Vermona DRM1 MKIII User Manual

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User Guide

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Introduction

The analogue drum-synthesizer DRM1 MKIII is not just another instrument or piece of equipment. It is also part of history - our history.

In its first version, we have reentered the market under the brand name Vermona with a first product. A return to a market from which we temporarily had to pull back due to significant historical and political changes. This product was introduced many years ago but the DRM1 is still being produced. Why? There are still musicians that do not own this product. Actually, we are surprised by the unbroken demand for the unit. Because of this, the DRM1 has been continuously refined and has reached version MKIII today – the best drum-synthesizer we have ever created.

Now it is up to you, dear user, customer and musician, to design the best beats you ever created!

The VERMONA-team Erlbach/Vogtland

VERMONA DRM1 MKIII - analog drum synthesizer

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Table of Contents

Introduction..........................................................................................................................1

Important Safety Information ...........................................................................................3

Setup ......................................................................................................................................5

Scope of delivery ...........................................................................................................5

Connection and Startup ...............................................................................................5

Setting up audio connections ..............................................................................5

Setting up MIDI connections ................................................................................6

Control elements and connections ..................................................................................7

Front Panel/User Interface .........................................................................................7

Rear Panel .......................................................................................................................8

The Sound Generation ........................................................................................................9

The DRM1 MKIII’s sound channels ......................................................................... 10

KICK ....................................................................................................................... 10

DRUM 1/DRUM 2 ................................................................................................. 12

MULTI ..................................................................................................................... 13

SNARE .................................................................................................................... 15

HI HAT 1/HI HAT 2 ............................................................................................. 17

CLAP ....................................................................................................................... 19

MIDI Functions .................................................................................................................. 20

Setting the MIDI-channel and note numbers ........................................................ 20

Setting the MIDI-channel and note number for an individual DRM-

channel ............................................................................................................ 20

Setting the MIDI-channel and note numbers for all DRM-channels ......... 21

Factory Defaults .................................................................................................. 22

Individual Outputs/Inserts............................................................................................. 23

Use as individual output ........................................................................................... 23

Use as insert ................................................................................................................ 24

Trigger-Inputs (optional) ................................................................................................ 25

Sound Examples................................................................................................................ 26

KICK .............................................................................................................................. 26

DRUM ............................................................................................................................ 26

MULTI ............................................................................................................................ 27

SNARE ........................................................................................................................... 28

HI HAT .......................................................................................................................... 28

CLAP .............................................................................................................................. 29

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Important Safety Information

1. Read these instructions.

2. Keep these instructions. Always include these instructions when passing the product on to third parties.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Only clean the product when it is not connected to the mains power supply. Clean only with a dry cloth.

7. Do not block any ventilation openings. Install in accordance with the manufacturer‘s instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11. Only use attachments/accessories specified by the manufacturer.

12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, when the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

15. To completely disconnect this apparatus from the AC mains, disconnect the power supply cord plug from the AC receptacle.

16. WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.

17. Do not expose this equipment to dripping or splashing and ensure that no objects filled with liquids, such as vases, are placed on the equipment.

18. The mains plug of the power supply cord shall remain readily accessible.

VERMONA DRM1 MKIII - analog drum synthesizer

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Installation

• Ensure that the room in which you use this product is wired in accordance with the local electrical code and checked by a qualified inspector.

• Only use this product indoors.

• Do not install the product in hot, humid, or excessively dusty locations, in direct sunlight or in locations where it is exposed to externally generated vibrations.

• Do not place burning objects (e.g. candles) on top of or near the product.

• If condensation has formed on the product, e.g. because it was moved from a cold environment to a warm one, allow the product to acclimatize to room temperature before using it.

• Do not overload wall outlets and extension cables as this may result in fire and electric shock.

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Setup

Scope of delivery

To ensure top quality, we carefully inspected the DRM1 MKIII before packaging. Nevertheless, the module could have been damaged during transportation. Therefore, we ask you to take a serious look at the unit when unpacking. Do not hesitate to contact us, should there be anything unusual with the unit or its packaging.

You should find the following items in the box:

• the DRM1 MKIII

• a power chord

• this manual

• a big portion of fun

Connection and Startup

The DRM1 MKIII is a pure sound module. To make use of it, it needs to be connected to a sequencer, a computer or keyboard as well as to a mixing desk or an amplifier. After connecting the module to a power socket using the supplied power chord, setup the audio- and MIDI-connections as follows:

Setting up audio connections

IMPORTANT CONNECT FIRST, AND THEN SWITCH ON! To protect

your speakers, your audio-interface and, last but not least, your ears, we urgently recommend setting up all cable connections while the equipment is switched off. Do not underestimate level peaks and resulting possible damage that could occur when plugging in or removing audio cables.

