Hi-hat Pedal Controller
The Hi-hat Pedal Controller blends a row of hi-hat layers under the pedal. Put your sounds in from fully open on the left to fully closed on the right. Every layer plays on each hit, and the pedal position decides which ones you hear.
The Hi-hat Pedal Controller must be inside a Hi-hat Pads module, which gives it the pedal position.
Because every layer is already sounding, moving the pedal after a hit reveals the matching sound right away. Pedal slices, splash chicks, and a pedal reading that arrives a moment after the hit all come out right.
Open and closed
The yellow lines mark the crossover between open and closed. Layers to the left of it are the open side, and they're cut off automatically when the pedal closes after a hit. That way, opening the pedal again later can't bring back a loud open sound that should have died with the close.
The orange line shows where the blend actually sits. On every hit it jumps to the pedal position. With sticky turned up, it lags behind small pedal moves and catches up on big ones.
Controls
| Control | What it does |
|---|---|
| Layers | One per submodule. Drag the borders between layers to change their share of the pedal range. The crossover stays put and the layers scale around it. |
| selector | The pedal position, from open (left) to closed (right). It follows the hi-hat pedal; drag it to test a position by hand. |
| spread | How wide the crossfade between neighboring layers is. Turn it down to only hear one layer at a time, or up for more overlap. For an acoustic hi-hat, some overlap usually sounds more natural. |
| sticky | How firmly the blend holds where the hit landed. Small pedal moves after a hit are ignored, a real close is followed, and a real open needs a bigger move. Turn it up if a hovering foot makes the sound flutter between open and closed, or down if pedal moves feel late. |
| audition | Plays every layer at full level and ignores the pedal, so you can check each sample while setting up. |
Placing sounds
Put sounds that ring, and can be cut off, on the open side. Put short, damped sounds on the closed side. A closed-sounding sample left of the crossover gets cut off on the next close, and an open sound right of it keeps ringing after the pedal closes.