 Hey, I'm Anfa. In this mini-series I'm synthesizing a Trump drum loop from Scratch. We've already done the 808-ish kick bass and snare. What's left is the hi-hat. And it's a big one. This is also where not every synthesizer will let you do this exactly like I'm going to do it. And that is because not every synthesizer has enough oscillators. However, the way I'm going to do it I think is the best way to get this authentic 808-like sound. So let's do it! Here is my MIDI pattern for the hi-hat. I would like to first bring your attention to two things that are a bit unusual about this hi-hat part. First, we have different velocity of the notes. You see the orange notes are velocity 127 but the green ones are velocity 64 and the yellow ones are 96. I'm using the velocity to create accents to make this hi-hat line feel more groovy. Now the second thing is that the notes use different pitches. You see the most notes are playing C4 but some are playing C2 and a few are in the middle at A2. Now I'm using the note pitch to control the length of the envelopes. So we can get a nice and well-sounding open hi-hat sound on the low notes while having a very nice snappy close hi-hat sound on the high notes. Don't worry, I'm going to show everything as we go along. Let's open up the ZanotsubFX interface. Let's go to AdSynth voice and the first thing I'm going to do this hi-hat out of square waves which is how it was done in TR-808, I believe. So let's switch this oscillator function to pulse which is a pulse wave but you can change the pulse width or we can be just at the square wave. Now let's go to the voice settings and to frequency. Now an important thing let's enable fixed frequency and that is because we don't want the pitch to go and follow the note pitch. We want this oscillator to play the same pitch no matter what. So if I play it you see all these notes produce the same pitch now because I've locked the pitch down. Okay. Now let's copy this and paste it to the second voice. Now I want to detune this. Here's chorus detune and here is fine detune. Now as I'm tuning my hi-hat sounds I'm trying to get them to sound the most dissonant I can. The least it reminds me of any chord or other musical harmony the better. Let's paste it one more time and detune it in a different way and one more. Okay that sounds about right. However we might try and tune it later because often I go back and tweak the pitches and then I get the perfect sound. So the next thing I want to do is go to the fifth voice and add a noise component to this. So let's enable it. Let's turn it down first because the noise is pretty loud. Let's go to modulation and switch the type from sound to white noise. Now it's too quiet. Let's bring it up. Let's go here and turn on unison. Turn on spread so we have a nice stereophonic white noise. Let's go to the global settings and first let's make this amplitude envelope. That's better. Let's go to filter and we want a high-pass filter. So let's change this to high-pass two which is a resonant high-pass filter. I'm going to tune it to taste. We can also add some extra gain on the filter. So if our hi-hat is too quiet we can boost it right in the filter. That sounds about right. Okay there are two more things I want to do regarding interpretation of the midi part. So first thing is I want to make sure that the accents done with velocity are brought up. And to do this we need to use this velocity sensing function. Maybe it's counter-intuitive but if you turn it all the way up it's disabled. So we need to turn it down. Now you can hear that the louder notes are much louder. So we need to tweak this to the point where it feels right. I think this is okay. Now we need to take advantage of the note pitch. So I want the lower notes to have longer envelopes. So they decay longer so it feels like an open hi-hat, not a closed one. So let's go and here in the envelope section we have the stretch function. By default it's at 50%. Let's turn it up all the way. Now we have a nice long sound here but the higher notes are also too long. So let's shorten the decay. We could also add a little bit of punch just like with our snare. All right. Now let's go to effects, part insertion. I want to add an EQ. Let's give ourselves a peak filter and now let's sweep it and see what we can do. What niceness can we bring out or what nastiness can we remove? Let's give yourself another one and maybe now let's give ourselves another one. Oh, this is painful. Yep. Let's maybe try and bring out a little bit more of that noise. Oh, it's becoming painful, not too good. So maybe like very gently, a wide boost. Okay. I also want to add a little bit of reverb. So again, let's add a reverb. Now let's maybe make it all wet so we can easy hear what's going on. It's really long. Let's lower the damping and it's lower the size. Alrighty. I'm afraid we might be peaking a bit high but that's nothing tragic and we can deal with that with a compressor later on. However, I wanted to do all the sounds just with Zinus of FX or Zinfusion to not use any other plugins so we can easily reproduce it just with that plugin. And that's our Trap Hi-Hat. All right. That was the most complicated patch of the bunch. That's the end of this mini series on Trap Drums. I hope you've learned something useful and remember that you can download the MIDI files, the Zinfusion patches and the entire arduous session. The link is in the description. Thanks for watching. I hope this series was worth your time. I also want to thank all the fine people who are supporting my work financially. So if you'd like to join them and help keep this show going, please go to patreon.com.anfa or liberape.com.anfa. Now go and make some music.