Waterfall B3 Organ Manual

Decades of soul, at your fingertips.

Waterfall B3 Organ is the world's most thorough emulation of the classic Hammond B3 organ and its companion Leslie 147 rotary speaker cabinet,* giving your music the same rich tone and three-dimensional sound heard on decades of legendary albums.

*All trademarks are properties of their respective owners, and used only to represent the instruments modeled as part of UAD Spark software.

Now You Can:

  • Get the sound of a legendary 1958 tonewheel organ as heard on countless R&B, soul, rock, hip-hop, and gospel hits
  • Experience the rich, three-dimensional whirl of a vintage 1974 rotary speaker cabinet
  • Tap into dreamy spring reverb and perfectly-placed vintage microphone setups  
  • Stay inspired with over 70 expertly crafted presets giving you legendary organ sounds, instantly

Get the Sound of an Authentic Organ, in your DAW

By emulating every last detail of this classic organ — including tube power amp saturation, transformer "pumping," and rich, upper-harmonic drawbar interactions — Waterfall B3 gives you album-ready sounds heard on countless R&B, soul, rock, hip-hop, and gospel hits.  

Experience Immersive Rotary Speaker Sounds

Only Waterfall B3 gives you the three-dimensional movement, speaker breakup, and full tonal range of the legendary "Type 147" rotary speaker cabinet, captured in all its glory using expertly placed vintage mic setups.

Get Hit-Making Organ Sounds Fast, with Presets

Waterfall B3 is the most "record-ready" organ emulation ever put into a DAW, giving you over 70 hand-crafted presets for album-ready results across every genre. 

Key Features:

  • An exacting emulation of the iconic Hammond B3 organ and companion Leslie 147 rotary speaker cabinet*
  • Best-in-class physical and circuit modeling of entire tonewheel organ for unparalleled playing dynamics and realism
  • Complete three-dimensional emulation of a classic rotating speaker with perfectly positioned mono and stereo vintage mic setups
  • Over 70 "album-ready" presets for instant professional organ sounds for any genre
  • Onboard vintage spring reverb based on Accutronics tank
  • Authentically emulated tube power amp saturation
  • Keyboard Split functionality lets you play upper and lower manuals with a single MIDI controller
  • MIDI-mapped parameters give users hands-on, real-time control in the studio and on stage

*All trademarks are properties of their respective owners, and used only to represent the instruments modeled as part of UAD Spark software.



Technical Overview

Universal Audio has captured the essence and soul of the iconic tonewheel organ by recreating every detail, nuance, and quirk of the original hardware for an unprecedented, immersive playing experience.

Waterfall B3 models the changes in level of individual tonewheels and "hair" (inharmonic overtones and high-frequency drawbar crosstalk) that varies according to drawbar registration and played notes. These subtle volume and tonal changes breathe life and extraordinary movement into the sound and playability of the organ.

The characteristic loudness-robbing (tonewheel volume drops when multiple key contacts connect to the same tonewheel) and pumping (overall volume drops related to impedance change and transformer saturation when playing multiple keys) complete the aspects that give Waterfall B3 a dynamic, responsive feel that is just like the real organ.

Waterfall B3 is enhanced by an exact emulation of the rotary speaker cabinet. The Type 147 rotary speaker was modeled by capturing its reflections and resonances with expertly-placed vintage microphones, recording test signals at hundreds of angles (less than one degree apart for each mic configuration), resulting in a precise model of the time-varying sound of the spinning speakers.

Finally, the 147 power amp is accurately emulated for authentic nonlinear saturation and distortion. Together, the speaker component and tube amplification modeling faithfully recreate all of the three-dimensional swirling, grind, and grit of the original unit like no other emulation has before.



