EXi: AL-1 Analog Synthesizer
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Intensity Mod AMS [List of AMS Sources]
This selects an AMS source to modulate the intensity of the
main Mode 1-2 Crossfade AMS.
For instance, you can set AMS to use one of the LFOs, and
then set the Intensity Mod AMS to JS -Y. You can then use
the joystick to modulate the amount of the LFO.
Intensity [–99…+99]
This controls the depth and direction of the Intensity Mod
AMS.
5–2c: Manual 1
These parameters let you create your own mix of the filters.
When Mode 1 is set to Manual 1, it will use these settings.
You may wonder why Band Reject is not included here. This
is because it’s not a filter mode per se. Instead, it’s created by
an equal combination of High Pass and Low Pass. Try it and
see!
Lowpass [–99…+99]
This controls the volume of the Lowpass filter output.
Negative values invert the phase.
Highpass [–99…+99]
This sets the volume of the Highpass filter output.
Bandpass [–99…+99]
This controls the volume of the Bandpass filter output.
Dry [–99…+99]
This sets the volume of the dry signal.
5–2d: Manual 2
The Manual 2 parameters are identical to those of Manual 1,
as described above.
v
5–2: Page Menu Commands
• Compare →p.112
• Write Program →p.112
• Exclusive Solo →p.113
• PAGE →p.126
•MODE →p.126
5–3: Filter Mod.
This page contains all of the settings for Filter Frequency
modulation (except for the LFOs, which are on their own
page). Among other things, you can:
• Set up complex keyboard tracking shapes, and control
how the tracking affects filter cutoff.
• Control the effect of the Filter Envelope on filter cutoff.
• Assign AMS modulation for filter cutoff.
Filter B is available when the Filter Routing is set to Serial
or Parallel. Otherwise, the parameters for Filter B will be
grayed out.
5–3a: Keyboard Track
Most acoustic instruments get brighter as you play higher
pitches. At its most basic, keyboard tracking re-creates this
effect by increasing the cutoff frequency of a lowpass filter
as you play higher on the keyboard. Usually, some amount
of key tracking is necessary in order to make the timbre
consistent across the entire range.
The NAUTILUS keyboard tracking can also be much more
complex, since it allows you to create different rates of
change over up to four different parts of the keyboard.
The AL-1’s Filter keyboard tracking parameters are identical
to the HD-1’s. For more detailed explanations of the
parameters, please see “3–2a: Keyboard Track,” on page 65.
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