Bitwig Studio User Guide
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Hi-hat

Hi-hat drum element instruments that use incoming note signals to synthesize audio.

v0 Hat

A hybrid hi-hat instrument. With the following controls:

  • Tune, for adjusting the sound by ±1 octave, plus:

    • A numeric control for tuning, so you can adjust by whole semitones (by dragging the integer portion)

    • Micro-pitch expressions will be used relatively, so bending notes will still work (in Drum Machine devices or anywhere else)

    • Or enable Keytracking Mode, which will fully follow the pitch of notes played (good for instrument tracks/layers)

  • Decay, for sound length

  • Carrier Bank Spread, for the amount of frequency spread in the carrier sine bank

  • Modulator Bank Spread, for the amount of frequency spread in the modulator sine bank

  • Tone, for timbre adjustments

  • Oscillator Banks Range, for the linear pitch transposition applied to both sine banks

  • Phaser Mix, for the dry/wet blend of the built-in phaser

  • Frequency Shift amount of the built-in phaser

  • Velocity Sensitivity, scaling the dynamic range (when a full range of note velocities are used)

  • FX chain, for post-processing from Bitwig devices or plug-ins

  • Output level, applied after the FX chain

v1 Hat

Previously named E-Hat, an electronic hi-hat instrument made from a blend of noise with a comb filter, FM synthesis, and a one-band equalizer. An XY grid interface is also provided as an alternate means of controlling several parameters.

The section at the top left contains Attack and Decay times for the AD envelope, along with a contour control for the shape of the decay segment. This global envelope shapes the output of the entire instrument.

The red COMB section governs the comb filter that processes the noise generator's output. Parameters include cutoff Freq(uency), a bipolar Feedback control, and the wet/dry Mix. In the XY grid, dragging the red C ball adjusts the Freq control with horizontal movements and the Mix control vertically.

The blue FM HIT section controls the carrier of a classic FM operator pair, which creates the impact sound of the hi-hat. The Freq knob at left sets the carrier's frequency. This unit has its own AD envelope, which has a short, fixed attack time and an exponential, adjustable Decay setting. (Note that a longer decay setting may be interrupted if the global AD envelope has a shorter overall duration.) Finally, the Mix knob controls the balance between the noise and FM portions of the instrument. In the XY grid, dragging the blue H ball adjusts the Freq control with horizontal movements and the Mix control vertically.

The yellow HIT MOD section provides controls for the modulator of the FM operator pair. The Freq. knob adjust the modulator's frequency, and the Amount control is the index (or intensity) of modulation applied to the carrier. In the XY grid, dragging the yellow M ball adjusts the Freq. control with horizontal movements and the Amount control vertically.

The orange EQ section controls a simple high-pass filter that receives the blended noise and FM sounds. The cutoff frequency is set with the top numeric control (in hertz or kilohertz), and the control below with a resonance icon represents the filter's Q. In the XY grid, dragging the orange vertical bar from left to right controls the cutoff frequency.

The final section offers a control for the instrument's Vel Sens.(itivity) and a level control for its Output, along with a Width setting for the amount of stereo flutter added to each noise burst.

Nested Device Chains:

  • FX - A chain for processing the device's entire audio output.

v8 Hat

An instrument inspired by the Hihat elements (CH, OH) of the Roland TR-808. With the following controls:

  • Tune, for adjusting the sound by ±1 octave, plus:

    • A numeric control for tuning, so you can adjust by whole semitones (by dragging the integer portion)

    • Micro-pitch expressions will be used relatively, so bending notes will still work (in Drum Machine devices or anywhere else)

    • Or enable Keytracking Mode, which will fully follow the pitch of notes played (good for instrument tracks/layers)

  • Decay, for sound length

  • Color, for timbre adjustments

  • Noise, for noise level

  • Dirt, for age and grit applied to the sound

  • Consistent Sound toggle, to remove variations and make the sound completely reproducible

  • Velocity Sensitivity, scaling the dynamic range (when a full range of note velocities are used)

  • FX chain, for post-processing from Bitwig devices or plug-ins

  • Output level, applied after the FX chain

v9 Hat Closed

An instrument inspired by the Closed Hi Hat (CH) of the Roland TR-909. With the following controls:

  • Tune, for adjusting the sound by ±1 octave, plus:

    • A numeric control for tuning, so you can adjust by whole semitones (by dragging the integer portion)

    • Micro-pitch expressions will be used relatively, so bending notes will still work (in Drum Machine devices or anywhere else)

    • Or enable Keytracking Mode, which will fully follow the pitch of notes played (good for instrument tracks/layers)

  • Decay, for sound length

  • Impact, to control the heaviness of each strike

  • Density, for brightness

  • Stereo Width of the noise element

  • Sound Variation, for the randomness added to each note, which pushes toward a "multi-sampled" feel at high settings

  • Velocity Sensitivity, scaling the dynamic range (when a full range of note velocities are used)

  • FX chain, for post-processing from Bitwig devices or plug-ins

  • Output level, applied after the FX chain

v9 Hat Open

An instrument inspired by the Open Hi Hat (OH) of the Roland TR-909. With the following controls:

  • Tune, for adjusting the sound by ±1 octave, plus:

    • A numeric control for tuning, so you can adjust by whole semitones (by dragging the integer portion)

    • Micro-pitch expressions will be used relatively, so bending notes will still work (in Drum Machine devices or anywhere else)

    • Or enable Keytracking Mode, which will fully follow the pitch of notes played (good for instrument tracks/layers)

  • Decay, for sound length

  • Impact, to control the heaviness of each strike

  • Density, for brightness

  • Stereo Width of the noise element

  • Sound Variation, for the randomness added to each note, which pushes toward a "multi-sampled" feel at high settings

  • Velocity Sensitivity, scaling the dynamic range (when a full range of note velocities are used)

  • FX chain, for post-processing from Bitwig devices or plug-ins

  • Output level, applied after the FX chain

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