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1. The jacks OUT LEFT and OUT RIGHT 9 on the module‘s rear output all signals in stereo. Connect these jacks to two line-inputs of a mixing desk, a computer-audio-interface or to an amplifier using two 6.3 mm cables (TS). Alternatively or in parallel, you may connect a headphone

on the

module‘s front panel.

NOTE All of the DRM1 MKIII sound channels offer individual

outputs

, allowing them to be patched to the inputs

of a mixing console or an audio-interface. Find more details in chapter “Individual Outputs/Inserts” on page

23. Use the stereo output as a starting point.

2. Before switching on the unit by pressing its POWER button

, complete

all audio connections to avoid loud impulses and cracking noises in your audio system. These peaks can lead to distortion and could even harm converters when connected directly to an audio-interface. For safety reasons, while connecting and powering up the unit, turn down the MASTER control

of the DRM1 MKIII as well as the input controls of the units that follow

in the signal chain. After powering up the DRM1 MKIII, a corresponding red LED next to the POWER button

will light up.

Setting up MIDI connections

1. The unit that is supposed to control the DRM1 MKIII’s sounds needs to be connected to the DRM1’s MIDI IN jack hardware-sequencer, the MIDI output of a software-sequencer (using the computer’s audio- or MIDI-interface) or a keyboard.

2. MIDI THRU forwards the MIDI data from the DRM1 MKIII’s MIDI input and allows connecting more MIDI devices.

. This can be a groove box, a

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Control elements and connections

Front Panel/User Interface

KICK

DRUM 1

DRUM 2

MULTI

SNARE

HI HAT 1

HI HAT 2

CLAP

DECAY

TRIG

DECAY

TRIG

DECAY

DECAY R

TRIG

DECAY

TRIG

DECAY

TRIG

DECAY R

TRIG

BEND

PITCH

BEND

PITCH

BEND

DECAY N

REVERB

FILTER

BEND

FILTER

BEND

REVERB

CLAP FILTER HIGHPASS

WAVE

TIME

FM INT

ATTACK

FM INT

ATTACK

PITCH 2

NOISE

ATTACK

RESO

ATTACK

RESO

NOISE

RESO

NOISE

FM FREQ

PITCH 3

RESO

MIX

2 3 4 5 6 7

POWER - power switch with LED

TRIG button/LED - triggers sound in channel

sound shaping parameters

PAN/VOLUME - channel volume and panning

OUT - individual outputs/inserts

ATTACK

WAVE

HIGHPASS

FILTER

PITCH

VOLUME

PAN

VOLUME

PAN

VOLUME

PAN

VOLUME

PAN

VOLUME

PAN VOLUME

OUT

POWER

analog drum synthesizer

PHONES

MASTER

MASTER - overall volume

PHONES - headphones output

VERMONA DRM1 MKIII - analog drum synthesizer

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Rear Panel

Use only with a 250V fuse

Employer uniquiment avec

un fusible de 250V

8 9 10 11

Trigger-inputs (optional)

Main outputs (OUT RIGHT/OUT LEFT)

MIDI-IN/MIDI THRU jacks

Power connector and fuse holder

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The Sound Generation

Now that you have carefully unpacked and setup the DRM1 MKIII, let’s take a closer look. Sorry for bothering you with mainly theoretical and security aspects. To get the most out of this unit in a creative and musical sense, this was necessary. Now, let’s find out what the DRM1 MKIII really is!

The DRM1 MKIII is a sound module, specialized to create synthetic drum sounds that are produced by pure analogue circuits. It allows the creation of eight independent drum- and percussion sounds. Although these sounds carry the component names of a traditional drum kit, these are “only” imitations of the real thing. However, this is fully intended. Synthetic or analogue drums provide an individual character and aesthetic. These sounds have significantly influenced different musical genres if not made them possible at all. Neither old school Hip-Hop, Electro, House nor Techno would have been possible without the aid of the famous analogue drum machines invented by our friends from Japan.

The DRM1 MKIII has a lot to offer. It covers many aspects of those classic units but also a lot more. But one thing can certainly be said. The DRM1 MKIII is all original and not a clone, trying to reproduce 8 or 9 classic sounds.

Let’s take a closer look at the individual drums, consecutively referred to as channels. At the same time, we will also name possible applications for their use.

