 (modulation wheel) message with zero
value is received.
integer
-1 (unassigned)
0 to 127
Performance Parameters
Sample Player
delay
Region delay time, in seconds.
If a delay value is specified, the region playback will be postponed for
the specified
time.
If the region receives a note-off message before delay time, the region
won't play.
All envelope generators delay stage will start counting after region
delay time.
Examples:
delay=1
delay=0.2
floating point
0
0 to 100 seconds
delay_random
Region random delay time, in seconds.
If the region receives a note-off message before delay time, the region
won't play.
Examples:
delay_random=1
delay_random=0.2
floating point
0
0 to 100 seconds
delay_ccN
Region delay time after MIDI continuous controller N messages are
received, in seconds.
If the region receives a note-off message before delay time, the region
won't play.
Examples:
delay_cc1=1
delay_cc2=.5
floating point
0
0 to 100 seconds
offset
The offset used to play the sample, in sample units.
The player will reproduce samples starting with the very first sample in
the file,
unless offset is specified. It will start playing the file at the offset
sample in this case.
Examples:
offset=3000
offset=32425
integer
0
0 to 4 Gb (4294967296)
offset_random
Random offset added to the region offset, in sample units.
Examples:
offset_random=300
offset_random=100
integer
0
0 to 4 Gb (4294967296)
offset_ccN
The offset used to play the sample according to last position of MIDI
continuous
controller N, in sample units.
This opcode is useful to specify an alternate sample start point based
on MIDI controllers.
Examples:
offset_cc1=3000
offset_cc64=1388
integer
0
0 to 4 Gb (4294967296)
end
The endpoint of the sample, in sample units.
The player will reproduce the whole sample if end is not specified.
If end value is -1, the sample will not play. Marking a region end with
-1 can be
used to use a silent region to turn off other regions by using the group
and off_by opcodes.
Examples:
end=133000
end=4432425
integer
0
-1 to 4 Gb (4294967296)
count
The number of times the sample will be played. If this opcode is
specified, the sample
will restart as many times as defined. Envelope generators will not
be retriggered on sample restart.
When this opcode is defined, loopmode is automatically set to one_shot.
Examples:
count=3
count=2
integer
0
0 to 4 Gb (4294967296)
loop_mode
If loop_mode is not specified, each sample will play according to its
predefined
loop mode. That is, the player will play the sample looped using the first
defined loop, if available. If no loops are defined, the wave will play
unlooped.
The loop_mode opcode allows playing samples with loops defined in the
unlooped mode.
The possible values are:
no_loop: no looping will be performed. Sample will play straight from
start to end,
or until note off, whatever reaches first.
one_shot: sample will play from start to end, ignoring note off.
This mode is engaged automatically if the count opcode is defined.
loop_continuous: once the player reaches sample loop point, the loop
will play until
note expiration.
loop_sustain: the player will play the loop while the note is held, by
keeping it
depressed or by using the sustain pedal (CC64). The rest of the sample
will play after note release.
Examples:
loop_mode=no_loop
loop_mode=loop_continuous
text
no_loop for samples without a loop defined,
loop_continuous for samples with defined loop(s).
n/a
loop_start
The loop start point, in samples.
If loop_start is not specified and the sample has a loop defined, the
sample start
point will be used.
If loop_start is specified, it will overwrite the loop start point
defined in the
sample.
This opcode will not have any effect if loopmode is set to no_loop.
Examples:
loop_start=4503
loop_start=12445
integer
0
0 to 4 Gb (4294967296)
loop_end
The loop end point, in samples. This opcode will not have any effect if
loopmode
is set to no_loop.
If loop_end is not specified and the sample have a loop defined, the
sample loop
end point will be used.
If loop_end is specified, it will overwrite the loop end point defined
in the sample.
Examples:
loop_end=34503
loop_end=212445
integer
0
0 to 4 Gb (4294967296)
sync_beats
Region playing synchronization to host position.
When sync_beats is specified and after input controls instruct the
region to play,
the playback will be postponed until the next multiple of the specified
value is crossed.
Examples:
sync_beats=4
In this example, if note is pressed in beat 2 of current track, note
won't be played
until beat 4 reaches.
This opcode will only work in hosts featuring song position information
(vstTimeInfo
ppqPos).
floating point
0
0 to 32 beats
sync_offset
Region playing synchronization to host position offset.
When sync_beats is specified and after input controls instruct the
region to play,
the playback will be postponed until the next multiple of the specified
value plus the sync_offset value is crossed.
Examples:
sync_beats=4 sync_offset=1
In this example, if note is pressed in beat 2 of current track, note
won't be played
until beat 5 reaches.
This opcode will only work in hosts featuring song position information
(vstTimeInfo
ppqPos).
floating point
0
0 to 32 beats
Pitch
transpose
The transposition value for this region which will be applied to the sample.
Examples:
transpose=3
transpose=-4
integer
0
-127 to 127
tune
The fine tuning for the sample, in cents. Range is ±1 semitone, from
-100 to 100.
