Song-Haven virtual B3 organ

Transcription

1 Song-Haven virtual B3 organ For UVI Falcon Owners Manual

2 1 Introduction The Hammond organ. A historic overview The Hammond organ, and in particular, the B3 model, has historically been one of the most widely used and recognizable sounds in modern music. It has played an extensive role in gospel, blues, R&B, rock, prog rock, jazz, country and pop for decades. Developed by the Hammond organ company in the 1930 s, it pre-dates the transistor and creates it s sound using mechanical rotating tone-wheels. The rotations are picked up by magnetic transducers and amplified with tube powered pre-amps and amps producing steady pitches of a relatively pure sine wave variety. These pitches are mixed together at different frequencies, using a combination of nine drawbars activated by the organist to create variations in the harmonic spectrum, producing endless variations on the organ tone. Early on, the Hammond organ was paired with a very unique amplifier with rotating speakers made by the Leslie company. The most commonly used model is the Leslie 122. This combination became integral to the iconic and identifiable sound of the Hammond organ in most musical styles. Both Hammond and Leslie are still in business today and each makes a variety of models, all with the same goal of producing the same iconic sound first introduced many decades ago. A significant problem with the original Hammond B3 is it s large size and weight. At a hernia inducing 350 lbs, it takes a minimum of four people to move it up just even a small flight of stairs, making it a challenge for musicians to transport and place on small stages. As time went on and electronics advanced making possible smaller and lighter devices, many companies took to reproducing this iconic sound in much more portable packages, making the Hammond organ perhaps the most copied instrument ever. These instruments are referred to as clone-wheels. Today this has been extended to the virtual world, where weightless virtual software instruments on computers are played from MIDI controllers with facilities for simulating drawbars and other controls. Likewise, rotating speaker emulations have evolved in a similar way. Contributing to this trend, I ve developed a highly authentic virtual Hammond B3 organ designed to run on UVI Falcon. Based on a combination of sampling and modeling, it consists of immaculately recorded and processed individual tonewheels from my own vintage and well maintained Hammond B3, organized into a detailed and authentic virtual instrument, with a complete set of controls. This includes full drawbar control, 2 nd & 3 rd harmonic percussion, and all six variations of vibrato/chorus found on a real Hammond B3. Falcon effects add spring reverb and rotary speaker simulation. Authentic details not included on other virtual B3 instruments add convincing elements and life to the sonic character.

3 Steffen Presley Table of Contents Introduction : The Hammond organ, A historic overview...1 Table of Contents...2 Installation & Setup Setup Re-assigning MIDI CC controls File types Loading files Programs Multis Operation Drawbar control Percussion Vibrato Chorus Other controls Presets Bass Pedals Master Effects Rotating Speaker and Spring Reverb effects Master Expression Pedal Extras Touch OSC layout for Apple ipad Expression maps for Cubase Drawbar synths Advanced DAW control Customizing the hardwired key-switch presets Using Alternate MIDI Learn Addendum...21 About the Designer Endless Productions... 21

4 3 Installation and Setup Please refer to the separate documentation for installation (Read Me). This manual assumes that you have some familiarity with the operation of UVI Falcon. If that is not the case, please read the UVI Falcon owners manual first. To retain proper operation and appearance, all files in this package should remain in their original directory. 1.0 Setup The Song-Haven Virtual B3 organ for the UVI Falcon platform can be fully controlled from the onscreen panel controls, or by utilizing suitable external MIDI controllers. To begin, it is recommended to first load the Multi, B3 Drawbars.uvim found inside the Multi folder. This is a basic single manual version of the Song- Haven B3, with all controls and effects active. The main panel controls are found on the Info tab of Falcon. Default MIDI CC numbers are assigned for each panel control. On a Hammond B3, drawbars are used to control the harmonic content of the sound. These are represented on the Song-Haven virtual B3 with a row of nine dials on the main panel. See [section 3.1, Drawbar Control]. Suitable MIDI controllers for operating drawbars would include faders, sliders, drawbars, ribbons, touch screens, rotary controllers, etc., assigned to the following General Purpose MIDI CC numbers: Drawbar ½ / / ½ Assigned MIDI CC number In addition to drawbar control, other controls include Percussion, the six position Chorus/Vibrato and more. There is also a separate custom panel for Master effects used only in the multis for reverb and rotating speaker controls, found in the Master section of the Effects tab. Refer to [section 6.0 Master Effects]. Included with this package is a layout file for the ipad app, Touch OSC. This file, Song-Haven Virtual B3.touchosc is found in the Extras folder. Using this app, the Song-Haven virtual B3 organ is truly plug and play, with realistic drawbar and other controls at the ready, no setup necessary. See [section 7.0, Extras ]

