setbfree 0.7.5-1 / usr / share / setBfree / pgm / default.pgm

# 28-nov-2004/FK Version 0.4.1
#
# The default programme (this file) contains instrument controls and some
# standard presets.
#
# Programmes are used while playing and are invoked by sending a MIDI program
# change message. Programme files are read when setBfree starts and this file
# is always loaded first (when present). To supply your own programmes you may:
#   * edit this file, or
#   * use the -p <file> commandline switch
# In general, later programme definitions completely replace earlier
# ones. However, a sequence of two or more programme definitions all
# referring to the the same programme number will merge.
#
# Static properties of the instrument are set in *.cfg-files.
#
# Look at the end of this file for a description of syntax and parameters.
# ------------------------------------------------------------------------
# This first entry is mostly an example to show that it is possible to have
# multiple parameters in the same programme.
#
1 {name="Jazz 1 all",
   drawbars="888 0000 000",
   perc=on,
   percvol=soft,
   percspeed=fast,
   percharm=3rd,
   vibrato=c3,
   vibratoupper=on,
   overdrive=on,
   rotary=chorale}
2 {name="Jazz 2", drawbars="668 0000 008"}
3 {name="Jazz 3", drawbars="638 8000 000"}

#
# Control programs - Each of these programmes control a single parameter.
#
27 {name="Reverb  0",        reverbmix=0.0}
28 {name="Reverb 16",        reverbmix=0.16}
29 {name="Reverb 25",        reverbmix=0.25}
30 {name="Reverb 33",        reverbmix=0.33}
31 {name="Reverb 50",        reverbmix=0.50}
32 {name="Percussion OFF",   perc=off}
33 {name="Percussion ON",    perc=on}
34 {name="Percussion SOFT",  percvol=soft}
35 {name="Percussion NORMAL",percvol=normal}
36 {name="Percussion FAST",  percspeed=fast}
37 {name="Percussion SLOW",  percspeed=slow}
38 {name="P.Harmonic 2nd",   percharm=2nd}
39 {name="P.Harmonic 3rd",   percharm=3rd}
40 {name="Overdrive OFF",    overdrive=off}
41 {name="Overdrive ON",     overdrive=on}
42 {name="Vibrato V1",       vibrato=v1}
43 {name="Vibrato V2",       vibrato=v2}
44 {name="Vibrato V3",       vibrato=v3}
45 {name="Vibrato C1",       vibrato=c1}
46 {name="Vibrato C2",       vibrato=c2}
47 {name="Vibrato C3",       vibrato=c3}
48 {name="Vib lower on",     vibratolower=on}
49 {name="Vib lower off",    vibratolower=off}
50 {name="Vib upper on",     vibratoupper=on}
51 {name="Vib upper off",    vibratoupper=off}

52 {name="Rotary STOP",      rotaryspeed=stop}
53 {name="Rotary SLOW",      rotaryspeed=chorale}
54 {name="Rotary FAST",      rotaryspeed=tremolo}

#
# Having two random programs on adjacent program numbers makes sense
# if you have a MIDI controller that allows you to step incrementally
# through the program numbers. That way you can re-randomize by simply
# alternating between the up/increment and down/decrement buttons.
#

55 {name="Random",           drawbars=random}
56 {name="Random",           drawbars=random}

#
# These programs demonstrate split and an associated transpose.
#
57 {name="Lowr/Upr Split",   keysplitlower=58}
58 {name="Pd/Lw/Up Split",   
      keysplitpedals=48,
      trssplitpedals=-12,
      keysplitlower=66}
59 {name="Pdal/Upr Split",   keysplitpedals=54, trssplitpedals=-12}
60 {name="No split",         keysplitpedals=0,  keysplitlower=0}

61 {name="Brassy pedals",   drawbarspedals="88 8444 221"}
62 {name="Hollow pedals",   drawbarspedals="80 6300 000"}
63 {name="Cute pedals",     drawbarspedals="64 8260 002"}

#
# The entries below represent 'presets', pre-configured registrations
# in the original instruments that were wired into an internal patch-panel
# and selected from two octaves of reverse-colored manual keys.
#