Only negative values must be prefixed with sign.
Examples:
tune=33
tune=-30
tune=94
integer
0
-100 to 100
pitch_keycenter
Root key for the sample.
Examples:
pitch_keycenter=56
pitch_keycenter=c#2
integer
60 (C4)
-127 to 127
C-1 to G9
pitch_keytrack
Within the region, this value defines how much the pitch changes with
every note.
Default value is 100, which means pitch will change one hundred cents
(one semitone) per played note.
Setting this value to zero means that all notes in the region will play
the same
pitch, particularly useful when mapping drum sounds.
Examples:
pitch_keytrack=20
pitch_keytrack=0
integer
100
-1200 to 1200
pitch_veltrack
Pitch velocity tracking, represents how much the pitch changes with
incoming note
velocity, in cents.
Examples:
pitch_veltrack=0
pitch_veltrack=1200
integer
0
-9600 to 9600 cents
pitch_random
Random tuning for the region, in cents. Random pitch will be centered,
with positive
and negative values.
Examples:
pitch_random=100
pitch_random=400
integer
0
0 to 9600 cents
bend_up
Pitch bend range when Bend Wheel or Joystick is moved up, in cents.
Examples:
bend_up=1200
bend_up=100
integer
200
-9600 to 9600
bend_down
Pitch bend range when Bend Wheel or Joystick is moved down, in cents.
Examples:
bend_down=1200
bend_down=100
integer
-200
bend_step
Pitch bend step, in cents.
Examples:
bend_step=100 // glissando in semitones
bend_step=200 // glissando in whole tones
integer
1
1 to 1200
Pitch EG
pitcheg_delay
Pitch EG delay time, in seconds. This is the time elapsed from note on
to the start
of the Attack stage.
Examples:
pitcheg_delay=1.5
pitcheg_delay=0
floating point
0 seconds
0 to 100 seconds
pitcheg_start
Pitch EG start level, in percentage.
Examples:
pitcheg_start=20
pitcheg_start=100
floating point
0 %
0 to 100 %
pitcheg_attack
Pitch EG attack time, in seconds.
Examples:
pitcheg_attack=1.2
pitcheg_attack=0.1
floating point
0 seconds
0 to 100 seconds
pitcheg_hold
Pitch EG hold time, in seconds. During the hold stage, EG output will
remain at its
maximum value.
Examples:
pitcheg_hold=1.5
pitcheg_hold=0.1
floating point
0 seconds
0 to 100 seconds
pitcheg_decay
Pitch EG decay time, in seconds.
Examples:
pitcheg_decay=1.5
pitcheg_decay=3
floating point
0 seconds
0 to 100 seconds
pitcheg_sustain
Pitch EG release time (after note release), in seconds.
Examples:
pitcheg_release=1.34
pitcheg_release=2
floating point
100 %
0 to 100 %
pitcheg_release
Pitch EG release time (after note release), in seconds.
Examples:
pitcheg_release=1.34
pitcheg_release=2
floating point
0 seconds
0 to 100 seconds
pitcheg_depth
Depth for the pitch EG, in cents.
Examples:
pitcheg_depth=1200
pitcheg_depth=-100
integer
0
-12000 to 12000
pitcheg_vel2delay
Velocity effect on pitch EG delay time, in seconds.
Examples:
pitcheg_vel2delay=1.2
pitcheg_vel2delay=0.1
Delay time will be calculated as
delay time = pitcheg_delay + pitcheg_vel2delay * velocity / 127
floating point
0 seconds
-100 to 100 seconds
pitcheg_vel2attack
Velocity effect on pitch EG attack time, in seconds.
Examples:
pitcheg_vel2attack=1.2
pitcheg_vel2attack=0.1
Attack time will be calculated as
attack time = pitcheg_attack + pitcheg_vel2attack * velocity / 127
floating point
0 seconds
-100 to 100 seconds
pitcheg_vel2hold
Velocity effect on pitch EG hold time, in seconds.
Examples:
pitcheg_vel2hold=1.2
pitcheg_vel2hold=0.1
Hold time will be calculated as
hold time = pitcheg_hold + pitcheg_vel2hold * velocity / 127
floating point
0 seconds
-100 to 100 seconds
pitcheg_vel2decay
Velocity effect on pitch EG decay time, in seconds.
Examples:
pitcheg_vel2decay=1.2
pitcheg_vel2decay=0.1
Decay time will be calculated as
decay time = pitcheg_decay + pitcheg_vel2decay * velocity / 127
floating point
0 seconds
-100 to 100 seconds
pitcheg_vel2sustain
Velocity effect on pitch EG sustain level, in percentage.
Examples:
pitcheg_vel2sustain=30
pitcheg_vel2sustain=20
Sustain level will be calculated as
sustain level = pitcheg_sustain + pitcheg_vel2sustain
floating point
0 %
-100 % to 100 %
pitcheg_vel2release
Velocity effect on pitch EG release time, in seconds.
