Copyright: Copyright © 1998-2001 Creative Technology, Ltd.   Creative MidiAudigy Help - Version 1.0
Citation: Copyright © 1998-2001 Creative Technology, Ltd.


Introduction

MIDI is an international hardware and software standard. It specifies the hardware interface that allows you to connect electronic musical devices and computers from different manufacturers. It also specifies a communication protocol for passing data from one device to another. MIDI devices communicate with each other using MIDI.

A MIDI device can communicate with software applications using the MIDI communication protocol. Using an appropriate software MIDI sequencer, an external MIDI device can send information to the synthesizer on your audio hardware.


Using MIDI Implementation Charts

Every MIDI device has a MIDI implementation chart that displays the available MIDI functions of the device.

 MIDI Implementation Chart of the Audio Hardware Synthesizer

 MIDI Implementation Chart of Creative Software Synthesizer

 Comparing MIDI Implementation Charts

Note

The audio hardware synthesizer is a hardware MIDI device.


MIDI Implementation Chart of the Audio Hardware Synthesizer

The MIDI implementation chart of the synthesizer on your audio hardware is shown below:

Function	Transmitted	Received	Remarks
MIDI Channel	X	1 - 16
Mode	X	3
Note Number	X	0 - 127
Velocity
Note On	X	9n, V = 0 - 127
Note Off	X	8n, V = 0 - 127
Key Aftertouch	X	X
Channel Aftertouch	X	O
Pitch Bend *1	X	O	+/-2 Octave PitchBend Sensitivity recognized
Control Change *1
0, 32	X	O	Bank select
1	X	O	Modulation
2	X	O	Breath Control
6, 38	X	O	Data entry
7	X	O	Main Volume
10	X	O	Pan
11	X	O	Expression
21	X	O	Undefined (E-mu Enhancement Control 1)
22	X	O	Undefined (E-mu Enhancement Control 2)
23	X	O	Undefined (E-mu Enhancement Control 3)
24	X	O	Undefined (E-mu Enhancement Control 4)
64	X	O	Sustain Pedal
66	X	O	Sostenuto
67	X	O	Soft
91	X	O	Reverb Depth
93	X	O	Chorus Depth
98	X	O	NRPN LSB
99	X	O	NRPN MSB
100	X	O	RPN LSB
101	X	O	RPN MSB
120	X	O	All Sounds Off
121	X	O	Reset All Controllers
123	X	O	All Notes Off
Program Change	X	O 0-127
Notes

For functions marked *1, all channels (including that for drums) respond to MIDI volume. Default power up: Bend = 2 semitones, Master volume = 100, Controllers normal.

On the chart, O represents Yes and X represents No.

  Related Topic


MIDI Implementation Chart of Creative Software Synthesizer

The MIDI implementation chart of Creative Software Synthesizer is shown below:

Function	Transmitted	Received	Remarks
MIDI Channel	X	1 - 16
Mode	X	3
Note Number	X	0 - 127
Velocity
Note On	X	9n, V = 0 - 127
Note Off	X	8n, V = 0 - 127
Key Aftertouch	X	X
Channel Aftertouch	X	O
Pitch Bend *1	X	O	+/-2 Octave PitchBend Sensitivity recognized
Control Change *1
0	X	O	Bank select
1	X	O	Modulation
6	X	O	Data entry
7	X	O	Main Volume
10	X	O	Pan
11	X	O	Expression
32	X	O	Bank select
64	X	O	Sustain Pedal
66	X	O	Sostenuto (acts like sustain on GM)
72	X	O	Attack time control
73	X	O	Release time control
98	X	O	NRPN LSB
99	X	O	NRPN MSB
100	X	O	RPN LSB
101	X	O	RPN MSB
120	X	O	All Sounds Off
121	X	O	Reset All Controllers
123	X	O	All Notes Off
Program Change	X	O 0-127
Notes

For functions marked *1, all channels (including that for drums) respond to MIDI volume. Default power up: Bend = 2 semitones, Master volume = 100, Controllers normal.

