digitalDrummer August 2012 preview

Edition 11 AUGUST 2012

Mark Drum for Gottlieb

The global electronic drumming e-zine

Danny marksdigital move

TD-30KV test New DIY kit SSD4.0 review

ddaug2012_Layout 1 7/07/12 4:19 PM Page 1

©2012 Avedis Zildjian C

ompany

Zildjian has created a revolution in edrums. Gen16, the world’s first acoustic electric cymbal. Play the hi-hat like a hi-hat. Choke cymbals. Roll with mallets. Stack cymbals. Experience all the dynamics without the latency or audio compression associated with digital sounds. Control audio levels and shape cymbal sounds with up to 99 presets per cymbal. Choose from an array of cymbal sizes and types made at the Zildjian factory. Visit Gen-16.com for more information and check out the “Young Guns” series of performance videos.

REAL CYMBALS

FOR THE WAYYOU PLAY

There are two approaches to new product launches. There aresome manufacturers who flag their enhancements beforethey’re ready to take them to market; and there are those whobeaver away in secret and then suddenly pull back the cover toreveal something new.Both approaches have their advantages and their drawbacks.Think back a couple of years and you’ll recall two productannouncements that attracted a huge amount of interest. First,Zildjian’s foray into electronic percussion with its Gen16acoustic/electronic range. At the same time, Aquarian unveiledan acoustic head with built-in triggering capability. It took manymonths after the first glimpse before the Gen16s started hittingshelves and as we went to press, the inHead had still not madeit into full production. Of course, the product does exist and isactually featured in this month’s Monster Kit – but those arenot production models just yet.Since those products were announced, Roland has completelyrevamped its line-up, from entry level to flagship – without a hintthat anything was in the pipeline. Of course, potential buyers get frustrated when their interest isaroused but they can’t find the new offerings in the stores. Sothere’s a significant downside to premature announcements.But on the other hand, as the stakes rise and gear becomesmore expensive, it’s understandable that manufacturers willwant to tempt buyers and keep them “in the market”. There’s also a downside to “shock and awe”. It doesn’t help totake buyers by surprise. Nor do you win friends by bringing out anew model just after someone has invested in what was market-leading last week but is outdated today. To its credit, Roland didstart running out its last generation before hitting the marketwith new offerings. The reason I raise this is that three products which we werehoping to review in this issue haven’t yet reached us – despiteongoing hype.At the same time, I am aware of half a dozen other productswhich are being readied for market as we speak. Their makershave told us from the outset that they don’t want any publicityuntil the products are ready to roll. And while we will be providedreview samples ahead of the launch, we are sworn to secrecy.Personally, I think this is the way to go and look forward to morelaunches of this type.And I hope you enjoy the current magazine which includes areview of the new Roland flagship. The review was slated for theMay issue, but the courier saw fit to send my review kit to a city1,000 km away – and then to take some time getting it to theright place, missing our deadline.

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Editor & Publisher

Allan Leibowitz

Sub-Editor

Solana da Silva

Contributors

Carl Albrecht

Simon AytonGerçek Dorman

John Emrich

Scott Holder

Cover Photo

Danny Gottlieb

Courtesy Drum Craft

Design and layout

‘talking business’

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--from-the-editor--

digitalDRUMMER, AUGUST 2012 3


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Edition 11 August 2012

Who’s buying?As the appeal of e-drums spreads, digitalDrummer asked theexperts to explain who is buying e-drum products.

30 out of 20Roland’s new flagship kit is being delivered worldwide afterstrong pre-orders and Allan Leibowitz spent some time behindthe kit to see if it lives up to the hype.

Sampling the samplerRoland’s recent upgrade of its multipad sampler brought somesignificant improvements, but it mysteriously left out some of itspredecessor’s popular features.

Head2Head - Take FourIn our quest to leave no mesh untested, digitalDrummer brokeout the test rig once again to compare three more offeringsfrom Europe. AccessoriesdigitalDrummer looks at a couple of products designed tomake life easier for drummers.

Danny makes his markClassically trained Danny Gottlieb has appeared on over 300CDs, four of them Grammy winners. The original drummer inthe Pat Metheny Group, Gottlieb recently aligned himself withnew Italian e-drum maker Mark Drum.

Big names go with big namesIt’s one of the ironies of the market: those people who can bestafford and use top-end gear most generally get it for free in abid to sell more of it to those who can afford it less and may notneed it at all. It’s all part of the endorsement game.

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How I use e-drumsWe’ve heard from Western drummers who have incorporatede-drums into their arsenals, and this month we discover aTurkish drummer, Gerçek Dorman, who is plugged in andswitched on.

Big kit or little kitSize doesn’t matter when it comes to drumming performance,according to Carl Albrecht. That wisdom certainly applies to e-kits, where the choice of instruments is wider than acoustics.

Product review: SSD 4.0 PlatinumThe new Steven Slate Drums moves away from the Kontakthost of its predecessor with the development of a new player,SSD Player. And that’s not the only improvement.

VST Q&AE-drum guru John Emrich is back to answer more questions ontopics from programme selection to third-party samples.

Stand up and be mountedJust because your kit comes with a rack doesn’t mean you’reforced to use it all the time. Simon Ayton looks at some of thealternatives.

Kit won’t go r-ongLast year, we reviewed half a dozen conversion kits totransform an acoustic shell into an e-drum. Allan Leibowitztests another addition with the arrival of a new offering.

My Monster KitThis month’s beauty was put together by Californian MarkMoralez and is based on a Gretsch kit and inHead triggers.

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Who’s buying?

--talking..point--


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Alesis doesn’t necessarily see a singular“typical” electronic drummer. Rather, we seea range of musician profiles: the bedroomdrummer, the quiet practiser, the electro-acoustic enhancer, and the full-blownelectronic player are among the key profiles.We believe it is crucial to understand thegenuine needs of each type of drummer, sothat every Alesis product delivers on themission of making technology accessibleand affordable for musicians.Dan Radin, Alesis

I do have a varied customer base, but amore common buyer may be the 40-plusage group. Having outgrown their wildacoustic drumming days and settled into asensible family life, they get the drum bugurge once more and, most importantly, thepermission from the wife as long as threeimportant things are not damaged: the bankbalance, the family’s hearing and theneighbours’ friendship.Dave Chetwynd, Diamond ElectronicDrums

These days, the buyer is as diverse as themodels available. No longer the solitarydomain of the drummer looking for practicalpractice options, they are a serious livealternative. E-drums are now sought byprofessional recording studios; musiciansowning home studios; guitarists wanting tolay down their own drum tracks on demos;schools and teachers, mums and dads asthe new beginner kit; and even seriousgamers for a truer tracking experience thanthe toys that come with Rock Band!Mark Trask, Musiclink

The typical drum-tec customer is a verydemanding customer who is prepared tospend a lot of money on his dream e-drumset. He is mostly well informed and alreadyowns one or more drum kits. And now hewants to buy his individual e-drum kit. Manyof our customers are higher earners, oftenself-employed and have a requirement forquality and service. Most of them wantnothing else but the very best!Konrad Müller-Bremeyer, drum-tec

As the appeal of e-drums spreads, digitalDrummerasked industry experts to explain who is buyingelectronic percussion products. Here are some of theresponses:


http://stores.cymbalismmusic.com/-strse-2089/drumit-five-5-2/Detail.bok

http://stores.cymbalismmusic.com/-strse-2089/drumit-five-5-2/Detail.bok

30out of20

Roland’s new flagship kit is being delivered worldwideafter strong pre-orders and Allan Leibowitz spent sometime behind the kit to see if it lives up to the hype.

--gear--


PHO

TO: R

OLA

ND

US


WE’LL SKIP PAST the “what’s in the box” stuff (seepage 10) and go straight to the burning question: Isit any good?

After a re-acquaintance with the TD-30KV flagshipsince my initial exposure at NAMM in January, theshort answer is ‘yes’.

The kit was reasonably easy to assemble, takingabout an hour and a quarter from the first boxcuttersnip to the final trigger connection. Admittedly, I’vehad a bit more practice than most at kit set-up, butanyone should be playing in under two hours.

The shiny chrome MDS-25 rack is easy to erect,thanks to its rock-solid chrome connectors. Andwhile the rack looks low, the flexible tom and cymbalmounts enable you to find just the right height forevery component. Connecting it all to the module is

a cinch, due to the well-labelled heavy-duty wiringloom threaded through the rack.

The pad configuration is excellent. A decent-sizedsnare and floor toms (the new 12” PD-128S-BC/128-BC pads) and two more-than-adequate 10”PD-108-BC hanging toms give the averagedrummer targets that are very easy to hit. (BCstands for black chrome, Roland’s term for thegunmetal-coloured wrap.) The 14” KD-140-BC,rewrapped from its TD-20SX/KX incarnation, is asolid, imposing bass drum with plenty of realism forthe feet. It looks great in the new colour.

The cymbal line-up is certainly enough to get anyserious drummer started. The ride is a CY-15R-MG,again a recoloured version of the TD-20 pie, and it’saccompanied by two CY-14C-MG crashes. Sure, therubber-covered triggers don’t quite have the feel




All-new TD-30 module withSuperNATURAL sound engine,USB connectivity and newAmbiance fader among theeight individual faders. Thereare 15 input jacks, twoMaster Outs and eight DirectOuts.There are 100 kits, 1,110drum instruments and 262backing instruments.The module is now availableseparately as well.

VH-13 hi-hat has a newmotion sensor for smoother,more accurate transitions.

Anatomy ofa flagship

No hi-hat stands, snare stand or kickpedals are supplied with the kit.

The drum wraps are

interchangeable.


The chrome MDS-25 rackhas heavy-duty hardware,integrated cymbal standsand swivel-ball tom mounts.

KD-140, which made adebut in the TD-20kit, gets a new wrap.

The new PD-128 has a newrim sensor. The pad comes intwo formats, the rack-mountPD-128-BC and the stand-mount PD-128S-BC.

The CY-15R-MG Ride is finished inmetallic-gray rubber. Its bellresponse seems to have improvedfrom its predecessor.

There are two CY-14C-MGcrashes - both with bow andedge triggering and chokes.

The two PD-108-BCpads also have newrim sensors.

The ball joint makesit easy to positionthe toms.


Click here to see acomprehensive video tourby digitalDrummercolumnist Simon Ayton.


http://youtu.be/Fr6VpCcr044

under the stick of metal cymbals, but they are quietand, as I’ll explain in a bit, super-realistic inperformance. And yes, some might have wanted abigger ride. Others might yearn for a china-shapedcymbal or a smaller crash – but those are trivialissues and the overall trigger offering is spot-on.

