Vermona DRM1 MKIII - analog drum synthesizer - Manual (Page 18)

17 VERMONA DRM1 MKIII - analog drum synthesizer
EN
HI HAT 1/HI HAT 2
BEND PAN VOLUME ATTACK RESO DECAY FILTER MIX PITCH OUT TRIG HI HAT 1
These two channels are meant to create hi-hats but also cymbal sounds. Achieve
a broad spectrum of cymbals, percussions and sound effects on a basis of
filtered noise and a metallic oscillator mixture.
DECAY sets the release time or the sound’s length.
FILTER sets the cutoff frequency of the low pass filter, coloring the overall
sound of the channel.
BEND adjusts the amount of a possible cutoff modulation by the DECAY
envelope. This control is centered. In its central position, no
modulation is present. Turn clockwise from the center position
to modulate the filter’s cutoff frequency, descending it. Turn
counterclockwise from the center position will invert the modu-
lation, resulting in an ascending cutoff frequency. This modulation
interacts with the DECAY setting. The intensity of the BEND effect
is less pronounced as in channels DRUM and MULTI.
ATTACK adds a short fixed needle impulse to the sound’s start to support
the hi-hat and cymbals’ assertiveness. Always adjust ATTACK in
correlation to the complete mix. What might appear too intrusive
when being soloed might already sound too gentle within a full
mix. The pitch of the impulse can be adjusted in parallel with the
oscillator mixture using PITCH.
RESO specifies the intensity of the filter’s resonance which, as a result,
shapes the sound coloration of the hi-hat- and cymbal.
MIX controls the mixture between the noise part and the multiple,
detuned oscillators. Turned fully counterclockwise, only the noise
component will be audible, just as it was used for hi-hats and
cymbals in many old beat boxes. Turned fully clockwise, only the
oscillator mixture will be audible, allowing for more “authentic”
sounds, due to the metallic sound.