On the chart, O represents Yes and X represents No.

  Related Topic


Comparing MIDI Implementation Charts

You can use MIDI implementation charts to check whether a particular MIDI device can be used with your synthesizer.

To check the feature compatibility between two MIDI devices

1	Fold the MIDI implementation charts vertically along the line between the Transmitted and Received columns.

2	Put the Transmitted column of the device you will use to send MIDI messages next to the Received column of the receiving device.

3	Compare the sending and receiving features to see whether they are compatible.

If a feature is followed by matching Os, then the devices can use that feature together by means of MIDI. If either column is marked with an X, then the two devices cannot be used together for that feature. MIDI devices, which have ranges of numbers for a feature, can be used together only for overlapping values of the two ranges.


Working with MIDI Files

You can find MIDI files (extension .MID) in your audio software directory. MIDI files are very small when compared to digital audio files but it is sometimes necessary to edit them to optimize their use. To edit MIDI files, you need a MIDI editor (also known as a MIDI sequencer), for example, MIDI Orchestrator Plus.  For details, refer to the documentation of the MIDI editor.

To play MIDI files, you need a MIDI player such as Creative PlayCenter. You can also use any Windows-compatible MIDI sequencer. For details, refer to their online Help.


What is General MIDI?

To ensure that music authored on a MIDI device can replay properly on other manufacturers' MIDI devices, MMA developed the General MIDI (GM) standard. This standard has gained wide acceptance from major MIDI device and computer manufacturers supporting MIDI in many platforms.

By following this standard, software developers can send MIDI commands to any MIDI devices, and be assured that the devices will understand what they are receiving. In turn, manufacturers of MIDI devices can know exactly what features their devices must support, and what commands need to be processed. As a result, their devices can enjoy compatibility with many applications. For users, music and sound effects (in multimedia and entertainment titles) can be played back in a way that closely follows the composer’s intent, independent of the MIDI devices used.

GM devices must support a predefined set of 128 musical instruments and a drum kit. Each of the 128 musical instruments is assigned a specific program number. This is to ensure that the appropriate instruments are used during recording and playback. Also, the 16 MIDI channels must be supported by at least 24-note polyphony and a specified set of controllers.

MIDI channels 1 to 9, 11 to 16 are reserved for melodic instruments, and MIDI Channel 10 is reserved for key-based percussion instruments such as kick drums and snare drums.


What is General Standard?

The General Standard (GS) format is a set of specifications for Roland Sound Canvas’ sound producing devices. It defines the way Roland sound generators respond to MIDI messages.

The GS format conforms to the General MIDI standard but includes other details, such as additional sounds and effects. It includes all the GM sounds (called capital tones) and adds new sounds that are organized as variations of the capital tones. It also supports additional drum kits. In addition, GS includes adjustable reverb and chorus effects.

Any device, using GS formatted sounds, can faithfully reproduce music that conforms to the GS format.


Using GS Drum Kit Mappings

A drum kit is essentially a set of percussive instruments. It is similar to the drum setup used by a drummer in a live band. A percussive preset is a drum kit you can play using a MIDI device.

In the GS synthesizer mode, you can choose any drum kit out of a selection of 10 drum kits (which includes the Standard drum kit) to play through MIDI Channel 10. The choice of more drum kits offers you the flexibility to listen to songs with a wider variety of percussive instruments.

For example, to select the TR-808 drum kit, all you need to do is specify Prog# as 26 in MIDI Channel 10. All percussive sounds will then be played back using the TR-808 drum kit.