All eight channels in the DRM1 MKIII share three elements:

TRIG This button manually triggers the channel’s sound. Here, the

volume is constant and equals the level at 75% MIDI velocity. Note, for channels HI HAT 1 and HI HAT 2, these offer an additional choice of sounds (see “HI HAT 1/HI HAT 2” on page 17).

PAN this control adjusts the channels’ position in the stereo panorama

when using the main- and headphone outputs audible effect, the channels on the receiving mixing desk need to be panned to the left and right. Note that PAN is effectless when using the channels’ individual outputs

VERMONA DRM1 MKIII - analog drum synthesizer

. To make an

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VOLUME this control adjusts the channel’s volume for the main- 9, head-

phone-

and individual outputs 5.

The DRM1 MKIII’s sound channels

The eight sound channels are tailored to generate specific drum sounds. However, thanks to their flexibility, you are explicitly asked to experiment and get creative. You will find out that each channel offers plenty of different sounds.

KICK

DECAY

TRIG

PITCH

BEND

TIME

WAVE

NOISE

ATTACK

PAN

VOLUME

The first channel is optimized to produce bass drum sounds.

DECAY sets the length of the sound until fade out. The first half of the

control allows creating tight kick drums for dance music. From the noon-setting of the control, the kicks are significantly increasing in length. These sounds are often found in genres such as Hip-Hop or R’n’B. With DECAY set to maximum, long sounding bass drums can be achieved. Use these for Jeep Beats, D’n’B and Dubstep – BOOOOOOOM

PITCH sets the overall sound frequency. Of course, the lower range of

this knob is relevant when creating bass drums. Start from a 9 o’ clock position. With PITCH adjusted to a higher value, you may as well create tom- and percussion sounds with this channel. PITCH interacts with the following parameters BEND and TIME.

BEND adjusts the intensity of a pitch modulation by the TIME envelope.

Higher values will increase the amount of modulation but also increase the perceived pitch of the sound, especially with DECAY set to shorter values. Regard PITCH, BEND and TIME as being interactive.

OUT

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With pitch modulation being completely absent, bass drums may

sound flat and not distinctive; therefore we recommend at least a little dose of BEND. To create dance-kicks use higher BEND settings and lower TIME settings. For long booming kicks keep the control in the lower half.

With PITCH being set to its maximum, BEND can no longer fully

modulate the pitch.

TIME adjusts the release time of the pitch envelope. In general, short

settings are useful for bass drums while longer values will make the sound lose its kick specific character. A long decay might still be useful to create percussions and effect sounds.

WAVE is a mix control that seamlessly blends a sinusoid wave form into

a rectangular shape. Here, the sound changes from soft to harder. Within the first half of the control’s range, the sound receives additional rawness and depth. At higher values, the sound will start to overdrive and distort, making an additional pedal possibly superfluous when wanting to create harder sounding bass drums.

NOISE adds a short fixed noise impulse to the sound’s start. This imitates

the noise of the beater hitting an acoustic bass drum. Always adjust NOISE in correlation to the complete mix. What might appear too intrusive when being soloed might already sound too gentle within a full mix.

ATTACK adds a short fixed needle impulse to the sound’s start. This will

support the bass drum’s assertiveness. Like NOISE, set ATTACK in correlation to the complete mix. What might appear too intrusive when being soloed might already sound too gentle within a full mix. We recommend adding a little ATTACK even to soft bass drums.

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DRUM 1/DRUM 2

DRUM 1

TRIG

PITCH

BEND PAN

ATTACK

FM INT

FM FREQ

WAVE

VOLUMEDECAY

OUT

The two DRUM channels are built identically. These are meant to create toms, percussions and metallic sounds but can also produce bass drums differing in character to the KICK channel. Thanks to two available channels you may either create two completely different sounds or create sound pairs such as low and hi toms or congas.

DECAY sets the release time or the sound’s length. Its range is a little

broader compared to the KICK channel allowing to create very short clicks.

PITCH sets the channel’s pitch/frequency.

BEND adjusts the amount of a possible pitch 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 pitch, descending it. Turn counterclockwise from the center position will invert the modulation, resulting in ascending pitch. This modulation interacts with the DECAY setting.

With PITCH being set to its minimum or maximum, BEND can no

longer fully modulate the pitch.

ATTACK adds a short fixed needle impulse to the sound’s start to support

its 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. We recommend adding a little ATTACK even to soft drum sounds.

