setbfree 0.7.5-1 / usr / share / setBfree / cfg / default.cfg

################################################################
# 26-sep-2004/FK For version 0.4.1
################################################################
# Configuration file.
# The settings in this file are generally applied during the initialization
# phase of the program. They then remain in force. Run-time parameter
# changes are defined in programme files, defined in the *.pgm files.
#
# This file contains only comments that document the configuration
# parameters. Example values (should) reflect compile-time defaults.
# To introduce your own defaults, add your own lines anywhere in this
# file, or in a copy of it, or in a fresh file. Experimental changes
# are most easily performed directly on the commandline; see the
# next section on configuration control.
# 
# If you use this file as your default, make sure that it resides in your
# current directory when setBfree is started.
#
################################################################
##
## Configuration control
##
################################################################
##
## Sourcing another configuration file.
## This reads parameters from another configuration file at the point
## where it is encountered. Since the application of configuration
## parameters is strictly sequential the position may be important.
## There is no checking for recursion loops, so be careful.
## This particular option is useful on the commandline, in conjunction
## with the -c switch (to suppress the default configuration file).
##
#config.read=alternate.cfg
##
##
################################################################
#
# MIDI parameters
#
################################################################
##
## The MIDI device to receive events from.
##
## possible values for midi.driver: alsa, jack - case insensitive
## defaults to "jack"
#midi.driver=jack
##
## midi port to auto-connect to. Default: none
## with ALSA-MIDI-Sequencer this is usually a numeric value
## JACK-midi accepts regular expressions.
#midi.port=
##
##
################################################################
#
# JACK Audio Ports
#
################################################################
##
## JACK audio ports to auto-connect to.
##
## you can either specify exact port names for left/right channels
## e.g. "system:playback_6"
## or if both jack.out.left and jack.out.right are unset,
## a regular expression to autoconnect to
#jack.out.left=
#jack.out.right=
##
## this is only used of jack.out.* are unset:
## by default the organ connects to the first two physical outputs:
#jack.connect=system:playback_
##
##
################################################################
##
## Transpose.
## These values are used to transpose played notes.
## This is useful to map your MIDI controller onto a useful playing range.
## 
## The allowed values are -127 to 127.
##
##    *********************************************************************
##    The transpose parameters are also available as programme parameters,
##    available for runtime change. The values provided here will be their
##    initial defaults.             Read default.pgm for more information.
##    *********************************************************************
##
## The midi.transpose parameter transposes all keys and regions.
## (An earlier name for this parameter was  midi.noteshift)
##
#midi.transpose=0
##
##
## The midi.upper.transpose parameter is applied to the upper manual 
## when it is not in split mode.
##
#midi.upper.transpose=0
##
##
## The midi.upper.transpose.split parameter is applied to the upper manual
## region of a split upper keyboard.
##
#midi.upper.transpose.split=0
##
##
## The midi.lower.transpose parameter is applied to the lower manual.
##
#midi.lower.transpose=0
##
##
## The midi.lower.transpose.split parameter is applied to the lower manual
## region of a split upper keyboard.
##
#midi.lower.transpose.split=0
##
##
## The midi.pedals.transpose parameter is applied to pedals.
##
#midi.pedals.transpose=0
##
##
## The midi.pedals.transpose.split parameter is applied to the pedal region
## of a split upper keyboard.
##
#midi.pedals.transpose.split=0
##
##
################################################################