The hi-hat might look deceptively like a recolouredVH-12, but the VH-13-MG is like an e-hat onsteroids, thanks to an improved motion sensor.

And then, of course, there’s Mission Control: aserious black box with the potential to convinceeven the most sceptical acoustic drummer. The TD-30 module takes what was previously a benchmarkmodule (I know some rivals will stop reading at thispoint!) and transforms a Bentley Continental into aBugatti Veyron. But, unfortunately, Roland has filledthe tank with regular instead of premium. Hang on,I’m getting ahead of myself…

Start your enginesThe TD-30 module interface is very similar to that ofthe model it replaces. It’s logical, user-friendly andgenerally allows you to make changes with a singlebutton or slider, rather than complicated menu trees.So it gets a tick for ease of use.

I won’t run through trigger tweaking because it’s allstraight-forward, but I should point out that becauseof the module’s added capabilities, some parameterchanges will be needed for most drummers. Sometriggers will need a bit more sensitivity, others a bitless – depending on your playing style. But certainlydon’t just use the defaults unquestioningly.

You’ve probably read a bit about the“SuperNATURAL sounds withBehavior Modeling”. Withoutgetting too technical, it’s as ifRoland has added nuancelayers to its “samples”and augmented thatwith improved triggersand an enhancedability to determinewhere on the heador cymbal you’ve hitand how hard. Addthose two togetherand you get farmore realisticperformances withsubtly differentsounds as you movearound the head or rim.

Also under the hood, Rolandclaims to have enhanced engine

performance to reduce latency, and while the TD-20certainly didn’t seem to present any lag, there is animmediacy about the TD-30 which is hard to miss.

Terrific triggeringAt the first strike of your stick, you’ll notice theaccuracy of the triggering across the whole kit. Fromthe lightest of strokes on the snare to energetic rollson the edge of a crash, the response is immediateand exact.

On the new PD-128 snare, for example, there’s aterrific transition as you move from the rim to thecentre, and as you strike harder or softer. Under thehood, there’s clearly some serious processinghappening in the Behavior Modeling circuit becausethere’s absolutely no machine-gunning – each strikesounds unique as if there’s a “round robin” effect.

Rim triggering is superb, with the module producingcross-stick, shallow and deep rim shots – all with anatural feel and sound.

There’s been a lot of speculation about theimproved rim triggering of the new PD-128 pads andfor comparison purposes, I swapped the pad for abrand new PD-125X and found very little differencewhen the pad was properly dialled in. So the goodnews is that you get improved rim response evenwith older pads.

The toms’ responsiveness has also been enhanced,with subtle changes in tone from head to rim and animpressive dynamic range. Roland has beefed upthe tom sounds which now have more body and

oomph, especially the low toms onsome of the rock kits.

When you attack the ride,one of the firstimprovements that

jumps out is themassively improvedbell triggering. Nolonger requiring huge

wrist movements, thebell action is nowsmooth and natural.Like the drum pads, theride has positionalsensing, with subtle

changes of tonedepending on where on

the bow you hit. Thesensitivity is really evident inthose light, delicate notes,

especially when they’repaired with the new ultra-realistic

sounds. And of course, there’s a very12 www.digitaldrummermag.com


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responsive edge with choke. The choke is still justan on-off switch, and you can’t, for example,partially mute the ride the way you can withYamaha’s DTX kits.

The new hi-hat triggering is another breath of freshair. The VH-13 is very sensitive, with subtletransitions from edge to bow. Again, there’s a lot ofhype around the responsiveness of the motiondetector, but in head-to-head testing, I found only asubtle improvement on a well-dialled VH-12. Eitherway, the module certainly delivers convincingtransitions from open to closed and even when thehats are closed, the pedal tightness continues tochange the sound, just like “real” closed hats underpressure. And not that anyone would really need it,but the hat also has a choke, so it too can besilenced with a squeeze of the fingers. (The pitchbend, by the way, works on all the triggers, like it didin the TD-20, so you can alter the pitch of the toms,for example, with the hi-hat pedal.)

The crashes especially benefit from intelligentinterval control which takes cymbal rolls into a newlevel of realism.

The KD-14 feels realistic, with just the right amountof bounce. It was a snug fit for my Demon Drivepedal and I suspect some ultra-wide pedals mayrequire some modification.

Sounds like…Before we get into the sounds themselves, one ofthe biggest enhancements from a performance pointof view is the new ambiance control. The TD-30builds on the parameters of the TD-20 and adds aconvenient slider control. With one click of theAmbiance button, you can choose the balancebetween overhead and room mics and the amountof reverb – and you then refine that on a globalambiance slider. The TD-30 even allows you tocontrol the virtual mic positions and the spacingbetween stereo overheads (with a mono option aswell). The extensive selection of preset ambiancemodels (from a studio to an arena) is also carriedover from theTD-20, and I should point out that theambiance settings are breath-takingly realistic.

So, you’ve got VST-like ambiance control, moresounds (1,362 - as opposed to 1,282 on theexpanded TD-20X), “better” sounds, fasterprocessing and more positional sensitivity – all theingredients for a supreme instrument.

The TD-20 snare sounds were excellent and the30’s are even better. There’s another huge leap inthe cymbal sounds which are far more realistic. Thehi-hat, as indicated earlier, has also stepped up anotch. And the tom and bass sounds have alsobenefited from the makeover, with more ballsy lows


The TD-30KV is competingin a niche market, but it’s notalone there. Buyers wouldprobably also consider someof the following:

Yamaha DTX950K Five drum pads, a bass drum,three cymbals and a hi-hat onthe new hex track. Drummerseither love or hate the newTextured Cellular Silicone(TCS) heads. The module ispretty impressive, with 1,115drum and percussion soundsand 211 GM melody voices.Best of all, if you add a DIMM

card, you can use the moduleas a sampler – something youcan’t do with the TD-30. Pricetag: $5,500Drumit Five 2BoxGaining popularity, this quirky-looking orange kit is winningrespect for its VST-qualitysounds and open system whichallows for the addition ofcustom sounds.While it may not have Roland’snuanced triggering, it hasplenty of onboard memory,terrific stock sounds and freeaccess to a growing sample

and loop library. The standardkit has five mesh pads, twocymbals and a hi-hat on aquality rack. Price tag: $2,800

Pearl e-Pro LiveThe hybrid kit has full-sizeddrums, two brass cymbals anda 12” hi-hat. The Tru-Tracheads are as polarising asYamaha’s silicone offering:some swear by them, someswear at them. The triggering isnot quite at the level of the bigtwo and the rebadged Alesismodule is also outclassed atthe top end. Price tag: $3,200


and ringing highs. In short, the SuperNATURALsounds may not be “real samples”, but they’re very,very close and, with COSM editing, are alsoextremely customisable. But I’m reminded of thefamous conductor who turned to his principal cellistand said: “Madam, you have between your legs aninstrument that could give pleasure to thousandsand all you can do is scratch it!”.

Scratching it, in this case, refers to the stock kits.Firstly, there are ‘only’ 80 stock kits – and 20 emptyones (although I suspect Roland will fill thesesooner rather than later). Of the 80 kits, around twodozen are lifted from the TD-20X kit bank – althoughthey admittedly sound much better on the 30 – fuller,brighter and more detailed. But there was no reasonto repeat the kits as the entire TD-20X kit collectionis already loaded onto the brain (together with theTD-20 bank) and can be accessed by hitting twobuttons.

Now, some of the new kits are excellent and I cansee gigging bands being able to find enough varietyto cover almost any genre, from delicate jazzbrushes with astonishingly realistic cymbals to bigfat rock kits with thunderous toms and a cannonbass. There are country kits, oldies kits, revampedLatin kits and some impressive acoustic knock-offs.A few of the new kits certainly rival some VSTofferings. But as usual, there’s the collection ofwacky and weird kits that only Michael Schack canplay with any credibility.

I got a glimpse of the module’s potential by loadingsome TD-20X VExpansion kits and even thoughthey are not optimised for the TD-30, they instantlytook the module to a new level, bringing the kit to lifewith cracking snares, ringing toms, shimmeringcymbals and a bass you could almost feel. That kindof tweaking can bring pleasure to thousands! Isuspect (or, at least, hope) we’ll see some modelledkit offerings from Roland – either as free updates orpaid add-ons, and no doubt, there will also soon betailored VEX offerings for the more demandingdrummers.

The bottom lineThis is, beyond doubt, the best Roland kit ever.Great triggering from the last generation has beentweaked with intelligent responsiveness, new freshsounds make this kit more realistic-sounding and itsinterface is highly intuitive. What’s more, Roland hasmanaged to bring a superior kit to market at the

same kind of price level as its predecessor. Sure,the street price of around $7,500 is not ‘modest”, butit does buy a lot of kit that’s pretty much plug andplay.

If you’re looking for a new kit at the top of the range,this offering certainly warrants a test drive.

If you’re a current TD-20 owner looking for evenbetter performance, you should seriously considerupgrading at least the module – and possibly the hi-hat and snare (in that order), although I’m convinceda brain transplant will produce 95% of theimprovement on its own.

The TD-30 is a significant step up, but it hasn’t quitereached its full potential. The power of the brain haspresented huge opportunities to further polish thestock kits – and if Roland doesn’t provideexpansions to exploit the huge capabilities,someone else certainly will take the TD-30 to thelevel it deserves.

And, overall...Some nifty stuff:

✔ At last the CF card has gone to meetits maker and you can use a USB stick toback up kits and move stuff to and fromthe module.

✔ Tweaked TD-20 and TD-20X kits canbe loaded onto the module via USB. Thestock TD-20/X kits are already in thememory and accessible with a couple ofbutton pushes. And they sound betterthan they did on the 20.

✔ You can now play .wav and MP3 filesvia USB. Roland has supplied a CD ofdrumless practice tracks which are verycool.

✔ The interchangeable shell wraps fromthe TD-20 range can be used on the newpads.

✔ The TD-30 module is available forpurchase separately and performs wellwith “previous generation” pads, cymbalsand hi-hats.

And the disappointments:✘ Those naff sound-effects kits that onlyMichael Schack will use.

✘ The empty kits (although I senseRoland will fill those).



Roland’s recent upgrade of its multipad samplerbrought some significant improvements, but ScottHolder notes that it mysteriously left out some ofits predecessor’s popular features.

Sampling thesampler

--gear--



ON SALE SINCE last year at US$799, the SPD-SXis the replacement for the venerable SPD-Ssampling pad. It combines a preset library of soundswith nine trigger pads and a generous amount ofsample storage space with a modest set of externaltrigger inputs.

