Join Evan Sutton for an in-depth discussion in this video Using the Exciter in PRISM, part of REAKTOR: Advanced Instruments and Effects.
- So to get started with Prism, it's a really good idea to get to an init patch where we can just start from scratch. So I'm going to go up to my Snapshots here, I'm going to go to SSC. Then we have all these cool tutorial patches that just have one or two small things happening with them. So I highly encourage you to check out more of these, but we're going to start out with Default. Default is really simple. Let's take a listen. (electronic music notes) It's got some nice crack to it, some top end. It's a really, really simple sound. Let's start out by talking about the exciter.
Now the exciter is sort of the nerve center of this thing. Remember we're actually modeling two things colliding with one another, and so when we deal with the exciter, we can really change its character. Think about the difference between a drum stick, or a guitar pick, or a bow, or someone blowing into something. There are a lot of different things we can do with the sort of instigator of the sound. So first of all, we have two main choices. We've got the impulse and then we've got noise. Okay, the impulse is a clean signal that we essentially don't hear so much. (electronic music notes) We've got the envelope.
We can adjust the attack. We can adjust the decay if we want. We've actually got two decay segments because we have a break point that we can change the level of, which is really cool. So we can really adjust that curve. Here's the sustain level. So it goes attack, decay, break point, decay, sustain level, and then there's the release. (electronic music notes) Now the impulse doesn�t really sustain, but the noise does.
(techno music noises) You can hear with the noise that that's how we're going to get those sustained sounds, those bowed sounds, those blown sounds. Now there are a couple of things we can do. First of all, we have some filters. So we can do low cuts and high cuts on our sound. (techno music noises) If we keep the resonance down, it won't poke your ears out. (techno music noises) We've also got a high cut, so we can pull it down and not have it be quite so bright.
(techno music noises) We can also add some feedback if we want, but be careful with this one. (techno music noises) That's why these filters are so important.
You can hear that with the feedback, we're actually bringing more resonance and more overtones to the sound. Now another thing to keep in mind is that we can actually use the impulse and the noise simultaneously. (techno music noises) So we can have the noise kind of come in over time using the exciter envelope. (techno music noises) All right, maybe a little too much resonance.
(techno music noises) Another thing worth mentioning here is that the exciter envelope and the modulation envelope are exactly the same, they just control different things. Now we also have the ability to add some scaling with velocity to level. Level scale down here is going to be for key scaling, so up and down. So as we go up the keyboard, maybe you want the level of the exciter to go down so things aren't quite as harsh. We've got velocity to the overall attack time, and then we've got time scaling based on key tracking.
And I might want our time scale to go down as I get higher in pitch. That might be realistic to me. (techno music noises) Lots do here. Okay, once you get the exciter going, it's time to start thinking about the modal bank, which is what we'll talk about next.