FM INT defines the intensity of the frequency modulation, being specified

using FM FREQ. Set fully counterclockwise to switched off FM.

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FM FREQ sets the modulation frequency. Here, the sound is modulated in

pitch using a sine wave. With values starting from the knob’s 9 o’ clock position, the modulation enters the audible range, resulting in a broad frequency spectrum. This allows creating atonal and metallic timbres. At lower values, FM will result in modulations comparable to a typical LFO.

WAVE is a mix control that seamlessly blends a sinusoid wave form into

a rectangular shape. Here, the sound changes from soft to harder. Within the first half of the control’s range, the sound receives additional rawness and depth. At higher values, the sound will start to overdrive and distort. The interaction between WAVE and the FM parameter will provide a broad sound palette for different percussion sounds.

MULTI

DECAY

PITCH BEND PA N VOLUME

ATTACK

PITCH 2

PITCH 3

HIGHPASS OUTTRIG

The MULTI channel contains three oscillators with broad tuning ranges. Because of this, the resulting sounds are very flexible, ranging from bass drums and toms to cowbells and other metallic percussions to sound effects.

DECAY sets the sound’s length.

PITCH defines the pitch of the first oscillator as well as the base pitch for

the other two oscillators.

BEND adjusts the amount of the DECAY envelope on the frequency.

This control is centered. In its central position, no modulation is present. Turn clockwise from the center position to modulate the pitch, descending it. Turn counterclockwise from the center position will invert the modulation, resulting in ascending pitches. This modulation interacts with the DECAY setting.

With PITCH being set to its minimum or maximum, BEND can no

longer fully modulate the pitches.

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ATTACK adds a short fixed needle impulse to the sound’s start to support

PITCH 2 sets the pitch/frequency of the second oscillator. However, its

base pitch is tied to PITCH. Changing PITCH will always change the frequency of PITCH 2, too. PITCH 2 can be freely adjusted, so that it sounds higher or lower than the first oscillator. With PITCH 2 set fully counterclockwise, the second oscillator is turned off.

PITCH 3 sets the pitch/frequency of the third oscillator. However, its base

pitch is tied to PITCH. Changing PITCH will always change the frequency of PITCH 3, too. PITCH 3 can be freely adjusted, so that it sounds higher or lower than the first oscillator. With PITCH 3 set fully counterclockwise, the third oscillator is turned off.

HIGH PASS adjusts the cutoff frequency of an additional high pass filter. It

allows attenuating bass frequencies of the sound if needed. The filter’s effect depends upon the sound’s pitch. With PITCH/2/3 being adjusted above the 9 o’ clock position, the high pass filter’s effect will be almost insignificant.

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SNARE

DECAY R

TRIG

REVERB

DECAY N

NOISE ATTACK

RESO

FILTER

PAN VOLUME

OUT

The duty of the SNARE channel is apparent. However, due to its various parameters, 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.

VERMONA DRM1 MKIII - analog drum synthesizer

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RESO specifies the intensity of the filter’s resonance and, as a result,

colors the tonal component of the snare sound. Only at higher values, the filter will start to self-oscillate. This parameter interacts with ATTACK, whose needle impulse initiates the filter’s oscillation.

FILTER sets the cutoff frequency of the low pass filter. Presuming the

filter has been excited to oscillate, this control adjusts the pitch of the snare’s tonal sound component.

NOTE Different kind of percussion sounds are possible, only

by using the snare drum’s filter section but leaving out the NOISE component. With FILTER and RESO being fully opened, the result will sound clave-like. By attenuating RESO, this sound turns into a snare resembling a preset-beat-box from ‘78. Lowering FILTER and combine it with different RESO settings, leads to creditable 8-toms, congas and bongos. (see “Sound Examples / Klangbeispiele” on page 52)

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HI HAT 1/HI HAT 2

DECAY FILTER MIX

HI HAT 1

TRIG

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 modulation, 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.

BEND PAN VOLUMEATTACK

RESO

PITCH

OUT

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.

VERMONA DRM1 MKIII - analog drum synthesizer

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PITCH defines the pitch/frequency of the oscillator mix as well as for the

ATTACK impulse.

NOTE Both HI HAT channels can be triggered in two versions,

using the TRIG button - either as cymbal/open hi-hat or as closed hi-hat. The closed hi-hat has a fixed, short decay time, independent of the DECAY control. After switching on, the DRM1 MKIII’s TRIG button defaults to trigger the cymbal/open hi-hat, with the sound’s length being defined by DECAY. To toggle the trigger-modes, press and hold TRIG for approx. two seconds. The TRIG-LED will light up shortly to confirm the operation. By using MIDI, both sounds of these channels, cymbal/open hi-hat and closed hi-hat, can be played by different MIDI notes. Here, the dependency between the two sounds on one channel is automatically reflected (see “MIDI Functions” on page 20).