5 4 1.1 Re-assigning MIDI controllers Before changing MIDI CC assignments with each of the large number of programs and muitis available in this package, consider instead to create a single patch on your chosen MIDI controller, assigning the default MIDI CC numbers outlined on these pages. This could save you much time and effort and will also serve to not disrupt operation from other MIDI controllers, such as with the included Touch OSC layout operated from an ipad. It is also advised that before changing anything in this package, make and work with copies while keeping the original files intact. If you wish to change the default MIDI CC numbers for main panel controls to match those from your controller, you can use the MIDI Learn function. The simple procedure is as follows: In the main panel (found from the Info tab), right-click on any of the controls to bring up the pop-up menu. Select MIDI Learn and move your chosen MIDI controller. It is now assigned and should operate properly. Caution; Certain controls work incrementally instead of continuously. These include Chorus/Vibrato (3 steps), Drawbars (8 steps) and Rotary Speed (3 steps). In order to retain proper functioning of operating in steps, you ll need to use an alternative MIDI Learn method for these particular controls. Right-click a control to bring up the pop-up menu. But instead of selecting MIDI Learn, Select Edit Modulation. In the box that pops up, right click on the current MIDI assignment displayed in the upper left corner. From the pop-up menu that appears, select MIDI Learn. Move your chosen MIDI controller to assign it. Please see [Advanced 8.3, Alternate MIDI Learn] for more details. You may also change MIDI CC assignments manually. Right-click a control and select Edit Modulation. In the pop-up dialog, right-click the current MIDI assignment shown in the upper left corner. Choose MIDI CC from the menu that appears, and then select one of the controller numbers from the CC menu. This method will work the same for all controls without disrupting anything. Below is a table displaying the default MIDI CC settings for the front panel controls. (Drawbar assignments are shown on the previous page). Panel Control MIDI CC assignment Percussion On/Off 22 Percussion 3 rd /2 nd Harmonic 23 Percussion Fast/Slow 24 Percussion Normal/Soft 25 Chorus /Vibrato 93 Chorus (or Vibrato) amount 1 (Mod Wheel) Enhance 96

6 5 If you have an ipad and are interested to use the included Touch OSC layout file for controlling the Song-Haven Virtual B3 see [section 7.0, Extras], it is recommended to not change the MIDI CC control numbers, as the layout file is already optimized for immediate plug and play. Main control panel on the Info page Lit status indicates the first of two options is selected. 2.0 File types 2.1 Loading files: The Song-Haven B3 for UVI Falcon makes use of Programs and Multis. Program files (.uvip) are loaded into parts. The Program files contain all the controls necessary for single manual organ operation, but without the rotary speaker, reverb and expression pedal effects. When one of the included Multi files is loaded, the rotary speaker, reverb and expression pedal effects are loaded into the Master Effects section for global use. This hierarchal method is used for the following reasons: Programs loaded into a part without one of the Multis present can be used without the Master Effects (rotating speaker, reverb, overdrive and expression pedal), in which case you can use it with 3 rd party plug-in effects instead, or patch into a real Leslie speaker. Also, Multis can be customized by loading in different Programs into a Part, without creating redundant effects. When one of the Multis