##
## MIDI receive channels.
## The allowed range is 1 to 16.
##
## The upper manual
#midi.upper.channel=1
##
##
## The lower manual
#midi.lower.channel=2
##
##
## The pedals
#midi.pedals.channel=3
##
################################################################
##
## MIDI controllers
##
## This parameter allows you to define how MIDI controllers are mapped
## to controllable functions in setBfree. The syntax is:
##
#midi.controller.<manual>.<nn>=<name>
##
##
## Where <manual> is one of 'upper', 'lower' or 'pedals',
## <nn> is the numerical controller number, and
## <name> is the name of the controllable function.
##
## Example 1, to assign the 16' drawbar on the lower manual to controller
## number 70 on the channel assigned to the upper manual, enter:
##
#midi.controller.upper.70=lower.drawbar16
##
##
## Example 2, assign the sustain pedal (controller 64) to control the
## rotary effect on all three manuals:
##
#midi.controller.upper.64=rotary.speed-toggle
#midi.controller.lower.64=rotary.speed-toggle
#midi.controller.pedals.64=rotary.speed-toggle
##
##
## What you cannot do (with one exception), is to assign a <name> to
## multiple controllers on the same manual (MIDI channel). The reason for
## this is that in this mapping mechanism each <name> only has one slot on
## each manual.
##
## As for the names; although they are very similar to the configuration
## options, they are from a different namespace. I will not repeat all of
## them here (see the file midi.c if you have the source), only the most
## important ones:
##
##   Channel	Name			Controller
##   -------    ----			----------
##   upper	swellpedal1		 1
##   upper	swellpedal2		11
##   lower	swellpedal1		 1
##   lower	swellpedal2		11
##   pedal	swellpedal1		 1
##   pedal	swellpedal2		11
##
##   upper	upper.drawbar16		70
##   upper	upper.drawbar513	71
##   upper	upper.drawbar8		72
##   upper	upper.drawbar4		73
##   upper	upper.drawbar223	74
##   upper	upper.drawbar2     	75
##   upper	upper.drawbar135   	76
##   upper	upper.drawbar113   	77
##   upper	upper.drawbar1     	78
##
##   upper	rotary.speed-toggle	64
##   upper	rotary.speed-preset	91
##
##   upper	percussion.enable	80
##   upper	percussion.decay	81
##   upper	percussion.harmonic	82
##
##   upper	vibrato.knob		83
##   upper      vibrato.routing         92
##
##   upper	overdrive.character	93
##
##   lower	lower.drawbar16		70
##   lower	lower.drawbar513	71
##   lower	lower.drawbar8		72
##   lower	lower.drawbar4		73
##   lower	lower.drawbar223	74
##   lower	lower.drawbar2     	75
##   lower	lower.drawbar135   	76
##   lower	lower.drawbar113   	77
##   lower	lower.drawbar1     	78
##
##   pedals	pedal.drawbar16		70
##   pedals	pedal.drawbar513	71
##   pedals	pedal.drawbar8		72
##   pedals	pedal.drawbar4		73
##   pedals	pedal.drawbar223	74
##   pedals	pedal.drawbar2     	75
##   pedals	pedal.drawbar135   	76
##   pedals	pedal.drawbar113   	77
##   pedals	pedal.drawbar1     	78
##
##
################################################################
##
## Programme parameters
##
##   See the file default.pgm for an explanation of programmes and how
##   to define them.
##
################################################################
##
## MIDI controller program number offset
## The value of this parameter should be equal to the number of the
## lowest program number on your MIDI controller. Some use 0 others 1.
##
#pgm.controller.offset=1
##
##
################################################################
##
## Main parameters
##
################################################################
##
## Audio device
## The audio device file that is opened for output.
##
#main.audiodevice=/dev/dsp
##
##
################################################################
##
## Oscillator array
##
################################################################
##
## Master tuning
## The reference frequency, in Hertz.
##
#osc.tuning=440.0
##
##
## Tuning temperament.
## The original instrument uses a mechanical tone generator where pitches
## approximate equal temperament through integer gear ratios. The gear
## ratios in setBfree are based on the 60 Hz/1200 rpm motor. The 50 Hz/1500 rpm
## tone generator has different ratios and can be selected, but the rations are
## my own guesstimates.
## As an alternative, equal temperament based on 2**(n/12) can be choosen.
## gear60 is the default value.
##
#osc.temperament=gear60
