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With pitch modulation being completely absent, bass drums may sound at and not
distinctive; therefore, we recommend at least a little dose of BEND. For creating
dance-type kick drums, use higher BEND settings and lower TIME settings. For long
booooming kick drums keep the control in the lower half.
TIME adjusts the release time of the pitch envelope. Generally speaking, short settings are
useful for bass drums while longer values will make the sound lose character traits
which are specic to a kick drum. A long decay setting might still be useful when it
comes to creating percussion and effect sounds.
WAVE is a control that continuously sweeps the oscillator waveform from sine-wave to
square-wave. Here, the tone shifts from soft to edgier. Within the rst half of the
control’s travel, additional rawness and depth is imparted to the sound. At higher
values, the sound will start to get overdriven and distorted, rendering an external
overdrive or distortion pedal redundant if you want to create more massive-soun-
ding bass drums.
NOISE adds a short noise impulse at a xed level to the initial part of a sound. This imitates
the noise of the beater hitting the acoustic bass drum skin. Always adjust NOISE in
correlation with the full mix. What might appear a bit too much over the top when
being played on its own might actually sound a fair bit too restrained within a full
mix.
ATTACK shapes the attack phase of the sound: A short peak impulse is mixed into the at-
tack phase of the sound. This will increase the bass drum’s presence. Turning the
ATTACK knob alters the shape of this peak impulse. Like NOISE, set ATTACK in
correlation with the complete mix. What might appear to be too obtrusive when
monitored in isolation might perhaps sound a tad too gentle within a full mix.
User Manual DRM1 MKIV12
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