7 6 (.uvim) is loaded, each separate Part will access the Master effects contained in the Multi [see section 6.0, Master Effects]. This makes it ideal for setting up more than one part to share these master effects, such as the three part multi setup, Full B3 organ.uvim, with dual manuals and bass pedals, all patched into the same rotating speaker, reverb and expression pedal effects, just like you would find on a real Hammond organ. Since Falcon is multi-timbral, you may wish to add other parts for sequencing, possibly not related to the organ. If you wish to not have certain parts go through these Master effects, simply assign the parts to a different output in the Mixer section. 2.2 Programs (.uvip) Included with this package are an assortment of programs representing variations on the Hammond B3 drawbar organ. All programs include the standard five octaves of organ notes from C1-C6. There are two primary variations for each of the programs. The first variation is found in the Programs folder with the program named Drawbars+presets.uvip and it s lower manual counterpart, Drawbars+presets_LM.uvip, each of which adds an octave of key-switches to the left of the lowest organ note (C0- B0) to allow instant selection of nearly a dozen hard-wired presets. This is just like a real Hammond B3 organ! It s also important to know that each of these two programs requires 795 megabytes of internal memory because Falcon needs to reload the same tonewheel samples for each drawbar harmonic for each preset variation. This is substantially more than any of the other programs, but allows for a large pallet of sounds immediately accessible.. All the rest of the included programs (except for Bass Pedals.uvip ) all belong to the second variation and are found in the Presets folders. See [section 4.0, Presets]. With the second program variation, instead of key-switch presets, the octave below the lowest organ note is an octave of bass pedals (C0-B0). All of the programs have a lower-manual counterpart for use in dual-manual Multis. The main difference is that the lower-manual programs (with an LM suffix to the file name) do not have Percussion. This is again like a real Hammond B3. In organ parlance, Swell refers to upper manual and Great refers to the lower manual. Finally, there is a special program for the authentic bass pedals of a Hammond B3 called Bass Pedals.uvip. See [section 5.0, Bass pedals] Upper Manual (Part 1 slot) (all controls) Drawbars+presets.uvip Location: Programs All other programs Location: Presets/Swell Lower Manual (Part 2 slot) (no Percussion) Drawbars+presets LM.uvip Location: Programs All other programs Location: Presets/Great Keyswitches C0-B0 Bass Pedals C0-B0 RAM used yes no 795 MB no yes 105 MB

8 7 2.3 Multis (.uvim) the included Multis have combinations of programs for both single manual operation and also dual-manual operation with bass pedals. Although both Programs and Multis are routed to the main output in stereo, the signal from all of the included Programs is in mono, just as on a real Hammond organ. This insures mono compatibility in your mixes. However, all of the Multis output full stereo from the Master effects. This simulates a rotating speaker with dual mics on the upper rotor panned left and right. Any of the included programs can be loaded into any of the parts within a Multi. However, to insure proper operation of controls, lower manual programs (those with an LM file name suffix) should be loaded only into Part two (MIDI channel 2), and upper manual programs (those having filenames without a suffix) should be loaded only into Part one (MIDI channel 1). The programs will then connect to the Master effects unless a different output is specified. Multi name Manuals Hard-wired presets RAM used B3 Drawbars. uvim single no Drawbars+presets.uvim single yes Full B3 organ Dual with bass pedals no Full B3 organ plus Dual with bass pedals yes MB 3.0 Operation 3.1 Drawbar control The nine virtual drawbars are represented on the main panel (on the Info tab of Falcon) as dials. These are mainly for visual confirmation and MIDI setup, and are best operated from an external MIDI controller. Drawbar control is set such that your MIDI controllers automatically work in reverse direction, designed to behave like those on the Hammond, whereas when drawbars are pulled towards you, the volume of that harmonic increases. This may seem to be the opposite of what you are used to with faders, in which gain is applied by pushing the fader away from you. However, the onscreen rotary controls will always move in a forward direction, regardless. If you wish to change the direction of your MIDI control, it is recommended that this best be accomplished by changing settings on your MIDI controller (Many modern MIDI controllers have features for changing control direction). Included in this package is a custom layout file called Song-Haven Virtual B3.touchosc for MIDI control from an ipad running the app, Touch OSC. This is already optimized to immediately work much like real drawbars. No configuration is necessary! However, if you change MIDI CC and/or channel assignments, this will need to be changed in the Touch OSC editor in order to remain functional. See [section 7.0, Extras].

9 8 When using a computer pointing device to change a drawbar setting onscreen, the levels will change continuously, instead of in increments of eight steps like a real Hammond B3. For a more Hammond-like response, where the drawbar levels change evenly in eight steps, use any MIDI continuous controller instead. While your physical controller will likely function smoothly, Falcon will respond incrementally with the appropriate number of steps. The volume on the onscreen dials are represented as Db levels, and as such do not display steps evenly. Rest assured, your MIDI controller will change volume in 8 evenly spaced steps like real drawbars. Upon initial loading of any program or multi, the sound and position of the onscreen controls may not match the positions on your MIDI controller. This is because Falcon has no way to know how your MIDI controller is initially set. Moving the controls on your MIDI controller will cause the onscreen control and sound to jump to a position which matches your MIDI controller. See [section 4.0, Presets]. For all multis and all programs not in the Presets folder, The default drawbar settings will be all drawbars pulled out to maximum, for a neutral starting point. The dynamic range of this instrument can be quite large, so this can initially overload your speakers. It is advised to keep your volume low, until you ve adjusted settings to your liking. New drawbar configurations of your choosing can be saved, using the Save as function to save new versions. On a real Hammond organ, each of the nine drawbar harmonics are individually activated when a key is pressed, by making contact with a buss-bar. These make contact at different times, with the highest harmonics sounding first. This is made clear when pressing a key with very slow velocity. We have duplicated this effect very accurately with velocity control. It makes a subtle but significant difference in the feel and response, and adds life to the sound. Another small detail we have not overlooked is the natural clicking sound on both the start and the release of a note, which is unique for each harmonic on each key. 3.2 Percussion Percussion on the Hammond B3 organ (and some other models) consists of accented versions of a harmonic. There are two choices, 2 nd harmonic, and 3 rd harmonic. There are fast or slow decay, normal or soft volume versions of each. In the Song-Haven virtual B3, percussion controls can be found on the main panel found on the Info tab in Falcon. It s behavior is very similar to that of a real Hammond B3, whereupon playing legato will cause the percussion effect to not retrigger. These controls can also be operated from an external MIDI controller using the default MIDI CC assignments, or using MIDI Learn to create your own assignments. Details of this are found in [section 1.1, Re-assigning MIDI controllers]. MIDI controller buttons on your controller device need to be in Toggle mode (not Momentary ).

