SOUNDS਀ Each SDS 7 module can produce a variety of sounds based on the਀搀椀最椀琀愀氀 猀漀甀渀搀猀 猀漀甀爀挀攀Ⰰ  琀栀攀 愀渀愀氀漀最甀攀 最攀渀攀爀愀琀漀爀猀 漀爀 愀 洀椀砀琀甀爀攀 漀昀  both.਀ It would be useful to have an understanding of how these sources ਀挀愀渀 戀攀 甀猀攀搀 琀漀 瀀爀漀搀甀挀攀 搀椀昀昀攀爀攀渀琀 猀漀甀渀搀猀⸀ ਀䐀䤀䜀䤀吀䄀䰀 ਀唀渀氀椀欀攀 洀愀渀礀 搀椀最椀琀愀氀 搀爀甀洀 洀愀挀栀椀渀攀猀 琀栀愀琀 栀愀瘀攀 挀漀渀琀爀漀氀 漀渀氀礀 漀瘀攀爀  loudness and pitch the SDS 7 has many controls that will affect਀琀栀攀 猀漀甀渀搀 漀昀 琀栀攀 搀椀最椀琀愀氀 猀漀甀爀挀攀⸀ ਀吀栀攀 瀀椀琀挀栀 挀愀渀 戀攀 愀氀琀攀爀攀搀 昀爀漀洀 栀椀最栀 ⠀㈀㔀㘀⤀ 琀漀 氀漀眀 ⠀㠀　⤀ 琀漀 漀昀昀 ⠀　　⤀⸀  At its lowest pitch the digital source becomes 'grainy' and਀戀爀漀欀攀渀⸀  䈀甀琀 眀椀琀栀 琀栀攀 甀猀攀 漀昀 渀漀椀猀攀 愀渀搀 昀椀氀琀攀爀椀渀最 甀猀攀昀甀氀 猀漀甀渀搀猀 can be produced. As it is tuned higher the digital sound also਀戀攀挀漀洀攀猀 猀栀漀爀琀攀爀⸀ 吀栀攀 搀攀挀愀礀 挀漀渀琀爀漀氀 挀愀渀 渀攀瘀攀爀 氀攀渀最琀栀攀渀 琀栀攀 搀椀最椀琀愀氀  sound past the end of the sample.਀ If you have a long decay value (256) and a short (i.e. high)਀搀椀最椀琀愀氀 猀漀甀渀搀Ⰰ 礀漀甀 眀椀氀氀 栀攀愀爀 琀栀攀 攀渀搀 漀昀 琀栀攀 搀椀最椀琀愀氀 猀漀甀渀搀⸀ 唀猀攀 the decay control to match the end of the sample or use the ਀昀椀氀琀攀爀 戀攀渀搀 挀漀渀琀爀漀氀 琀漀 挀氀漀猀攀 琀栀攀 昀椀氀琀攀爀 愀琀 琀栀攀 攀渀搀 漀昀 琀栀攀 猀愀洀瀀氀攀⸀ ਀吀栀攀 瀀椀琀挀栀 漀昀 琀栀攀 搀椀最椀琀愀氀 猀漀甀渀搀 挀愀渀 戀攀 愀昀昀攀挀琀攀搀 戀礀 栀漀眀 礀漀甀 栀椀琀 琀栀攀  pad. Using the digital bend control values from 140 -256 will ਀瀀爀漀最爀攀猀椀瘀攀氀礀 猀栀愀爀瀀攀渀 琀栀攀 瀀椀琀挀栀 漀昀 琀栀攀 搀爀甀洀 愀猀 椀琀 椀猀 猀琀爀甀挀欀  harder. This mimicks the action of an acoustic tom tom.