Examples:
pitcheg_vel2release=1.2
pitcheg_vel2release=0.1
Release time will be calculated as
release time = pitcheg_release + pitcheg_vel2release * velocity / 127
floating point
0 seconds
-100 to 100 seconds
pitcheg_vel2depth
Velocity effect on pitch EG depth, in cents.
Examples:
pitcheg_vel2depth=100
pitcheg_vel2depth=-1200
integer
0 cents
-12000 to 12000 cents
Pitch LFO
pitchlfo_delay
The time before the Pitch LFO starts oscillating, in seconds.
Examples:
pitchlfo_delay=1
pitchlfo_delay=0.4
floating point
0 seconds
0 to 100 seconds
pitchlfo_fade
Pitch LFO fade-in effect time.
Examples:
pitchlfo_fade=1
pitchlfo_fade=0.4
floating point
0 seconds
0 to 100 seconds
pitchlfo_freq
Pitch LFO frequency, in hertz.
Examples:
pitchlfo_freq=0.4
pitchlfo_freq=1.3
floating point
0 Hertz
0 to 20 hertz
pitchlfo_depth
Pitch LFO depth, in cents.
Examples:
pitchlfo_depth=1
pitchlfo_depth=4
integer
0 cent
-1200 to 1200 cents
pitchlfo_depthccN
Pitch LFO depth when MIDI continuous controller N is received, in cents.
Examples:
pitchlfo_depthcc1=100
pitchlfo_depthcc32=400
integer
0 cent
-1200 to 1200 cents
pitchlfo_depthchanaft
Pitch LFO depth when channel aftertouch MIDI messages are received, in
cents.
Examples:
pitchlfo_depthchanaft=100
pitchlfo_depthchanaft=400
integer
0 cent
-1200 to 1200 cents
pitchlfo_depthpolyaft
Pitch LFO depth when polyphonic aftertouch MIDI messages are received,
in cents.
Examples:
pitchlfo_depthpolyaft=100
pitchlfo_depthpolyaft=400
integer
0 cent
-1200 to 1200 cents
pitchlfo_freqccN
Pitch LFO frequency change when MIDI continuous controller N is
received, in hertz.
Examples:
pitchlfo_freqcc1=5
pitchlfo_freqcc1=-12
floating point
0 hertz
-200 to 200 hertz
pitchlfo_freqchanaft
Pitch LFO frequency change when channel aftertouch MIDI messages are
received, in
hertz.
Examples:
pitchlfo_freqchanaft=10
pitchlfo_freqchanaft=-40
floating point
0 hertz
-200 to 200 hertz
pitchlfo_freqpolyaft
Pitch LFO frequency change when polyphonic aftertouch MIDI messages are
received,
in hertz.
Examples:
pitchlfo_freqpolyaft=10
pitchlfo_freqpolyaft=-4
floating point
0 hertz
-200 to 200 hertz
Filter
fil_type
Filter type. Avaliable types are:
lpf_1p: one-pole low pass filter (6dB/octave).
hpf_1p: one-pole high pass filter (6dB/octave).
lpf_2p: two-pole low pass filter (12dB/octave).
hpf_2p: two-pole high pass filter (12dB/octave).
bpf_2p: two-pole band pass filter (12dB/octave).
brf_2p: two-pole band rejection filter (12dB/octave).
Examples:
fil_type=lpf_2p
fil_type=hpf_1p
text
lpf_2p
lpf_1p, hpf_1p, lpf_2p, hpf_2p, bpf_2p, brf_2p
cutoff
The filter cutoff frequency, in Hertz.
If the cutoff is not specified, the filter will be disabled, with the
consequent
CPU drop in the player.
Examples:
cutoff=343
cutoff=4333
floating point
filter disabled
0 to
SampleRate / 2
cutoff_ccN
The variation in the cutoff frequency when MIDI continuous controller N
is received,
in cents.
Examples:
cutoff_cc1=1200
cutoff_cc2=-100
integer
0
-9600 to 9600 cents
cutoff_chanaft
The variation in the cutoff frequency when MIDI channel aftertouch
messages are received,
in cents.
Examples:
cutoff_chanaft=1200
cutoff_chanaft=-100
integer
0
-9600 to 9600 cents
cutoff_polyaft
The variation in the cutoff frequency when MIDI polyphonic aftertouch
messages are
received, in cents.
Examples:
cutoff_polyaft=1200
cutoff_polyaft=-100
integer
0
-9600 to 9600 cents
resonance
The filter cutoff resonance value, in decibels.
Examples:
resonance=30
floating point
0 dB
0 to 40 dB
fil_keytrack
Filter keyboard tracking (change on cutoff for each key) in cents.
Examples:
fil_keytrack=100
fil_keytrack=0
integer
0 cents
0 to 1200 cents
fil_keycenter
Center key for filter keyboard tracking. In this key, the filter
keyboard tracking
will have no effect.