#osc.temperament=gear50
#osc.temperament=equal
##
##
## Loop precision
## The amount of accepted difference between the fractional and integer
## number of samples needed to fill exactly n cycles of an oscillator wave.
## Greater values means that a match is found with fewer cycles and less
## memory, but also increases the risk for audible looping clicks. Values 
## beneath the audibility threshold is just a waste of memory.
## (This is an experimental parameter that may not be supported in the future.)
##
#osc.x-precision=0.01
##
##
## Tonegenerator PostScript dump file. Graphs the output levels of
## the tone generators.
##
#osc.psdump=osc.ps
##
##
## --- PERCUSSION ---
##
## Fast percussion decay time in seconds.
##
#osc.perc.fast=1.0
##
##
## Slow percussion decay time in seconds.
##
#osc.perc.slow=4.0
##
##
## Basic volume of the percussion signal, applies to both normal and soft.
##
#osc.perc.gain=3.0
##
##
## Normal percussion amplification
##
#osc.perc.normal=1.0
##
##
## Soft percussion amplification
##
#osc.perc.soft=0.5012
##
##
## Percussion signal bus select. Selects the signal buses used for
## second (a) and third (b) percussion sounds. Accepted values 0-8.
##
#osc.perc.bus.a=3
#osc.perc.bus.b=4
##
##
## Percussion trigger bus select. Selects the bus to be muted when
## percussion is enabled. Accepted values 0-8 and -1 to disable (no
## bus is muted by percussion).
##
#osc.perc.bus.trig=8
##
##
## --- TONEGENERATOR EQUALISATION ---
##
## Tonegenerator equalisation macro. Used to apply a curve across the
## output levels of the oscillators.
## Accepted values are chspline, peak24 and peak46. The latter two are
## deprecated and will probably disappear in future versions.
##
#osc.eq.macro=chspline
##
##
## For equalisation macro chspline, constrained Hermite spline:
## There are two points, P1 and P4 (never mind P2 and P3, they are not
## here at the moment). P1x (the x coordinate of point 1) is fixed at
## x=0, while P4x is fixed at x=1. The tonegenerators are mapped into
## this range as well, the lowest frequency generator at 0 and the highest
## at 1.
## P1y and P4y (the y coordinates) also range from 0 to 1, mapping from
## minimum to maximum output.
## R1 and R4 are vectors that determine the shape of the curve as it runs
## from P1 to P4. The x components of R1 and R4 are fixed to 1 (towards
## right, east, increasing x), but the y components can be controlled,
## deflecting the vector up- or downwards.
##
## The default is flat amplification:
#
#osc.eq.p1y=1.0
#osc.eq.r1y=0.0
#osc.eq.p4y=1.0
#osc.eq.r4y=0.0
#
##
## As an alternative or complement to the spline-based equalisation, you
## can specify the level of each oscillator.
##
## The value representing unity gain in the set of values
## provided in subsequent osc.eqv.<n>=<value> assignments.
## This may be handy if you are reproducing measurements in non-normalised
## values. Enter your maximum value in the parameter below.
##
#osc.eqv.ceiling=1.0
##
##
## Sets the attenuation level of the number oscillator to the specified
## value. The given value is divided with the value of osc.eqv.ceiling
## so that almost any (positive) range can be mapped. Unspecified oscillators
## will have their value from the eq macro (default or configured).
##
#osc.eqv.1=0.9
#osc.eqv.2=0.88
#osc.eqv.3=0.879
# ...
#osc.eqv.91=0.22
##
##
## --- TONEWHEEL HARMONICS ---
##
## Out of sheer obsession I guess, I decided that it should be possible to
## add some harmonics directly on the oscillators. In the original tone-
## generator the output are not pure sines, but lacking a reliable source of
## information I had to use my ears and in my opinion they add nothing
## beneficial to the sound. So the default is to have no harmonics on.
##
## The global default is applied to all oscillators:
##
#osc.harmonic.1=<level>             fundamental          (f1)
#osc.harmonic.2=<level>             first even harmonic  (f2,  +1 octave)
#osc.harmonic.3=<level>             first odd harmonic   (f3,  +2 octaves)
#osc.harmonic.4=<level>             second even harmonic (f4,  +3 octaves)
#osc.harmonic.5=<level>             second odd harmonic  (f5,  +4 octaves)
