Vermona DRM1 MKIII - analog drum synthesizer - Manual (Page 16)

15 VERMONA DRM1 MKIII - analog drum synthesizer
EN
SNARE
PAN VOLUME DECAY R REVERB DECAY N NOISE ATTACK RESO FILTER OUT TRIG SNARE
The duty of the SNARE channel is apparent. However, due to its various param-
eters, the DRM1 MKIII’s snare drum is a lot more changeable than you might
guess from previous analogue drum machines. The sound is build up from
different components: Noise, a needle impulse, a resonance filter and a pseudo
reverb. This allows a wide spectrum of sounds ranging from short “clacks”,
resembling old beat boxes, to compact snare sounds with noise components
and additional reverb.
DECAY REV sets the length of the reverb effect. This parameter’s effect is only
audible with REVERB being enabled. However, even with REVERB
being disabled, this control effects the length of the tonal sound
component with RESO set to the maximum intensity.
REVERB adjusts the intensity of the reverb effect. Note that this is not a
typical reverb but an electronic imitation of the effect. It supports
the vintage sound of the DRM1 MKIII nicely and we prefer it to a
modern more natural sounding reverb. With this control set fully
counterclockwise, the reverb is disabled.
DECAY N sets the release time or length of the sound’s noise component.
This parameter’s effect is only audible with NOISE being enabled.
NOISE sets the volume of the sound’s noise component. By this, the snare
will receive more body and therefore sounds more authentic. With
this control set fully counterclockwise, NOISE is disabled.
ATTACK adds a short fixed needle impulse to the sound’s start to support
its assertiveness on the one hand, but is also used to initiate
oscillation of the resonance filter component. The audibility of
the needle impulse also depends upon the intensity of the filter’s
resonance. 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.