ÿþ                           SETTING UP

THE DRUM PADS

With the exception of the bass drum, all of the drum pads are the 
same.   They  contain  a piezo-electric device, located  in  the
centre of the drum pad,   which outputs a voltage when stressed.
The  level  of  this  voltage is dependant  upon how much    the
component  is  stressed,  and hence how hard the drum is struck.
This varying voltage has a controlling effect on the synthesizer 
modules and this phenomenon is discussed more fully in the 
"playability" section of the manual.

The  difference with the bass drum is purely  cosmetic.   It  is
larger and has a mounting plate at the base for a pedal   and a
mounting on either side,  into which the spurs should be located
and  angled to form a tri-pod with the drum perpendicular to the
floor.  Special care should be taken to tighten the mounting keys 
sufficiently to stop any rotation of the spurs.

The pedal mounting plate will accept most conventional bass drum 
pedals, which are attached in the usual way.

Dependant upon the configuration of your kit and the drum pads 
provided, a quantity of stands,  mounting arms and brackets will
be provided  to support the drum pads.   (Customers  in  certain
countries please note that stands are not necessarily included). 
The pads should be set up around the bass drum in a suitable 
playing position for your particular requirements. Ensure that
the mounting keys on the drum pads are finger tightened.  Do not
use pliers.   When  taking drums off their  stands,  loosen  the 
mounting keys just sufficiently to allow the drum to slide easily
off the mounting arm. Do not loosen the mounting key too far.

The selector pad has its own universal mounting arm and is 
supplied with all kits.   This should be employed to support the
selector pad  in an accessible position above  the  drums.   All
sixteen  segments  should be easy to reach with the tip of   the 
stick.

CONNECTING UP

On the rear panel of the rack housing the electronics, there are
twelve female XLR sockets labelled DRUM PAD INPUTS from 1 - 12. 
Each of these inputs corresponds to a channel in the rack where a 
module can be located. Viewing from the front of the rack, 
channel one is on the left and twelve on the right.

The  bass drum module is normally located in channel   one and
hence,  the bass drum pad should be connected to the drum pad
input  channel  I with the XLR cable provided.  This  operation
should be repeated until all of the drum pads are connected  to 
channels housing the relevant drum modules.

If a hi hat module is included in the rack,  the pedal provided
should be connected to the input on the rear of the rack marked
"Hi-Hat Ped" with one of the XLR cables.   This input is located
to the left of the drum pad inputs.   The input to the left of
this is marked "EXT. KIT SEL" and should be employed to connect 
the cable from the selector pad to the rack.

At this stage,  the SDS 7 is ready to be connected to a suitable
amplification system.

The question of a recommended system has no easy answer. 
Obviously such variables as the size of the venue and the type of 
music being played should affect your choice. By their 
definition, drum sounds are highly percussive and it is certainly 
desirable to amplify the SDS 7 at a level at least comparable to 
a conventional drum kit. Therefore, your chosen system should be 
capable of reproducing very dynamic sounds, spanning a broad 
frequency range.

If you have previously been playing an amplified acoustic kit,
the outputs from the SDS 7 can simply replace the drum mics.

If the SDS 7 is being played live and you wish to utilise the 
facilities of an external mixing desk, the sockets marked "Audio 
Outputs", I - 12 should be utilised to connect each module with a 
separate channel of the desk. The output of each of these 
connections contains only the sound from the module in the
relevant channel.   This allows each drum sound to be equalised 
independently and is certainly the most desirable method of
amplifying or recording the drums.    If you have only a small
stereo mixing desk and vacant channels are in short supply,  the
outputs marked left and right should be utilised to connect the 
SDS 7 to two channels of the desk.   The drum sounds are panned 
automatically in these outputs and hence the pan controls on the 
mixing desk should be turned to left in the channel receiving the
left output and right in the channel receiving the right.  When
used in this mode,   the volume controls, which are the lower of
the two controls located on the front of each module, should be
employed to set the individual level of each drum. These volume
controls also effect the level of the signal from the individual 
audio outputs.

Whether using individual audio outputs or the stereo outputs for
recording or playing live,  the output marked "mono" can be used
to simultaneously connect the SDS 7 to a separate amplifier for
the purpose of monitoring.   This is essential when playing on
stage as the drum pads themselves produce no sound. The monitor
system should be placed near the drummer and used at a suitable 
volume to allow all the musicians on the stage to hear the drums 
clearly. The relative level of each drum in the monitor mix will 
be the same as in the main mix, as the individual volume controls 
on the front of each module affect the level of all outputs.