#
# Standard Voices 'Lower Manual' (Hammond A-102)
#
64 {name="L:Cello",               drawbarslower="00 4545 440"}
65 {name="L:Flute & String",      drawbarslower="00 4432 220"}
66 {name="L:Clarinet",            drawbarslower="00 7373 430"}
67 {name="L:Salicional",          drawbarslower="00 4544 222"}
68 {name="L:Great no reeds",      drawbarslower="00 6644 322"}
69 {name="L:Open Diaposon",       drawbarslower="00 5642 200"}
70 {name="L:Full Great",          drawbarslower="00 6845 433"}
71 {name="L:Tibia Clausa",        drawbarslower="00 8030 000"}
72 {name="L:Full Great with 16'", drawbarslower="42 7866 244"}
#
# Theatrical Voices 'Lower Manual' (Hammond A-102)
#
73 {name="L:Cello 8'",          drawbarslower="00 4545 440"}
74 {name="L:Dulciana 8'",       drawbarslower="00 5432 000"}
75 {name="L:Vibraharp 8'",      drawbarslower="00 4800 000"}
76 {name="L:Vox 8' & Tibia 4'", drawbarslower="00 3800 460"}
77 {name="L:String Accomp. 8'", drawbarslower="00 6554 322"}
78 {name="L:Open Diapason 8'",  drawbarslower="00 5642 200"}
79 {name="L:Full Accomp. 16'",  drawbarslower="43 5434 334"}
80 {name="L:Tibia 8'",          drawbarslower="00 8030 000"}
81 {name="L:Bombarde 16'",      drawbarslower="84 7767 666"}
#
# Standard Voices 'Upper Manual' (Hammond A-102)
#
82 {name="U:Stopped Flute",  drawbars="00 5320 000"}
83 {name="U:Dulciana",       drawbars="00 4432 000"}
84 {name="U:French Horn",    drawbars="00 8740 000"}
85 {name="U:Salicional",     drawbars="00 4544 222"}
86 {name="U:Flutes 8'&4'",   drawbars="00 5403 000"}
87 {name="U:Oboe Horn",      drawbars="00 4675 300"}
88 {name="U:Swell Diapason", drawbars="00 5644 320"}
89 {name="U:Trumpet",        drawbars="00 6876 540"}
90 {name="U:Full Swell",     drawbars="32 7645 222"}
#
# Theatrical Voices 'Upper Manual' (Hammond A-102)
#
91 {name="U:French Horn 8'",         drawbars="00 8740 000"}
92 {name="U:Tibias 8'&4'",           drawbars="00 8408 004"}
93 {name="U:Clarinet 8'",            drawbars="00 8080 840"}
94 {name="U:Novel Solo 8'",          drawbars="08 8800 880"}
95 {name="U:Theatre Solo 16'",       drawbars="60 8088 000"}
96 {name="U:Oboe Horn 8'",           drawbars="00 4685 300"}
97 {name="U:Full Tibias 16'",        drawbars="60 8807 006"}
98 {name="U:Trumpet 8'",             drawbars="00 6888 654"}
99 {name="U:Full Theatre Brass 16'", drawbars="76 8878 667"}
#
# You can have up to program number 127.
# Currently, MIDI program change is only recognized on the MIDI channel
# assigned to the upper manual. That is set in default.cfg.
#
# ----------------------------------------------------------------
# Control programme syntax
# ----------------------------------------------------------------
# 
# A control programme file contains a sequence of:
#
#   <program-number> '{' <assignment> [',' <assignment>] ... '}'
#
# A comment begins with the hash ('#') character and extends to the end
# of the line.
#
# <program-number> is an integer in the range 0-127 (see Notes at the end).
#
# <assignment> is defined as:
#
#   <property> '=' <parameter>
#
# where <property> is a specific symbol, like 'name' or 'rotary', and
# parameter is a string. If the string contains internal spaces it must
# be quoted using double quotes.
#
# When a programme is selected only those properties present in the programme
# have their values set. Properties not mentioned in the program retain their
# current values.
#
# Below follows a list of properties and allowed values:
#
# name = <string>
#   Gives a name to the program. When the program is selected the name
#   is displayed on the feedback line on the terminal. If the name has
#   internal spaces it must be surrounded by double quotes.
#
# drawbarsupper  = <registration>
#   Sets the drawbars for the upper manual.
#
# drawbars       = <registration>
#   Sets the drawbars for the upper manual (deprecated).
#
# drawbarslower  = <registration>
#   Sets the drawbars for the lower manual.
#
# drawbarspedals = <registration>
#   Sets the drawbars for the pedals.
