Step 01 / 4
Excite the first resonator #
Set the mallet’s stiffness, noise and level, then choose the first resonator model. Its decay, material and brightness shape the main ringing tone. Hit and listening positions change which resonances are emphasized.
Use Collision with the complete starting settings. Set the source and amplitude controls below; sections marked Off stay bypassed at this stage.
Signal flow: Collision → Reverb → Utility. Begin with the instrument, then add each effect in its numbered step.
| Control | Value |
|---|---|
| Voices | 8 |
| PB Range | +2 st |
| Volume | -9.0 dB |
| Mallet On/Off | On |
| Mallet Volume | -12 dB |
| Mallet Volume < Vel | 60 % |
| Mallet Stiffness | 45 % |
| Mallet Stiffness < Vel | 20 % |
| Mallet Noise Amount | 15 % |
| Mallet Noise Color | 40 % |
| Res 1 On/Off | On |
| Res 1 Type | Marimba |
| Res 1 Quality | High |
| Res 1 Decay | 2.40 s |
| Res 1 Off Decay | 40 % |
| Res 1 Material | -0.02 |
| Res 1 Brightness | -12 % |
| Res 1 Hit | 28 % |
| Res 1 Listening L | 35 % |
| Res 1 Listening R | 65 % |
| Res 1 Volume | -6.0 dB |
| MW Dest A | Mallet Stiffness |
| MW Amt A | 15 % |
| Res 2 On/Off | Off |
| Noise On/Off | Off |
Sound after step 1 — WebM/Opus
Next: Blend the second resonator →Step 02 / 4
Blend the second resonator #
Enable resonator 2 using the states below, then choose its model, tuning, decay and level. Keep the listed Structure setting: it determines how the two resonators interact. A quiet second resonator adds a contrasting overtone without obscuring the primary pitch.
Keep the first stage’s source and amplitude settings while making these changes. The complete instrument settings show the resulting tone before effects.
| Control | Value |
|---|---|
| Structure | 1 + 2 |
| Noise On/Off | Off |
| Res 2 On/Off | On |
| Res 2 Type | Beam |
| Res 2 Quality | High |
| Res 2 Tune | +12 st |
| Res 2 Decay | 450 ms |
| Res 2 Off Decay | 35 % |
| Res 2 Material | 0.10 |
| Res 2 Brightness | -20 % |
| Res 2 Inharmonics | 8.0 % |
| Res 2 Volume | -26 dB |
Sound after step 2 — WebM/Opus
Next: Apply Reverb →Step 03 / 4
Apply Reverb #
Set decay, room size and Dry/Wet for the surrounding space. Predelay separates the direct attack from the room. Input filtering shapes what excites the reverb, while diffusion and high-frequency damping change the density and brightness of its tail.
| Control | Value |
|---|---|
| Predelay | 12.0 ms |
| In Lo Cut On | Off |
| In Hi Cut On | Off |
| Diff. Hi Freq | 4.50 kHz |
| HiShelf Gain | 0.60 |
| Density | High |
| Freeze On | Off |
| Decay Time | 1.29 s |
| Room Size | 58.00 |
| Dry/Wet | 18 % |
Place Reverb after Collision. The complete settings include its remaining controls.
Sound after step 3 — WebM/Opus
Next: Apply Utility →Step 04 / 4
Apply Utility #
Set gain and width at the end of the chain. Set Utility’s Gain knob to the Output value in the table. Width changes the balance between center and side information; Mono combines the channels. Bass Mono narrows only the low frequencies below its cutoff. Keep DC Filter and phase-inversion switches at the listed values.
| Control | Value |
|---|---|
| Output | -8.60 dB |
| DC Filter | On |
| Bass Mono | On |
| Bass Freq | 160 Hz |
Place Utility after Reverb. The complete settings include its remaining controls.
Sound after step 4 — WebM/Opus
Audio & settings ↓