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CLAP

TRIG

CLAP FILTER HIGHPASS

NOISE

RESO

PAN VOLUMEDECAY R REVERB

OUT

The CLAP channel serves a defined task. It simulates the clapping of several hands. Like the SNARE channel, CLAP also offers an electronic pseudo-reverb which, here, is an integral part of the sound and supports its authenticity. The CLAP channel also incorporates a resonance filter component.

DECAY REV sets the length of the reverb effect. This parameter’s effect is only

audible with REVERB being enabled.

REVERB adjusts the intensity of the reverb effect. Note that this is not a

CLAP sets the speed sequence of the individual claps.

NOISE adjusts the amount of noise that sounds conjointly with the claps.

Without adding any NOISE the results sound unnatural.

RESO specifies the intensity of the filter’s resonance and, as a result,

colors the tonal component of the clap sound in interaction with the FILTER setting.

FILTER sets the cutoff frequency of the low pass filter. In interaction with

RESO, this control adjusts the coloring of the sound.

HIGH PASS adjusts the cutoff frequency of an additional high pass filter. It

allows attenuating bass frequencies of the sound if needed. The filter’s effect is quite unobtrusive and more targeted to embed the clap sound into the DRM1 MKIII’s overall drum kit sound.

VERMONA DRM1 MKIII - analog drum synthesizer

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MIDI Functions

The DRM1 MKIII receives MIDI notes including corresponding velocity data. This way, the sound can be played dynamically. Other MIDI data such as controller data are not processed.

Setting the MIDI-channel and note numbers

A small notice to avoid misunderstanding the term “channel”. So far, the different sounds of the DRM1 MKIII have been simply referred to as “channels” (calling them instruments or sounds might have been misleading in some cases). However, in this chapter we refer to “MIDI-channels” that address and control the “DRM-channels”.

Setting the MIDI-channel and note number for an individual DRM-channel

1. Press the TRIG button of the corresponding DRM-channel while switching the unit on. Press and hold the button until the sound is triggered.

2. The unit has now entered learn mode.

3. Now, send a MIDI note number to the unit, e.g. by pressing a note on a connected keyboard. The note number and the MIDI-channel used will be learned by this DRM-channel.

4. The note number and MIDI-channel are now stored.

Repeat these steps for each DRM-channel if needed. This way you may play the DRM1 MKIII’s sound on different MIDI-channels.

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Setting the MIDI-channel and note numbers for all DRM-channels

1. Press any two TRIG buttons while switching the unit on. Press and hold the buttons until both sounds are triggered.

2. The unit has now entered learn mode.

3. Now, send a sequence of eight note numbers to the unit, e.g. by pressing notes on a connected keyboard. All note numbers and the MIDI-channel used for transmission will be learned.

The first transmitted note number refers to the first DRM-channel KICK. The TRIG LED of this channel will shortly light up and the sound will be triggered. This confirms the saving of the note number for the KICK-channel. The DRM1 now automatically advances to the second DRM-channel (DRUM 1), then to DRUM 2 and so on until reaching the CLAP-channel.

NOTE Both methods allow assigning multiple DRM-channels

to the same MIDI note number. In this scenario the sounds will be commonly triggered.

NOTE Since both HI HAT channels allow the triggering of two

sounds (open and closed hi-hat), the HI HAT channels will automatically be assigned to two note numbers.

The note number being sent to the DRM1 MKIII’s HI

HAT channel assigns the open hi-hat/cymbal sound. The closed hi-hat is automatically assigned to a note number two semitones (equals two MIDI notes) below the open hi-hat. Therefore, pay attention to keep that position unoccupied when assigning note numbers to other sounds of the unit.

VERMONA DRM1 MKIII - analog drum synthesizer

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4. After all DRM-channels have been assigned to note numbers, the unit automatically switches to play-mode. The note assignment is permanently stored until the next assignment is performed.

NOTE While in learn-mode, the DRM1 MKIII restores its

factory defaults when no note numbers are received before switching the unit off.