Examples:
fil_keycenter=60
fil_keycenter=48
integer
60
0 to 127
fil_veltrack
Filter velocity tracking, represents how much the cutoff changes with
incoming note
velocity.
Examples:
fil_veltrack=0
fil_veltrack=1200
integer
0
-9600 to 9600 cents
fil_random
Random cutoff added to the region, in cents.
Examples:
fil_random=100
fil_random=400
integer
0
0 to 9600 cents
Filter EG
fileg_delay
Filter EG delay time, in seconds. This is the time elapsed from note on
to the start
of the Attack stage.
Examples:
fileg_delay=1.5
fileg_delay=0
floating point
0 seconds
0 to 100 seconds
fileg_start
Filter EG start level, in percentage.
Examples:
fileg_start=20
fileg_start=100
floating point
0 %
0 to 100 %
fileg_attack
Filter EG attack time, in seconds.
Examples:
fileg_attack=1.2
fileg_attack=0.1
floating point
0 seconds
0 to 100 seconds
fileg_hold
Filter EG hold time, in seconds. During the hold stage, EG output will
remain at
its maximum value.
Examples:
fileg_hold=1.5
fileg_hold=0.1
floating point
0 seconds
0 to 100 seconds
fileg_decay
Filter EG decay time, in seconds.
Examples:
fileg_decay=1.5
fileg_decay=3
floating point
0 seconds
0 to 100 seconds
fileg_sustain
Filter EG sustain level, in percentage.
Examples:
fileg_sustain=40.34
fileg_sustain=10
floating point
100 %
0 to 100 %
fileg_release
Filter EG release time (after note release), in seconds.
Examples:
fileg_release=1.34
fileg_release=2
floating point
0 seconds
0 to 100 seconds
fileg_depth
Depth for the filter EG, in cents.
Examples:
fileg_depth=1200
fileg_depth=-100
integer
0
-12000 to 12000
fileg_vel2delay
Velocity effect on filter EG delay time, in seconds.
Examples:
fileg_vel2delay=1.2
fileg_vel2delay=0.1
Delay time will be calculated as
delay time = fileg_delay + fileg_vel2delay * velocity / 127
floating point
0 seconds
-100 to 100 seconds
fileg_vel2attack
Velocity effect on filter EG attack time, in seconds.
Examples:
fil_vel2attack=1.2
fil_vel2attack=0.1
Attack time will be calculated as
attack time = fileg_attack + fileg_vel2attack * velocity / 127
floating point
0 seconds
-100 to 100 seconds
fileg_vel2hold
Velocity effect on filter EG hold time, in seconds.
Examples:
fileg_vel2hold=1.2
fileg_vel2hold=0.1
Hold time will be calculated as
hold time = fileg_hold + fileg_vel2hold * velocity / 127
floating point
0 seconds
-100 to 100 seconds
fileg_vel2decay
Velocity effect on filter EG decay time, in seconds.
Examples:
fileg_vel2decay=1.2
fileg_vel2decay=0.1
Decay time will be calculated as
decay time = fileg_decay + fileg_vel2decay * velocity / 127
floating point
0 seconds
-100 to 100 seconds
fileg_vel2sustain
Velocity effect on filter EG sustain level, in percentage.
Examples:
fileg_vel2sustain=30
fileg_vel2sustain=-30
Sustain level will be calculated as
sustain level = fileg_sustain + fileg_vel2sustain
Result will be clipped to 0~100%.
floating point
0 %
-100 % to 100 %
fileg_vel2release
Velocity effect on filter EG release time, in seconds.
Examples:
fileg_vel2release=1.2
fileg_vel2release=0.1
Release time will be calculated as
release time = fileg_release + fileg_vel2release * velocity / 127
floating point
0 seconds
-100 to 100 seconds
fileg_vel2depth
-12000 to 12000 cents
integer
0 cents
-12000 to 12000 cents
Filter LFO
fillfo_delay
The time before the filter LFO starts oscillating, in seconds.
Examples:
fillfo_delay=1
fillfo_delay=0.4
floating point
0 seconds
0 to 100 seconds
fillfo_fade
Filter LFO fade-in effect time.
Examples:
fillfo_fade=1
fillfo_fade=0.4
floating point
0 seconds
0 to 100 seconds
fillfo_freq
Filter LFO frequency, in hertz.
Examples:
fillfo_freq=0.4
fillfo_freq=1.3
floating point
0 Hertz
0 to 20 hertz
fillfo_depth
Filter LFO depth, in cents.
Examples:
fillfo_depth=1
fillfo_depth=4
floating point
0 dB
-1200 to 1200 cents
fillfo_depthccN
Filter LFO depth when MIDI continuous controller N is received, in cents.
Examples:
fillfo_depthcc1=100
fillfo_depthcc32=400
integer
0 cent
-1200 to 1200 cents
fillfo_depthchanaft
Filter LFO depth when channel aftertouch MIDI messages are received, in
cents.