#
#   The registration should be a sequence of exactly 9 digits, each selected
#   from the set {'0', '1', '2', '3', '4', '5', '6', '7', '8'}. The digits
#   may be arranged in groups by separating them with dash ('-'), underscore
#   ('_') or space characters. If space is used as the group separator, the
#   registration string must be surrounded by double quotes. For example,
#   these are all equivalent:
#
#     drawbars=888-0404-00
#     drawbars=888_0404_00
#     drawbars="888 0404 00"
#     drawbars=888040400
#     drawbars=8-8-8_0-4-0-4_0-0
#
#   The registration controls the mixture of fundamentals and harmonics
#   in the tone generated by each played key. Numbering the digits from
#   left to right, the first digit is 1 and the last 9. The correspondence
#   between the digit sequence and the drawbars (of the original instrument)
#   is as follows:
#
#      Digit    Length    Partial         Fq  Colour
#      ---------------------------------------------
#      Digit 1  16'      (subfundamental, x1, brown)
#      Digit 2   5 1/3'  (harmonic,      ~x3, brown)
#      Digit 3   8'      (fundamental,    x2, white)
#
#      Digit 4   4'      (harmonic,       x4, white)
#      Digit 5   2 2/3'  (harmonic,      ~x6, black)
#      Digit 6   2'      (harmonic,       x8, white)
#      Digit 7   1 3/5'  (harmonic,     ~x10, black)
#
#      Digit 8   1 1/3'  (harmonic,     ~x12, black)
#      Digit 9   1'      (harmonic,      x16, white)
#
#   The length is a reference to pipe organs and basically tells the organist
#   the partial's octave. The 8' length is usually considered to be the
#   fundamental note. The frequency multiplier is exact for pure octaves,
#   but since the harmonics are taken from a set of oscillators tuned in
#   the tempered scale (or its gear-box approximation), the other
#   harmonics (x3, x6, x10 and x12) differ slightly from their integer
#   multiples of the fundamental note's frequency. The colour refers to the
#   customary colouring of the drawbar handles. The digit grouping pattern
#
#      nnn-nnnn-nn
#
#   is often encountered in written registrations.
#
#  [The parameter emulates one of several sets of coloured sliders on the
#   original instrument. Each slider controls one partial and has 9 numbered
#   positions. Inspired by the stops on pipe organs, the sliders are pulled
#   out of the instrument towards the organist to achieve higher volume.
#   Hence the phrase 'pull out the stops' which when applied to a pipe
#   organ, literally has it going at 'full blast'.
#
#   In addition, the pedals often have less than nine drawbars.]
#   
#
# vibrato = v1 | v2 | v3 | c1 | c2 | c3
#   The vibrato mechanism (when present in the original instruments) creates
#   an oscillating pitch shift (in addition to a host of other subtle
#   side-effects, like filtering and amplitude modulation). The oscillation
#   rate is fixed somewhere in the region of 7-10 Hz. The v1, v2 and v3
#   settings selects different levels of vibrato, v1 being the least amount
#   of modulation and v3 the most. The c1, c2 and c3 settings do the same,
#   but adds unprocessed signal to the output, creating a chorus effect.
#   As of version 0.4.1 this parameter only controls the setting of the effect.
#   It does not apply the effect. See vibratoupper and vibratolower for that.
#
#   [On the original instrument the setting is choosen by means of a rotary
#    selection knob, turned to one of the seven positions. The mechanism
#    beneath this knob is a marvel in itself...]
#
#
# vibratoupper = on | off
#   Controls if the upper manual output is routed through the vibrato/chorus
#   effect.
#
#
# vibratolower = on | off
#   Controls if the lower manual output is routed through the vibrato/chorus
#   effect.
#
#
# perc = on | off
#   The percussion mechanism (when present in the original instruments) takes
#   the signal from the second or third harmonic and amplifies it separately
#   from the drawbar registration. The amplification has a percussive
#   (bell-like) envelope and the signal decays in 0.5 - 4 seconds.
