An assignment is a method of controlling a parameter with another parameter/drum/module inside of your set. This creates a connection so that when one is manipulated, the other follows.
Blends affect the relationship between the zones of a drum. If you have two zones with two different samples and the blend is turned off, as you move from one zone to the other, there will be a point where you hear the sample immediately change from one to the other. With the blend turned on, the two samples will gradually fade into each other as you play between the zones.
Buffer size refers to the number of samples that the software is given to process the audio from the audio interface. There is a trade off between latency and CPU workload. A smaller buffer size will have less latency, but will work your CPU more and might result in audible clicks and pops if it can't keep up. We recommend a maximum buffer size of 128 samples for good latency. If you have a fast CPU, 64 is even better. CPU strain will depend on a number of factors, including the complexity of your set and the number of effects you are running, so it is important to find the right buffer size for your particular situation.
A controller is a module that contains and affects generators and other controllers. They can map samplers to drums, sequence samplers (and even sequence other sequencers and controllers), velocity and timbre map samples, you name it!
The Edit View is where sets are built. You can drag-and-drop controllers, generators, effects, or samples from the library and route virtual inputs to those modules. When you’re building sets from scratch, you’ll spend most of your time in the Edit View.
An effect is a module that alters the sound of the sample without permanently changing the sample itself. Some examples of effects include reverb, delay, compression, and EQ. Most of them have adjustable parameters. You can put effects on the Layer or Module-level.
A generator is any module that generates sound or MIDI by itself. This includes samplers, MIDI generators, and analog inputs. Generator modules can't contain other modules, but they can have effects.
Hardware Inputs refer the physical devices that are connected to your audio interface that are sending a signal into the software, whether it’s a drum sensor, a MIDI keyboard, or an analog input like a microphone.
Hardware outputs refer to the physical devices connected to your audio interface that are receiving output signals from the software -- that could mean speakers or headphones used to monitor audio, or a MIDI device you are controlling from the software.
A layer contains one or more modules and routing from one or more virtual inputs to those modules. Layers can contain an entire drum set mapping, or just a single sampler. This flexibility of layers is so you can group sounds that you want to mix or orchestrate together.
A macro is a single knob, slider, or button that can be mapped to one or more other parameters. This saves time and helps keep your mappings more organized. Macros exist at the set, layer, and module level.
You can mix and pan the layers in the mix view.
A module is any generator, controller, or effect in Sensory Percussion. Basically any individual "box" in the Edit view. Modules can be dragged from the library onto layers in the Edit view or onto a blank space (where they become layers).
The front page of the set shows an overview of the set’s Virtual Inputs, Layers, Macros, and an image with a background. You can make quick edits to the layer mix and to set and layer level macros, but deeper edits to controllers and generators are done in the edit page. When you’re playing your sets you’ll spend most of your time in perform mode.
The Sample rate is the number of times per second the analog signal coming into the interface is captured (or sampled) to be converted to a digital signal. It's just like frames-per-second is for video. The sample rate is measured in kiloHertz (kHz). For example, with the setting 44.1kHz, there 44,100 samples are being captured per second. A higher sample rate means there are more samples that the computer needs to process per second, which can increase CPU load. We recommend using 44.1kHz with Sensory Percussion. 48kHz is more common in audio for film and video (it's more compatible with 24 frames per second).
In cases where you are using ADAT to connect your interface to another interface, you will want to make sure both are using the sample sample rate.
A sequencer is a type of controller that allows you to play a group of samples with one zone in any order that you decide. You can drag and drop samples into a sequencer and from there, adjust how they’ll be played, whether it’s in sequential order, reverse, or randomly.
The set contains Virtual Inputs, which are connected to Layers that produce sounds. A set could be as simple as a single virtual input connected to a single sampler inside a layer, or it could contain great complexity with many drum maps, hit controllers, and all kinds of other controllers and generators.
The Session is the ribbon of sets spanning the top of the application window. There's no limit to how many sets can be in a Set List. To create a Session you can drag and drop sets from the library, or select “Add New” to build something from scratch. Sensory Percussion can only have one Set List open at a time. Sessions can be saved to your computer as
In Sensory Percussion, timbre refers to the way that you’re playing the drum. Timbral information is used to mimic the sonic difference between playing the center vs. playing the edge of an acoustic drum, or the difference between playing the rim with the tip of the stick vs. playing with the shoulder.
Virtual Inputs are the connections between your hardware inputs and the layers of your set. By adding/changing virtual inputs, you can change the routing between the two. This allows you more flexibility, as you can save your virtual inputs and still be able to play your set the same way, even if your physical setup has changed since you last opened it.
A zone refers to the physical area of the drum that you’re playing. Sensory Percussion breaks up your drum into 10 zones for snares/toms and 6 zones for kicks.