Quick Start


Before we dive into the details, let's take Waterfall B3 for a quick test drive. After the UADx Instrument is loaded and the track is Input-enabled (see your DAWs documentation for these instructions):

  1. Set your MIDI controller to transmit on channel 1 and play a few notes. You will hear and see Waterfall B3's upper manual (the top keyboard) responding to your playing.
    Note: If you want to control the lower manual or the pedalboard, set your MIDI controller to output on channels 2 or 3 respectively. 
  2. Switch VIB UPPER on and off while playing notes to hear the effect of the vibrato circuitry. You can turn the VIBRATO/CHORUS SELECTOR knob to change the character of the vibrato.
  3. Adjust some of the UPPER drawbars to change the organ's tone. Pulling a drawbar out (toward the player) makes that harmonic louder while pushing it in makes the harmonic softer.
  4. At the top-right of the instrument, you will find four rocker switches. These switches are used to control the upper manual's percussion circuitry (PERC, PERC VOL, PERC DECAY, HARM) and are detailed in the ORGAN VIEW section of this guide. For now, simply flip these switches while playing and notice the changes to the sound.
  5. Adjust the organ's Swell pedal by dragging it with your mouse or through your MIDI Controller (the pedal responds to Expression or MIDI CC#11).
  6. Set the speed of the rotary speaker by clicking on the Rotary Speed Control or by adjusting your MIDI controller's modulation wheel (MIDI CC#1).

This only scratches the surface of what Waterfall B3 will do, but we hope it gives you an idea of its sound and capabilities! Read on to learn about all the sections of this organ, its rotary speaker and how they work together.

Exploring and Saving Presets

Waterfall B3 ships with many presets to help you get going quickly. To access the presets:

  1. Click the Presets area at the top of the instrument to reveal Waterfall B3's available presets in the plug-in presets browser.
  2. Click any of the available presets while playing your MIDI controller. You should hear the sound of each preset as you step through the names.
  3. When you have found a preset that you like, you can play that preset as provided or further tweak its sound to suit your needs.
  4. If you have modified a preset, you can save it by pressing the Save button in the plug-in browser.




Waterfall B3 has three main views: ORGAN, ROTARY, and SETTINGS. Each View contains a set of related controls.

View Selector

The Current View selector buttons let you choose the active view. The current selection is illuminated.


Organ View

When you first open Waterfall B3, Organ View is displayed. Organ View contains the tonewheel controls and other settings that change the organ's sound.

Rotary View

Rotary View contains the controls relating to Waterfall B3's rotary speaker. 

Settings View

Settings View contains various global parameters such as the overall tuning of the instrument and MIDI channel selections.



Organ View

Organ View is what you see when Waterfall B3 is launched. Organ View contains a variety of important controls that are described in this section.


Vol Switch

This switch sets the output level of the organ. The NORM setting plays at full volume while the SOFT setting attenuates the output. Like the hardware instrument, the SOFT setting attenuates the midrange more than the low and high frequencies. This results in a "smiley face" frequency response that lets you maintain impact and presence even at lower levels.

Vib Upper

This switch engages and disengages vibrato for the upper manual (the upper keyboard).

Vib Lower

This switch engages and disengages vibrato for the lower manual (the lower keyboard).

Vibrato and Chorus

This six position knob lets you select the Vibrato or Chorus effect within the organ. The letters "C" or "V" indicate the type of effect (chorus or vibrato) and the number determines the strength of the effect (1 is subtle while 3 is pronounced).

Drawbars (Upper, Lower, and Pedals)

The Drawbars of a tonewheel organ are like the faders of a mixing console. Each drawbar sets the loudness level of a played note's fundamental, harmonic or sub-harmonic frequencies. Being able to adjust these frequencies independently means that organists have a wide range of sounds at their fingertips.


About the drawbars

Pushing all the drawbars in (away from you) will result in no sound being generated from the tonewheels as it is like turning the faders down on a mixing console. Pulling the drawbars all the way out (toward you) has the opposite effect–it will result in a loud output since every component of the sound will be playing at maximum volume.

When viewing the Waterfall B3 organ from left to right, you'll see that it has three distinct sets of drawbars labeled Upper, Pedals, and Lower. The Upper set contains nine drawbars and controls the sound of the upper manual. The Pedals set contains two drawbars and controls the tone of the pedalboard. The Lower set contains nine drawbars (identical to the upper drawbars) and is used to control the lower manual.


You may notice the drawbars are in three different colors: White, Black and Brown. The white drawbars control the volume of the fundamental pitch (the 8' drawbar) as well as its relative octave overtones. The black drawbars control the other harmonic overtones above your played note. For example, pulling the 2 2/3' drawbar while playing a C will sound a G one octave above your played note. The brown drawbars control the sub-harmonic tones of your played note. 

The illustration above shows how the drawbars map to a played note (a C, in this case) and these drawbars can be set in many different ways to adjust the "timbre" or overall sound of the instrument.