Examples:
fillfo_depthchanaft=100
fillfo_depthchanaft=400
integer
0 cent
-1200 to 1200 cents
fillfo_depthpolyaft
Filter LFO depth when polyphonic aftertouch MIDI messages are received,
in cents.
Examples:
fillfo_depthpolyaft=100
fillfo_depthpolyaft=400
integer
0 cent
-1200 to 1200 cents
fillfo_freqccN
Filter LFO frequency change when MIDI continuous controller N is
received, in hertz.
Examples:
fillfo_freqcc1=5
fillfo_freqcc1=-12
floating point
0 hertz
-200 to 200 hertz
fillfo_freqchanaft
Filter LFO frequency change when channel aftertouch MIDI messages are
received, in
hertz.
Examples:
fillfo_freqchanaft=10
fillfo_freqchanaft=-40
floating point
0 hertz
-200 to 200 hertz
fillfo_freqpolyaft
Filter LFO frequency change when polyphonic aftertouch MIDI messages are
received,
in hertz.
Examples:
fillfo_freqpolyaft=10
fillfo_freqpolyaft=-4
floating point
0 hertz
-200 to 200 hertz
Amplifier
volume
The volume for the region, in decibels.
Examples:
volume=-24
volume=0
volume=3.5
floating point
0.0
-144 to 6 dB
pan
The panoramic position for the region.
If a mono sample is used, pan value defines the position in the stereo
image where
the sample will be placed.
When a stereo sample is used, the pan value the relative amplitude of
one channel
respect the other.
A value of zero means centered, negative values move the panoramic to
the left, positive
to the right.
Examples:
pan=-30.5
pan=0
pan=43
floating point
0.0
-100 to 100 %
width
Only operational for stereo samples, width defines the amount of channel
mixing applied
to play the sample.
A width value of 0 makes a stereo sample play as if it were mono (adding
both channels
and compensating for the resulting volume change). A value of 100
will make the stereo sample play as original.
Any value in between will mix left and right channels with a part of the
other, resulting
in a narrower stereo field image.
Negative width values will reverse left and right channels.
Examples:
width=100 // stereo
width=0 // play this stereo sample as mono
width=50 // mix 50% of one channel with the other
floating point
0.0
-100 to 100 %
position
Only operational for stereo samples, position defines the position in
the stereo
field of a stereo signal, after channel mixing as defined in the width
opcode.
A value of zero means centered, negative values move the panoramic to
the left, positive
to the right.
Examples:
// mix both channels and play the result at left
width=0 position=-100
// make the stereo image narrower and play it
// slightly right
width=50 position=30
floating point
0.0
-100 to 100 %
amp_keytrack
Amplifier keyboard tracking (change in amplitude per key) in dB.
Examples:
amp_keytrack=-1.4
amp_keytrack=3
floating point
0 dB
-96 to 12 dB
amp_keycenter
Center key for amplifier keyboard tracking. In this key, the amplifier
keyboard tracking
will have no effect.
Examples:
amp_keycenter=60
amp_keycenter=48
integer
60
0 to 127
amp_veltrack
Amplifier velocity tracking, represents how much the amplitude changes
with incoming
note velocity.
Volume changes with incoming velocity in a concave shape according to
the following
expression:
Amplitude(dB) = 20 log (127^2 / Velocity^2)
The amp_velcurve_N opcodes allow overriding the default velocity curve.
Examples:
amp_veltrack=0
amp_veltrack=100
floating point
100 %
-100 to 100 %
amp_velcurve_1
amp_velcurve_127
User-defined amplifier velocity curve. This opcode range allows defining
a specific
curve for the amplifier velocity. The value of the opcode indicates
the normalized amplitude (0 to 1) for the specified velocity.
The player will interpolate lineraly between specified opcodes for
unspecified ones:
amp_velcurve_1=0.2 amp_velcurve_3=0.3
// amp_velcurve_2 is calculated to 0.25
If amp_velcurve_127 is not specified, the player will assign it the
value of 1.
Examples:
// linear, compressed dynamic range
// amplitude changes from 0.5 to 1
amp_velcurve_1=0.5
floating point
standard curve (see amp_veltrack)
0 to 1
amp_random
Random volume for the region, in decibels.
Examples:
amp_random=10
amp_random=3
floating point
0
0 to 24 dB
rt_decay
The volume decay amount when the region is set to play in release
trigger mode, in
decibels per second since note-on message.
Examples:
rt_decay=6.5
floating point
0 dB
0 to 200 dB
output
The stereo output number for this region.
If the player doesn't feature multiple outputs, this opcode is ignored.
Examples:
output=0
output=4
integer
0
0 to 1024
gain_ccN
Gain applied on MIDI control N, in decibels.
Examples:
gain_cc1=12
floating point
0
-144 to 48 dB
xfin_lokey
xfin_hikey
Fade in control.
xfin_lokey and xfin_hikey define the fade-in keyboard zone for the region.
