Virtual B3 in DimPro's XP-1

I must confess that I didn't catch all of the depth in the Virtual B3 setup the first time through. I certainly explored the 50+ programs, noted the 'ice-blue' changes to the GUI controls, and even peeked into the virtual b3.sfz text file that all of these .progs are based on. Very interesting implementation of opcodes there, but with all there is to explore, I filed the in-depth analysis for later on. But when I happened across this 'message in a bottle' , the total concept hit me like a bolt of lightning. Maybe it'll do this same for you ...


 


Now tell me that doesn't open up possibilities. I won't reprint the virtual b3.sfz file here, but open it up in Notepad and take a look. The B3 core parameters have all been pre-configured and assigned to the GUI controls above. Individual drawbar tweaking (mapped & transposed across the keyboard range); percussive/click sounds with their own (.sfz) envelopes. Controls for the Rotary (Leslie): high & low rotors, crossovers, and rate (I'll be adding 'inertia' to that :). The effects approach here is most intriguing.

The .sfz controls are in complete command until you enable the (labeled) controls; then that control is 'layered' [see below] over the original control. That doesn't seem to be the case in the FX. That appears to be intercepted; I'll have to dive into this deeper for the explanation. All this could be problematic at first glance. If you're BitReducing this gorgeous Hammond, then you deserve what happens. Seriously, without having tested this, I'm thinking that you can Chain Elements to get whatever effect you need from the last Element.

The following chart might come in handy when exploring the virtual b3.sfz. The MIDI convention of CC messages (continuous controllers) has been 'expanded' in the Expression Engine synths to cover (and interact with) the specific GUI controls. Here's a list that I snagged back in the Dimension P5 release period (flesh it out with consecutive numbers). It may/may not be a bit incomplete now, but you'll get the idea of how the .sfz file goes about changing the Dimension Pro interface into another virtual instrument.

GUI_BITRED = 140, 
GUI_DECIM, 
GUI_CUTOFF, 
GUI_RESO, 
GUI_DRIVESHAPE, 
GUI_DRIVETONE, 

GUI_EQ1ONOFF = 150, 
GUI_EQ1GAIN, 
GUI_EQ1FREQ, 
GUI_EQ1BW, 
GUI_EQ2ONOFF, 
GUI_EQ2GAIN, 
GUI_EQ2FREQ, 
GUI_EQ2BW, 
GUI_EQ3ONOFF, 
GUI_EQ3GAIN, 
GUI_EQ3FREQ, 
GUI_EQ3BW, 

GUI_DLYINPUT = 170, 
GUI_DLYTIMEL, 
GUI_DLYTIMEC, 
GUI_DLYTIMER, 
GUI_DLYFEEDB, 
GUI_DLYCUTOFF, 
GUI_DLYRESO, 
GUI_DLYDRY, 
GUI_DLYWET, 
GUI_DLYLFOFREQ, 
GUI_DLYLFODEPTH, 

GUI_EGDEPTH1 = 195, 
GUI_EGDEPTH2 
GUI_EGDEPTH3, 
GUI_EGDEPTH4, 
GUI_EGDEPTH5, 

GUI_LFOFREQ1 = 200, 
GUI_LFOFREQ2, 
GUI_LFOFREQ3, 
GUI_LFOFREQ4, 
GUI_LFOFREQ5, 
GUI_LFOPHASE1 = 205, 
GUI_LFOPHASE2, 
GUI_LFOPHASE3, 
GUI_LFOPHASE4, 
GUI_LFOPHASE5, 
GUI_LFODELAY1 = 210, 
GUI_LFODELAY2, 
GUI_LFODELAY3, 
GUI_LFODELAY4, 
GUI_LFODELAY5, 
GUI_LFOFADE1 = 215, 
GUI_LFOFADE2, 
GUI_LFOFADE3, 
GUI_LFOFADE4, 
GUI_LFOFADE5, 
GUI_LFODEPTH1 = 220, 
GUI_LFODEPTH2, 
GUI_LFODEPTH3, 
GUI_LFODEPTH4, 
GUI_LFODEPTH5, 

GUI_PAN = 230, 
GUI_X, 
GUI_Y, 
GUI_VOLUME

Edit: Link updated to Project5 Wiki diagram

Thanks for the info. I set the "BIT RED" Min (around 8 O'clock) and Max (around 1 O'Clock) and controller as a CC#1 (Mod Wheel) thru a variable expression foot pedal. Pretty convincing leslie effect!

interesting sounds by swaping the sine wave in the .SFZ

Open and ready for anything. I guess you could turn it into a Hammond nova cord? What a deal.

Can't we just enjoy it for what it is?

Well Tom, you really did beat me to it. But that's okay, I'll get up to speed once I've cleared my desk…

As for the extended CCs, I noticed that as soon as I opened up the sfz file. The B3 patch should've come with a “Read Me.txt” but I guess the creators knew we wouldn't leave well enough alone.

You touched on the relationship between GUI controls and the internal sfz controls: that's a toughie to get your head around and my tests haven't run deep enough to come up with the full lowdown of what to expect. However, there is one extra variable in the equation: “DefaultEffects.sfz” That file tells DP what to do when one of those knobs is twisted and, I would reckon, is the key to understanding what to expect when you assing an internal sfz CC to a knob that's already assigned by default.

Eitherway, the mileage that that little .sfz is getting out of single sine cycle is pretty commendable. In the ideal sfz-geek world, we'd be running a compo to see how far the hyper-tweakers could push this thing using the smallest .wav coupled with the largest .sfz

Now, what happens when you chain this thing to a element loaded with one of those cabinet modelling convolution files? I don't know, but I plan to find out…

Hey, Larry: Here's an easy way to get started that's already set up in advance for you. Go to something like the RGC Almost Clean (at).prog in the new Guitars. The Strat's in E1, it's selected for Chain to Next Element, and E2 has the Element Chain.sfz. E1 has a Chorus, and it gets funneled to the Ping Delay in E2. Now click on the Load Multisample slot in E2, and navigate to the Cabinet and Amp Simulations. Load up one of the sims, and have a ball.

They're also sliced down to impulses in the subfolder ...
Dale: plenty for everybody. Rapture, too. Let's tear it up.

Would be cool if the GUI labels could change dynamically based on text associated with directives in the .sfz files.