Some tonewheel organs were retrofitted with an aftermarket spring reverb to let organists further sweeten the sound of the instrument. Waterfall B3 includes a period-correct spring reverb for this purpose. Turning this knob clockwise increases the amount of reverb added to the output.


This knob sets the gain of the modeled tube in the rotary speaker's amplifier. This knob mirrors the Drive knob in Rotary View and adjusting the knob here will cause the knob in Rotary View to change (and vice-versa). Refer to the Drive knob description in Rotary View for more information about this control.


This knob sets the overall output level of Waterfall B3.

Level Indicators

These indicators display the output level of the instrument. As output level increases, these indicators become brighter and their color changes from green to yellow to red. Note that red means that the signal is exceeding the available digital headroom and the peaks of the output signal are clipped (this should be avoided as it can result in harsh-sounding digital distortion).

Rotary Bypass

When set to DIRECT, the output of the organ is recorded "direct" instead of through the rotary speaker. While many organists love the classic sound of the tonewheel organ through the rotary speaker, some organists choose to play their organs through guitar amplifiers instead. You can easily experiment with this in your DAW by taking the DIRECT output of Waterfall B3 and running it through any of our guitar amplifier plug-ins. 


When this switch is set to ON, the Waterfall B3's percussion circuit is engaged and a harmonic attack with a short decay is heard when playing the upper manual. The harmonic attack has "legato triggering," meaning that when playing legato, the attack is only heard on the first note(s) played and will only retrigger after all held notes are released. The loudness level, decay time and harmonic structure of the percussion circuit are set using the nearby PERC VOLUME, PERC DECAY, and HARM switches.

Note: The upper manual's 1' drawbar is disabled when PERC is switched ON because, like the hardware instrument, the percussion circuit uses this tonewheel to derive its sound. Furthermore, when PERC is switched ON, the loudness of the upper manual is reduced just like the hardware instrument.

Perc Volume

This switch sets the relative loudness level of the percussion circuit to the sustained tonewheel. The NORM setting provides the attack at full loudness with a softer sustain while the SOFT setting provides an attenuated (lower in volume) attack with a full level sustain.

Perc Decay

This switch sets the decay time of the percussive attack. The FAST setting results in a harmonic with a rapid decay time whereas the SLOW setting creates a longer ringing decay.


This switch sets the harmonic structure of the percussive attacks. Setting this to 2ND results in the percussive attack being tuned to the second harmonic (one octave above the note played). Setting this to 3RD results in the third harmonic (one octave plus a fifth above the note played). 

Upper Manual

This upper manual is commonly used to play leads and its sound is shaped by the leftmost set of drawbars. This manual is able to play notes with a percussive attack if the PERC switch is switched ON. By default, this manual responds to incoming MIDI note data on channel 1, but this can be changed in Settings View.

Lower Manual

The lower manual is commonly used to play chords and its sound is shaped by the rightmost set of drawbars. Just like on a real tonewheel organ, the lower manual does not trigger the percussive attack sounds (only the upper manual has the percussion circuit). By default, the lower manual responds to incoming MIDI note data on channel 2, but this can be changed in Settings View.

Swell Pedal

Tonewheel organs are not velocity sensitive and strike force does not affect their loudness. Instead, such organs have a "swell" pedal to provide volume control and to add expressivity to the playing. You can control Waterfall B3's Swell pedal through an expression pedal connected to your MIDI controller or by a knob or slider. The Swell pedal responds to MIDI CC #11.

Note: The Swell pedal is not a simple volume control. Reducing the organ's volume with the swell pedal attenuates the midrange more than the low and high frequencies (like a "smiley face" EQ). This lets you maintain impact and presence even at lower levels.


The pedalboard is commonly used to play basslines and its sound is shaped by the middle set of drawbars. By default, the pedalboard responds to incoming MIDI note data on channel 3, but this can be changed in Settings View.

Keyboard Split Controls


Keyboard Split mode lets you play the upper and lower manuals of the tonewheel organ with one MIDI controller keyboard. To use this feature, click the SPLIT button to switch it on (the button is lit when split mode is engaged) and drag the nearby note value to set the split point. The green KEYBOARD SPLIT INDICATORS above the upper and lower manuals show the split point. To reverse the keyboard mapping (playing keys above the split point trigger notes on the lower manual and vice versa) click the double-arrow button.