10 9 Panel Controls for Percussion: Perc on/off: Enables or disables percussion. When percussion is activated, the 1 drawbar is disabled, just as on a real Hammond B3. Perc 3 rd/ 2 nd selects which harmonic is activated. Perc fast/slow: Selects the decay length of the percussion. Perc normal/soft: Selects between two possible volume levels of percussion. The buttons light for the first option. 3.3 Chorus/Vibrato The Hammond B3 organ has two modulation effects, Chorus and Vibrato. Each are selected on a real Hammond organ using a six position knob labeled C1, C2 and C3 representing three levels of Chorus and V1, V2, and V3 representing three levels of vibrato. All six of these settings are available in the Song-Haven virtual B3. For practical reasons, the method of selection is somewhat different than a real B3. A button to switch between Chorus and Vibrato is found on the main panel section of Falcon (Info tab) as a button labeled Chorus/Vibrato. The button is lit for the top option, Chorus. Settings for MIDI control can be found in [section 1.1, Re-assigning MIDI controllers ]. To the left of the Chorus/Vibrato switch is a virtual knob, Ch/Vib Amount with labels corresponding to Off, C1 or V1, C2 or V2, C3 or V3 positions. Higher numbers results in a more pronounced modulation effect. The fully counterclockwise position turns the effect off. This is different from a real Hammond, which has an on/off switch for each manual. But with the Song-Haven virtual B3, if a multi containing more than one manual is loaded, each manual has it s own independent Chorus/Vibrato) controls. If the Ch/Vib amount knob is turned using a computer pointing device onscreen (such as a mouse or trackpad), the change to the sound will be continuous. For a more authentic response (3 stages of Chorus and 3 stages of Vibrato corresponding to the labels), use a MIDI controller (the default MIDI CC is Mod Wheel CC#1), which will increases the effect in three stages that match the actual Hammond B3, corresponding to Off, C1, C2, C3 or Off, V1, V2, V3, depending on whether Chorus or Vibrato is selected.

11 Other Controls Enhance The control named Enhance adds a saturation effect, meant to duplicate the effects of the Hammond B3 s tube pre-amp and other components. This can help the organ cut through a mix, and sound punchy. Each organ manual and Bass Pedal program has it s own independent Enhance control. This effect also responds to MIDI CC. Pitch Bend There is a trick players sometimes use on a real Hammond B3 to bend the pitch down. By turning the power button off while playing, this gradually stops the tonewheels from rotating, causing the pitch to drop. If you turn the power switch back on quick enough, the pitch will quickly go back to normal. However, if the player was not quick enough, the organ would require a restart, which would take a minute. So it was a rather risky move. On the Song-Haven virtual B3, a similar effect can be had simply by using the pitch bend controller on your MIDI device, without risk of shut down. Much fancier pitch bending, including upward bends are also possible.