The HardwareThe pad arrangement is a single-level, six-pad,three-bar (nine “pads” total) layout measuring365mm x 330mm. That puts it on par with theYamaha DTX Multi 12 (reviewed in January 2010)but smaller than both the SPD-30 Octapad or theAlesis Performance Pad/Pro. The main padsmeasure 3.75” square (950mm) and the bar padsare like the Multi 12 in that they’re raised above thelevel of the bigger pads, making them easy to hitwith the shank of a stick.

The pads are not hard rubber, but then they’re notsuper-soft. They fall somewhere between the ratherunique softish feel of the Multi 12 and the hardnessof most solid rubber pads, ranging from the oldRoland PD-7 to Alesis’ various multipads. The resultis a pad that’s reasonably bouncy, while attemptingto minimise the relative pounding one’s hands wouldget from extended use that way. Nonetheless, handand finger play for long sessions on the SX willdefinitely be fatiguing, again falling somewherebetween the Multi 12 and hard rubber pads. Gettingfast rolls and responsive cymbal swells iftransitioning back and forth to mesh or dedicated e-cymbals won’t be jarring. Any equivalent “positionalsensing” characteristics (to the ear) weren’t evidenton the stock sounds, although the responsivenessof the flat pads over the entire playing area wasgood.

Pad noise isn’t too bad. The sound has a lightertone, thus the overall effect is less intrusive thanmost other multipads - except the Yamaha DTXMulti 12 and Alesis Performance Pad.

Pad setting adjustments are extensive and will befamiliar to anyone used to working with a Rolandmodule. You can adjust things like sensitivity,velocity curve, etc. Pad settings are global.

Thus, if you find something too soft on one kit andtoo hot on another and they’re both assigned to thesame pad, you can’t differentiate their pad settings.That’s normal for all Roland e-drum modules and isa different approach than Yamaha’s which allowsyou to set those technical settings per pad on a kit-by-kit basis.

The volume and control knobs are convenientlylocated on the front of the unit. Some might feeluneasy about an errant stick hit that could crush acontrol, but having those within reach is anergonomic advantage over most of the other pads.This is very important for the SX because it hasseparate control knobs that, if one of the effects isselected, gives the user the ability to change theentire characteristic of that effect on-the-fly.

The BrainThe SX has 210 drum, percussion and effectssounds; most are what you would expect in terms ofpercussive sounds, although the range is verylimited and “standard” drum sounds are scant.Around 60 of the sounds are short “riffs”, notpatterns in the classic sense, but little one- to eight-measure riffs of bass or piano. The pad sounds arenot grouped. Instead, they’re accessed via a list andthe pre-loaded 16 kits are not listed in the owner’smanual, nor are the individual pads for each kit.

The SX also processes signals from externaltriggers or foot switches, having a single foot switchinput and two stereo trigger inputs. The latter can beincreased to four mono inputs by using a splitter.There is no HH controller input. Like the Multi 12,the three external trigger connections are universal:I plugged in Roland, Yamaha, Kit Toys, Hart,Concept 1 and Alesis pads and all worked without ahitch.

Storage capacity is massive and far, far beyondwhat’s found on any other multipad which loadssamples. That speaks to the main purpose of theSX: an easy-to-use sampler with significant onboardsampling capabilities. The 2GB of storage holds upto 10,000 16bit/44.1kHz mono sample files.



CapabilitiesThe SX is the only multipad sampler on the market.Yes, units like the Alesis SamplePad and YamahaDTX Multi 12 have the ability to import and playback samples, but no ability to sample real time oredit them on the unit. This on-the-fly sampling (aka“Multi-Pad Sampling”) is a slick feature. Startrecording with a simple thwack of your stick on apad, then start playing the sample and the latter willload onto the SX as a .wav file. It’s that easy.Roland makes a lot out of the SX’s edit functionsand while they’re not that extensive, you can editstart and end points on the unit itself. For thosewithout decent software to produce their ownsamples, you can do a credible job on the SX.

You can assign up to two samples per pad and theycan be set to play simultaneously. However, eachsample’s output can only be routed to either theMain output or the Sub output.

The accompanying Wave Manager software allowsfor easy sample transfer and assignment to eachpad. It’s a huge improvement over what came withthe SPD-S but still does not allow for complete kitediting functionality. You can’t assign

loop/phrase/single shot parameters of the sampleusing the software; you have to do it on the SX unit.

As a MIDI controller, you can control every MIDInote for every pattern. Our usual test of plugging theunit into a computer and running Toontrack’sEZDrummer wasn’t completely plug and play.Instead, you have to dial the MIDI note number forany given pad, but that took about a minute. Padresponsiveness as a MIDI controller was excellent.When hooked up to our TD-12, again the samething - almost plug and play, but very easy to eitherchange the MIDI note number on the SX side orsimply change the instrument for the kit being usedon the TD-12 side.

Good ThingsThe menu is easy to navigate and the live controlsare an improvement over the SPD-S. A dedicatedLED with each pad illuminates with varying intensity,depending on the waveform. The Wave Managersoftware is very easy to use.

The onboard .wav editing, while basic, is very easyand very handy. The ability to quickly import/recordsamples and have them automatically stored in theonboard library is great.


The SPD-SX features a single-level, six-pad, three-bar layout.


The amount of onboard memory means you couldtheoretically load an entire drum kit and still haveroom to spare for a vast variety of samples neededfor any live performance.

Significant onboard effects and real-timeperformance application of those effects is anotherlive performance feature of the SX. The ease withwhich you can start and stop a loop, merely bytapping the pad, is incredibly friendly to liveperformances. Also, you can assign a loop to playfor a specific number of measures, then stop.

Not So Good ThingsThe pad settings are global, not kit-by-kit. ForRoland users, this is a given and might not be a bigdeal. However, some will find that different samplesor stock sounds react differently when a pad isstruck; in one case, it might be too “hot”, in another,too “cold”. It’s a real Goldilocks dilemma when youcan’t fine-tune each pad to account for thosedifferences.

The Sub Output can’t be used along with the Mainoutput for velocity-based multi-samples. Forexample, you can assign a .wav to the “Sub” inorder for a pad to play two sounds simultaneously.However, that combined sound can only go outthrough the Master outputs or the Sub outputs, notboth simultaneously. It’s a small thing, but might bea deal-breaker for some.

Ergonomics for hand usage isn’t ideal. The pads arenot tiered and even if the SX is angled to thepercussionist, it’s hard to get a good slap on thepads with anything but your fingertips, and whackingthe bar pads with your hands is doubly hardbecause…

The bar pads (1-3) have poor sensitivity. Each tooka decidedly hard thwack with the stick shank to geta response. Even after cranking the sensitivity andlowering the threshold to nothing, stick hits on thebar pads needed a strong hit. That depended in parton the sample selected but with hand play, this gotold really fast.

There is no variable HH support – a step back fromthe SPD-S.

On really long samples, if synced with the internalclick, a “creep” issue results where the two moveaway from each other.

The Bottom LineThe SX is not designed as a mini-drum kit, althoughwith its storage capacity, you could sample an entirekit from any number of VST packages. Itsusefulness for a performance lies in the ability tohave a slew of customised samples, or even theonboard percussion instruments, available in a small

package to either the acoustic or e-drummer. Theadded ability to tweak those samples on the flymight also appeal to live performers or DJs becauseit is very easy to do. Short loops work flawlessly.Longer samples that depend on staying synced tothe internal click remain a problem. Finally, the KitChain feature means you can take a 100-songlibrary and quickly set up a set list.

The sampling feature seems to be aimed more atthe non-professional musician or up-and-comingsongwriter who’s not using a computer to generateand edit samples. However, the ease with which asample can be recorded, then exported to a USBdrive and then edited on a computer is alsoappealing in that you don’t need to drag a computersomewhere to record samples; simply do it on theSX, then transfer it over to the PC.

The onboard sampling edit features are simple andeasy to learn, whereas editing audio and creatingsamples on a computer can be daunting to thosejust starting out.

If you own an SPD-S, chances are you won’t findthe SX enough of an improvement to warrant an up-grade. However, if you’re looking for a sampler withdecent onboard sounds, easy edit functions and farbetter software/computer interface, the SX could bein your future.

Specifications:

Pad Section: 9 built-in pads, 1 foot switch

Max Polyphony: 20 voices (aka “notes”)

Sounds (voices/instruments): 650

Drum kits: 16 preset; 84 user-defined

Effects variation: 20 presets that include delay,reverb, chorus, flanger, etc; 4-band EQ

Flash memory: Mono/.Wav or AIFF

Flash memory file capacity: 10,000 files

.Wav file sample rate: 16bit/44.1kHz

Sequencer Capacity: N/A

Note resolution: N/A

Recording method: Real-time overdubbing

Patterns: None

Interfaces: MIDI; USB

Wave memory: 2 GB

Click tempo range: 20-260 BPM

Inputs: L and R ¼” mono

Outputs: 2 L and R ¼”; ¼” headphone



ddmay2012v2_Layout 1 26/04/12 6:56 AM Page 24

http://www.facebook.com/pages/Hart-Dynamics/164666210265400

Head2Head

TO DATE, WE have compared 15 production mesh heads and one DIY version.This time, we add two new offerings from makers we have previously featuredand one which was missed in our past efforts.

Testing was done on the same rig used in the original test – aheavyweight drumstick pivoting on a nail on a verticalrod. Noise measurement was done viathe same Realistic Sound LevelMeter, with a brand new Hartmesh head used to calibrate themeasurements against thoseobtained last time. The reboundmeasurement was done, again,by connecting the snare to aRoland TD-20 module and taking aline recording from the module. Therecordings were loaded intoAudacity and the waves measureduntil they fell below a minimum value.The duration to that zero point isnoted in the table.

Again, there were two noise levelmeasurements: one from a controlleddrop, and the second in free play atmaximum velocity.

The results were as follows:

In our quest to leave no mesh untested,digitalDrummer broke out the test rig once againto compare three more offerings from Europe. AllanLeibowitz has the results.

Take 4

--Gear--



682DrumThe Dutch e-drum supplier has reacted to the demandfor white heads with a new range of dual-ply heads toaccompany the trademark black ones. These aresimilar in design, with two layers of medium-guagemesh producing a reasonably opaqueappearance. The heads are quite generous andfit easily on a 12” shell.

The head has a good feel under the stick –not too bouncy, but just lively enough.Triggering response is even across the headand it can take a good amount of tension withno signs of strain.

The white mesh is clearly different to the blackstuff used in the other model as it was slightlylouder under controlled hits, but slightly softerunder heavy battery. The head also has a deepdistinctive tone and quite a pronounced buzz.

Overall, it’s a well-made head which performs well –at a reasonable price.