# ...
#osc.harmonic.12=<level>            sixth even harmonic  (f12, +11 octaves)
##
##
## The level can be any number; they are normalised so that they sum
## to 1.0 before they are applied. Only non-zero harmonics need to
## be specified. The specified setting is applied to all oscillators.
## Harmonics that exceed the Nyquist frequency are muted.
##
## Do not confuse these harmonics with the drawbar system used to create the
## tone of the organ. This configuration option is intended to model a flaw
## in the analogue equipment. It can of course be used to create special
## effects and mimick the sound of instruments based on triangle and square
## oscillator waveforms.
##
## Square wave oscillators:
##
#osc.harmonic.1=1.0
#osc.harmonic.3=0.333333333333
#osc.harmonic.5=0.2
#osc.harmonic.7=0.142857142857
#osc.harmonic.9=0.111111111111
#osc.harmonic.11=0.090909090909
##
##
## Triangle wave oscillators:
##
#osc.harmonic.1=1.0
#osc.harmonic.3=0.111111111111
#osc.harmonic.5=0.04
#osc.harmonic.7=0.02040816326530612
#osc.harmonic.9=0.012345679012345678
#osc.harmonic.11=0.008264462809917356
##
##
## It is also possible to specify the harmonics uniquely for any tonewheel.
## The syntax is:
##
#osc.harmonic.w<n>.f<m>=<g>
##
## where <n> is the the oscillar number (1-91), <m> is the harmonic
## (1, 2, 3, ...) and <g> is the level of the harmonic. For example, to set
## the third harmonic on wheel 1 to 0.3332:
##
#osc.harmonic.w1.f3=0.3332
##
##
## If both global and specific harmonics are used, the specifics replaces
## the default where specified. Unspecified wheels and harmonics will remain
## set by the default. You may want to consider a shell-script to generate
## the configuration text file.
##
##
## Harmonics that exceed the Nyquist limit (half the sampling rate) are
## not applied. The highest harmonic is 12.
##
##
## --- TONEGENERATOR TERMINAL CROSSTALK ---
##
## Due to the way the electromechanical tonegenerator is assembled in the
## original instrument, the output of one oscillator may contain traces of
## signals from other oscillators. There is a default model for this, based
## on how the wheels are paired in compartments, but other the effects of
## other models can be substituted using these parameters.
##
## The default model can be modified with this parameter which specifies
## the level of compartment crosstalk at the tonegenerator terminal:
##
#osc.compartment-crosstalk=0.01
##
##
## The default model also contains a mixture of signals based on how
## filter transformers are arranged on top of the tonegenerator housing.
## The level specifies how much a transformer's picks up the signal of its
## left and right neighbours. This mix is independent of the compartment mix.
##
#osc.transformer-crosstalk=0.0
##
##
## The default model also contains a crosstalk mix based on how signals
## are distributed from the tonegenerator. A strip of 91 soldering points
## arrange the oscillator signals. The level specifies the level of left
## and right neighbours that are picked up in each point. This mix is
## independent of the compartment and transformer mix.
##
#osc.terminalstrip-crosstalk=0.01
##
##
## The detailed parameter specifies that on terminal z of the tonegenerator,
## wheel (oscillator, tone) number n can be heard with a gain of g.
##
#osc.terminal.t<z>.w<n>=<g>
##
## <z> and <n> should be oscillator numbers (1-91) and <g> (gain) should be
## real (0.0 - 1.0). For example, the following four configuration parameters
## would create mixes for terminals 36 and 96. On 36 will be signals from
## wheel 36 at level 0.95 and wheel 84 at level 0.05. On terminal 96 will
## be heard wheel 36 at level 0.05 and wheel 84 at level 0.95:
##
#osc.terminal.t36.w36=0.95
#osc.terminal.t36.w84=0.05
#
#osc.terminal.t96.w36=0.05
#osc.terminal.t96.w84=0.95
##
## The oscillator numbers are:
##  c  c#   d   d#  e   f   f#  g   g#  a   a#  b
##  1   2   3   4   5   6   7   8   9  10  11  12    lowest octave
## 13  14  15  16  17 ...                      24    next octave
## 25  ...                                     36
## 37  ...                                     48
## 49  ...                                     60
## 61  ...                                     72
## 73  ...                                     84    highest octave
## 85  86  87  88  89  90  91                        highest tones
##
##
## --- WIRING, FOLDBACK AND TAPER ---
##
## In the original instrument, thin wires run from the tonegenerator's
## terminals to each of the (mostly) nine contacts under each manual key.
## When a key is played, the contacts delivers the signals onto nine
## metal rods (buses) which are mixed by the drawbars. 
## In addition, some models used resistance wires to taper the signal
## levels across the octaves. Finally, there are not enough tonegenerators
## to support the ranges implied by the drawbar system, so the popular
## instrument models employed a combination of signal reuse (foldback) and
## tapering to prevent the end ranges from falling completely silent.
## 
## Again, there is a default model for this, but the following configuration
## parameter (you need many) can be used to supply another one:
##
#osc.taper.k<x>.b<y>.t<z>=<g>
##
## Where <x> is a key number, <y> is a bus number, <z> is a terminal number
## and <g> is the gain level. The parameter specifies the strength of the
## signal taken from tonegenerator terminal <z> that reaches manual key <x>
## and there is delivered onto bus <y> (the combination of key and bus number
## identifies the contact, rather than enumerating the contacts).
##
## This can be used to completely rewire the organ, so be informed of the
## following numbering scheme:
## 
## Key numbers:
##   0 --  60        Upper manual, low C -- high C
##  64 -- 124        Lower manual, low C -- high C
## 128 -- 159        Pedals, low C -- high G
##
## Bus numbers:
##   0 --   8        Upper manual, 16' -- 1'
##   9 --  17        Lower manual, 16' -- 1'
##  18 --  26        Pedals, 
##
##
## --- CROSSTALK ---
##
## The signal wires are many and they are not shielded, so crosstalk between
## them is inevitable. The default model assumes that the wires that run
## to the same key probably takes a similar route and therefore are subject
## to crosstalk.
##
## There is a global level parameter for wiring crosstalk:
##
#osc.wiring-crosstalk=0.01
##
## The configuration parameter for detailed control over crosstalk is
## made in terms of keys. Here is the syntax:
##
#osc.crosstalk.k<x>=<y>:<z>:<g> [,<y>:<z>:<g>] ...