਀ Using values from 0 - 140 will flatten the pitch of the drum as ਀椀琀 椀猀 猀琀爀甀挀欀 栀愀爀搀攀爀 ⴀ 洀椀洀椀挀欀椀渀最 洀愀渀礀 䤀渀搀椀愀渀 搀爀甀洀猀⸀ ਀吀栀攀 瀀椀琀挀栀 挀愀渀 愀氀猀漀 戀攀 愀昀昀攀挀琀攀搀 戀礀 琀栀攀 洀漀搀甀氀愀琀椀漀渀 挀漀渀琀爀漀氀⸀  0 = no modulation, 256 = maximum modulation. The speed of the ਀洀漀搀甀氀愀琀椀漀渀 椀猀 瘀愀爀椀攀搀 戀礀 琀栀攀 洀漀搀甀氀愀琀椀漀渀 猀瀀攀攀搀 挀漀渀琀爀漀氀 椀渀 琀眀漀 ranges 0 - 140 fast and 140 - 256 slow.਀唀渀氀椀欀攀 琀栀攀 愀渀愀氀漀最甀攀 漀猀挀椀氀愀琀漀爀 琀栀攀 昀愀猀琀 爀愀渀最攀 栀愀猀 漀渀氀礀 愀 猀甀戀琀氀攀 effect on the digital source, making it slightly harsher. Its ਀洀漀猀琀 攀昀昀攀挀琀椀瘀攀 漀渀 栀椀 栀愀琀猀 愀渀搀 挀礀洀戀愀氀猀 ⴀ 洀愀欀椀渀最 琀栀攀洀 挀爀愀猀栀椀攀爀Ⰰ 愀渀搀  coarser.਀吀栀攀 猀氀漀眀 爀愀渀最攀 椀猀 漀戀瘀椀漀甀猀Ⰰ 猀眀攀攀瀀椀渀最 琀栀攀 昀爀攀焀甀攀渀挀礀 漀昀 琀栀攀 搀爀甀洀  higher and lower. At its maximum (256 modulation level) with a ਀氀漀眀 瀀椀琀挀栀攀搀 搀爀甀洀 琀栀攀 猀漀甀渀搀 眀椀氀氀 猀琀漀瀀 挀漀洀瀀氀攀琀攀氀礀 愀琀 琀栀攀 氀漀眀 瀀愀爀琀 of the modulation sweep. Also if the digital source is tuned low ਀⠀猀愀礀 㤀　⤀ 愀渀搀 戀攀渀搀 甀瀀 椀猀 愀搀搀攀搀 ⠀猀愀礀 㔀　⤀ 愀猀 琀栀攀 搀爀甀洀 椀猀 猀琀爀甀挀欀 琀栀攀  pitch is flattened so much that the digital output stops ਀挀漀洀瀀氀攀琀攀氀礀⸀ 刀攀ⴀ愀瀀瀀攀愀爀椀渀最 愀昀琀攀爀 愀 昀攀眀 洀漀洀攀渀琀猀 愀猀 琀栀攀 瀀椀琀挀栀 猀眀攀攀瀀猀 upwards (depending upon the decay value) - again these values ਀挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 氀椀洀椀琀攀搀Ⰰ 戀甀琀 礀漀甀 洀椀最栀琀 昀椀渀搀 琀栀攀猀攀 攀昀昀攀挀琀猀 甀猀攀昀甀氀⸀ There is no direct dynamic control over the digital sound. This਀栀愀猀 琀漀 戀攀 愀挀栀椀攀瘀攀搀 戀礀 瀀爀漀挀攀猀猀椀渀最 琀栀攀 猀漀甀渀搀 眀椀琀栀 昀椀氀琀攀爀猀 愀渀搀  amplifiers.