Key and Velocity Zones

Key and velocity zones cut performance into cells, and the sound must join across each border.

Related

PitchVelocitySamplers

The problem

With dozens of samples inside a sampler, how does a keypress know which to use?

How it works

Mapping cuts the keyboard and velocity range into a grid, and each cell points to a sample. Key zones handle pitch, velocity zones handle playing strength, and together they form a two-dimensional table. Boundaries are split points; if the two sides come from different recordings, the colour shifts. Designers place splits on less-used notes and let neighbouring zones overlap, smoothing the switch with a crossfade or velocity fade. Drum kits use another map, where each key is an independent sample and transposition stops. The map stores tuning, pan and output routing.

Practice and settings

Pianos usually take one key zone per octave, with splits away from common notes. Basses and guitars can be denser; transposition is more audible low down. Velocity splits often sit near 64 and 96, away from values players hold. Drum kits follow the GM map and keep standard 35 to 81 positions. To check a map, play a chromatic scale from bottom to top and listen for a thin spot.

What to listen for

Hear semitones across a split and notice whether the tone thins. Hear one note at high and low velocity; did the sample change or only the level? Hear every drum key and confirm the match. Hear the extremes and confirm both samples stay inside their recorded range.

Common misconceptions

That one sample covers the keyboard; that more splits are better; that drum kits are transposed by pitch.

Sources

• Curtis Roads, The Computer Music Tutorial — 键区与力度区的映射做法核对，未抄原文
• MIDI Association, General MIDI 1 Sound Set — 鼓组键位范围核对，未抄原文

Used for fact-checking only; all prose is original.