The following table shows the drum kits available in the GS synthesizer mode:

 Drum Kits in GS Synthesizer Mode

The following tables list the GS drum kit mappings used by your synthesizer:

 Mappings 27-59 for Standard, Jazz, Room, Power, Electronic Drum Kits

 Mappings 60-87 for Standard, Jazz, Room, Power, Electronic Drum Kits

 Mappings 27-59 for Standard, TR-808, Brush, Orchestra Drum Kits

 Mappings 60-87 for Standard, TR-808, Brush, Orchestra Drum Kits

 Mappings 27-59 for Standard, SFX, CM-64/32L Drum Kits

 Mappings 60-83 for Standard, SFX, CM-64/32L Drum Kits

 Mappings 84-108 for Standard, SFX, CM-64/32L Drum Kits


Drum Kits in GS Synthesizer Mode

Table 1


Mappings 27-59 for Standard, Jazz, Room, Power, Electronic Drum Kits

Table 2

Note

Mappings that are left blank have the same instruments as those in the Standard drum kit.


Mappings 60-87 for Standard, Jazz, Room, Power, Electronic Drum Kits

Table 3

Note

Mappings that are left blank have the same instruments as those in the Standard drum kit.


Mappings 27-59 for Standard, TR-808, Brush, Orchestra Drum Kits

Table 4

Note

Mappings that are left blank have the same instruments as those in the Standard drum kit.


Mappings 60-87 for Standard, TR-808, Brush, Orchestra Drum Kits

Table 5

Note

Mappings that are left blank have the same instruments as those in the Standard drum kit.


Mappings 27-59 for Standard, SFX, CM-64/32L Drum Kits

Table 6

Notes

Mappings that are left blank have the same instruments as those in the Standard drum kit.

--- means no sound.


Mappings 60-83 for Standard, SFX, CM-64/32L Drum Kits

Table 7

Note

--- means no sound.


Mappings 84-108 for Standard, SFX, CM-64/32L Drum Kits

Table 8

Notes

Mappings that are left blank have the same instruments as those in the Standard drum kit.

--- means no sound.


GM and GS Instruments (Capitol Tones)

The following tables list the GM instruments and the capital tones of GS instruments:

 GM and GS Instruments (Capital Tones) 1 to 64

 GM and GS Instruments (Capital Tones) 65 to 128


GM and GS Instruments (Capital Tones) 1 to 64

Table 9


GM and GS Instruments (Capital Tones) 65 to 128

Table 10


GS Instruments (Variation Tones)

Your synthesizer offers Sound Canvas compatibility by including the variation bank instruments found in Sound Canvas. The instruments in a variation bank are similar to GS instruments. They vary slightly in sound from the capital tones of GS instruments, and are known as the variation tones of GS instruments.

For example, the capital tone of GS Prog# 25 is Acoustic Guitar (nylon). Its variation tone is Ukulele, which is similar in sound to Acoustic Guitar (nylon).

Assume that you are editing a MIDI file using a MIDI sequencer and one of the tracks uses Acoustic Guitar (nylon). Upon playback of that track, you find that Acoustic Guitar (nylon) does not produce the sound that you want. You can choose to use Ukulele, the variation tone for Acoustic Guitar (nylon).

To do this, you should insert a MIDI message, with MIDI Controller 0 and Bank# 8 (Ukulele's bank number), at the beginning of the track into the MIDI file. You should then insert the Program Change message with Prog# 25 to select Ukulele as the instrument.

At a later stage, you may wish to use Acoustic Guitar (nylon) again. To do this, insert a MIDI message, with MIDI Controller 0 and Bank# 0 (Acoustic Guitar's bank number), into the MIDI file. You should then insert the Program Change message with Prog# 25 to select Acoustic Guitar (nylon) as the instrument.

The following table lists the variation tones of GS instruments:

 GS Instruments (Variation Tones) 5-128


GS Instruments (Variation Tones) 5-128

Table 11


MT-32 Instruments

As the synthesizer on your audio card and the MT-32 sound module use different wavetable synthesis engines, your synthesizer cannot completely emulate the operations of MT-32.