12 Presets Included in this package is a folder called Presets. Inside this folder are two folders labeled, Swell (upper manual) and Great (lower manual). Each folder contains 30 programs. The different programs represent different main panel configurations, which include drawbar settings representing a useful variety of popular and esoteric Hammond sounds. The main panel settings can be thought of as configuration snapshots. They can be freely overridden with onscreen or MIDI control for either live performance purposes or to be re-saved as new snapshot versions. These programs are identical in each folder, except that the programs in the Great folder have an LM suffix added to the filename, and since they are intended for lower manual use, do not have the Percussion function. In the folder, Programs there is also a special program called Drawbars+presets.uvip (and it s lower manual counterpart, Drawbars+presets_LM.uvip ), which provides not only full drawbar control, but adds a full octave of key-switches for selecting hardwired drawbar configurations. This is just like the real Hammond B3 organ, which has a row of key-switches on each manual to select preset hardwired drawbar configurations (using wires screwed to terminals in the back of the organ). The key-switch octave is in the same location as on a real B3, to the left of the five octave organ keys, from C0 to B0. If your MIDI controller has a standard 61 note (5 octave) keyboard like a real B3, you will need to access your octave transpose function (found on most modern MIDI controller keyboards) down one octave in order to access the key-switches (or, if you have an ipad, you can immediately access the key-switches found in the included layout file for the app, Touch OSC. See [section 7.0, Extras]). The included multi, Full B3 organ plus.uvim contains three parts, the first two of which contain the two aforementioned programs, offering full drawbar control of each manual, along with key-switch presets available for each manual. The key-switches for the lower manual offer a different selection of presets. The third part is for Bass pedals. Thus, this multi accesses the entire B3 organ! It requires over a Gigabyte of RAM and can therefore be relatively slow to load in. On the real Hammond B3 organ, the Percussion function is available for only one of the drawbar sets on the upper manual. It s hardwired presets cannot utilize the Percussion function. But on the Song-Haven virtual B3 for Falcon, the key-switch presets allow freely assignable Percussion for most of these presets. However, some of the presets are specifically designed to be utilize the 1 harmonic (9 th drawbar) instead of Percussion. Since as on a real Hammond organ, Percussion disables the 1 drawbar, Percussion is not available for those particular presets. This makes preset selection that much quicker! See the chart on the next page for details on which presets this affects.

13 12 The included preset program names with their corresponding drawbar configurations are as follows: Name Setting Name Setting Buzain Trumpet Ens Jazz Blues Trumpet Clarinet Violin Ens Clarinet Ens Whistle Stop Exp Whiter Shade Full Orch Sax Flute Full Swell Soft Jazz Grand Diapson Simmering Magic Flute Solo Vox Humana MelloDee Space Drive Positiv Ens Shoutin Str Organ Violin Gospel Full Organ Blues Chorale Jimmy All Stops Out The key-switch presets details for the program Drawbars+presets.uvip and Drawbars+presets_LM.uvip are listed below. These assignments can also be viewed in Falcon by clicking on the circled i button found on the top-right of the main control panel on the Info page. The drawbar settings for these presets can be found in the chart above. If the keyboard in Falcon is displayed in the Main panel, the key-switches are shown in blue. # Name (Swell) Percussion Key-switch Name (Great) (Swell only) 0 Live drawbars yes B0 Live drawbars 1 Shoutin no A#0 Blues 2 Whiter Shade yes A0 Buzain 3 MelloDee no G#0 Space Drive 4 Jazz Blues yes G0 Clarinet 5 Soft Jazz yes F#0 Simmering 6 Gospel yes F0 Grand Diapson 7 Solo Vox Humana no E0 Chorale 8 Whistle Stop no D#0 Exp 9 Trumpet Ens no D0 Str. Org. 10 Magic Flute yes C#0 Sax Flute 0 Live drawbars (again) yes C0 Live drawbars

14 Bass Pedals The program, B3 Pedals.uvip provides 2 octaves of bass pedals, as on a real Hammond B3. There are two drawbars to control the sound, 32 and 16. The default MIDI CCs are the same as the first two drawbars for the Hammond B3 organ.uvip (MIDI CC s 16 & 17). In the 3 part Multis, this program occupies Part 3 and responds to MIDI channel #3. The bass pedal program also contains 2 variations, assigned as key-switches on D3 and E3 (just above the two octaves of bass pedal sounds). The default setting (D3) is the standard Hammond bass pedal sound. Key-switch E3 selects a variation not found on stock Hammonds, which adds a percussive attack, a release and more girth to the sound for better bass sound in some styles, sounding similar to some common modifications that might have been added to a real Hammond organ. As on a real Hammond, Chorus/Vibrato can be applied in the same way as with the other programs, but like a real B3 organ, percussion is not available. In the three part multi, the Bass Pedals program shares the rotating speaker and spring reverb effects, as on a real B3. If this is not desired, simply assign the Bass Pedals part to a different output in the Mixer section. Other than Drawbars+Presets.uvip & Drawbars+Presets_LM.uvip, all the other programs include one octave of bass pedals, found on the octave below the standard five octave range of the Hammond B3 (C0-B0). If you are using a five octave (61 note) controller, you would need to transpose the keyboard down one octave to access these notes. In these programs, drawbar control for the bass pedals is achieved using MIDI CC#8 (balance control), to set a balance between the 32 and 16 bass pedal drawbars. It is not recommended to change the MIDI CC, as the MIDI specification for balance control means this will only work properly using the default MIDI CC#8. This control increments continuously, not in 8 steps, as in all other drawbar configurations. The alternate bass sound is only available in the dedicated Bass Pedals.uvip program, so there are no key-switches for Bass Pedals in the other programs. 6.0 Master effects 6.1 Rotating Speaker and Spring Reverb effects The included Multi files contain a Master Effects section. Master effects include rotating speaker simulation, spring reverb and expression pedal. Many Hammond models include or have been modified to include a type of reverberation device know as a spring reverb (because the sound travels through coiled springs). On the Song-Haven virtual B3, an authentic spring reverb effect is achieved through convolution. On many Hammond organs, the spring reverb is routed to it s own speaker, such as not to get all swirly in the Leslie. This is also

