Fisher: We did extensive testing with different types of mesh, weave patterns, densities, and combinations. We discovered that a certain kind of mesh, in two layers with the weave patterns at degree angles, was the best — and we were able to patent it. One day while playing the prototype upside-down, we discovered that the rubber pour on the bottom of the shell felt great and was quiet. We asked Remo if they could also put a rubber pour on the top counterhoop.
They made custom molds, and, sure enough, it worked great! It kept the whole performance of the drum quiet, which was a key benefit of electronic drums. Nishi: At this point, we had completed two missions: to utilize the COSM technology for the sound module, and to improve the look and feel of the pad.
And, to admit the worst, when we hit the pad too hard, it dented. This was not suitable. Also, it produced a bad feel when played, so we had to give up the mesh idea. The plastic-based cymbal itself was not so good in terms of feel, and its sensitivity was limited when struck too far from the pickup point.
Therefore, we improved the position and structure for the sensor. Since we had to connect the V-Cymbals to the sound module via cable, we considered how to stop the cymbal from revolving while allowing it to swing freely like a natural cymbal.
Fisher: Another issue we had was the vibration; which was making it difficult to trigger accurately, so we altered the shape of internal cymbal plate, which limited the vibration waves, and thus improved sensitivity and accuracy. We received a patent for this as well. Technically, there were two primary factors in the development of the V-Hi-Hat. To meet these goals, we set up the motion sensor in the center of the bottom pad, and we tried many mechanical structures, such as optical-type sensors or hall elements at the beginning.
For the materials of the V-Hi-Hat, we used the same materials as the V-Cymbals: an internal base with rubber surface. Therefore, we required only two cables to be connected between the bottom pad and the sound module, while there is one link cable between the top and bottom hi-hat pads. When an acoustic drum head is struck, the surrounding air vibrates, and sound is produced.
This is what makes the mesh head so quiet. One of these patents covers our multi-layer mesh heads for both electronic and acoustic percussion. In addition to being nearly silent, Roland two-ply mesh heads are extremely durable—much more so than single-ply mesh heads. Simply put, two-ply Roland mesh heads feel better at much wider tension ranges than single-ply mesh heads. What a great idea. Modeling allows us to use icons, or pictures to do most of the editing.
With sampling, any edits made will affect the entire sample. For instance, if you change the pitch of a sampled snare drum, every aspect of that snare sound changes—attack, snare buzz, overtones, etc.
All this editing power is invisible to the user. Modeling rocks! YouTube Channel This channel provides information of the Roland's best quality electronic musical instruments. Worldwide Social Network Welcome to our global family. Quick Start This channel provides instructions of the Roland's electronic musical instruments and equipment. Stories Learn Discover Stories Spark creativity with in-depth writing on people, trends, tech, and history.
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