Quality NN Bab 67 Bab1   Bass 67 Cent 67 CenterLt   CenterRt   CenterSnare   CenterSt   Drop 64 Excenter 69 ExcenterLt   ExcenterRt   ExcenterSt   Medium 69 Mitte 67 Nosnare 69 Rand 60 Rand 69 Rim 69 RimL 69 RimL 71 RimR 60 RimR 69 RimR 71 Roll 62 Slap 65 Slp1 65 Slp2 64 Slpdr 64 Snare 67 Weich 67 Zil1 71 Zil2 72 Zweig1 64 Zweig2 65

MIDI Note Number The table at the left (derived from the summary table of audio sample files) is a complete alphabetical list of the <Quality> part of all the drum audio sample files, paired with the MIDI Note Number (NN) used for the sample in an Early Patches SoundFont file, if any. Basically it assigns a drum “quality” to a “white key” between middle C (MIDI Note Number 60) and C above middle C (MIDI Note Number 72). It has been edited and rationalized somewhat, but I still haven't figured out how to handle the inconsistencies and conflicts of Rand, Rim, RimR and RimL. This table, when finished, will determine the conventional MIDI Note Number to use. MIDI Velocity As can be seen from the somewhat sparse summary table of audio sample files, not every dynamic (fff, ff, f, mf, mp, p, pp, ppp) has been sampled for each “quality”; indeed, some have only one dynamic and there are no mp sample files at all. When I examined the Early Patches SoundFont files, I discovered that at most two dynamic files (typically f and p) were actually used for the MIDI dynamic range of 127 down to 1. However I decided to use as many samples as possible, with MIDI Velocity cross-fades between them. After much experimentation, I settled on the following scheme: Arbitrarily assign MIDI Velocity 127 to fff, 111 to ff, ... , and 15 to ppp. Call these 8 MIDI Velocities (spaced 16 apart) V-nodes. Call the 7 midpoints between them (119, 103, ... , 23) V-antinodes. If a file exists with a matching filename <Folder>\<Quality>_<V-node>.wav (for example Bendir\Slap_fff.wav matches V-node fff), then associate this sample with the V-node. If no such file exists then associate the same sample as the closest V-node with a sample. For example, since there is no Bendir\Bass_ff.wav, V-node ff shares Bendir\Bass_f.wav. If neighboring V-nodes use the same sample then associate all the intervening MIDI Velocities with that sample also; for example MIDI Velocities 127 down to 95 all use Bendir\Bass_f.wav. If neighboring V-nodes use different samples, then the intervening MIDI Velocities will be (equal-power) cross-faded by calculating appropriate attenuated portions of both samples, with a -3dB attenuation of both at the midpoint V-antinode. MIDI Velocities 1-14 use the same sample as 15. MIDI Patch Number Each folder (subdirectory) contains all the audio sample files for a single drum (e.g. Bendir\) and has been assigned a unique MIDI Patch Number, which I will adopt unchanged. Nevertheless, for testing I am using a different temporary strategy: Each SoundFont has only one instrument, e.g. Bendir.sf2. Of course it has each MIDI Note Number associated with an instrument “quality”. MIDI Patch Number 28 is the composite (cross-faded) patch as described in the MIDI Velocity section above. MIDI Patch Number 27 has only the samples assigned to the fff V-node for all Velocities 1-127 (and for each MIDI Note Number). MIDI Patch Number 26 has only the samples assigned to the ff V-node for all Velocities 1-127 (and for each MIDI Note Number). So on down to MIDI Patch Number 21 for the samples assigned to the ppp V-node. By comparing the RMS power of a rendered MIDI Patch Number 27 and MIDI Patch Number 26, both with a MIDI Velocity of 119, i.e. the midpoint between the fff V-node and the ff V-node, the gain of the ff sample can be adjusted to exactly match the fff sample! And so on down the line, each sample gain adjusted to the one “above” it. This 7-step adjustment must be done separately for each MIDI Note Number, i.e. for each instrument “quality”.