15 14 duplicated in our model, with the spring reverb set parallel and not through the rotating speaker effect for the most realistic reverberation effect. The rotating speaker effect is designed to very accurately emulate a Leslie speaker, which is commonly used along with Hammond organs. (Rotating speaker simulation requires Falcon version or later). As on a real Leslie speaker, there are two speeds, Chorale (slow) and Tremolo (fast). Some models include a Brake feature, in which the rotors slow to a stationary position. A toggle switch or momentary pedal connected to your MIDI controller can be used to switch between the two speeds (0 or 127). To access the Brake feature, a continuous controller is required to access a value of 64 (brake is in the middle). If using the Touch OSC app on an ipad, there are three buttons, one for each speed. See [section 7.1, Extras/Touch OSC]. The primary controls for these effects are found in a custom rack (multis only). First, select the Effects tab. Just below this, select the highest level in the effects path, Master (see upper left). You will see a display of a custom panel called the Effect Rack, where you can adjust the wet/dry mix of the spring reverb, classic overdrive distortion amount for the rotating speaker simulation, and speed control. MIDI CC assignments are shown in the table below. As usual, you can change these assignments. See [section 1.1, Re-assigning MIDI CC controls]. A control for the Global Expression Pedal is also in this rack, for the purpose of re-assigning a MIDI expression pedal if necessary. See [section 6.2, Master Expression Pedal]. Master Effects control panels for Multis Master Effect MIDI CC# Reverb 91 Drive 95 Rotary Speed 92 Expression Pedal 4

16 Master Expression Pedal Another function in the Master Effects section of the Multis is the B3 expression pedal. By allocating a continuous pedal device on your MIDI controller addressing MIDI CC#4 (Foot Controller), you can control expressive volume in the same way that the expression pedal on a real Hammond functions. As this function is located in the Master effects section, it will control all Parts connected to the Main output. This means that if you have loaded one of the multis for dual manuals and bass pedals, your expression pedal will effect the volume of the entire organ, just as on a real Hammond organ. Another authentic feature is when the pedal is backed off all the way, the volume does not go all the way down to zero. The sound is still present, but softly. For practical reasons, when a Multi is loaded, maximum volume is the default, regardless of the position of your MIDI pedal controller. If your pedal is correctly set up, moving it will instantly change the volume to the level matching the pedal position, similar to drawbar and other continuous controls. The purpose of the Gain control in the Effects Rack panel is for re-assigning a foot controller via MIDI CC if necessary. The MIDI CC# can be changed in the same way as other panel controls. See [Section 1.1, Re-assigning MIDI CC controls]. Of course, the volume of each part can be also set as usual in the Parts and/or Mixer section of Falcon. This can be useful for changing the balance between the two manuals and bass pedals in the multis. MIDI CC#11 (expression) and MIDI CC#7 (volume) are hardwired in Falcon for MIDI control of Part volume. These functions are separate from the Global Expression Pedal. 7.1 Touch OSC layout 7.0 Extras Inside the Extras folder is a file named Song-Haven Virtual B3.touchosc. This is a layout file for the Apple ipad app, Touch OSC, which can be inexpensively purchased on the Apple App store. Loading this layout into Touch OSC allows for full MIDI control of the Song-Haven Virtual B3 instrument on Mac or PC. Once connection is achieved through either a MIDI interface, or through wireless network, it is simply plug and play, no setup required! In this layout, the Upper manual (Swell) controls send MIDI on channel #1, for Falcon to receive on Part one. Lower manual (Great) controls send MIDI on channel #2, for Falcon to receive on Part two. Controls are displayed on three pages, as seen in the screenshots below. Drawbar control works much like real Hammond drawbars. Pulling drawbar controls towards you increases the sound evenly. The onscreen dials in the Falcon main panel (Info tab) will correspond with your movements in eight discreet steps, matching the number touched (or just passed) in the layout. Percussion controls are laid out the same as on a real B3, although since they cannot be rocker switches, touching anywhere in the switch changes the setting with the red light indicating the upper selection. There are two Chorus/Vibrato controls, independent for each manual, Swell and Great. The buttons labeled Chorus Vibrato selects between