For example, when you change the sound of an instrument using features such as velocity, modulation, and aftertouch, these delicate changes in sound may be different from those of MT-32.

In addition, your synthesizer cannot recognize MT-32 exclusive messages. Therefore, if your synthesizer receives MT-32 exclusive messages, they will be ignored.

All MT-32 instruments are found in Bank 127 of the provided SoundFont file.

The following tables list the MT-32 instruments:

 MT-32 Instruments 1-64

 MT-32 Instruments 65-128


MT-32 Instruments 1-64

Table 12


MT-32 Instruments 65-128

Table 13


Glossary

Amplifier

Decay

Attack

Delay

drum kit

DLS

Hold

LFO1

LFO1 to Pitch (Vibrato)

LFO1 to Filter Cutoff (Wah-Wah)

LFO1 to Volume (Tremolo)

LFO2

LFO2 to Pitch (Vibrato)

Low Pass Filter

MIDI

MIDI channels

MMA

Note Off

Note On

Oscillator

Pitch and Filter Envelope

Pitch/Filter Envelope Modulation

Release

Resonance

reverb

synthesizer

SF2

sequencer

Six-stage Volume Envelope of the Audio Effects Processor

Sustain

Volume Envelope

Wave


DLS

Acronym for Downloadable Sounds, an audio standard that extends General MIDI by using wavetable synthesis technology to provide a means to add custom sounds to the audio card.


drum kit

A collection of instruments (usually percussive), each of which is assigned to a different key on a keyboard.


MIDI

Acronym for Musical Instrument Digital Interface, an international hardware and software standard for exchanging data (like musical codes and events) between electronic musical devices and computers from different manufacturers.


MIDI channels

A MIDI channel is a passage whereby musical information can flow to and fro from one MIDI device to another. MIDI channels are similar to musical tracks, and MIDI files combine 16 channels of information to form a song. The MIDI instruments are assigned to MIDI channels 1 to 16. With this structure, it is possible to record piano, flute, trombone, and timpani separately and then play them back concurrently.


MMA

MIDI Manufacturers' Association, one of the organizations that is responsible for administering the MIDI standard. The other organization is Japan MIDI Standards Committee (JMSC).


Note Off

The MIDI status of a note that has been released.


Note On

The MIDI status of a note that has been pressed.


reverb

A sound effect that gives a spacious quality to a sound. It simulates the experience of listening to music at an indoor concert.


SF2

Acronym for SoundFont 2.0, and is commonly referred to as a SoundFont bank or a SoundFont-compatible bank. Each SoundFont bank can contain one or more MIDI banks, but normally, only one MIDI bank is used. SoundFont banks are saved as SoundFont files in your hard disks and loaded into your audio card for playback. SoundFont files contain digital sound samples and information to articulate these samples. A SoundFont 2.0 bank consists of user samples, ROM samples, instruments, instrument zones, preset zones, and presets.


Audio hardware synthesizer

The wavetable synthesizer on your audio hardware.


sequencer

A computer program or an electronic device that arranges MIDI messages to be sent to a synthesizer. You can use it to edit MIDI messages that have been recorded. For details, refer to the documentation of your sequencer.


Wave

Microsoft Wave format files (with .WAV file extension), which Windows stores sounds as waveforms. Depending on the sampling frequency, on whether the sound is monaural or stereo, and on whether 8 or 16 bits are used for each sample, one minute of sound can occupy as little as 644 KB or as much as 27 MB of storage.


Introduction to the Audio Effects Processor

The Audio Effects Processor has its roots in E-mu's Proteus sample playback modules and their renowned Emulator sampler. The Audio Effects Processor has 32 individual oscillators, each playing back at 44.1 kHz. By incorporating sophisticated sample interpolation algorithms and digital filtering, the Audio Effects Processor is capable of producing high fidelity sample playback.