TriggerheadThe Swiss T-drum company has taken up where ddrum left off inEurope, and its mesh offering takes the form of black single-ply heads. At around €18 for a single-ply, these are notthe cheapest heads.

The heads are generously sized with a bit of give inthe mesh, so it takes quite a bit of tightening toget them tensioned.

Triggering is good across the entire surfaceand these heads are about average fornoisiness. They are average for controlledhits, but on the softer side for full-borestrikes, which is good news for heavy-hitters.They produce a high-pitched sound – almostidentical to the Z-ed single ply.

The heads feel lively and, especially undervigorous play, are more bouncy than theirrebound score suggests.

One thing that may put off some picky drummersis the extremely large white logo (all 9cm x 4.5cmof it), which looks okay on a 12” head, but isoverpowering on the smaller sizes.



Britain’s Z-ed has gone to the next levelwith three layers of mesh. Unlike the Billy Blast triple, the three layers here appear to be the same material used in the two-ply (Blast has a different texture to its middle layer). The third skin significantly reduceds head noise from the two-ply, but didn’t eliminate the buzz. In fact, the buzz on these heads is among the most pronounced we have heard. The heads have a good solid feel with some beefy bounce. These had the strongest rebound of the three samples in this test and were also at the top end on the overall leader board. Triggering performance was flawless. Like the dual-ply, these heads have generous hoops and again proved challenging to remove after testing. Some users were disappointed at the transparency of the previous Z-ed lines and while these add another layer, they are still not completely translucent. Head Price Ply Noise level Rebound+ 682Drum !12 2 72-86dB 2.155 682Drum (white) !12 2 74.5-84dB 2.055 Arbiter £9 1 81-95dB 2.109 Ballistech $12 1 78-93dB 1.619 Ballistech II $25 3 78-91dB 1.952 ddt !22 2 78-89dB 2.322 Drum-tec Design !22 2 79-91dB 2.147 Hart Magnum $40 1 75.5-89dB 2.017 Hart Maxxum $40 1 77-92dB 2.030 Pearl Muffle Head $10 1 75-94dB 2.175 Pintech SilenTech $37 1 76-89dB 2.273 RMV $30 1 75-87dB 2.043 Roland by Remo $40 2 77-88dB 2.251 Triggerhead !18 1 75.5-82.5dB 2.051 Tuff Mesh^^ $13 1 79-85dB 1.602 Z-Ed £7 1 78-86dB 1.949 Z-Ed Twin £9 2 76-88dB 2.218 Z-Ed Triple £10 3 72.5-85dB 2.285 XM $10 1 75-90dB 1.983 Heads in black feature for the first time. +Rebound measured in seconds. ^^ DIY head.

Z-ed TripleBritain’s Z-ed has gone to the next level with threelayers of mesh. Unlike the Billy Blast triple, the threelayers here appear to be the same material used inthe two-ply (Blast has a different texture to itsmiddle layer).

The third skin significantly reduces head noisefrom the two-ply, but didn’t eliminate the buzz.In fact, the buzz on these heads is among themost pronounced we have heard.

The heads have a good solid feel with somebeefy bounce. These had the strongest reboundof the three samples in this test and were also atthe top end on the overall leader board.Triggering performance was flawless.

Like the dual-ply, these heads have generous hoopsand again proved challenging to remove after testing.Some users were disappointed at the transparency of theprevious Z-ed lines and while these add another layer, theyare still not completely opaque.



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--gear--

Dixson Bass Drum LiftWith more full-size bass drums finding their way into e-kits, there’s often a need to raise the drum. Especially ifyou’ve converted a 16” or 18” tom into a kick drum, youmight need an extra inch or two to get the beater to hitaccurately.

Enter the Dixson Lift. While this is not its intended use,the riser effectively lifts the drum for more accuratebeater contact. It also eliminates the need to attach thebass drum pedal to the drum hoop – which can provedifficult if you’re using a DIY bass drum.

The lifter is a one-piece plastic bridge on which the drumsits. Its base extends about three inches, providingsomewhere to attach the pedal.

Unlike complicated adaptor systems which require mounting to theshell, the Drum Lift is easy to use since the drum just sits on top of it,held in place by the rim. It also allows drummers to easily change theangle of the drum head – ensuring even triggering.

It’s elegant in its simplicity, light and compact and sells for about $40.

StageWorksMatWhen Paul Simon sang “Slip Sliding Away”, he might well have beendescribing drummers playing “chase the pedal”, the frustratingbattle against slipping foot devices when you can’t use spikes toanchor your bass drum or hi-hat to the floor.

There have been a number of homebrew solutions, many of whichinvolve cutting up bits of carpet.

Well, you can now throw away those unattractive offcuts and breakout a simple and elegant solution developed by the StageWorks GearCompany in the UK.

The StageWorksMat is a non-slip three-layer pedal mat designed to fitunder a pedal and keep it in place. The mat is conveniently sized for theaverage bass or hi-hat pedal set-up, measuring 20cm x 46cm.

It’s lightweight and produced in nondescript black and with a logo ononly one side, so it’s easily hidden.

The mat ships in a two-pack (£14.99), so you can even give one to yourguitarist who will thank you when his effects pedals stop sliding away ...

AccessoriesdigitalDrummer looks at some add-ons that make life easier…




Danny makesDanny makeshis Markhis Mark

Classically trained Danny Gottlieb has appeared on over 300CDs, four of them Grammy winners. The original drummer inthe Pat Metheny Group, Gottlieb has worked with a “who’s who”of contemporary music. Gottlieb has recently aligned himselfwith new Italian e-drum maker Mark Drum and shares hisperspective with digitalDrummer editor Allan Leibowitz.

--profile--

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digitalDrummer: Tell us how you got intodrumming. When did you start and what got yougoing?

Gottlieb: I grew up in Union, New Jersey, andstarted playing cello in the fourth grade. My momwas a violin player, and the cello seemed closeenough, and I played it for eight years. But it wasreally not my instrument, and with the help of a bestfriend, Dave Uhrig, the drummer in the high schooljazz band, and the instructor, Mr. Geist (whom westill call Mr. Geist some 40 years later), I took asummer music school programme and started drumlessons. That was in 1967, and I was hooked fromthe minute I started, and it just has not stopped!

digitalDrummer: Let’s talk about the legendary JoeMorello. How did your association with him start?

Gottlieb: As it turned out, Joe was teaching in amusic store, Dorn and Kirshner, about a five-minutewalk from my house in Union. I used to go therewhen I first started playing to buy drum heads, keys,etc. One day, the gentleman who ran the drum

department pointed out a large man who waswalking up the stairs to the teaching studio and said:“That’s the great Joe Morello. He teaches here”. Iasked who he was, and although I didn’t know muchabout Dave Brubeck, Joe explained who he was,and pointed out that he was on the cover of theLudwig drum catalogue. I figured if he was on thecover, he MUST be good! I asked if he thought Icould take a lesson, and he said “just go ask him!” Inervously went to his studio, and knocked on thedoor, and Joe was as nice as could be. I askedabout taking lessons, and he agreed to schedule anevaluation lesson.

I returned the next week, and it changed my life. Forthe evaluation, Joe asked me to play somerudiments. When we played paradiddles, he said“Ok, let’s work it up to speed”. I played as fast as Icould and then he started to play much faster. Butwhen I looked at his hands, he was playing muchfaster, but with only one hand! I was astounded, andtotally turned around. I had no idea technique likethat existed!

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He explained that it was a method using “NaturalBody Movement”, developed by his teacher, GeorgeLawrence Stone, author of Stick Control, and wasalso influenced by his other teachers, Joe Sefcick,and Billy Gladstone. And he told me he could helpme with it, if I was interested. And I said “absolutely!”

That started a series of weekly lessons through highschool, and lessons after that while I would be homefrom college, or off the road.

It also started a friendship that lasted more than 40years. He would give me three or four things, andrequest that I practise each item an hour a day. Atfirst they were exercises and variations from StickControl, and later from his great books MasterStudies 1 and 2.

Between Stick Control, and Joe’s books, I haveenough to practise for the next 20 years. For thoseinterested in the basics of his techniques, take alook at his two instructional videos, and three thatwe did together for the Mel Bay Company (NaturalDrumming).

digitalDrummer:What are some of the enduringinsights you acquired from learning from Joe?

Gottlieb: To me, this technique is a gold mine, andthe most logical, no-tension method to which I haveever been exposed. It affects your touch,endurance, sound control – really, every facet ofplaying.

PHOTO: DRUM CRAFT

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ddaug2012v2_Layout 1 13/07/12 8:14 AM Page 26

From a musical standpoint, his ability to improviselike a horn player, and create drum solos like amaster composer are two of his main influentialcomponents which I would also call insights intoplaying.

Also his brush playing, ability to play polyrhythmsand improvise in odd times on the highest level wereother insights (and his ability to illustrate anddiscuss them during lessons).

As far as conceptual insights, there shine throughsome of his famous sayings: “you can’t pleaseeveryone”; “they are your drums, play them howYOU want to play them”; “you yourself have to knowhow you are playing, and not to base your judgmentsolely on outside sources (the leader says you arerushing… YOU have to know if you are rushing); “Ican back up my bullshit” (He would never giveanyone an exercise that he himself could not playon the highest level).

digitalDrummer: Your recording/performing careeris really diverse - from Pat Metheny to Booker T.What are some of the highlights and people youenjoyed working with most?

Gottlieb: There have been so many greatperforming situations and great musicians withwhom I have had the pleasure to play or record.Here are some: Metheny; Gary Burton (my first gig,with Pat in the band, who GOT me the gig) and my

first recording date “Passengers” on ECM, in 1976;recording “Say it with Silence”, 1977 with flautistHubert Laws at Rudy Van Gelder’s studio; formingthe group “Elements” with former Metheny bassist,Mark Egan (we recorded nine CDs); playing with GilEvans and his big band for four years (CHANGEDmy life), and recording the Grammy Album “Bud andBird”. Others include playing with Sting and Gil inItaly (videos still on YouTube); my first two albumson Atlantic, ”Aquamarine” and “Whirlwind” (late‘80’s); playing with John McLaughlin and theMahavishnu Orchestra (1984-86) - a video fromMontreux from those years was recently released -and my current experience, playing with actor GarySinise and the Lt Dan band (ltdanband.com), doingfundraisers all around the world. My wife Beth playspercussion and we have the greatest time. I have tosay, getting to play with Beth (and having theamazing good luck to have married her) has to rankas a big highlight! We play about 50 concerts a yearnow with Gary. Also, teaching at the university ofNorth Florida has to rank as a highlight. I love it andit was something I never thought I would do.

digitalDrummer: There’s a lot of variety in that list.To what do you attribute your versatility?