Keyboard Split Indicator

When KEYBOARD SPLIT (described above) is switched ON, green LEDs are illuminated above the keys to indicate the split point of the manuals. These indicators are unlit when KEYBOARD SPLIT is switched OFF.

Octave Shift Controls

These controls appear at the left side of the Upper and Lower manuals when KEYBOARD SPLIT is switched ON. They let you shift the playable range of the upper and lower manuals in octave intervals so you have access to desired note ranges. For example, if you have switched on split mode but want to play the upper manual in a lower key range, press the "-" button on the upper manual. This will shift the upper manual down by one octave. The lower manual will not be affected.

Note: Octave shifting gives you easy access to different key ranges on the upper and lower manuals. However, it does not let you play notes that are beyond a real tonewheel organ's range. For example, shifting the upper manual up two octaves and playing the highest notes of your MIDI controller will result in silence. This is expected behavior, since a real tonewheel organ is not capable of generating those notes.

Rotary Speed Controls

This three-position switch sets the speed of the rotary speaker. It can be set to SLOW (left), FAST (right) or BRAKE (middle). Various parameters of this control including pulley position and belt tension can be adjusted in the Hidden Compartment found in Rotary View.



Rotary View

Rotary View includes the controls relating to Waterfall B3's rotary speaker. This page is displayed when ROTARY is selected in the Current View control (at the top left of the screen).


Rotary Bypass (Rotary, Direct)

This switch mirrors the ROTARY BYPASS control displayed in ORGAN View. When ROTARY is selected, Waterfall B3's speaker emulation is engaged and all of the controls on this page are active. If DIRECT is selected, speaker emulation is disengaged, this page is greyed out, and the output of the organ is sent directly to your DAW.

Note: When DIRECT is selected, the controls in Rotary View are inactive and do not respond to or process audio. In this state, the studio image is dimmed, the microphones are removed, and the Horn and Drum drop-menus show the word "DIRECT".

Rotary Speed Control (Fast, Brake, Slow)

This switch mirrors the ROTARY SPEED control displayed in ORGAN View and provides convenient access to the SLOW, FAST, and BRAKE options when working in ROTARY View. Refer to the description in ORGAN View to learn more about this control.

Tip: When BRAKE is selected, you can manually rotate the horn or drum by dragging each speaker component. This is helpful in precisely adjusting how the microphones capture sound emitted from the components and affects the overall tonal balance of the instrument.


This knob sets the input level as the organ's signal reaches the rotary speaker's preamplifier. If you would like a clean tone with a loud signal, set this knob to a low setting while turning up the LEVEL knob. If you would like a more saturated or distorted sound, try turning up the VOLUME knob to feed a "hotter" signal into the rotary speaker while reducing the LEVEL knob to prevent the output from clipping. Note that the level of saturation or distortion is not simply based on the setting of this VOLUME knob because there is an interplay between the VOLUME and DRIVE knobs as well as your drawbar settings and the notes that you play. This is detailed in the note below.


This knob varies the gain level of the amplifier in the rotary speaker. The default setting of 1 produces a pleasing saturation that is suitable for many types of music. Distortion generally becomes more audible at levels above 5, especially if you have several drawbars engaged. Setting this knob to 10 results in a quite intense distortion, particularly with fuller drawbar settings (888, full organ, etc.).


Note on Saturation and Distortion: The amount of saturation or distortion you hear depends on the interplay between the DRIVE knob, the drawbar configuration, the number of notes you play and the VOLUME knob. For example, if you play one note with a single drawbar engaged and the VOLUME knob set to 5, you will not hear much distortion until the DRIVE knob reaches 7. However, if you play that same note with the VOLUME knob still set to 5 but all drawbars at maximum, then you will already hear distortion when the DRIVE knob is around the 3 mark. Alternatively, playing thick chords can result in creamy saturation or distortion even if VOLUME and DRIVE are set to fairly low settings. This interplay between notes, drawbars, drive and volume is what gives tonewheel organs their wide gamut of sound, so be sure to experiment.


This drop menu lets you select the microphone(s) used to capture the horn of the rotary speaker. The menu provides seven classic microphone options. Your selected microphone(s) can then be arranged either in mono or one of two stereo configurations by using the nearby MIC POSITION buttons.