The volume of the region will be zero for keys lower than or equal to
xfin_lokey,
and maximum (as defined by the volume opcode) for keys greater than or
equal to xfin_hikey.
Examples:
xfin_lokey=c3 xfin_hikey=c4
integer
xfin_lokey=0
xfin_hikey=0
0 to 127
C-1 to G9
xfout_lokey
xfout_hikey
Fade out control.
xfout_lokey and xfout_hikey define the fade-out keyboard zone for the
region.
The volume of the region will be maximum (as defined by the volume
opcode) for keys
lower than or equal to xfout_lokey, and zero for keys greater than
or equal to xfout_hikey.
Examples:
xfout_lokey=c5 xfout_hikey=c6
integer
xfout_lokey=127
xfout_hikey=127
0 to 127
C-1 to G9
xf_keycurve
Keyboard crossfade curve for the region. Values can be:
gain: Linear gain crossfade. This setting is best when crossfading
phase-aligned
material. Linear gain crossfades keep constant amplitude during the
crossfade,
preventing clipping.
power: Equal-power RMS crossfade. This setting works better to mix very
different
material, as a constant power level is kept during the crossfade.
text
power
gain, power
xfin_lovel
xfin_hivel
Fade in control.
xfin_lovel and xfin_hivel define the fade-in velocity range for the region.
The volume of the region will be zero for velocities lower than or equal
to xfin_lovel,
and maximum (as defined by the volume opcode) for velocities greater
than or equal to xfin_hivel.
Examples:
xfin_lovel=0 xfin_hivel=127
integer
xfin_lovel=0
xfin_hivel=0
0 to 127
xfout_lovel
xfout_hivel
Fade out control.
xfout_lokey and xfout_hikey define the fade-out velocity range for the
region.
The volume of the region will be maximum (as defined by the volume
opcode) for velocities
lower than or equal to xfout_lovel, and zero for velocities greater
than or equal to xfout_hivel.
Examples:
xfout_lovel=0 xfout_hivel=127
integer
xfout_lokey=127
xfout_hikey=127
0 to 127
xf_velcurve
Velocity crossfade curve for the region. Values can be:
gain: Linear gain crossfade. This setting is best when crossfading
phase-aligned
material. Linear gain crossfades keep constant amplitude during the
crossfade,
preventing clipping.
power: Equal-power RMS crossfade. This setting works better to mix very
different
material, as a constant power level is kept during the crossfade.
text
power
gain, power
xfin_loccN
xfin_hiccN
Fade in control.
xfin_loccN and xfin_hiccN set the range of values in the MIDI continuous
controller
N which will perform a fade-in in the region.
The volume of the region will be zero for values of the MIDI continuous
controller
N lower than or equal to xfin_loccN, and maximum (as defined by the
volume opcode) for values greater than or equal to xfin_hiccN.
Examples:
xfin_locc1=64 xfin_hicc1=127
integer
0
0 to 127
xfout_loccN
xfout_hiccN
Fade out control.
xfout_loccN and xfout_hiccN set the range of values in the MIDI
continuous controller
N which will perform a fade-out in the region.
The volume of the region will be maximum (as defined by the volume
opcode) for values
of the MIDI continuous controller N lower than or equal to xfout_loccN,
and zero for values greater than or equal to xfout_hiccN.
Examples:
xfout_locc1=64 xfout_hicc1=127
integer
0
0 to 127
xf_cccurve
MIDI controllers crossfade curve for the region. Values can be:
gain: Linear gain crossfade. This setting is best when crossfading
phase-aligned
material. Linear gain crossfades keep constant amplitude during the
crossfade,
preventing clipping.
power: Equal-power RMS crossfade. This setting works better to mix very
different
material, as a constant power level is kept during the crossfade.
text
power
gain, power
Amplifier EG
ampeg_delay
Amplifier EG delay time, in seconds. This is the time elapsed from note
on to the
start of the Attack stage.
Examples:
ampeg_delay=1.5
ampeg_delay=0
floating point
0 seconds
0 to 100 seconds
ampeg_start
Amplifier EG start level, in percentage.
Examples:
ampeg_start=20
ampeg_start=100
floating point
0 %
0 to 100 %
ampeg_attack
Amplifier EG attack time, in seconds.
Examples:
ampeg_attack=1.2
ampeg_attack=0.1
floating point
0 seconds
0 to 100 seconds
ampeg_hold
Amplifier EG hold time, in seconds. During the hold stage, EG output
will remain
at its maximum value.
Examples:
ampeg_hold=1.5
ampeg_hold=0.1
floating point
0 seconds
0 to 100 seconds
ampeg_decay
Amplifier EG decay time, in seconds.
Examples:
ampeg_decay=1.5
ampeg_decay=3
floating point
0 seconds
0 to 100 seconds
ampeg_sustain
Amplifier EG sustain level, in percentage.
