This Module is discontinued.
Analogue Cymbal and HiHat/OpenHiHat
The HH/CYM module is based upon the cymbal- and hihat-sound-circuit of our MFB-522 drum-computer, slightly modified and expanded.
The module was developed as a modular component. Therefore, the parameters decay for cymbal and open-hihat and tone can also be controlled by CV-sources like envelopes, LFOs, step-sequencers. Manual adjustment is available for the parameter tune that affects both cymbal and hihat as well as for the closed-hihat’s decay.
Triggering open-hihat, closed-hihat and cymbal of the module is possible through various signal types. Besides sequencer generated analogue and digital trigger-signals, drum-pads, piezo- and dynamic microphones may also be used. Here, the sens-controls allow individual adjustment of the input sensitivity. Dynamic triggering will not only affect the sound’s volume but also attack and sound length slightly.The functions in detail:
HIHAT: The hihat sound is created by several square-oscillators that are fed into a band-pass-filter. Two decay controls allow individual sound-length-adjustments for closed- and open-hihat. In addition, the decay parameter for the open-hihat can be controlled by CV-voltage.
TUNE sets the frequency for all square-oscillators simultaneously. Because the cymbal sound accesses the same oscillators, tune also affects this sound.
CYMBAL: The cymbal sound is based upon the same sound source as the Hihat, only that it uses two band-pass-filters that individually shape the attack- and decay-phase. However, the decay parameter controls the length of both attack and sound length. This parameter can also be controlled by an external CV-source. Tone sets the balance between the differently filtered signals paths. This parameter is also under CV-control but does not offer an internal attenuator.
A specialty of the cymbal sound is its tone-input. Here, you can connect an external sound source that replaces the internal square-oscillators for the decay phase. The internal oscillators are still in use for the sound’s attack-phase.
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