Mic Position (Horn)

These buttons select one of three possible micing configurations for the horn. The top-left option is a mono setup with a single microphone pointed directly into the center of the horn opening. The top-right option is a stereo configuration with a spaced pair of microphones placed off-axis and pointed diagonally into the horn opening. The bottom-right option is a stereo configuration with microphones placed on each side of the rotary speaker and picking up sound from the louvres (small slits) on the side of the speaker.


This drop menu lets you select from five classic microphones that you can use to capture the drum of the rotary speaker. Your microphone selection can be arranged in one of two positions using the nearby MIC POSITION buttons.

Mic Position (Drum)

These buttons let you select the position of the microphone used to capture the drum of the rotary speaker. The left button places the microphone on-axis and points directly at the center of the drum opening. The right button places the microphone off-axis and points it diagonally into the drum opening.


This knob sets the mix between the upper (horn) and the lower (drum) microphones used to record the rotary speaker. The nearby lights indicate the loudness level of signals coming from the horn and drum microphones after they are blended.


This knob sets the output level of the blended microphones and can be used to trim the output. For example, if the Drive and/or Volume are pushed heavily, you can turn down this knob to compensate for the increase in output. Alternatively, if the Drive and/or Volume are set low for a clean tone (or if only a few of the drawbars are being used), then Level can be turned up to provide makeup gain.

Hidden Compartment



To create the most authentic emulation of a rotary cabinet, Waterfall B3 includes some special features in a hidden compartment located beneath the ROTARY/DIRECT and ROTARY SPEED CONTROL switches. To open and close this compartment, click the round screw or arrowhead to the right of the ROTARY SPEED CONTROL switch. 

Belt Tension (HORN)

This knob adjusts the tension on the belt driving the rotating horn. It determines how much time is required for the horn to accelerate or decelerate (for example, when going from BRAKE to the SLOW or FAST settings).

Belt Tension (DRUM)

This knob adjusts the tension on the belt driving the rotating drum. It determines how much time is required for the drum to accelerate or decelerate (for example, when going from BRAKE to the SLOW or FAST settings).

Tension Tips 

  • The tensioning controls feature a wide range, from instantaneous (0 ms) to a relatively slow 4 seconds for the horn or close to 10 seconds for the drum. The ranges have been left this way deliberately in order to provide the maximum flexibility when shaping sounds. A 1-2 second range for the horn, and a 5-7 second range for the drum generally provide a natural response time that captures the characteristics of a hardware rotary speaker. 
  • Set the Tension knobs to the 12 o'clock noon position for the acceleration/deceleration times of the originally modeled rotary speaker.

Pulley Selection

The rotary speaker's upper horn motor has three pulley positions for setting the rotational speed of the horn. The middle position ("2") is the default. If you would prefer the horn to spin more slowly, select "1". If you prefer the horn to spin faster, select "3". Note that the pulley changes are subtle.



Settings View

Settings View includes a number of organ and rotary speaker parameters that can be adjusted to taste. This view is accessed by clicking the gear icon in the Current View control (at the top left of the screen). 


Master Tune

This parameter sets the master tuning of the Waterfall B3 instrument. The default 0 setting provides a standard A440 tuning (the A above middle-C is set to 440 Hz). Dragging this field up or down lets you adjust the master tuning +/- 50 cents.

Upper Manual / Split

This drop menu sets the MIDI channel of the upper manual, or both upper and lower manuals when SPLIT mode is switched ON.

Lower Manual

This drop menu sets the MIDI channel of the lower manual.


This drop menu sets the MIDI channel of the pedalboard.

Note: The MIDI channel parameters described above apply only to incoming MIDI note data. MIDI CC commands are processed regardless of the channel on which they are received. This is done so that you can, for example, adjust the stops for the upper manual (channel 1) even if your MIDI controller is set to control the pedalboard (channel 3).

CC64 Function

This drop menu determines the function of the MIDI controller's sustain pedal (or any controller attached to MIDI CC #64). The default SUSTAIN setting lets you use the pedal like a standard sustain pedal. The SPEED setting means you can tap the sustain pedal to switch the Rotary Speed Control from SLOW or FAST or vice versa. When OFF is selected, messages arriving through MIDI CC #64 are ignored.

Note that your MIDI Controller's mod wheel can also be used to set the Rotary Speed Control. If MIDI messages are received from both the mod wheel and sustain pedal, the Rotary Speed Control will always respond to the last message received. 

