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For example, if this is set to 25 (assuming a scale of 100%), then 25 is added to the velocity

of every keystroke, usually making the sound that much louder. e softest possible keystroke

will have a value of 25, while a keystroke with velocity of 102 will produce the same sound

as a note with velocity 127 (102+25=127). Negative values diminish the response: a setting

of -25 means the loudest velocity available will be 102, while any keystroke 25 or below will

produce a velocity of 1 (a velocity value of zero has a special meaning in MIDI and cannot be

used for Note Ons).

You can think of Scale as being a proportional change to the velocity, while Oset is a linear

change. e maximum values for Oset are ±127.

Oset and Scale work together. If scaling takes the velocity out of the ballpark — for

example, you want to set it to 300% but that puts all of your notes at maximum velocity —

using a negative oset, say around -60, can make it possible to still play at dierent volumes,

although your curve will still be a lot steeper than normal. If you use a negative scaling,

then you must use an oset: otherwise all of your velocities will end up as zeroes (well, ones

actually, since a MIDI note-on with velocity zero is interpreted by some modules as a note-

o message). So to get true inverse scaling (that is, minus 100%), you must set an oset of

127 to get the full range of velocities. Setting the oset to 127 and the scale to -100% (which

is the same as the reverse linear curve):

NOTE : That Offset and Scale affect only MIDI velocities; that is,

these parameters don’t change Velocity Tracking in the programs

themselves. Therefore, some programs (such as organ sounds,which

often have low VelTrk values) may respond only subtly to Offset and

Scale, or not at all.

VelCurve

e Velocity Curve parameter lets you taper the velocity response. e default setting is

Linear, which means that the output velocity changes directly proportionally to the played

velocity.

Expand produces a curve that is less steep than the linear curve at keystrike velocities below

64, and steeper than the linear curve at keystrike velocities above 64. In other words, when

you’re playing softly, you’ll notice velocity dierences less than with a linear curve, while

when you’re playing hard, you’ll notice velocity dierences more.

Compress produces a velocity curve that is the opposite of the expanded curve—that is,

you’ll notice velocity dierences more when you’re playing softly than when you’re playing

hard.

Crossfade is designed to be used in tandem with the Reverse Crossfade curve, enabling you

to perform smooth crossfades between dierent programs.