Filter
Top Products
EXi: STR-1 Plucked String
240
Delay (milliseconds) [0...250]
You can delay the Pluck by up to 250ms after the initial
note-on. This lets you create double-strike effects and
complex attacks. For instance, try using an envelope
with a slow attack time to control the volume or filter
cutoff of the PCM Oscillator or Noise Generator, and
then combining this with a delayed Pluck.
AMS [List of AMS Sources]
This selects a modulation source to control the Delay.
For a list of AMS sources, see “AMS (Alternate
Modulation Source) List” on page 967.
Intensity [–250…+250]
This controls the depth and direction of the Delay
AMS modulation.
Width [-100.0…+100.0]
This models the time that the pick is in contact with the
string, which is a combination of the size and thickness
of the pick, and the speed at which the pick is moving.
The width adjusts the tone of the initial string
excitation; low settings emphasize lower frequencies,
and high settings emphasize high frequencies.
To put it another way, -100.0 is very “wide,” and +100.0
is very narrow.
Low or negative width settings may cause thumpiness
at the high end of the keyboard, but this can be solved
using a number of different techniques. For more
information, see “Tips for avoiding “thumpy”
excitation,” below.
AMS 1 [List of AMS Sources]
This selects the first modulation source to control the
Width. For a list of AMS sources, see “AMS (Alternate
Modulation Source) List” on page 967.
Intensity [-100.0…+100.0]
This controls the depth and direction of the Width
AMS modulation.
AMS 2 [List of AMS Sources]
This selects the second modulation source to control
the Width. For a list of AMS sources, see “AMS
(Alternate Modulation Source) List” on page 967.
Intensity [-100.0…+100.0]
This controls the depth and direction of the second
Width AMS modulation.
Tips for avoiding “thumpy” excitation
To avoid low-end “thumps” at the top end of the
keyboard:
• Make sure the duration of the excitation input is
about the same as one period of the waveform. To
do this when using the Pluck as the excitation,
you’ll probably need to use note number or Key
Tracking to scale the Pluck Width so that it gets
more narrow (higher values) as you play higher on
the keyboard.
• Similarly, when using the PCM oscillator or noise
generator as the excitation, use an EG to control the
level at the Excitation mixer (or the cutoff of the
Excitation Filter), and then scale the EG times so
that they become shorter as you play higher on the
keyboard.
• Try setting the Excitation Position Tone to –100.
• In the main mixer, use the pickups instead of the
direct string output.
• Set the Excitation Filter Type to Highpass, and
track its cutoff frequency with Note Number.
• Set the main Filter Type to Highpass, and track its
cutoff frequency with Note Number. If you are
using Filter A as a lowpass filter, set the Routing to
Serial and then make Filter B the highpass filter.
4-1b: Noise Generator
The noise generator includes Saturation, for creating
unique and chaotic noise effects, and a dedicated 1-
pole filter to control noise color.
For standard white noise, set the Saturation to 0, and
the Filter Frequency to 99.
For colored noise (such as pink noise), set the
Saturation to 0, and reduce the Filter Frequency as
desired.
To create “speckled noise” such as rocket sounds and
thunder, set Saturation to 99, and Filter Frequency to
10.
To create key contact noise (such as you might find on
vintage analog synths), create speckled noise as
described above, and then use a fast EG to control its
volume in the mixer.
Saturation [0…100]
This control clips the noise signal, for added crunch.
Subtle variations in saturation are more noticeable
with very low Filter Frequency settings (see below),
allowing you to create organic, rumbling timbres.
Filter Frequency [0…100]
This is a simple, 1-pole lowpass filter for controlling
the “color” of the noise.
AMS [List of AMS Sources]
This selects the first modulation source to control the
noise generator’s Filter Frequency. For a list of AMS
sources, see “AMS (Alternate Modulation Source) List”
on page 967.
Intensity [-100…+100]
This controls the depth and direction of the Filter
Frequency AMS modulation.
▼ 4–1: Page Menu Commands
The number before each command shows its ENTER +
number-key shortcut. For more information on these
shortcuts, see “ENTER + 0-9: shortcuts for menu
commands” on page 138.
• 0: Write Program. For more information, see “Write
Program” on page 138.
• 1: Exclusive Solo. For more information, see
“Exclusive Solo” on page 138.