##
## For key number <x>, extra signals are specified as a comma-separated list
## of triplets, where each triplet consists of the bus number <y> (where the
## extra signal is heard), the tonegenerator terminal number <z> (which is the
## extra signal) and the gain <g>. The fields in each triplet are separated
## by colon a ':'. For example:
##
#osc.crosstalk.k32=2:64:0.034,3:69:0.009,4:72:0.004
##
## This really is not human-readable, so I would strongly suggest to anyone
## who is tempted by this to consider writing a small program which can 
## generate it all from some convenient set of parameters.
##
##
## When all the terminal, taper, wiring and crosstalk information has been
## collected, setBfree makes a final pass over the data and a compiles
## a runtime data structure called the contribution table. This table
## describes for each key, how each of its nine contacts contributes a
## mix of oscillators to each bus. The number of entries for each key
## can be 150 or more, depening on crosstalk parameters. However, many
## of the signals have signal levels that are close to -96 dB or less.
## This means that for practical purposes they are probably inaudible,
## although you can never be certain in a complex mix of many signals.
## In any event, there exists a pruning parameter which can be set to
## a value of your choice to remove weak contributions. The net effect
## is that setBfree will use slightly less memory and have a somewhat
## easier job each time a key is played or released (which are very rare
## events compared to the DSP that is going on).
##
## Signals in the crosstalk mix weaker than the contribution floor are
## eliminated. When set to zero, the parameter is not applied.
##
#osc.contribution-floor=0.0000158
##
## Here are some suggestions for non-zero values:
##
##   1.584893192461114e-05     -96dB  (16-bit CD record)
##   0.001	               -60 dB (common cutoff point for reverb tails)
##   0.01                      -40 dB (good cassette deck)
##   0.1                       -20 dB (poor cassette player?)
##
## By the way, if you have the emacs editor around, here is a function
## to convert from dB to gain:
##
##   (defun f (db) (expt 10.0 (/ db 20.0)))
##
## Another way of dealing with weak contributions is to force their
## level up to a minumum. This parameter (when non-zero) does that
## to contributions that passed the contribution floor (above):
##
#osc.contribution-min=0.0
##
##
## --- KEY CONTACT ARTIFACTS (KEY CLICK) ---
##
## These parameters selects the models applied during attack and release.
## The recognized values are:
##   click   several random contact bounces
##   shelf   debounced on/off transition, randomized in time
##   cosine  sine-based fade in/out envelope
##   linear  linear fade in/out envelope
##
#osc.attack.model=click
#osc.release.model=linear
##
##
## The amount of random attenuation applied to a closing bus-oscillator
## connection. Applies to click, range (0 ... 1), larger values gives
## more noise.
##
#osc.attack.click.level=0.5
##
##
## The minimum length of a key-click noise burst, in terms of the available
## unit. 1.0 corresponds roughly to 5.87 ms.
##
#osc.attack.click.minlength=0.1;
##
##
## The maximum length of a key-click noise burst, in terms of the available
## unit. 1.0 corresponds roughly to 5.87 ms.
##
#osc.attack.click.maxlength=0.5;