Examples:
ampeg_sustain=40.34
ampeg_sustain=10
floating point
100 %
0 to 100 %
ampeg_release
Amplifier EG release time (after note release), in seconds.
Examples:
ampeg_release=1.34
ampeg_release=2
floating point
0 seconds
0 to 100 seconds
ampeg_vel2delay
Velocity effect on amplifier EG delay time, in seconds.
Examples:
ampeg_vel2delay=1.2
ampeg_vel2delay=0.1
Delay time will be calculated as
delay time = ampeg_delay + ampeg_vel2delay * velocity / 127
floating point
0 seconds
-100 to 100 seconds
ampeg_vel2attack
Velocity effect on amplifier EG attack time, in seconds.
Examples:
ampeg_vel2attack=1.2
ampeg_vel2attack=0.1
Attack time will be calculated as
attack time = ampeg_attack + ampeg_vel2attack * velocity / 127
floating point
0 seconds
-100 to 100 seconds
ampeg_vel2hold
Velocity effect on amplifier EG hold time, in seconds.
Examples:
ampeg_vel2hold=1.2
ampeg_vel2hold=0.1
Hold time will be calculated as
hold time = ampeg_hold + ampeg_vel2hold * velocity / 127
floating point
0 seconds
-100 to 100 seconds
ampeg_vel2decay
Velocity effect on amplifier EG decay time, in seconds.
Examples:
ampeg_vel2decay=1.2
ampeg_vel2decay=0.1
Decay time will be calculated as
decay time = ampeg_decay + ampeg_vel2decay * velocity / 127
floating point
0 seconds
-100 to 100 seconds
ampeg_vel2sustain
Velocity effect on amplifier EG sustain level, in percentage.
Examples:
ampeg_vel2sustain=30
ampeg_vel2sustain=-30
Sustain level will be calculated as
sustain level= ampeg_sustain + ampeg_vel2sustain
The result will be clipped to 0~100%.
floating point
0%
-100 % to 100 %
ampeg_vel2release
Velocity effect on amplifier EG release time, in seconds.
Examples:
ampeg_vel2release=1.2
ampeg_vel2release=0.1
Release time will be calculated as
release time = ampeg_release + ampeg_vel2release * velocity / 127
floating point
0 seconds
-100 to 100 seconds
ampeg_delayccN
Amplifier EG delay time added on MIDI control N, in seconds.
Examples:
ampeg_delaycc20=1.5
ampeg_delaycc1=0
floating point
0 seconds
-100 to 100 seconds
ampeg_startccN
Amplifier EG start level added on MIDI control N, in percentage.
Examples:
ampeg_startcc20=20
ampeg_startcc1=100
floating point
0 %
-100 to 100 %
ampeg_attackccN
Amplifier EG attack time added on MIDI control N, in seconds.
Examples:
ampeg_attackcc20=1.2
ampeg_attackcc1=0.1
floating point
0 seconds
-100 to 100 seconds
ampeg_holdccN
Amplifier EG hold time added on MIDI control N, in seconds.
Examples:
ampeg_holdcc20=1.5
ampeg_holdcc1=0.1
floating point
0 seconds
-100 to 100 seconds
ampeg_decayccN
Amplifier EG decay time added on MIDI control N, in seconds.
Examples:
ampeg_decaycc20=1.5
ampeg_decaycc1=3
floating point
0 seconds
-100 to 100 seconds
ampeg_sustainccN
Amplifier EG sustain level added on MIDI control N, in percentage.
Examples:
ampeg_sustaincc20=40.34
ampeg_sustaincc1=10
floating point
100 %
-100 to 100 %
ampeg_releaseccN
Amplifier EG release time added on MIDI control N, in seconds.
Examples:
ampeg_releasecc20=1.34
ampeg_releasecc1=2
floating point
0 seconds
-100 to 100 seconds
Amplifier LFO
amplfo_delay
The time before the Amplifier LFO starts oscillating, in seconds.
Examples:
amplfo_delay=1
amplfo_delay=0.4
floating point
0 seconds
0 to 100 seconds
amplfo_fade
Amplifier LFO fade-in effect time.
Examples:
amplfo_fade=1
amplfo_fade=0.4
floating point
0 seconds
0 to 100 seconds
amplfo_freq
Amplifier LFO frequency, in hertz.
Examples:
amplfo_freq=0.4
amplfo_freq=1.3
floating point
0 Hertz
0 to 20 hertz
amplfo_depth
Amplifier LFO depth, in decibels.
Examples:
amplfo_depth=1
amplfo_depth=4
floating point
0 dB
-10 to 10 dB
amplfo_depthccN
Amplifier LFO depth when MIDI continuous controller N is received, in
decibels.
Examples:
amplfo_depthcc1=100
amplfo_depthcc32=400
floating point
0 dB
-10 to 10 dB
amplfo_depthchanaft
Amplifier LFO depth when channel aftertouch MIDI messages are received,
in cents.
