Since its first showing at the SUPERBOOTH25, Vermona’s drumDING has gathered quite a bit of attention with its unique concept of mixing analog drum-synthesis with digital sampling and sequencing together in a single instrument.
Vermona is now preparing to finally launch the instrument in August, and for the occasion we have reached out to Vermona’s Thomas Haller, as well as three of the drumDING’s ‘beta users’ (OoraMusic, Anna Z and Dominik Börner), to learn more about this unique instrument and the story behind it – read more below!
Interview with Vermona's Thomas Haller
STROMKULT: As far as I understand it, the drumDING initially started as just a fun little side project. Can you tell us a little about how it came about?
VERMONA (Thomas Haller): Once it became a product, the drumDING itself was always a serious project. But the underlying idea started as something that was originally just for fun. A few years ago, one of our staff members, Hans, began experimenting with Pure Data. So he put together a sound-generator for drum sounds, modelled loosely on our Kick Lancet, that we then expanded further purely for the enjoyment of it.
At some point, we then thought it’d be cool if those sounds could be captured directly at the press of a button. That was a very enjoyable workflow, even though at that point it was just a piece of software. When we then began gathering ideas for our next project two years ago, this earlier software idea then came to our minds, and we found the concept to be worth pursuing further as an actual project. That is how the instrument now known as the drumDING then started to come into being.
How did the instrument get its name?
At the outset of the project, its folder on our server was rather pragmatically named Drumding (‘drum-thing’), since we did not yet know which direction it might go in. When we showed the prototype for the first time at the SuperBooth25 we then naturally also needed an actual name for it.
We had never seriously considered "drumDING" to become the actual product name, even though it had established itself for us internally, but we simply couldn't come up with anything that was better. We considered all sorts of directions, and then at some point someone — I believe it was Sebastian [Preller] — said: "well, I've gotten used to ‘drumDING’ now". So we thought, "why not," and just went with it, which is why we now have an instrument called drumDING.
Sebastian Preller [ex- MFB, co-inventor of the ER-M Multiclock, now working with Vermona, Flame, and running Floatingpoint Instruments] has contributed to the software part of this instrument. Can you say something about your collaboration with him?
I need to go back a little to explain that. Sebastian and I have known each other for many years, I first met him when he was one of the earliest employees at SchneidersLaden. Since then, our paths have crossed time again and again. At the SuperBooth we often talked about potentially collaborating on something one day. Two years ago, the time then finally came, and we arranged to meet at the Vermona HQ in the beautiful Vogtland region of Germany to develop the idea further. That then ultimately led to the drumDING as it exists now.
Once we had developed the first hardware prototype for the sequencer and sampler sections, the task then was to bring everything to life as a whole, in order to get a sense of whether the concept we had devised actually worked as an instrument
As the software developer, that was Sebastian's job. Not least through the MFB products he had been involved with, he brought a wealth of experience in the field of drum machines and sequencers. And so we fairly quickly had a version with which we could gain our first practical experience. From that point on, it became a constant dialogue between us: together we gathered and devised ideas and features, Sebastian implemented them on the software side, and we tried them out, discarded some, refined others, and so on. His contribution, then, is clearly much more than "just" programming.
Was there a particular reason for integrating two delays instead of just one?
I always find having only a single delay line somewhat limiting in sequencer-based instruments. Also, the delays in the drumDING can serve as both rhythmic and tone-shaping effects. If you had only one delay available, you would be forced to choose between the two.
Were there any technical or creative hurdles you came across during the development process?
There were certainly a few! I would just say the biggest hurdle was just coming up with a very usable operating concept, and that involves both the technical and the creative side of the instrument. We see the drumDING as an innovative instrument and sound-design tool and not just as a piece of technology. The priority, then, has always been to make things as simple as possible for the user. Functions should not be hidden away in menus or be overly fragmented, and yet the instrument should still allow for a lot of creative possibilities.
So it is really about making a large amount of technical complexity appear simple to the user. For example, there is no waveform display on the unit since it isn't needed as you don't have to set sample start or end points — the drumDING handles that automatically. Which means that there's no need for adjustment parameters for it either. But that of course also means that we have to ensure that this all works flawlessly without user input. And this kind of simplifying design philosophy then applies to basically every function of the drumDING, regardless of whether it was implemented digitally or in analogue form.
How does the sound of the drumDING compare to the DRM1?
In the DRM1, you have separate instrument channels for specific sounds. The circuitry of each channel only needs to function well within certain specific ranges, so for example, the filter on the DRM1's snare channel only needs to cover the limited frequency range of a snare drum. With the drumDING, the sound generation is far more universal and has to work across the entire frequency spectrum.
