Vermona DRM1 MK4 - DRM1 MKIV HI HAT 1 and HI HAT 2 Channels

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Various types of percussion sounds are possible by just using the lter section
of the snare drum but leaving out the NOISE component. When FILTER and
RESONANCE controls are fully opened, the result will sound clave-like. By
attenuating RESONANCE, this sound will morph into a snare that resembles
a preset beat-box from 1978 or thereabouts. Decreasing FILTER frequency in
combination with various RESONANCE settings will yield convincing renditions
of tom-toms, congas, and bongos (see “SNARE” on page 15).
HI HAT 1/HI HAT 2
Figure 7: HI HAT 1 instrument channel of the DRM1 MKIV - HI HAT 1 and HI HAT 2 are identical
These two instrument channels are meant to create hi-hats but also cymbal sounds. Come up with
a wide range of cymbals, percussion and sound effects, based on ltered noise and a metallic-
sounding blend of oscillators.
DECAY sets the release time or the duration of a sound.
FILTER sets the cutoff frequency of the low-pass lter, coloring the overall sound of the
channel.
BEND adjusts the amount of an optional modulation of the cutoff frequency by the DECAY
envelope. In its central position, no modulation is present. Turning the control
clockwise from its center position will modulate the cutoff frequency of the lter,
lowering it. Moving away counterclockwise from the center position will invert the
modulation, resulting in a rising cutoff frequency. This modulation interacts with
the DECAY setting.
ATTACK adds a short xed-level transient spike to the initial attack of a sound to enhance
presence of the hi-hat and cymbal sounds. Always adjust ATTACK in correlation
with the complete mix. The pitch of the transient spike can be adjusted in parallel
with the oscillator mixture, using the PITCH control.
RESONANCE species the intensity of the lter resonance which, consequently, shapes the timb-
re of the hi-hat and cymbal sounds.
User Manual DRM1 MKIV16