##
##
## The amount of random attenuation applied to an opening bus-oscillator
## connection (release).
##
#osc.release.click.level=0.25
##
##
################################################################
##
## Vibrato scanner
##
################################################################
##
## Sets the frequency of the vibrato scanner.
##
#scanner.hz=7
##
## The amount of modulation for each the vibrato/chorus settings.
## (These settings may be a bit on the conservative side.)
##
#scanner.modulation.v1=1.0
#scanner.modulation.v2=2.5
#scanner.modulation.v3=5.0
##
##
################################################################
##
## Amplifier simulator
##
## NOTE: The amp.* parameters are not available in this version.
##
################################################################
##
##
## --- OVERDRIVE ---
##
## This is how much the input signal is scaled as it enters the overdrive
## effect. The default value (3.56) is quite hot, but you can of course
## try it in anyway you like. [This parameter is also available on the
## MIDI controller function name 'overdrive.inputgain', default 21 on upper.]
##
#overdrive.inputgain=3.5675
##
##
## This is how much the signal is scaled as it leaves the overdrive effect.
## Essentially this value should be as high as possible without clipping
## (and you *will* notice when it does). Test with a bass-chord on 88 8888 000
## with percussion enabled and full swell (mod controller), but do turn down
## the amplifier/headphone volume first! [MIDI controller function name
## 'overdrive.outputgain', default 22 on upper.]
##
#overdrive.outputgain=0.8795
##
##
## The following parameters are experimental and are therefore likely to be
## removed/renamed/replaced in future versions:
##
## fb1: This parameter behaves somewhat like an analogue tone control for
##      bass mounted before the overdrive stage. Unity is somewhere around
##      the value 0.6, lesser values takes away bass and lowers the volume
##      while higher values gives more bass and more signal into the over-
##      drive. Must be less than 1.0. [MIDI controller function name
##      'xov.ctl_biased_fb', default 9 on upper.]
##
#xov.ctl_biased_fb=0.5821
##
##
## fb2: The fb2 parameter has the same function as fb1 but
##      controls the signal after the overdrive stage. Together the two
##      parameters are useful in that they can reduce the amount of bass
##      going into the overdrive and then recover it on the other side.
##      Must be less than 1.0. [MIDI controller function name 
##      'xov.ctl_biased_fb2', default 14 on upper.]
##
#xov.ctl_biased_fb2=0.999
##
##
## sagfb: This parameter is part of an attempt to recreate an artefact
##        called 'power sag'. When a power amplifier is under heavy load the
##        voltage drops and alters the operating parameters of the
##        unit, usually towards more and other kinds of distortion. The
##        sagfb parameter controls the rate of recovery from the sag effect
##        when the load is lifted. Must be less than 1.0.
##
#xov.ctl_sagtobias=0.991
##
##
################################################################
##
## Rotary speaker simulator
##
################################################################
##
## The slow rotation speed of the horn in revolutions per minute. 
##
#whirl.horn.slowrpm=40.32