Gottlieb: It’s really growing up in the late ‘60s,hearing Miles Davis, Thad Jones and Mel Lewis,Basie, Hendrix, Bitches Brew, Led Zeppelin, all atthe same time. I loved it (and still love it) all! I just

NEW

f


wanted to play, and play the best I could, no matterthe style.

digitalDrummer: Technically, do you think there aresome basic elements of drumming that apply to allgenres and which underpin your versatility?

Gottilieb: The Morello technique, for sure, and theability to play good time, edit your playing and tobring adventure to each performance situation. I tryto never play a gig where I am looking at the watch(it does happen sometimes!), and always rememberto play at the highest level at all times, as you neverknow who is listening!

digitalDrummer: Let’s talk about electronics. Formany years, electronic percussion was seen as aniche on the fringe - not something taken seriouslyby professional drummers (besides the Simmonsphase in the ‘80s). What was your view on e-drumsin your early professional years?

Gottlieb: A big influence in the early years, andespecially when I had to follow him in theMahavishnu Orchestra reunion band, was BillyCobham. He has such power and sound! When Ifirst heard the Simmons drums, I could simulate Billywith very little effort. And with the Morello techniqueas a guide, when I played those early pads, I couldFLY on them. Crank ‘em up… sounded like BILLY!

That’s an over-simplification, of course, but I reallydid feel that way! I then started doing some studiowork in NY, and ended up using the Simmons drumson sessions. Later, in the Mahavishnu Orchestra,John started playing a guitar synth through themonitor on stage, not using amps. He wanted to tryan electric concept, and I used a set of Simmonspads and an SD9 for my kit on a tour. We eventually

went back to just acoustic drumset and some triggerpads, but we did try it. I was also endorsing theDynacord Electronic drums (from Germany). Theywere very interesting and I used them on sessions,but limited in the fact that it was only one sound perpad, based on a sound module. The SD9s, althoughkind of artificial as far as sample sounds areconcerned, were more fun, as you could mould thesounds around the music.

digitalDrummer:What electronic percussion haveyou tried and what do you currently own and use?

Gottlieb: Again, I used the Simmons SD9, and theDynacord Electronic percussion in the ‘80s. Then inthe ‘90s, the drumKAT, then later the trapKAT (manyvideos on YouTube, even from 15 years ago!), andnow the Mark Drum. Because of my friendship withAlternate Mode owner/percussionist/designer MarioDeCiutiis, I have been able to do a lot ofexperimentation with the Kat products.

It’s all a work in progress, but in the early ‘90s, I wasperforming a multi-media percussion show, where Itriggered not only sounds from the drumKAT, butvideo graphics as well. I met a graphic designerfriend in San Jose, Gary Burnet, through Kat repMike Brucker, and I was an artist in residence atHumbolt State College, in Eureka, California,working with them on designing a stage show for theworkshop. It blew my mind - just how many thingsyou could do with the drumKAT. We had graphics ofdancers, rockets blasting off, etc, all triggered by thedrumKAT as I played. I worked on that concept withGary for another three years, playing some prettywild gigs, until computer graphics of a high levelwere just too expensive for me to develop on my

Danny on YouTube courtesy of Alternate Mode and with an acoustic kit.

PHOTO: ZILD

JIAN



http://youtu.be/Sd_B8k_PPgw

own. The possibilities still remain, though, to do thattype of project again!

digitalDrummer: And you’ve also done samples forSonic Reality. How did the recording processcompare with your usual recording routines?

Gottlieb: I have a giant cymbal collection, andSonic Reality owner Dave Kerzner asked me to do asample library. I dragged 250 cymbals to his studioin South Florida. I only did one sample session forhim, and he had another drummer do the rest.When I actually played some loops and beats, andtexture sounds, it was fun. When I had to hit onecymbal at four dynamics in four different spots, Ihated it. I actually got so tired, that I fell asleepstanding up while trying to hit the cymbal 16 times inone spot. But I love the cymbal samples.

digitalDrummer: And what did you think of the finalresult? Have you heard your grooves used by otherartists?

Gottlieb: The samples are very good, but I just usesingle hits from a specific instrument (hi-hat, etc).And I have not heard anyone using my sound, but Ihope they are!

digitalDrummer: How did your tie-up with MarkDrum come about?

Gottlieb: The great bassist Jeff Berlin has been adear friend for 40 years. I love him and he’s one ofthe greatest improvisers in the history of jazz (justwanted to give him a plug). Jeff endorses Mark bassamps, and has raved about them for years. TheMark company just started making this newelectronic drum set, and I heard it this past year atthe NAMM show in California. I fell in love with it (itjust sounds great), and shortly after, I was invited tobe an endorser.

digitalDrummer:What do you like most about theMark Drum product?

Gottlieb: I LOVE the sounds, especially when youadd reverb. It makes you feel like you are really in arecording studio! I also love the pads, which aregreat. They are very easy for me to play.

digitalDrummer: And what advice have you offeredthe company for future enhancements?

Gottlieb: I would like a jazz kit in the sample library,and we are discussing using my Drum Craft kit forthat sample session. Also, I would like to samplesome new cymbals I have from Zildjian, which aregreat, and add them to the Mark Drum cymballibrary.

digitalDrummer: Danny, thanks for your time andsharing your thoughts.

In the next issue

Profile: Peter EeskineFew people embody the term ‘all-rounder’like Peter Erskine. An accomplished jazzperformer, he has also recorded with KateBush, Linda Rondstadt and Queen Latifah.Erskine’s acoustic kit was recently capturedin a Platinum Samples VST pack, and Erskinehimself endorses Roland V-drums. Erskineshares his views on drumming and electronicpercussion.Multipads go head to headThere is now more choice than ever before inmultipads, and we’ll put the range up againsteach other, looking at triggering, on-boardsounds, sampling, looping and ease of use.Dr D-drumsElectronic drums are the centre of a PhD byAustralian drummer Adam Manning, who isattempting to understand what sonicpossibilities and performance opportunitiesare available when using the instruments.Drumasonic 2A test drive of the new Drumasonic 2 VSTpack, with four times as many samples asthe original programme. This samplenewcomer focuses on quality rather thanquantity, with a small collection of highlydetailed instruments played with sticks,rods or brushes.All that and more in November ...

digitalDRUMMER, AUGUST 2012


http://youtu.be/Fr6VpCcr044


It’s one of the ironies of the market: those peoplewho can most afford and use top-end gear mostgenerally get it for free in a bid to sell more of itto those who can afford it less and may not needit at all. Allan Leibowitz looks at theendorsement game.

Big namesgo with

big names

--The-Industry--

ddaug2012_Layout 1 9/07/12 8:32 AM Page 30

ROLAND HAS THOMAS Lang, Yamaha has KennyAronoff and Pearl has Tommy Lee. Big names havelong been associated with big brands in the musicindustry, and the battle for high-profile endorsersseems to have reached new heights as themanufacturers vie for marketshare in what isbecoming one of the most lucrative segments of themusic industry.

It’s all about credibility. Mike Farriss, artist relationsmanager at Pearl Corporation, says endorsementsare aimed at “branding, visibility, recognition andlegitimacy”.

“We can tell consumers how great our products arebut consumers are aware that we are trying to sell tothem. Many people today are (suspicious) ofmarketing efforts and need validation of a product’slegitimate value.”

He believes that putting products in the hands ofprofessionals allows “the consumer to feel confidentthat Pearl can provide them with the same high-quality drums that the pros use”.

Yamaha artist relations manager Bob Terrydescribes endorsements as a two-way street. “It isadvantageous for us to have the best drummers inthe world performing on recordings, videos and liveon stage with our products. This provides a numberof ‘impressions’ of our brand and products to thepublic,” he notes.

David Levine of Full Circle Management, who wasthe original marketing manager of Simmons Drumsin the US, recounts the industry adage thatwhichever drum company Buddy Rich wasendorsing would see its sales increase almostimmediately wherever the legendary drummerplayed. But he notes that “nowadays, with so manyendorsers, companies, tours and media options, it’sharder to directly connect artists to sales”.

Paid to playAccording to the vendors, no-one is paid to endorsetheir gear. Yamaha’s Terry is emphatic that moneydoesn’t change hands: “We do not pay anyone touse our products – ever”.

The same goes for Zildjian, where John Roderick,VP new business and product development atAvedis Zildjian and head of the Gen16 programme,says artists “are never paid”.

Pearl’s Farriss has a similar approach: “Artists arenot paid to endorse our products. We want artists toplay our products because they believe in the qualityand dependability of our drums and hardware.”

But while artists may not be remunerated for simplyplaying particular products, Levine explains thatsome “upper-echelon endorsers may also be worthy

of signature product (accompanied by royaltypayments) and clinic commitments (with guaranteedannual fees)”.

LA drummer and digitalDrummer contributor BuddyGibbons also shoots down “pay for play” as a myth.“Most companies don’t have the budget to give outfree gear, let alone pay someone to play their stuff,”he says.

Commonly, endorsers receive free or discountedgear.

“We provide our artists access to what we believeare the best tools in the music business,” saysFarriss. “We also help them maintain these tools.We are here for them should they run into aproblem, no matter where in the world they may findthemselves.”

At Zildjian, “Some (artists) have been given freegear, but 90% purchase it”, according to Roderick.

There’s a strong expectation of entitlement amongtop-level players, and this makes it tough for smallermanufacturers. Alternate Mode’s customers includeNeil Peart, Danny Gottleib, John Mahon and TommyLee, and owner Mario DeCiutiis concedes that “it isreally hard to compete with the big boys because wecan’t give away product”.

He notes that some artists do expect free stuff. “Butwe find that when they do purchase product, thenthey really use it and are not forced to usesomething because they got it for free.”

Gen16/Yamaha endorser Russ Miller is on record assaying that “for me, it has never really been aboutgetting free gear”.

“By the time I was getting gear, I could afford to buyit!”

Miller notes that endorsements have “always reallybeen about support for me and the effects that Icould have on design”.

Besides equipment, endorsement deals commonlyinclude extensive product support such as repairs,loan gear and technical support. For internationalartists and global brands, that support is generallyavailable around the world, which is very usefulwhen you’re on the road.

Giving something backFull Circle’s Levine notes that there has to be somebenefit to the drum company in the endorsementarrangement.

“The greater the visibility, popularity and influence adrummer has, the greater his or her value as anendorser. These factors are not always determinedby a mathematical formula but these days, it’s prettyeasy to get a sense of that value.” Levine explains



that companies these days also look at socialnetworks to see an artist’s reach and impact.