#   When percussion is enabled the 9th bus-bar (digit 9 in the registration)
#   becomes part of the trigger mechanism and does not deliver sound.
#   Also, the overall output volume is lowered slightly to leave some head-
#   room for the percussive signal.
#   The percussion is single-triggered, meaning that once a key has been
#   pressed down, percussion can not trigger again until all keys has been
#   released. This imposes some extra difficulty on rapid passages, but also
#   gives the organist an opportunity to modulate the performance.
#   Percussion is only present in the upper manual and the percussive signal
#   is not routed through the vibrato/chorus effect
#
#   [On the original instrument, this parameter is controlled by a tablet
#    switch, set to either ON or OFF. When percussion is on, the 9th (1') bus
#    is switched from carrying sound to triggering the percussion effect.]
#
#
# percvol = normal | high | hi
# percvol = soft   | low  | lo
#   Selects the strength of the percussion signal between two alternate levels.
#
#   [On the original instrument, this parameter is controlled by a tablet
#    switch, set to either NORMAL or SOFT. The lowered volume in the NORMAL
#    position is also a property of the original.]
#
#
# percspeed = fast | high | hi
# percspeed = slow | low  | lo
#   Selects the rate of decay of the percussion signal. Fast decay is usually
#   around 0.25 - 1 second, slow decay 2 - 4 seconds.
#
#   [On the original instrument, this parameter is controlled by a tablet
#    switch, set to either FAST or SLOW.]
#
#
# percharm = second | 2nd | low  | lo
# percharm = third  | 3rd | high | hi
#   Selects the percussion signal from either the second or third harmonic
#   (digit 4 or digit 5 in the registration).
#
#   [On the original instrument, this parameter is controlled by a tablet
#    switch, set to either SECOND or THIRD.]
#
#
# overdrive = on  | off
#   When enabled, the signal is routed through an effect that provides
#   some of the characteristics of a tube amplifier.
#
#
# rotaryspeed = tremolo | fast | high | hi
# rotaryspeed = chorale | slow | low  | lo
# rotaryspeed = stopped | stop | zero | break
#   Selects the speed of the rotary speaker effect. By default, a MIDI
#   sustain pedal message toggles between the slow and fast speeds.
#
#
# reverbmix = <n>
#   Where <n> is a real number in the range 0 - 1.
#   Controls the amount of reverb mixed into the signal. A value of 0 gives
#   a completely dry sound, a value of 1 takes all signal from the output
#   of the reverb effect. Pleasant settings can usually be found around 0.25,
#   but that is of course a matter of taste.
#
#   [On the original instruments reverb was not always present, just as
#    some models required external amplification. When present, however, the
#    amount of reverb could be controlled continuously. As a piece of trivia,
#    the spring-reverb technology common in guitar amplifiers was another
#    electromechanical invention by the Hammond company.]
#
#
# keysplitpedals = <n>
# keysplitlower = <n>
#   Where <n> is an integer MIDI note number in the range 0 - 127.
#
#   These two parameters are used to remap notes on the MIDI channel assigned
#   to the upper manual, so that they fall on pedals and/or the lower manual.
#   This makes it possible to play on two or three manuals from a single
#   MIDI keyboard.
#
#   The MIDI note number given as argument to the parameters is the highest
#   (last, rightmost) note in the region referred to by the parameter, plus
#   one. Or, the lowest (first, leftmost) note in the next region.
#
#   A value of 0 (zero) disables the region.