Factory Defaults

Channel MIDI note number

KICK 36 (C)

DRUM 1 48 (c)

DRUM 2 41 (F)

MULTI 58 (b)

SNARE 40 (E)

HI HAT 1 closed 49 (cis)

HI HAT 1 open/CYMBAL 51 (dis)

HI HAT 2 closed 42 (FIS)

HI HAT 2 open/CYMBAL 44 (GIS)

CLAP 39 (DIS)

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Individual Outputs/Inserts

Each DRM-channel offers a dedicated individual output/insert with a choice of possible applications. Crucial to the outputs’ function is the cable being used, or to be more exact, the pin-assignment of the connector being placed in the output jack.

Use as individual output

The OUT jack can be used as an individual out in two ways.

1. By using a standard TS-cable, the signal will be automatically excluded from the main outputs:

2. By using a special cable with a TRS connector on one side and a TS connector on the other, the signal will additionally remain present on the main output:

Tip and ring of the TRS connector will need to be connected here.

VERMONA DRM1 MKIII - analog drum synthesizer

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Use as insert

The OUT jack can also be used to insert external effect processors into that channel, such as filters or delays. To do so, use a so-called Y-cable/insert-cable:

• Connect the TRS connector to the channel’s OUT.

• Connect the send connector to the input of the effect processor.

• Connect the return connector (often color-coded in red) to the output of the effect processor.

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Trigger-Inputs (optional)

You can purchase the DRM1 MKIII either with or without trigger-inputs.

The eight trigger-inputs allow triggering the DRM1 MKIII’s sound from an analogue sequencer. The unit will accept gate signals between 2 and 12 volts. Alternatively, the mode of operation can be switched by internal jumpers to the use of switch-trigger. Note that this requires the unit to be opened which shall only be performed by a Vermona authorized service technician or expert.

The analogue trigger-inputs do not respond to dynamic trigger signals. In this scenario, all sounds of the DRM1 MKIII can only sound at a fixed volume.

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Sound Examples

KICK

DRUM 1

PITCH

BEND PAN

VOLUMEDECAY

ATTACK

FM INT

FM FREQ

WAVE

OUT

TRIG

DRUM 1

The following illustrations are meant as initial points for different sounds. Explore the DRM1 MKIII’s sonic possibilities starting from here. These parameter settings are rough guidelines since analogue circuits always possess a life of their own. Especially when tuning the MUTLI oscillators or using frequency modulation, some millimeters may already make significant difference in sound.

KICK

Hard Dance Kick

DECAY

TRIG

Long Kick

DECAY

TRIG

DRUM

Moving Percussion

TRIG

Space Tom

PITCH

BEND

BEND PAN

TIME

ATTACK

WAVE

FM INT

NOISE

FM FREQ

ATTACK

WAVE

PAN

VOLUME

VOLUMEDECAY

OUT

Page 28

Game Drum

DRUM 1

MULTI

TRIG

MULTI

Cowbell

TRIG

DECAY

Lazer Zap

TRIG

DECAY

Metallic Tic

TRIG

DECAY

HP MiniChords

PITCH

PITCH BEND PA N VOLUME

BEND PAN

ATTACK

FM INT

PITCH 2

FM FREQ

PITCH 3

WAVE

HIGHPASS OUT

VOLUMEDECAY

OUT

TRIG

DECAY

DRM1 MKIII - analog drum synthesizer

PITCH BEND PA N VOLUME

ATTACK

PITCH 2

PITCH 3

HIGHPASS OUT

Page 29

SNARE

PAN VOLUME

DECAY R

REVERB

DECAY N

NOISE ATTACK

RESO

FILTER

OUT

TRIG

SNARE

HI HAT 1

Compact Snare

Old Scool Snare

DECAY R

TRIG

Tunable Drum

DECAY R

TRIG

Clave

DECAY R

TRIG

HI HAT

Cymbal

DECAY FILTER MIX

TRIG

Shine Hat

REVERB

DECAY N

BEND PAN VOLUMEATTACK

NOISE ATTACK

RESO

FILTER

PITCH

PAN VOLUME

OUT

DECAY FILTER MIX

TRIG

BEND PAN VOLUMEATTACK

RESO

PITCH

OUT

Page 30

CLAP

PAN VOLUMEDECAY R REVERB

NOISE

RESO

CLAP FILTER HIGHPASS

OUT

TRIG

CLAP

Full Claps

Hollow Clap

TRIG

Short Guiro

CLAP

TRIG

CLAP FILTER HIGHPASS

NOISE

RESO

PAN VOLUMEDECAY R REVERB

OUT

DRM1 MKIII - analog drum synthesizer

Page 31

HDB electronic GmbH Badesteig 20 08265 Erlbach GERMANY

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