I'm sat here listening to Somersettler, trying to sonically analyse your technique for creating Hi-Hats, both in terms of layering the sounds and the grooves you program. It sounds like your using multiple samples with differenet timbre to create the groove. Will you please describe how you approach HiHats to keep that groove from becoming sterile and lifeless. Simply adding a triplet delay is just not doing it for me.

Ott responded on 04/11/2015

No, simply adding a triplet delay isn't going to do it.

It helps that I'm a 'finger drummer' and I constantly have a hi-hat groove going on in my head.

For me it's all about the accents, not just in terms of volume but timbre too. Once I've decided on the groove that I want [I hum it to myself "Tic-ah-tic-ah-tic-ah-tsss..!"] I select a sound and play in the 8th notes with my right hand on a keyboard while tapping my left hand on the table. Then I'll map another sound to a new key and play the beats in between with my left hand, while tapping my right hand on the table. I play them separately as it allows me to concentrate on each part.

Then I will choose a quantise and spend a while adjusting envelopes, velocity responses, swing, timbre and panning. Finally I play in the open hats and then edit the closed hats to make room for them.

From time to time I play the real hi-hats from my drum kit and record them with a microphone. Real hats work well beside sampled hats.

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