Control Sources
Descriptions of Control sources
25-12
123 Loop State (Loop St)
This unipolar control source switches to +1 when the currently playing sample
reaches its LoopStart point. If youÕve programmed a sound with a User amplitude
envelope, Loop St will always be on (+1) for that sound. See Chapter 15 in the
Per-
formance Guide
for more about sample loops.
124 Sample Playback Rate (PB Rate)
The signal value of this bipolar control source is determined by the sample play-
back rate of each note. The playback rate is a function of the amount of transposi-
tion applied to a sample root to play it at the proper pitch for each note. If you
trigger a note where a sample root is assigned, the PB Rate signal value for that
note is 0. If the note is above the sample root, the sample is transposed upward, and
its playback rate is higher than that of the sample root. Consequently the PB Rate
signal value for that note will be positive. If the note is below the sample root, the
PB Rate signal value will be negative.
125 Attack State (Atk State)
This unipolar control source switches to +1 and back to 0 very quickly with each
note start.
126 Release State (Rel State)
This unipolar control source switches to +1 when a note is released, and stays on
until the note has completed its release (faded to silence), then it switches to 0. It
will stay on if a note is sustained, even if its trigger (key, string, whatever) is re-
leased.
127 ON
This generates a constant control signal value of +1.
128 -ON
This generates a constant control signal value of -1 (the numeric entry 128 selects a
value of OFF in the MIDI Control Source list).
129 GKeyNum
Uses the key number (global) to modify whatever it is patched into. Higher notes
will have a very different effect than will lower notes. Users can use this new
Source to control any K2vx parameters such as F/X depth, or to scale amplitude or
pitch.
130 GAttVel
This is updated every time you strike another key (kind of a multi- trigger func-
tion). Users can patch this new Source to control parameters such as F/X Depth.
In addition to enabling (triggering) layers from any controller (works like an on/
off switch), users may now set the assigned controllerÕs threshold (value, or range
of values from 0-127), thus defining the controllerÕs active range where it will en-
able the layer.
For example, you could create a 32 layer nylon guitar where each layer is assigned
to a different V.A.S.T. Algorithm and each layer is enabled by discrete narrow ve-
locity ranges. This would produce 32 different sounding layers with 32 cross
switch points emulating a picked guitar where no two attacks are exactly alike. If
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