This is the second part of synthesizing drum sound. The first part covered the kick drum and the snare, now it’s time for the hihats and the hand clap. Let’s dig right into it.
There are several ways to create a metallic-sounding hihat and it can be rather complex. A simple way though, is to use a pure noise source with HPF, or a square wave with ring modulation. (It’s also possible to mix these two sound sources.)
Set the envelope of the VCA to a slow decay and a quick release time. Play staccato which should render the closed hithat, while a held note produces the open sound. You could of course save two patches with different decay and release to finetune both of the variants.
Add presents to the hihats by boosting at 3 kHz on the EQ.
It’s very hard to mimic recognisable, convincing, metallic percussion. This quest have defeated many before me, thus I’m just letting it be. Still, if you insist of accepting a sound you could use as a cymbal – though it sounds totally unrealistic – then grab a hihat patch, accentuate the high-pass filtered white noise, add a longer decay and release time and put some flanger effect to it.
Synthesize Hand Clap
To achieve something that can be called a hand clap, try to run white noise through a band-pass filter and use two individual EGs to shape the VCA. Modulate the first envelope with a LFO; set to sawtooth and the frequency to about half way, to and render a clap effect. Then set a second envelope to a long decay to add reverb. You should tweak these parameters as you se fit.
Boost the mids on the EQ to make an aggressive snap.
Try to put on a gated reverb effect to the sound, or just a tiny delay.