Tip: The sustain pedal simply toggles the current state of the Rotary Speed control (from slow-to-fast or from fast-to-slow) without regard to the current position of that switch. We recommend using the sustain pedal to switch rotary speed only during live performances, when you can hear what you are playing. If you are recording and editing MIDI sequences in your DAW, we advise using the mod wheel to set the Rotary Speed changes, since the mod wheel captures the absolute position of the Rotary Speed control (a high CC value near 127 always sets the speed control to FAST). Using the mod wheel therefore prevents situations where, for example, an edit to the MIDI sequence can inadvertently flip the fast/slow setting for the remainder of the track. 

Preamp Tone

The tonewheel organ includes a single-pole low pass filter to gently roll off mid/high frequency signals. This knob adjusts the filter's corner or "cutoff" frequency.

Tip: The tone filter extends down into the midrange and can greatly affect the overall tone of the organ and rotary combination.

Rotary Mechanicals

This slider adjusts the volume of mechanical sounds inside the rotary speaker as picked up by the microphones, including upper rotor wind noise, lower baffle wind noise, and relay clicks.

Organ Mechanicals

This slider adjusts the volume of mechanical sounds generated by playing the tonewheel organ, such as pulling drawbars or flipping the various switches of the organ. Note that these sounds do not diminish in volume when the swell pedal is lowered since they are picked up by the organ's transformer.

Organ Key Thuds

This slider adjusts the low frequency "thud" sounds heard when pressing or releasing a key on the upper and lower manuals or the foot pedals. These hollow, woody sounds are part of a real organ's sound and add to the impact and low-end presence but can be turned down for a cleaner sound. Note that these sounds do not diminish in volume when the swell pedal is lowered since they are picked up by the organ's transformer.

About Rotary and Organ Mechanical sounds: Organ Mechanicals are physical vibrations that are picked up by the transformer of the organ. When playing Waterfall B3 through its rotary speaker, these organ mechanical sounds are sent through the rotary speaker where they are captured by microphones along with the rotary speaker's own mechanical sounds. If Rotary Bypass is set to DIRECT, the mechanical sounds of the rotary speaker are no longer heard, but mechanical sounds and key thuds of the organ are still heard. This is expected behavior that matches the sound of hardware tonewheel organs.

Organ Noise Floor

The electrical elements inside tonewheel organs naturally generate a low level sound when the organ is powered on, even if nothing is being played. When this box is left in its default checked state, those sounds can be heard. If this box is switched off, the sounds are suppressed and a very clean output is provided to your DAW.



Automation and MIDI Continuous Control

Waterfall B3 has a simple user interface but includes powerful automation features under the surface. Having access to automation and MIDI CC control can make life easier during a live performance (for example, changing parameters "on the fly" from your MIDI controller without looking at your computer). It can also open up creative sound design possibilities during a mix.





Rotary Speed


SLOW = 0-53

BRAKE = 54-73

FAST = 74-127

Swell Pedal



Rotary Drive



Reverb Mix



Master Volume



Rotary Enable Switch


Direct (Bypass) = 0-63

Rotary = 64-127

Vib Upper On/Off


Off = 0-63

On = 64-127

Vib Lower On/Off


Off = 0-63

On = 64-127

Vibrato-Chorus Knob


V-1: 0-14

C-1: 15-39

V-2: 40-64

C-2: 65-89

V-3: 90-114

C-3: 115-127

Perc On/Off


Off = 0-63

On = 64-127

Perc Vol


NORMAL = 0-63

SOFT = 64-127

Perc Decay


SLOW = 0-63

FAST = 64-127

Perc Harm


2nd = 0-63

3rd = 64-127

Upper 16


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Upper 5 1/3


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Upper 8


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Upper 4


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Upper 2 2/3


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Upper 2


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Upper 1 3/5


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Upper 1 1/3


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Upper 1


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Lower 16


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Lower 5 1/3


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Lower 8


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Lower 4


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Lower 2 2/3


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Lower 2


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Lower 1 3/5


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Lower 1 1/3


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Lower 1


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Pedals 16


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

Pedals 8


0, 1, 2, 3, 4, 5, 6, 7, 8 (discrete steps)

All Notes Off / MIDI Panic


All values above 0 sends "all notes off"

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