The Audio Effects Processor has an extensive modulation capability using two sine-wave LFOs (Low Frequency Oscillator) and two multi- stage envelope generators.

What exactly does modulation mean? Modulation means to dynamically change a parameter of an audio signal, whether it be the volume (amplitude modulation, or tremolo), pitch (frequency modulation, or vibrato) or filter cutoff frequency (filter modulation, or wah-wah). To modulate something, we would require a modulation source and a modulation destination. In the Audio Effects Processor, the modulation sources are the LFOs and the envelope generators, and the modulation destinations can be the pitch, the volume or the filter cutoff frequency.

The Audio Effects Processor's LFOs and envelope generators provide a complex modulation environment. Each sound-producing element of the Audio Effects Processor consists of a resonant low-pass filter, two LFOs, in which one modulates the pitch (LFO2), and the other modulates pitch, filter cutoff and volume (LFO1) simultaneously. There are two envelope generators; envelope 1 contours both pitch and filter cutoff simultaneously, and envelope 2 contours volume. The output stage consists of an effects engine that mixes the dry signals with the reverb/chorus level signals to produce the final mix.


Oscillator

An oscillator is the source of an audio signal.


Low Pass Filter

The low pass filter is responsible for modifying the timbres of an instrument. The low pass filter's filter cutoff values can be varied from 100 Hz to 8000 Hz. By changing the values of the filter cutoff, a myriad of analog sounding filter sweeps can be achieved. An example of a GM instrument that makes use of filter sweep is instrument number 87, Lead 7 (fifths).


Amplifier

The amplifier determines the loudness of an audio signal.


LFO1

An LFO, or Low Frequency Oscillator, is normally used to periodically modulate, that is, change a sound parameter, whether it be volume (amplitude modulation), pitch (frequency modulation) or filter cutoff (filter modulation). It operates at sub-audio frequency from 0.042 Hz to 10.71 Hz. The LFO1 in the Audio Effects Processor modulates the pitch, volume and filter cutoff simultaneously.


LFO2

The LFO2 is similar to the LFO1, except that it modulates the pitch of the audio signal only.


Resonance

A filter alone would be like an equalizer, making a bright audio signal duller, but the addition of resonance greatly increases the creative potential of a filter. Increasing the resonance of a filter makes it emphasize signals at the cutoff frequency, giving the audio signal a subtle wah-wah, that is, imagine a siren sound going from bright to dull to bright again periodically.


LFO1 to Volume (Tremolo)

The LFO1's output is routed to the amplifier, with the depth of oscillation determined by LFO1 to Volume. LFO1 to Volume produces tremolo, which is a periodic fluctuation of volume. Let's say you are listening to a piece of music on your home stereo system. When you rapidly increase and decrease the playback volume, you are creating tremolo effect, and the speed in which you increase and decrease the volume is the tremolo rate (which corresponds to the speed at which the LFO is oscillating). An example of a GM instrument that makes use of LFO1 to Volume is instrument number 45, Tremolo Strings.


LFO1 to Filter Cutoff (Wah-Wah)

The LFO1's output is routed to the filter, with the depth of oscillation determined by LFO1 to Filter. LFO1 to Filter produces a periodic fluctuation in the filter cutoff frequency, producing an effect very similar to that of a wah-wah guitar (see "resonance" for a description of wah-wah). An example of a GM instrument that makes use of LFO1 to Filter Cutoff is instrument number 19, Rock Organ.


LFO1 to Pitch (Vibrato)

The LFO1's output is routed to the oscillator, with the depth of oscillation determined by LFO1 to Pitch. LFO1 to Pitch produces a periodic fluctuation in the pitch of the oscillator, producing a vibrato effect. An example of a GM instrument that makes use of LFO1 to Pitch is instrument number 57, Trumpet.