##
##
## The fast rotation speed of the horn in revolutions per minute. 
##
#whirl.horn.fastrpm=423.36
##
##
## The spool-up rate of the horn; time constant - seconds
## Time required to accelerate reduced by a factor exp(1) = 2.718..
##
#whirl.horn.acceleration=0.161
##
##
## The spool-down rate of the horn; time constant - seconds
## Time required to decelerate reduced by a factor exp(1) = 2.718..
##
#whirl.horn.deceleration=0.321
##
##
## The slow rotation speed of the drum in revolutions per minute. 
##
#whirl.drum.slowrpm=36.0
##
##
## The fast rotation speed of the drum in revolutions per minute. 
##
#whirl.drum.fastrpm=357.3
##
##
## The spool-up rate of the drum; time constant - seconds
## Time required to accelerate reduced by a factor exp(1) = 2.718..
##
#whirl.drum.acceleration=4.127
##
##
## The spool-down rate of the drum; time constant - seconds
## Time required to decelerate reduced by a factor exp(1) = 2.718..
##
#whirl.drum.deceleration=1.371
##
##
## The radius of the horn in centimeters (1 cm = 2.54 inches).
##
#whirl.horn.radius=17.0
##
##
## The radius of the drum in centimeters.
##
#whirl.drum.radius=22.0
##
##
## The volume at which the horn is mixed in with the drum sound.
##
#whirl.horn.level=0.7
##
##
## The fraction of the horn level that leaks off the base of the horn.
## It is band-pass filtered, but not subjected to Doppler effect or delay.
## The value is multiplied by whirl.horn.level before it is applied.
##
#whirl.horn.leak=0.15
##
##
## The drum low-pass IIR filter specification (see eqcomp.h).
## This is a actually a high-shelf filter with negative gain in the
## passband.
##
#whirl.drum.filter.type=8
#whirl.drum.filter.hz=811.9695
#whirl.drum.filter.q=1.6016
#whirl.drum.filter.gain=-38.9291
##
##
## The horn filter is implemented with two IIR filters followed by
## two comb filters with feedback. The IIR filters give the basic band-pass
## shape of the driver and horn, while the comb filters break up the
## frequency response and gives some characteristic resonance of the
## physical system. The IIR filters are not in band-pass configuration,
## but consists of a low-pass stage followed by a low-shelf with negative
## gain. The band-pass response is created where the two filters overlap.
##
## The a horn IIR filter specification (see eqcomp.h). Note that the gain
## parameter does not apply to type 0.
##
#whirl.horn.filter.a.type=0
#whirl.horn.filter.a.hz=4500.0
#whirl.horn.filter.a.q=2.7456
#whirl.horn.filter.a.gain=-30.0
##
##
## The b horn IIR filter specification (see eqcomp.h). 
##
#whirl.horn.filter.b.type=7
#whirl.horn.filter.b.hz=300.0
#whirl.horn.filter.b.q=1.0
#whirl.horn.filter.b.gain=-30.0
##
##
## The a horn comb filter. The delay unit is integer nof samples.
##
#whirl.horn.comb.a.feedback=-0.55
#whirl.horn.comb.a.delay=38
##
##
## The b horn comb filter.
##
#whirl.horn.comb.b.feedback=-0.3508
#whirl.horn.comb.b.delay=120
##
##
##################################################################
##
## Reverb
##
##################################################################
##
## Sets the amount of dry (non-reverberated) output from the reverb.
##
#reverb.dry=0.7
##
##
## Sets the amount of wet (reverberated) output from the reverb.
##
#reverb.wet=0.3
##