#
#   The default MIDI implementation maps note numbers thus:
#
#   MIDI note number      Key
#   ----------------      ------------
#                 24      Lowest C on pedals
#                 55      Highest G on pedals
# 
#                 36      Lowest C on manuals
#                 96      Highest C on manuals
#
#   The same information expressed differently:
#
#           [36    ][48    ][60    ][72    ][84    ][96]   Upper manual
#           [36    ][48    ][60    ][72    ][84    ][96]   Lower manual
#   [24    ][36    ][48 55 ]                               Pedals
#
#   With some sample splitpoints:
#
#   keysplitpedals=48, keysplitlower=0
#
#                   [48    ][60    ][72    ][84    ][96]   Upper manual
#   [24    ][36    ]                                       Pedals
#
#   keysplitpedals=48, keysplitlower=60
#
#                           [60    ][72    ][84    ][96]   Upper manual
#                   [48    ]                               Lower manual
#   [24    ][36    ]                                       Pedals
#
#   keysplitpedals=0, keysplitlower=60
#
#                           [60    ][72    ][84    ][96]   Upper manual
#           [36    ][48    ]                               Lower manual
#
#   Remember, all this happens on the same MIDI channel, and only on the
#   one assigned to the upper manual.
#
#   Middle C on most MIDI keyboards sends note number 60.
#
#   [The original instruments has two manuals, upper and lower, with
#    61 playing keys or less (depending on the model).]
#
#
# trssplitpedals=<n>
# trssplitlower=<n>
# trssplitupper=<n>
#   Where <n> is an integer in the range -127 -- 127.
#
#   These three parameters transposes the regions reached by a keyboard split
#   on the MIDI channel addressed to the upper manual. The recommended use is
#   to apply values from the set -24, -12, 0 (turn off), 12, 24 to map the
#   regions reached by a split to the desired octave. These values are ONLY
#   applied when a keyboard split is active, but are retained between split
#   activations.
#
#
# transpose=<n>
#   Where <n> is an integer in the range -127 -- 127.
#
#   This parameter transposes ALL notes (including split) by its argument.
#   The recommended use is to apply small values e.g. ... -3, -2, -1, 0 (off),
#   1, 2, 3, ... to shift the instrument from a difficult to a familiar key.
#   For example, if the song must be performed in Eb (which means a lot black
#   keys) you could use transpose=3 and play in C, or, transpose=-1 and play
#   in E.
#
#   The disadvantages of using a mechanized transpose like this are:
#     * The highest or lowest notes may become unreachable. If you plan to
#       use transpose, rehearse the piece with it first.
#     * It is far too easy to forget to disable the transpose and start
#       the next song in the wrong key.
#
#
# transposeupper=<n>
# transposelower=<n>
# transposepedals=<n>
#    Where <n> is an integer in the range -127 -- 127.
#
# These parameters separately transpose the upper, lower and pedal manuals.
# This is for situations where separate MIDI controllers are used for the
# manuals and they cannot by themselves reach the desired ranges.
# Recommended values are positive and negative multiples of 12,
# ie ... -24, -12, 0 (off), 12, 24 ...
#

# NOTES:
#
# The parameter value keyword 'on' has the following synonyms:
#   yes   true   enabled
#
# The parameter value keyword 'off' has the following synonyms:
#   no   none   false   disabled
#
# Program numbers:
#
# The program number refers to the value part of a MIDI program
# change message. Some MIDI controllers (e.g. synthesizers) display program
# numbers differently, for example like 1-128, and not all are capable of
# sending all program numbers.
#
# Percussion:
#
# The volume drop, single triggering and loss of the 9th drawbar are all
# features of the original instrument. Regarded by some as misfeatures
# that can easily be compensated for in an emulator, I have chosen initially
# to keep them, mostly because they impact on playing decisions more than they
# influence sound. Even so, the 9th can easily be restored, but the volume
# drop is most welcome in the digital domain. Multiple triggering would
# simply be weird and fairly complicated given the current architecture.
# 
# The controllable aspects of percussion are found in the configuration
# group of parameters   osc.perc.*   (see default.cfg).
#