LFO2 to Pitch (Vibrato)

The LFO1 in the Audio Effects Processor can simultaneously modulate pitch, volume and filter. LFO2, on the other hand, modulates only the pitch, with the depth of modulation determined by LFO2 to Pitch. LFO2 to Pitch produces a periodic fluctuation in the pitch of the oscillator, producing a vibrato effect. When this is coupled with LFO1 to Pitch, a complex vibrato effect can be achieved.


Volume Envelope

The character of a musical instrument is largely determined by its volume envelope, the way in which the level of the sound changes with time. For example, percussive sounds usually start suddenly and then die away, whereas a bowed sound might take quite some time to start and then sustain at a more or less fixed level.


Six-stage Volume Envelope of the Audio Effects Processor

A six-stage envelope makes up the volume envelope of the Audio Effects Processor. The six stages are delay, attack, hold, decay, sustain and release. Using these six parameters can yield very realistic reproduction of the volume envelope characteristics of many musical instruments.


Delay

The time between when a key is played and when the attack phase begins.


Attack

The time it takes to go from zero to the peak (full) level.


Hold

The time the envelope will stay at the peak level before starting the decay phase.


Decay

The time it takes the envelope to go from the peak level to the sustain level.


Sustain

The level at which the envelope remains as long as a key is held down.


Release

The time it takes the envelope to fall to the zero level after the key is released.


Pitch and Filter Envelope

The pitch and filter envelope is similar to the volume envelope in that it has the same envelope stages. The difference between them is that whereas the volume envelope contours the volume of the instrument over time, the pitch and filter envelope contours the pitch and filter values of the instrument over time. The pitch envelope is particularly useful in putting the finishing touches in simulating a natural instrument. For example, some wind instruments tend to go slightly sharp when they are first blown, and this characteristic can be simulated by setting up a pitch envelope with a fairly fast attack and decay. The filter envelope, on the other hand, is useful in creating synthetic sci-fi sound textures. An example of a GM instrument that makes use of the filter envelope is instrument number 86, Pad 8 (Sweep).


Pitch/Filter Envelope Modulation

These two parameters determine the modulation depth of the pitch and filter envelope. For example, in the case of a wind instrument, a small amount of pitch envelope modulation is desirable to simulate its natural pitch characteristics.

This rich modulation capability of the Audio Effects Processor is fully exploited by the audio hardware MIDI drivers. The driver also provides you with a means to change these parameters over MIDI in real time. Refer to section, "How do I change an instrument's sound parameters in real time" for more information.


How Do I Change an Instrument's Sound Parameters in Real Time?

You can change an instrument's SoundFont Banks parameters (for example, LFO depth and speed, envelope contour) through MIDI in real time via NRPN, or Non Registered Parameter Number control.

NRPN is identical to that of RPN, except that Registered Parameter Numbers are agreed upon by the MMA (MIDI Manufacturers Association) and JMSC (Japan MIDI Standards Committee), and Non Registered Parameter Number may be assigned as needed by individual manufacturers.

As NRPN and Data Entry messages are MIDI controller messages, any MIDI sequencer software that supports editing of controller messages (such as Cakewalk, MasterTracks Pro) is capable of sending them.

For audio hardware NRPN to be functional, NRPN MSB has to be 127, and NRPN LSB set to the desired parameter to be controlled (see section, "Audio Hardware NRPN Implementation" for a list of available NRPN LSB).

To control the audio hardware's NRPNs, enter the following series of controller events:

Controller	Parameter	Description
99	127	This is the NRPN MSB. It is always 127.
98	NRPN LSB #	The number of the effect as listed in section, "Audio Hardware NRPN Implementation".
6	Data Entry MSB #	(See equations below)
38	Data Entry LSB #	(See equations below)
Data Entry MSB # = (Actual Value + 8192) / 128
Data Entry LSB # = (Actual Value + 8192) % 128

Where "Actual Value" represents the desired increment in a specified range (see section, "Audio Hardware NRPN Implementation"). For example, here is a listing from the above mentioned section:

NRPN LSB 26  (Reverb Effects Send)

Realtime  :    No

Range     :    [0, 255]

In the example above, reverb may be controlled from levels 0 to 255. Select the desired reverb level, and use that number as the Actual Value in the equations above. These equations determine the parameters for controllers 6 and 38, respectively. For example, if you wanted to have a reverb value of 140, you would put 140 into the equations above, and come up with the value of 65 for Controller 6, and 12 for Controller 38.