17 16 Chorus or Vibrato. Again, lit status indicates selection of Chorus. No light indicates Vibrato is selected. Depending on which is selected, Chorus settings C1, C2, C3, or Vibrato settings V1, V2 or V3 are selected when the corresponding button is touched. Enhance also offers independent control for each manual, increasing tube pre-amp saturation effect. Master effects controls (multis only) offers control of the spring reverb effect and rotary speaker simulation, including speed control (Chorale, Brake or Tremolo) and Overdrive distortion. Page two displays controls for Bass pedals. See [section 5.0, Bass Pedals] for use with the program Bass Pedals.uvip, also used in the multis as Part 3 and sends out on MIDI channel #3. Controls include the two drawbars (32 & 16 ), Chorus/Vibrato and Enhance settings. The right side offers drawbar control for programs which feature one octave of pedals at C0 B0, and sets the balance between the 32 and 16 registers. In this case, there are identical controls for Swell & Great. As such, these controls send MIDI on channels #1 & 2 respectively. Page three offers controls for the key-switch presets configurations found the program Drawbars+Presets.uvip (single manual only) or for both manuals in the multi Full B3 organ plus.uvim. Selecting a button with the preset name will select the preset for the chosen manual. For convenience, Percussion and Chorus/Vibrato controls are also included again on this page. Certain of the Swell Presets utilize the harmonic contribution of the 9 th drawbar instead of Percussion (on the real B3, activating Percussion disables drawbar 9). For quicker and more convenient selection, Percussion cannot be activated for these particular Presets. These names are labeled in green. The Touch OSC layout Song-Haven Virtual B3.touchosc, page 1, featuring main controls

18 Touch OSC layout, pages 2 and 3 17

19 18 Although TouchOSC will respond to MIDI feedback, UVI Falcon does not send it. This means that settings in the TouchOSC layout will not initially match Falcon s panel settings. Moving a control in the TouchOSC layout will cause Falcon to immediately jump to the chosen setting, thereupon keeping the moved controls in sync thereafter. In order for MIDI control to work correctly, the channel assignments and MIDI CC assignments must be as originally programmed with all files. It is therefore advised that if you need to change these assignments in Falcon (such as by using MIDI Learn with another controller), you should work with copies, keeping the original files fully intact. To match new controller assignments in Falcon, you can do this using the TouchOSC computer editor for Mac or PC which can be downloaded at Expression maps for Cubase If you happen to be a Cubase user, you might appreciate the inclusion of Expression Maps, for use when selecting the key-switch presets utilized in Drawbars+Presets.uvip and Full B3 organ plus.uvim. The Expression Map file for the upper organ manual is B3_Swell.expressionmap and B3_Great.expressionmap is for the lower organ manual. Refer to your Cubase documentation on how to use these maps. Do not attempt to use the Expression maps with programs other than the ones mentioned above, as it could potentially disrupt the one octave bass pedal sound, which is in the same octave as the keyswitch assignments in the aforementioned program and multi. 7.3 Drawbar synths With a powerhouse like UVI Falcon to work with, why stop at Hammond sounds when the same engine and B3 tone-wheel samples can be used to go into drawbar controlled synthesizer territory, for completely unique, controllable sounds that go far beyond organs. A collection of programs and multis for this purpose can be found in the Extras/Drawbar synths folder. This includes a bank of authentic sounding pipe organ patches! Full drawbar controls remain! Other effects may replace Percussion, Vibrato/Chorus etc., but MIDI CC will remain to control them. Have fun! 8.1 DAW control 8.0 Advanced Almost all modern DAWs allow for automation of MIDI controllers. As such, it is quite possible to fully automate performances within a project by automating each of the nine drawbars, as well as the Chorus/Vibrato, Percussion, Rotating speaker speed, hardwired preset selection and other controls, for complete recall and editing capability.