਀ The digital sound is fed into a voltage controlled filter via the ਀氀攀瘀攀氀 挀漀渀琀爀漀氀 ⠀　 㴀 漀昀昀Ⰰ ㈀㔀㘀 㴀 洀愀砀椀洀甀洀⤀⸀  圀椀琀栀 琀栀攀 昀椀氀琀攀爀 戀攀渀搀 漀昀昀 (140) the filter is static, i.e. striking the pad has no effect਀漀渀 琀栀攀 挀甀琀漀昀昀 昀爀攀焀甀攀渀挀礀⸀   吀栀椀猀 椀猀 挀漀渀琀爀漀氀氀攀搀 戀礀 琀栀攀 昀椀氀琀攀爀 瀀椀琀挀栀 control, 0 = low cutoff 256 = high cutoff. In laymans terms, the਀栀椀最栀攀爀 琀栀攀 挀甀琀漀昀昀 昀爀攀焀甀攀渀挀礀 ⠀昀椀氀琀攀爀 瀀椀琀挀栀 ㈀㔀㘀 㴀 洀愀砀⤀ 琀栀攀 戀爀椀最栀琀攀爀 the sound. It is essential, however that the filter can be ਀挀漀渀琀爀漀氀氀攀搀 戀礀 栀漀眀 栀愀爀搀 琀栀攀 搀爀甀洀 椀猀 猀琀爀甀挀欀⸀ ਀吀栀椀猀 椀猀 愀挀栀椀攀瘀攀搀 戀礀 琀栀攀 昀椀氀琀攀爀 戀攀渀搀 挀漀渀琀爀漀氀⸀   ㄀㐀　 ⴀ ㈀㔀㘀 愀 愀猀 琀栀攀 drum is struck harder the filter opens further and the sound is ਀戀爀椀最栀琀攀爀Ⰰ 最攀琀琀椀渀最 搀甀氀氀攀爀 愀最愀椀渀 愀猀 琀栀攀 猀漀甀渀搀 搀椀攀猀 愀眀愀礀 ⴀ 猀攀琀 戀礀  the decay control. This can be effective only if the initial਀猀攀琀琀椀渀最 漀昀   琀栀攀 昀椀氀琀攀爀 瀀椀琀挀栀 椀猀 氀漀眀 ⴀ 猀愀礀 ㈀　 ⴀ ㄀　　Ⰰ  愀猀  椀昀 琀栀攀 filter is open fully (pitch at 256) it is impossible to open it ਀昀甀爀琀栀攀爀 眀椀琀栀 琀栀攀 戀攀渀搀 挀漀渀琀爀漀氀⸀ ਀吀栀攀 昀椀氀琀攀爀 挀愀渀 漀瀀攀爀愀琀攀 椀渀 琀栀攀 漀瀀瀀漀猀椀琀攀 猀攀渀猀攀Ⰰ 椀⸀攀⸀ 愀猀 琀栀攀 搀爀甀洀 椀猀  struck the filter is closed and opened slowly as the sound dies ਀愀眀愀礀⸀ 吀栀椀猀 椀猀 愀挀栀椀攀瘀攀搀 眀栀攀渀 琀栀攀 昀椀氀琀攀爀 戀攀渀搀 挀漀渀琀爀漀氀 瘀愀氀瘀攀 椀猀 　 ⴀ  140. This is useful for gong sounds etc. that get brighter as਀琀栀攀礀 最攀琀 焀甀椀攀琀攀爀⸀    䄀猀 戀攀昀漀爀攀 琀栀攀 椀渀椀琀椀愀氀 猀攀琀琀椀渀最 漀昀 琀栀攀  昀椀氀琀攀爀 pitch is important, - it is impossible to close the filter਀搀礀渀愀洀椀挀愀氀氀礀 眀椀琀栀 琀栀攀 戀攀渀搀 挀漀渀琀爀漀氀 椀昀 琀栀攀 昀椀氀琀攀爀 瀀椀琀挀栀 椀猀 愀氀爀攀愀搀礀  at zero (i.e. fully closed).