If you need to determine the Actual Value of an NRPN already present in a MIDI file, use the formula below:

Actual value = (MSB * 128 + LSB) - 8192

A "Reset All Controllers" message (MIDI controller 121) restores the instrument's original SoundFont Banks parameters.


Audio Hardware NRPN Implementation

The NRPN implementation of the audio hardware is shown below:

NRPN LSB 0 (Delay before LFO1 starts)

Realtime	: No

Range	: [0, 5900]

Unit	: 4 milliseconds

Delay from 0 to 22 seconds.

NRPN LSB 1 (LFO1 Frequency)

Realtime	: Yes

Range	: [0, 127]

Unit	: 0.084 Hz

LFO1 frequency from 0 Hz to 10.72 Hz.

NRPN LSB 2 (Delay before LFO2 starts)

Realtime	: No

Range	: [0, 5900]

Unit	: 4 milliseconds

Delay from 0 to 22 seconds.

NRPN LSB 3 (LFO2 Frequency)

Realtime	: Yes

Range	: [0, 127]

Unit	: 0.084 Hz

LFO2 frequency from 0 Hz to 10.72 Hz.

NRPN LSB 4 (Envelope 1 delay time)

Realtime	: No

Range	: [0, 5900]

Unit	: 4 milliseconds

Envelope 1 Delay from 0 to 22 seconds.

NRPN LSB 5 (Envelope 1 attack time)

Realtime	: No

Range	: [0, 5940]

Unit	: Milliseconds

Envelope 1 attack time from 0 to 5.9 seconds.

NRPN LSB 6 (Envelope 1 hold time)

Realtime	: No

Range	: [0, 8191]

Unit	: Milliseconds

Envelope 1 hold time from 0 to 8 seconds.

NRPN LSB 7 (Envelope 1 decay time)

Realtime	: No

Range	: [0, 5940]

Unit	: 4 milliseconds

Envelope 1 decay time from 0.023 to 23.7 seconds.

NRPN LSB 8 (Envelope 1 sustain level)

Realtime	: No

Range	: [0, 127]

Unit	: 0.75 dB

Envelope  1 sustain level from full level down to off  (0.75 dB step).

NRPN LSB 9 (Envelope 1 release time)

Realtime	: No

Range	: [0, 5940]

Unit	: 4 milliseconds

Envelope 1 release time from 0.023 to 23.7 seconds.

NRPN LSB 10 (Envelope 2 delay time)

Realtime	: No

Range	: [0, 5900]

Unit	: 4 milliseconds

Envelope 2 Delay from 0 to 22 seconds.

NRPN LSB 11 (Envelope 2 attack time)

Realtime	: No

Range	: [0, 5940]

Unit	: Milliseconds

Envelope 2 attack time from 0 to 5.9 seconds.

NRPN LSB 12 (Envelope 2 hold time)

Realtime	: No

Range	: [0, 8191]

Unit	: Milliseconds

Envelope 2 hold time from 0 to 8 seconds.

NRPN LSB 13 (Envelope 2 decay time)

Realtime	: No

Range	: [0, 5940]

Unit	: 4 milliseconds

Envelope 2 decay time from 0.023 to 23.7 seconds.

NRPN LSB 14 (Envelope 2 sustain level)

Realtime	: No

Range	: [0, 127]

Unit	: 0.75 dB

Envelope 2 sustain level from full level down to off.