Alternate Mode’s DeCiutiis points out that it’s “reallyvery important for us to have artist endorsementsbecause we really need the exposure. When end-users see our product in the hands of their favouriteartist - instead of just seeing it in a magazine(present company excluded!) - they are more apt topurchase.”

For many manufacturers, it’s not just about puttingbig names behind their gear, it’s also about usingthe pros’ experience to enhance the product.

Zildjian’s Gen16 range is a case in point. Rodericksays some of the endorsers are involved in theR&D. “A good example is Sam Wiley with The BigApple Circus. He plays the AE system hard, undervery tough circumstances (heat and dust) and hitsthem a lot, some 10 shows a week for months onend. Others like Paul Kodish and Andy Gangadeenare using the product in ways we’ve never planned.These guys are cutting-edge musicians, so theypush us and we tweak along the way. This hasincluded software and hardware mods. A few otherslike Russ Miller are actively engaged with our coreR&D team, helping to develop the next round ofproducts from Gen16,” he explains.

Miller is also a poster boy for Yamaha’s DTX range,and Bob Terry says Yamaha artists are regularlyassembled to “discuss how the products are workingfor them and how they can be improved”.

“There are many times when we work one-on-onewith artists as well (and) we also invite artists toJapan to work with the product development teamthere,” he says.

One significant example was when Yamaha wasworking on the new textured cellular silicone DTX-

XP pad. “Our artists spent many hours with theproduct development team to get the feel of the padjust right. The result is that we have been verysuccessful with the sales of our DTX kits that featurethe new DTX pads,” Terry adds.

Besides new product suggestions and on-goingenhancements, Pearl has a stong interest in thehands-on experience of its endorsers, says Farriss.

“The pros are working with the products every day.The gear … is set up and torn down hundreds oftimes a year - far more than normal consumer use,”he notes.

“This gives these professionals many opportunitiesto determine what works and what doesn’t work andalso what can be improved upon. It is part of my jobas director of artist relations to note this importantinformation and share it at meetings where newproduct ideas are discussed,” he says, adding thatmany of the product improvements in the lastdecade came about because of conversations withartists or their techs.

According to Roland US marketing communicationsmanager Rebecca Eaddy, artists tend to put Rolandgear through the most creative and vigorous kind ofuse. “Roland’s artist relations team greatly admiresand appreciates the artist’s perspective and reallygets to know their story. Often, an artist’s uniqueexperiences are passed onto Roland’s engineeringand R&D teams (with the artist’s permission ofcourse),” she notes.

The Japanese music giant not only benefits fromfeedback from the likes of Thomas Lang, TonyRoyster Jr., John “JR” Robinson, Omar Hakim, GregBissonette and Chad John Wackermann, it also hasa bunch of high-profile demonstrators who haveleft a personal stamp on the product line.



The next generationOf course, many gigging readers will have morethan an academic interest in the subject ofendorsements, hoping to secure the backing of oneor more suppliers.

Russ Miller says he is often asked by hopefulsabout endorsements. “If you are not already ‘visible’,‘famous’ or ‘influential’, there is no reason to giveyou an endorsement deal in the first place. If youare at all wondering about if you are in a position tohave an endorsement, in all honesty, you areprobably not!” he says.

Session drummer Gibbons agrees: “Some guyseven think that they can build a career by gettingendorsements: well, it doesn’t work that way. Not atall. When you’re starting out, it seems that theendorsement deal is the ‘brass ring’ of a career.What I found out was that it’s really just thebeginning.”

Levine has had his fair share of unreasonableendorsement requests: “Way too often drummerswill seek ‘full endorsements’ or ‘sponsorships’ (alsoknown as free product) before their playing and theircareers can possibly justify them. This is also a bigturn-off.”

New York pro drummer and educator Chris Howardstresses the need to build relationships if musicianswant support from the drum companies. “I wouldrecommend that (drummers) be prepared for aprolonged courtship over time. Speaking from myown experience, a company’s decision to investtheir time in an artist is not made overnight. Bysimply keeping in touch periodically with artistrelations representatives with details of their musicaldevelopments or perhaps an invitation to a specialhigher-profile performance, it could ultimately lay thenecessary groundwork for securing their very ownendorsement deal and a long-lasting andmeaningful professional relationship.”

These sentiments are echoed by Levine. “If you area young drummer just starting out, go slow. Playwhat you like and don’t expect free product andmagazine ads right off the bat. And definitely don’tsell your endorsement to the lowest bidder. It maybe tempting and an ego-stroke, but, in the long run,

it’s better to wait for the right endorsement deal thantake the first deal that’s offered to you. The offerswill improve as your drumming and career improve,”he advises.

Gibbons, who recently shot some videos for Tamaas part of his endorsement, points out that “if you'reseeking a deal with a company, remember thatyou're establishing a relationship. You're askingthem to do something for you and, in turn, they'll beasking for something from you.”

He also advocates patience and persistence: “If youdon't get the response you're looking forimmediately, don't give up. Keep in touch, get morecredits, build a relationship. You'll reach your goal ifyou work hard enough.”

Most in the industry stress that endorsements haveto benefit the drum companies as well as thedrummers.

Pearl, for example, expects its endorsers to allowthemselves to be used for marketing campaigns andadvertisements. “We also ask our artists to sharetheir experience with Pearl's products and peoplewith their fans,” says Farriss.

Eaddy says Roland is about to announce moreendorsers as it “embraces artists that inspirecreativity, are enthusiastic to play Rolandinstruments, and strive to help promote Roland tothe ever-growing world of music makers out there”.

She explains that through individually tailoredRoland Artist Agreements, “Roland works closelywith artists to determine the type of exposure theartist can provide for Roland gear, as well as theirlevel of commitment to interviews, photo shoots, andother activities.” In return, “Roland works to promotethe pursuits of the artists as well”.

Endorsement chasers should also realise thatarrangements vary from company to company, andfrom artist to artist. Generally, there are twocategories of support. Lesser-known B-grade artistsseldom get free gear, but there will also be fewerexpectations of them. But the big-league A-listers,who are able to not only leverage free gear but caneven generate revenues from signature productsand from clinics, are also under a lot more pressureto deliver.


http://www.musiciansrecommend.com/219-36.html

We’ve heard from Western drummers who haveincorporated e-drums into their arsenals, and thismonth we discover a Turkish drummer who is pluggedin and switched on. This is Gerçek Dorman’s story...

How I use e-drums


--PERFORMANCE--


I HAVE BEEN teaching drums and percussion at aprivate educational institution called Ozdem Muzikfor over five years. I am currently working with 40students at Ozdem Muzik and also give onlinedrumset, darbuka, udu drum, frame drum, congaand cajon lessons.

In addition, I am part of a world electronic musicduo, BLF, and also play with Simminor Band, whichplays European, Turkish and jazz music. And then,there are also gigs with a Latin band and atraditional Greek band.

I have played on several albums in Turkey and alsoproduce loops and samples for the industry.

I play a hybrid kit with e-drums, e-percussion padsand several acoustics. My favourite instruments,both of which are indispensable, are my RolandHPD-15 and a Korg Wavedrum Oriental. Inaddition to these, I use a Roland TD-3 module,Roland kick trigger, Roland crash cymbalsand an SPD-S sampler for different sounds,samples, loops and one-shots.

This combination gives me a vast range of soundsand I feel connected to the whole world whileplaying them. How else could one switch from tablarhythm from India straight to African udu rhythm?

And it’s not just the sounds, but the playingtechniques with these electronic instruments areclose to the originals, so I don’t have to learn newtechniques to get the sounds I want. And since Ihave recorded so many authentic sounds, I oftenuse my pads to trigger samples through myMacBook. Through the computer, I can modulateand resample sounds and add effects. This is veryuseful for all genres I play.

I produce percussion and drum samples and loops(traditional African, Indian, Latin, Turkish andEgyptian rhythms and grooves) using e-drums,acoustic percussion and drums. I either use theoriginal sounds or I produce loops through myMacBook. I share some of these samples and loopsfor free in my blogs, but increasingly, DJs andproducers are ordering loops from me. I amplanning a CD release, but in the meanwhile useAudiojungle as a shopfront.

My e-drum path began when I typed “electronicdarbuka” in a search engine and found the RolandHPD-15 in 2001. Within a month, I had bought one. Ithen bought a TD-3 kit and started to give drumlessons with it. In 2007, I added the Wavedrumwhich is my primary instrument now.

I was a traditional drummer and percussionist, but e-drums have given me new vision, new feelings anda modern approach. They have opened uppossibilities I hadn’t previously imagined andenabled me to take my performances to new levels.

Equipment list:Roland TD-3 module, KD-7 kick trigger and Rolandv-cymbals

Roland HPD-15 Handsonic

Roland SPD-S sampler pad

Korg Wavedrum Oriental

Schlagwerk cajon

Remo 10” snare drum

İstanbul traditional crash, hi-hat, splash

LP compact conga and quinto

Remo darbuka

LP chimes

LP cowbells

See Gerçek Dorman in action on YouTube.digitalDRUMMER, AUGUST 2012 35


http://www.youtube.com/user/GercekDorman

I REALLY ENJOY changing my drum set-up around.Sometimes, it’s a small kit – a four-piece (kick,snare, rack tom, floor tom), hi-hat, ride and twocrashes. Often, I add one more tom and an auxsnare to the left of my hat. My standard recording kitright now has 10″, 12″ and 16″ toms, a 22″ kick, a14″x7″ and a 13″x3″ snare. I change the cymbal set-up according to the music, but normally start with a20″ ride, 18″ and 19″ crashes and a 12″ splash.

I have several kits and tons of stuff to add to mydrum set-ups. Every now and then, I go crazy andset up everything I can get into my drum area. I liketo stir up the creative juices by hearing all thedifferent sounds that a large kit can deliver.

This happens on the road, too. I make it a point totry and play whatever they have available. Big kit orsmall kit, I like to apply the instrument to the musicI’m playing. I’m always mindful of honouring theartist I work with and what their music really needs.One of my regular artists prefers smaller kits – two

toms, maybe three at the most and a few cymbals.No splashes or chinas! Every now and then, a big kitis at a venue and he’ll ask me to scale it down a bit.And I do whatever I can to make him comfortablewith his music.

Other artists are OK with a big set-up, as long as Idon’t go crazy and hit everything on each song. Onelikes the added colour and expression a big kitdelivers. He even likes me to add more emotion andmusical drama to his music when it feelsappropriate. And that is the operative word - whenit’s the “appropriate” thing for the music. It’s notabout the drums, or me; it’s about the music.

When playing a big kit, it is essential to be matureenough not to hit everything. Just because akeyboard has 88 keys doesn’t mean they play themall on each song, right? Apply that principle to yourplaying and you’ll think more musically. Be a greatmusician, whether it’s the big kit or little kit. Playevery note with “heart”!