਀ Resonance can be added at the filter pitch frequency, ਀　 㴀 渀漀 爀攀猀漀渀愀渀挀攀 ㈀㔀㘀 㴀 洀愀砀椀洀甀洀 爀攀猀漀渀愀渀挀攀⸀ ਀䴀椀砀椀渀最 渀漀椀猀攀 愀渀搀 挀氀椀挀欀 琀漀 琀栀攀 搀椀最椀琀愀氀 猀漀甀渀搀 挀愀渀 ✀氀椀瘀攀渀✀ 琀栀攀 猀漀甀渀搀  considerably, as unlike the digital source the noise content ਀挀栀愀渀最攀猀 挀漀渀猀琀愀渀琀氀礀 洀愀欀椀渀最 愀 ✀氀椀瘀攀爀✀ 猀漀甀渀搀⸀ ਀䄀一䄀䰀伀䜀唀䔀 匀伀唀一䐀匀 ⴀ 䈀䔀䰀䰀匀 䔀吀䌀 ਀䄀 昀愀挀猀椀洀椀氀攀 漀昀 愀 琀漀洀 琀漀洀 挀愀渀 戀攀 戀甀椀氀琀 甀猀椀渀最 愀渀 漀猀挀椀氀愀琀漀爀    戀攀渀搀椀渀最 it as the pad is struck, adding click and noise, and feeding it਀琀栀爀漀甀最栀 愀 昀椀氀琀攀爀 琀栀愀琀 挀甀琀猀 漀昀昀 愀猀 琀栀攀 猀漀甀渀搀  搀攀挀愀礀猀    愀眀愀礀⸀   吀栀椀猀  was the SDS 5 tom tom.਀ This sound can be recreated using the controls of the SDS 7. But਀眀椀琀栀 洀漀爀攀 挀漀渀琀爀漀氀 漀瘀攀爀 琀栀攀 昀椀氀琀攀爀Ⰰ   戀攀渀搀 愀渀搀 洀漀搀甀氀愀琀椀漀渀 攀瘀攀渀 洀漀爀攀 sounds can be created.਀ The oscilator can be used to reinforce the digital sound, tuning਀琀漀 琀栀攀 猀愀洀攀 瀀椀琀挀栀Ⰰ 漀爀 愀渀 漀挀琀愀瘀攀 戀攀氀漀眀⸀ ਀吀栀攀 搀椀最椀琀愀氀 猀漀甀渀搀 挀漀甀氀搀 戀攀渀搀 甀瀀Ⰰ   眀栀椀氀猀琀 琀栀攀 愀渀愀氀漀最甀攀 猀漀甀渀搀猀 戀攀渀搀 down. The possibilities are endless.਀ By modulating the oscilator with a fast waveform metalic and bell ਀氀椀欀攀  猀漀甀渀搀猀 挀愀渀 戀攀 瀀爀漀瘀椀搀攀搀⸀    䄀渀愀氀漀最甀攀 洀漀搀甀氀愀琀椀漀渀 㴀   ㈀㔀㘀  ⠀洀愀砀⤀ modulation speed = 10 analogue bend = 140 (no bend) analogue ਀瀀椀琀挀栀 㴀 ㈀㔀　 眀椀氀氀 瀀爀漀搀甀挀攀 愀 洀攀琀愀氀椀挀 猀漀甀渀搀⸀ ਀䄀氀琀攀爀椀渀最 愀渀礀 漀渀攀 漀昀 琀栀攀猀攀 瀀愀爀愀洀攀琀攀爀猀 眀椀氀氀 愀氀琀攀爀 琀栀攀 琀椀洀戀爀攀 漀昀 琀栀攀  sound drastically.਀ The combinations of 18 different parameters are obviously਀氀椀洀椀琀氀攀猀猀Ⰰ 攀砀瀀攀爀椀洀攀渀琀Ⰰ 氀攀愀爀渀 愀渀搀 漀渀挀攀 礀漀甀 栀愀瘀攀 愀渀 甀渀搀攀爀猀琀愀渀搀椀渀最  you will be equipped to create what you require from the SDS 7.