NRPN LSB 15 (Envelope 2 release time)

Realtime	: No

Range	: [0, 5940]

Unit	: 4 milliseconds

Envelope 2 release time from 0.023 to 23.7 seconds.

NRPN LSB 16 (Initial Pitch)

Realtime	: Yes

Range	: [-8192, 8191]

Unit	: cents

Pitch tuning between -8192 and 8191 cents.

NRPN LSB 17 (LFO1 to Pitch)

Realtime	: Yes

Range	: [-127, 127]

Unit	: 9.375 cents

If data value is greater than 0, this will cause a positive (from 0 to maximum) 1 octave shift at LFO peak. On the other hand, if data value is smaller than 0, this will cause a negative (from 0 to minimum) 1 octave shift at LFO peak.

NRPN LSB 18 (LFO2 to Pitch)

Realtime	: Yes

Range	: [-127, 127]

Unit	: 9.375 cents

If data value is greater than 0, this will cause a positive (from 0 to maximum) 1 octave shift at LFO peak. On the other hand, if data value is smaller than 0, this will cause a negative (from 0 to minimum) 1 octave shift at LFO peak.

NRPN LSB 19 (Envelope 1 to Pitch)

Realtime	: No

Range	: [-127, 127]

Unit	: 9.375 cents

If data value is greater than 0, this will cause a positive (from 0 to maximum) 1 octave shift at envelope peak. On the other hand, if data value is smaller than 0, this will cause a negative (from 0 to minimum) 1 octave shift at envelope peak.

NRPN LSB 20 (LFO1 to Volume)

Realtime	: Yes

Range	: [0, 127]

Unit	: 0.1875 dB

Data values smaller than 64 causes a positive phase (from 0 to maximum) volume modulation via LFO1 with magnitude of 12 dB at LFO peak. On the other hand, data values greater than or equal to 64 causes a negative phase (from 0 to minimum) volume modulation via LFO1 with magnitude of 12 dB at LFO peak.

NRPN LSB 21 (Initial Filter Cutoff)

Realtime	: Yes

Range	: [0, 127]

Unit	: 62 Hz

Filter cutoff from 100 Hz to 8000 Hz

NRPN LSB 22 (Initial Filter Resonance Coefficient)

Realtime	: No

Range	: [0, 127]

The Audio Effects Processor has a built-in resonance coefficient table comprising 16 entries. Values 0-7 will select the first (0) entry, values 8-15 selects the second (1) entry and so on.

NRPN LSB 23 (LFO1 to Filter Cutoff)

Realtime	: Yes

Range	: [-64, 63]

Unit	: 56.25 cents

Data values smaller than 64 cause a positive phase (from 0 to maximum) filter modulation via LFO1 with magnitude of 3 octaves at LFO peak. On the other hand, data values greater than or equal to 64 cause a negative phase (from 0 to minimum) filter modulation via LFO1 with magnitude of 3 octaves at LFO peak.

NRPN LSB 24 (Envelope 1 to Filter Cutoff)

Realtime	: No

Range	: [-127, 127]

Unit	: 56.25 cents

Data values greater than 0 cause a positive phase (from 0 to maximum) filter modulation via Envelope 1 with magnitude of 6 octaves at envelope peak. On the other hand, values smaller than 0 cause a negative phase (from 0 to minimum) filter modulation via Envelope 1 with magnitude of 6 octaves at envelope peak.

NRPN LSB 25 (Chorus Effects Send)

Realtime	: No

Range	: [0, 255]

Chorus send, with 0 being the driest (no chorus effects processing), and 255 being the wettest (full chorus effect processing).

NRPN LSB 26 (Reverb Effects Send)

Realtime	: No

Range	: [0, 255]

Reverb send, with 0 being the driest (no reverb effects processing), and 255 being the wettest (full reverb effect processing).


Alternative NRPN Implementation

Details for another method of NRPN implementation are available at http://www.emu.com/download/sfspec21.pdf