Big kitor little kit

Size doesn’t matter when it comes to drummingperformance, according to Carl Albrecht. Althoughhe’s writing about acoustic kits, the same wisdomapplies to e-kit, where the choice of instruments iseven wider.

PHO

TO: R

OLA

ND

US

--PERFORMANCE--



THE OLD STEVEN Slate Drums had a cultfollowing, despite the fact that it needed NativeInstruments’ Kontakt as a host. The latestincarnation, Steven Slate Drums 4.0 Platinum, hasmoved away from the NI host with the developmentof a new player, SSD Player. However, it stillrequires a DAW or host programme, and I tested itwith Reaper and the free VSTHost offering.

What’s in the boxFirstly, for me, there was no box. Instead there wasa 9GB download (thankfully broken into multiplepackages) and a fairly painless install andregistration process.

My download was one of the first after the projecthad been finalised and, to the company’s credit,there were reassurances that there would beupdates and new content. True to their word, theupdates have been timely and effective in ironingout bugs and improving the performance andplaying experience.

This review is based on the v1.093 build.

Layout and configurationThe basic kit has 12 pieces: a kick, a snare, fourtoms, hi-hat, ride, two crashes, a china and splashcymbal. Not all the kits use all the pieces, but onecan add sounds to the unused drums or cymbals asrequired.

The SSD4 screen layout is different to themainstream competitors, with the kit list in an upperpane and the kit image in the bottom pane.

The listing is logically arranged in rough genres –like rock, vintage, jazz, etc. One strange deviation isthe inclusion of revamped versions of older Slatekits under the “SSD Classic” classification – a topicwe’ll revisit a little later.

The kit selections occur in the Construct Kit tab.

Next, there’s an Edit Instrument tab which reveals arange of instrument tweaking options from attackand sustain to volume, tuning and panning. You canaudition the individual kit pieces and theirarticulations at a click of the mouse.

Product review: SSD 4.0

--VST--



The Mix tab reveals the usual slider controls for thevolume on each kit piece together with mic settingsfor the room and overhead pick-ups. There are alsodrop-downs for routing the outputs. It’s all verysimple and user-friendly.

The Grooves tab contains a collection of MIDIgrooves, arranged by library, category, parts andgroove name and although there weren’t manysupplied initially, already additional grooves havebeen posted for downloading – and, no doubt, therewill be more to come.

There are some other tabs for MIDI mapping anddata paths, and already a few custom maps havebeen posted on the SSD website customised for theRoland TD-20, a few Yamaha DTX models, as wellas some rival VSTs like BFD and SD, Abbey Roadand Addictive Drums. And again, no doubt, more tocome.

PlayabilityAs mentioned, there is now custom mapping (therewasn’t when SSD4 was launched) which becomesthe default once selected – and the mapping is spot-on. There’s excellent hi-hat response, with a largerange of articulations from open to shut. The rideseparation is realistic and even the bell triggeringseems better through a TD-20X module than theTD-20’s own response. Similarly, the crashesproduce excellent swells and the chokes work well.

One omission is rim sounds on the toms – but thenagain, many drummers don’t play the tom rims.

Latency, of course, is determined as much by thehost and the interface as the VST, but in SSD4, itwas no more pronounced than the other offeringstriggered through VSTHost and my PresonusAudiobox USB, especially with the sampling ratefine-tuned.

The soundsObviously, a VST pack lives or dies by its sounds,and here the Slate team has most of the basescovered. There are 100 kits – as many as the TD-20X or the 2box, for example. While many of the kitsare brand new, half are remastered versions ofprevious Slate kits modelled on famous artists oralbums. There are the unmistakable sounds ofSteely Dan, AC/DC, Red Hot Chilli Peppers, andMotley Crue and Led Zeppelin, for example. Theysound convincing and are clearly identified.

Similarly, the 15 “vintage” kits are well labelled. But Idon’t quite understand why there was no attempt to“personalise” the 20 rock kits identified only as SlateRock 1 to 20 – a naming pattern repeated for the

metal arsenal, the indie array, the funk kits and thecountry collection.

Overall, the sounds are very pleasing, and Slate hasdone an amazing job of making a few recordings goa long way. The actual sample pool is surprisinglysmall for the large kit collection, and the producershave obviously done a lot of tweaking to make theirraw recordings more versatile.

I was most impressed with a bunch of the snares,some beefy kicks and the really impressive Soultonecymbals which are among the best sample offeringsI’ve played in a while. I was particularly taken withsome of the crashes which were smooth andresonant.

I am an unabashed brushes freak and was suitablyimpressed with the Slate Jazz Brushes kit, whichhad some of the best tom sounds around. You canactually hear the separate strands on the heads.

Although there’s a very frugal offering of layers (foursamples per velocity and four velocities perinstrument), the SSD Player does an excellent job ofpreventing machine-gunning and providing a senseof rich sounds.

The verdictSSD4 is an excellent collection of kits covering ahuge range of genres with some fantastic soundinginstruments. (There are some omissions like Latinand percussion, but this is more of arock/pop/indie/country collection.) There are evensome dance sounds, but nothing too electronic. ThePlatinum edition sells for a modest $249, but there isa pared-back EX version with just 25 kits for $99.That does, however, include the full SSD Player.Personally, I’d go for the premium package –especially since most e-drummers can never haveenough sound choices.

This offering ticks most of the boxes – easyinstallation, decent MIDI maps to match mosttriggering options, generous-sized kits, an excellentselection of kit sounds and an interface that’s notover-complicated.

Of course, there are some compromises and itdoesn’t have quite the depth of sonic shaping ofsome of the big guys – but not all of us want tospend hours in front of a virtual mixing desk. Thereare limited FX and, as far as I could see, no mixingpresets – although those will probably follow.

Some of the kit naming smacks of a rush job, butthe sounds behind them are quite the opposite –well recorded, well engineered and smartly modifiedto make a little go a long way.

This one, as they say, is a keeper.38 www.digitaldrummermag.com


Pop! EZX by ToontrackToontrack’s EZX offerings continue to roll out, with the latest eclecticcollection bringing together a decade’s worth of sampling. The sounds wererecorded in legendary studios like New York’s Hit Factory, London’s 2KhzStudio and Nashville’s Blackbird Studios.The Pop! EZX consists of 10 ‘mixedand matched drum kits delicately intertwined with custom percussion pieces’.The sounds cover rock, pop and dance. There are 10 kicks, 10 snares, fivesets each of hats, cymbals and toms, together with a collection of percussionsounds including shakers, tambourine, cabasa, maracas, handclaps, snaps,cowbell, claves and bells. There’s also an extensive MIDI groove libraryincluded. Like many other recent Toontrack offerings, this collection has beenformatted as an EZX, with a smaller footprint than the full-blown SDXexpansions.Price: €69Information: www.toontrack.com

Seventies EJ Kit by Sonic Reality From EpiK DrumS - A Ken Scott Collection, the 70s EJ Kit is a single-headvintage concert tom kit recorded in the style of classic Elton John records, manyof which Ken Scott recorded and produced. A kit similar in sound to the oneNigel Olsen played with Elton in the ‘70s was recorded with the samemicrophones and recording techniques Ken used on the original albums. Thisexpansion pack for BFD2 promises “a beautiful retro sound with a punchylarge-sized kit with unique tone due to the single-head tom sound”. The pack’srelease coincides with another EpiK expansion for BFD: the 60s Downbeat kit.The pack samples the teatowel muffled drum kit Ringo Starr used in TheBeatles’ “Magical Mystery Tour” and “The White Album”.Price: $79Information: www.sonicreality.com

Real Country by Platinum SamplesPlatinum Samples has teamed up with digitalDrummer columnist John Emrich(see next page) to release the Real Country Multi-Format MIDI Groove Library.The collection includes over 1,000 grooves in a wide variety of C&W stylesincluding two beats, waltzes, shuffles, train beats, ballads, bluegrass, countryswing, country rock and “Wailin” styles and in a wide variety of tempos, allformatted for BFD2, BFD Eco, EZDrummer, EZplayer, Superior Drummer 2.0,Addictive Drums, SSD4, Cakewalk Session Drummer, as well as General MIDIwhich can be used with any GM-compatible drum software or hardware. RealCountry was produced and performed by John Emrich on a Yamaha DTX900electronic drum set. Obviously, digitalDrummer readers are not interested indrummer-replacement products, but these grooves can be a useful learning tool.Price: $29Information: www.platinumsamples.com

New products



VSTVSTVST

VST Q&AE-drum guru John Emrich is back to answermore VST questions from readers, this timelooking at choking and updating.

--vst--

40 www.digitaldrummermag.comVST

Question: Why is it that some third-partyproviders produce samples for only one format(BFD or SD), yet others make packs for both? Answer: I don’t think that most consumersunderstand exactly how much goes intoproducing a sample collection. There is a lot ofmoney and time invested in putting together atop-notch collection. In many cases, there is justno return on investment when you cross-populate the sample libraries. That wouldinvolve a second complete pass for editing thedata. Remember that all of the multi-mic VSTinstruments use different formats. Most of myfriends in this business will target one platformand do it right. It is quite possible to take thedata and make it “fit” a different platform, butthat does not mean it will sound the same.

Question: I’m looking for a broad range of kits.Should I stick with one format and buy all theextensions, or buy say BFD and SD and selecta few add-on packs for each?Answer: I understand the trend to buy a lot ofdifferent products, but I recommend keeping itdown to just a couple. There are a lot ofcustomers who don’t fully realise the potentialor power of a programme because they areconstantly moving around to different platformswithout fully understanding what can be donewith each programme. This usually ends in a lotof frustration. The top VST programmes offer ahuge range of expansion capabilities. I wouldonly go in a different direction if you just can’tfind it in your system. Remember that it isusually less expensive to purchase an add-onthan it is to purchase another programme. Thisapproach will also generate better musicalresults because you will be optimising yourprogrammes and getting the most out of them.