That was indeed a major for us, and although ideas and circuits from the DRM1 do form the basis of the drumDING's analogue synthesizer voice, we had to completely rethink large parts of the circuitry. So in the end, not a great deal of the DRM1 remains in the drumDING's final synthesis design. However, in the areas where the two overlap, the tonal character is somewhat comparable. In the drumDING, the boundaries between the individual instruments become blurred, which means the sonic spectrum is much larger, you get these "transitional sounds" that the DRM1 simply is not capable of. So both instruments have their own unique strengths, but ultimately they each pursue quite different concepts.
What was it like developing a sequencer for a device for the first time?
We had already developed some sequencers before with our Eurorack modules randomRHYTHM and meloDICER. However, these work on very different principles than a "classic" step sequencer. I think the demands that users place on a modern step sequencer today are generally quite high. In general, the most important thing for us was to create a solid foundation; beyond more advanced features such as parameter locks and polymetric sequencing, we really wanted a sequencer that always runs solidly and precisely and that you never have to stop to make any sort of adjustments. Building on that foundation, we can, and certainly will, add further functions to the sequencer in future as well. It was an enjoyable process and we'll have fun working on it in the future as well.
Are there any features or functions on the drumDING that you are particularly proud of?
I don’t think I could single out any one specific thing. I think what continues to give us joy and pride when it comes to the drumDING is that its whole workflow is so smooth and coherent. Just having an idea for something is one thing, but to then shape it into an actual instrument that is fun to use, meaningful and inspires creativity is something else entirely, and by no means a given. I believe that the drumDING can hold its own as an instrument, and that is what makes us proud.
During development, you sent a number of units out to musicians. How important was the feedback from them to the overall process?
We organised a small ‘drumDING beta tour’ and made the drumDING available to some of our musician friends. What was specific about this was that we sent out the instruments without any manual or instructions and they had had to figure it out just by using it.
We then spoke with them afterwards about their experiences and found that despite people having come up with very different results, everyone was able to work with the drumDING straight away. That showed us that the overall design and composition of the drumDING as an instrument was coherent.
Feedback during the development process is very important to us, as it is the only way we can find out which adjustments still need to be made, or which kinds of future features would be valuable to have. Generally speaking, it is not important to us whether that feedback comes from established artists or from hobby musicians, though. I think the drumDING still has plenty of potential, and I am curious to see where the feedback we expect to receive will lead us in the end.
Impressions from three drumDING beta-users
"The drumDING’s approach to sound creation is unique: instead of relying on fixed palettes or predesigned kits, it allows you to craft the exact sounds needed for a specific moment. The process becomes less about collecting sounds and more about responding to the exact sounds needed for a specific moment. By combining the immediacy of sampling with a powerful sequencer, drumDING transforms into an instrument with an ever evolving identity that constantly reshapes itself around your ideas, your workflow, and the emotional needs of the music in front of you. It encourages a creative state where being intentional and fully present is a part of the instrument itself."
"To me, the drumDING has many strengths. What interests me most about it is its analogue sound, which can then be digitised on the machine itself, with no additional steps required. I generally find it remarkable how compact the drumDING as a piece of gear, given its capability. The analogue sound-shaping also is very intuitive and its range of sound is big enough that to me, the drumDING can also be regarded as a kind of synthesizer. It also sounds excellent! The workflow of sampling analog sounds onto an SD card directly on the machine is perfect for quickly building up a library of nice drum sound. The sequencer section is also great and has a number of features that I think are very useful for live performances. I had only had the drumDING for two days when I took it on stage the first time, and in my view, it passed that ‘trial by fire’ with flying colours!"
Dominik Börner:
"It became clear to me quite quickly that this was not simply a drum machine. Rather, it is an agile instrument that can be used as a sketchbook for ideas, as a studio tool for sound design, or a performance instrument on stage. The approach of generating basically any sound within (and beyond) the percussive spectrum from just a single analogue voice is unique. Vermona is well known for its very solid products and the electronics built into them, however, presenting a device that conceptually completes its analogue character with digital modulation and sequencing is something new.
During one of my jam sessions with the drumDING, I unexpectedly found myself in a situation where I was generating dub chords with it, using three of the six available tracks. Then the next time, I was able to use the 'Chain' function to create a sequence of patterns and make amen breaks with sounds I had designed on the instrument itself. With the right settings in the FX section, it can even be turned into a feedback-noise monster. So for me, the drumDING is a very refreshing addition to the instrument landscape, even though – with its wide range of possibilities – can be difficult to categorise. Perhaps it is quite simply a drum machine ‘plus’."
You can check out the drumDING over at SchneidersLaden.