Examples:
amplfo_depthchanaft=100
amplfo_depthchanaft=400
floating point
0 dB
-10 to 10 dB
amplfo_depthpolyaft
Amplifier LFO depth when polyphonic aftertouch MIDI messages are
received, in cents.
Examples:
amplfo_depthpolyaft=100
amplfo_depthpolyaft=400
floating point
0 dB
-10 to 10 dB
amplfo_freqccN
Amplifier LFO frequency change when MIDI continuous controller N is
received, in
hertz.
Examples:
amplfo_freqcc1=5
amplfo_freqcc1=-12
floating point
0 hertz
-200 to 200 hertz
amplfo_freqchanaft
Amplifier LFO frequency change when channel aftertouch MIDI messages are
received,
in hertz.
Examples:
amplfo_freqchanaft=10
amplfo_freqchanaft=-40
floating point
0 hertz
-200 to 200 hertz
amplfo_freqpolyaft
Amplifier LFO frequency change when polyphonic aftertouch MIDI messages
are received,
in hertz.
Examples:
amplfo_freqpolyaft=10
amplfo_freqpolyaft=-4
floating point
0 hertz
-200 to 200 hertz
Equalizer
eq1_freq
eq2_freq
eq3_freq
Frequency of the equalizer band, in Hertz.
Examples:
eq1_freq=80 eq2_freq=1000 eq3_freq=4500
floating point
eq1_freq=50
eq2_freq=500
eq3_freq=5000
0 to 30000 Hz
eq1_freqccN
eq2_freqccN
eq3_freqccN
Frequency change of the equalizer band when MIDI continuous control N
messages are
received, in Hertz.
Examples:
eq1_freqcc1=80
floating point
0
-30000 to 30000 Hz
eq1_vel2freq
eq2_vel2freq
eq3_vel2freq
Frequency change of the equalizer band with MIDI velocity, in Hertz.
Examples:
eq1_vel2freq=1000
floating point
0
-30000 to 30000 Hz
eq1_bw
eq2_bw
eq3_bw
Bandwidth of the equalizer band, in octaves.
Examples:
eq1_bw=1 eq2_bw=0.4 eq3_bw=1.4
floating point
1 octave
0.001 to 4 octaves
eq1_bwccN
eq2_bwccN
eq3_bwccN
Bandwidth change of the equalizer band when MIDI continuous control N
messages are
received, in octaves.
Examples:
eq1_bwcc29=1.3
floating point
0
-4 to 4 octaves
eq1_gain
eq2_gain
eq3_gain
Gain of the equalizer band, in decibels.
Examples:
eq1_gain=-3 eq2_gain=6 eq3_gain=-6
floating point
0 dB
-96 to 24 dB
eq1_gainccN
eq2_gainccN
eq3_gainccN
Gain change of the equalizer band when MIDI continuous control N
messages are received,
in decibels.
Examples:
eq1_gaincc23=-12
floating point
0 dB
-96 to 24 dB
eq1_vel2gain
eq2_vel2gain
eq3_vel2gain
Gain change of the equalizer band with MIDI velocity, in decibels.
Examples:
eq1_vel2gain=12
floating point
0
-96 to 24 dB
Effects
effect1
Level of effect1 send, in percentage (reverb in sfz).
Examples:
effect1=100
floating point
0
0 to 100 %
effect2
Level of effect2 send, in percentage (chorus in sfz).
Examples:
effect2=100
floating point
0
0 to 100 %
Fin du tableau


On 10/26/2014 12:24 PM, Ken Downey wrote:
> I've had to delay doing the Reaper podcast because the only way I can do 
> it currently is through a recorder over the mikes. I'd rather be able to 
> plug the computer directly into my recorder, but that means I can't mike 
> myself and the computer at the same time, so only one of those gets 
> through. I can't record stereo mix because it infinitely loops everything, 
> so I'm going to have to go buy a splitter, use my iPhone as a mike, and 
> connect both it and the computer to my recorder. then I'll be podcasting.
> I also am wondering if any of you have found a way to get the sustain 
> pedal to work with Samplomatic. It doesn't respond, though all my other 
> instruments do. If not, does anyone know of a good, accessible sampler 
> that's at least somewhat easy to use? I know that Synthfont makes a good 
> one, but building Sound fonts in Viena tends to be more a pain in the neck 
> than its worth. Thoughts?
> Ken Downey
> For a fresh perspective of Christianity, visit my blog at
> longing4god.wordpress.com,
> and my podcast network at
> www.audioboom.fm/channel/honest2god 
> <http://www.audioboom.fm/channel/honest2god> .
> For experimental electroacoustic music that is out of this world, visit
> www.BlindLabyrinth.com <http://www.BlindLabyrinth.com> .
> Feel free to add me as a friend on Skype and Facebook. My user name is 
> always the same, KenWDowney.
>
>
> _______________________________________________
> RWP mailing list
> RWP at reaaccess.com
> http://reaaccess.com/mailman/listinfo/rwp_reaaccess.com


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