20 Customizing the hardwired key-switch presets Before making any changes, it is advised that you work on copies, and keep the original files safely intact. Certain of the programs and multis contain an octave of hard-wired presets accessed by key-switches in the octave below the lowest organ note. See [Section 4.0, Presets]. To customize these presets, load the program Drawbars+Presets.uvip or Drawbars+Presets_LM.uvip. First, find the key-switch you wish to change. Make note of it s item number found on the key-switch table [section 4.0, Presets]. In Falcon, select the List tab on the left side, and select the Edit tab for the middle section. In the Layer(s) section on the left side, locate the 16 layer that corresponds to the key-switch preset you wish to change. Each 16 layer has a number after it, indicating which key-switch preset it affects. For example, a layer labeled 16 4 indicates item #4, which is key-switch G0, Jazz Blues as shown on the aforementioned key-switch table. After selecting only that 16 layer, in the middle Edit section, find Gain in the Keygroups(s) section. If the Keygroups(s) section is not visible, select the appropriate icon on the upper right to make it visible. As on a real Hammond, drawbar levels are divided into eight incremental steps. Doubleclick the Gain knob to manually enter a new drawbar level setting shown in the graph below (all values must be negative numbers). Repeat the same procedures as outlined above for each drawbar layer. Choose one or more of the Save options to overwrite or save as a new entry with a new name of your choice. If used in a multi, you will need to also save the multi. Drawbar step Value (db) 0 (off) (maximum) Drawbar settings for hard-wired key-switch presets

21 Using alternate MIDI Learn Most of the controls will work correctly when MIDI Learn is activated by rightclicking on a control. However, certain controls work incrementally. These include drawbars (8 steps), Chorus/Vibrato (3 steps), and Rotary speed (3 steps). These controls require the Mapping feature found in Falcon. In the current version of Falcon, selecting MIDI Learn from the initial pop-up menu when you right-click one of these incremental controls will disconnect the MIDI mapping. It will also disconnect the reverse direction settings for authentic drawbar control (regular faders move away from you to raise levels, whereas pulling drawbars towards you raises the level). Selecting MIDI Unlearn will also make these same disconnections and should also be avoided. Fortunately, there is an alternative method for using MIDI Learn that only requires a couple more clicks and does not disconnect anything. Here is the procedure: Right-click a control to bring up the pop-up menu. Instead of selecting MIDI Learn, Select Edit Modulation. In the box that pops up, right click on the current MIDI assignment displayed in the upper left corner. From the pop-up menu that appears, select MIDI Learn. Moving your chosen controller assigns it. Close the boxes and your ready to go! Although your physical controller (such as a Mod wheel) will of course operate in a continuous manner, when moving the controller you should see the relevant dial on the Falcon Main page increment in a prescribed number of steps, rather than in a continuous manner. Should you accidently disconnect a Mapping function, please refer to the Falcon owners manual for assigning maps. From the pull down men in the maps window, select a map named appropriately for the function of the control you are setting. A better solution might be to make new copies from the original unedited files and then make new assignments using the methods which don t disrupt anything. Due to the large number of programs and multis included in this package, instead of altering MIDI CC assignments for each of them, an even better solution might be to create a single patch on your chosen MIDI controller, assigning the default MIDI assignments in this package. The default MIDI CC assignments are outlined in sections. See [1.0 Setup, and 1.1 Re-assigning MIDI Controllers].

22 21 Addendum About the designer For most of his life, Steffen Presley has been a professional musician, sound designer, recording engineer, composer and arranger. Currently he owns Endless Productions, a music and graphic arts production company, along with his state-ofthe-art project studio, Song-Haven Studios in Southern California. He has owned his Hammond B3 organ since In 1995 Steffen created a virtual Hammond B3 soundware package for the Kurzweil K2500X. It was purchased by Sweetwater Inc., a major music equipment and soundware company in the Midwest, who sold their packaged version of it to their Kurzweil customers. Also at that time, Steffen was a consultant in Kurzweil s development of their own virtual drawbar organ upgrade, KB3, which has remained a popular mainstay on it s keyboard synthesizer lineup to this day. Steffen has used his extensive experience with sound design, sampling and modeling, along with extensive knowledge and familiarity with the Hammond B3 organ, to create and bring you the ultimate in authentic Hammond B3 reproduction on your computer. It s high quality includes authentic details and features not found on competing products. Thank you for your purchase. I hope you get much enjoyment and musicality from this fine product. support@song-haven.com 2017 Endless Productions

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