Question: I am running my VST through a hostprogramme, triggered via an Alesis Trigger I/O.Is it possible to switch kits using only the TriggerI/O, the way you do with a Module?Answer: In theory, yes. Everyone using amodule to trigger a VST can check to see if a)the module sends programme change and b)the VST will allow you to assign thatprogramme change to a preset. That is the nutsand bolts of it, but it isn't always that simple.VST drum data is large and needs to be loaded.Scanning through a few kits to get to the oneyou want can make it difficult for the programmeto keep up.Do you really need to change the entireprogramme? In a live situation, you may notneed to. When I play live, I have two verydifferent bass drums that I use: one is a small18" jazz drum and the other is a commercialsounding 22". I also use three versions of mysnare: snares on, off and brushes. I oftenchange some of my percussion instruments, butthey are smaller in size. In my case, BFD2allows for up to 32 kit pieces. I load them all. Istack the drums on the same notes and usemute functions to play the one I want to hear.This removes the loading times. You could alsokeep them all on and change the few MIDInotes in the module with slightly different triggerpresets. Both options are quick because it doesnot require loading new drums into the VST.Look at your needs. Does the high quality ofVST drums mean you need to change them forevery tune? Add to that the quality of yoursound system and decide if you really need tochange all of your drums. Will the audiencereally hear the difference?○ Send your VST questions to

[email protected]


Missed a review?Using the search function and the archive option, you cansearch the past three back issues* for any content, including

our reviews and head-to-head comparisons.

January 2010Reviews:

Yamaha DTX M-12Korg WavedrumRoland TD-8

Comparatives:Amps and Powered Speakers

April 2010Reviews:

Diamond Electronic Drums12” snareCrappy Triggers externaltriggersJman cymbal conversion kit

Comparatives:Mesh headsHeadphones

July 2010Comparatives:

External TriggersRacks

October 2010Reviews:

Roland HPD-10JamHub682Drums e-conversion kit

Comparatives:Double pedalsNotation software

February 2011Comparatives:

DrumsticksE-cymbals (stick noise)Cymbal VSTs

May 2011Review:

DrumIt Five 2box kitTuff Mesh

Comparatives:Auxiliary triggersE-cymbals (crashes)

August 2011Reviews:

Gen 16 AE cymbalsNative Instruments AbbeyRoad IVThe ClassicAddictive DrumsVirtually Erskine

Comparatives:Drop-in trigger kitsMesh headsIn-ear monitors

November 2011Reviews:

Pork Pie thronesStudio Drummer

Comparatives:E-snares

February 2012Reviews:

Midi Knights ProExtreme Drum Triggers kit

Comparatives:E-ridesMesh heads

May 2012Reviews:

ddrum Hybrid kitKorg Wavedrum MiniBFD Eco 1.5Platinum Studios RockLegends Quick Pack

Comparatives:Drumsticks

*For reviews prior to Nov2011, click here.

Here is a summary of our reviews to date:

Your definitive guide to e-drum gear


http://issuu.com/digitaldrummer

THE CYMBAL BOOM arms on many electronic kitsare often standard -sized and you may find thatmounting them directly into normal cymbal standbottoms is straight forward and can give you acompletely new look and way of playing.

As we well know, one of the many great thingsabout drums is that you can set them up anyway you like to express yourself, andelectronic drums are no different. In fact,due to their generally smaller proportions,they are even easier to position andarrange than their noisy equivalents.

If, for example, you’re doing a gigwhere normally you’d use a ‘onetom up, one tom down’-styleset-up, why not do the samewith your electronic kit?

The other advantage with a minimalist set-up is thatyou won’t be tempted to overplay, which may suitthe musical context better and get you more work.

After all, smaller kit + fewer notes = fast setup +less hard work = more fun + $$$.

Most electronic kits on the market use standard TRS(Tip, Ring, Sleeve) stereo jack leads, so extending

or re-routing them is no bigissue.

Kits that have the leads throughthe rack can normally beunthreaded and attached externally - or just leavethem there and use additional leads.


Stand up and be

mountedJust because your kit comes with a

rack doesn’t mean you’re forced to useit all the time. Simon Ayton looks at

some of the alternatives.

--tweaking--


48 www.digitaldrummermag.comdigitalDRUMMER, AUGUST 2012

What you needYou’ll want to look for TRS stereo leads with L-shaped connectors at least on one end to allowthem to be easily connected to the cymbal and tomjacks.

Check the module mount on your kit. You may findit’s the same diameter as many widely availablename brand cymbal stands and, in that case, it’ll justinsert straight into the stand.

You’ve probably already got some stands from youracoustic kit set-up and you can easily repurposethem without any modifications.

You could also look at mounting your module on asnare stand. If you need to extend any leads, youcan use headphone extenders that are easy to find.

Getting fancyIf you don’t like the look of leads running down fromyour triggers, you could even drill some entry holesat the top of the cymbal and tom stands where thehollow cymbal pole starts. Make them just bigenough to run a single guitar jack through and userubber grommets to protect the leads from damage.

Run the leads through the stands and out thebottom. The stands will work just like before, but willlook slicker.

You can then simply gather the leads exiting thebottoms of the stands together and run them underyour drum mat or even make another small hole orslit in the mat to feed the leads through and concealthem for an even more convincingly unwired-lookingkit.

Lefty friendlyNot all of us are right-biased, you know. Setting up akit in mirror image, left-hand mode can be as simpleas rotating the poles or simply just moving themodule, hi-hat and floor tom and switching thecymbal connectors. Or if they are physicallydifferent, you can switch the cymbal pads. The hi-hat pedal changes sides but the kick stays where itis, of course.

Any school or multi-kit situation should always haveat least one kit set-up for left-handers. It’s mucheasier to do with stand-mounted triggers than with arack.

Michael Schack’s free-standing kit A stand-mounted be-bop kit


http://www.musiciansrecommend.com/219-25-3-41.html

This kiT is available only from its German makervia eBay and roughly resembles the other German‘spider basket’ assembly reviewed last year.however, this kit is far more bespoke, with themanufacturer requesting a bunch of measurementsbefore shipping.

The RTs 1406 kit ships fully assembled, wrappedlike swarovski Crystal with airbags and additionalcardboard protecting its sensitive components. The system consists of two platforms attached tosome chunky arms. The sensors are alreadypositioned and the cabling neatly threaded.

There are detailed instructions, together with largeillustrations of the components and their names –and a list of required tools.

Everything is exceptionally well made and sturdyand i’m sure the trigger kit will be around for muchlonger than the shell in which it’s mounted. There’sterrific attention to detail, down to the routing of thewiring.

The kit is very easy to put together if you familiariseyourself with the part names and follow thedirections to the word – and the actual assemblytook about an hour from removal of the first head. (ittook some extra time to solder on the jack, althoughone could use a crimp connector.)

While everything fitted perfectly, some minoradjustment to the cone height was required toachieve the recommended overhang, and that waseasily achieved with a few turns of the screws onthe base.

Kit won’t go r-ongLast year, we reviewed half a dozen conversion kits totransform an acoustic shell into an e-drum. Allan Leibowitztests another addition with the arrival of a new offering fromr-drums.de.

How we testedAs in our previous tests, the trigger was installed according to the

manufacturer’s instructions into a 14” acoustic shell. This size waschosen in the wake of our external trigger review because it sorts

the men from the boys. The converted drum was tested as a snare, using a Roland TD-20

module with the TDW-20 expansion card and the latest firmware, anolder TD-6, a 2box module and a Yamaha DTX700.

Our digitalDrummer scorecard measures a number of criteria and ineach case, the top score is five and the worst is awarded one point. For

ease of construction, five points means easily done without tools or craftskills; four indicates that some tools are required; three implies the need for

removal and or replacement of some drum parts (other than heads); twoindicates the need for drilling or soldering and one connotes the need for

drilling/part replacement and soldering. The performance score is an averageacross the four modules on which the trigger was tested.

--diy--



The only potential challenge is that the system is notfully wired in its stock form, and customers have toattach the well-labelled wires to their own jack. Aprefab terminal connection is available on request.

When it was all wired up, the snare needed almostno module tweaking from the 125X setting on theTD-20.

Responsiveness was excellent across the head –even at the hard-to-trigger extremities, andpositional detection was perfect. Tracking anddynamic response were excellent, and rimsensitivity was uniformly good without anyadjustment.

Performance on the TD-6 module was equallyexcellent, except for the slightest hint ofunderperformance on rim triggering, which requiredadditional tweaking.

On the 2box, triggering was also spot-on, with onlyminor tweaks needed in pad12 mode.

surprisingly, the snare achieved good triggering onthe Yamaha module, although only single-zonedetection was possible. No rim or cross-sticktriggering was possible – which is fairly consistentwith almost all third-party pads.

so overall, this well-built (some might say over-engineered) kit performed extremely well on mostmodules. it’s clearly a robust product and looks likeit’s made to last, justifying its position toward theupper end of the triggers price list. But if you havedecent drums that you want to protect and fromwhich you expect great triggering, it’s probably agood investment.

The score:Price: €127Ease of construction: 2*Non-invasiveness: 5Performance: 4.7*soldering is required on the stock kit, but a

pre-fab connector is available on request.


http://eareckon.com

MyMONSTERMONSTERkit

The KitDrums: Gretsch Renown Series Silver SlateLacquer Sparkle shellsHeads:3 x 10” inHeads w/ inBOX3 x 12” inHeads w/ inBOX1 x 14” Hart Magnum Mesh HeadCymbals: Roland and Kit-ToysRack: Gibraltar HardwareCustom three-sided chrome rack Electronic Gear:DITI (Drum Intelligent Trigger Interface)M-Audio Profire 610 Firewire audio interfaceHP i7 LaptopSeagate 2TB External Hard Drive

Software:Toontrack Superior DrummerXLN Addictive DrumsNative Instruments Studio DrummerNI Abbey Road Drums, 60s, 70s, 80s, ModernPro Tools M-Powered 8Ableton Live 8Mark’s storyMark has a degree in music and has beendrumming for nearly 40 years. He’s played inseveral bands, mostly local, and in just aboutevery style out there including big band, jazzcombos, reggae bands, Latin and country.Mark’s electronics background is mostly self-taught.

When you’re building a monster kit, it certainly helps if youwork for the company which makes Gretsch drums andGibraltar hardware. Californian Mark Moralez also benefitsfrom his working relationship with Alternate Mode.

--gear--



digitalDRUMMER, AUGUST 2012

Mark (above) with his Gretsch kitmodified by Heuer’s Drum Lab inBurbank, CA and his DITI controller (right).

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BUY & SELL CUSTOM KITS


gearGuide

MESH HEADS ADD-ON TRIGGERS

Taking mesh headsto the next level

The new three-plyBallistech II Mesh Heads are

qquuiieetteerr,, mmoorree rreessppoonnssiivvee aanndd ttoouugghheerr.Made to fit all acoustic drums in a

wide range of sizes - from 8” to 22”UUnnlliikkee aannyy hheeaaddss yyoouu’’vvee ttrriieedd bbeeffoorree,,tthhee BBaalllliisstteecchh IIII MMeesshh HHeeaaddss ppllaayy

aanndd ffeeeell lliikkee ttrraaddiittiioonnaall ddrruumm hheeaaddss..Perfect for silent practice or e-drumming

Available only fromBilly Blast Drums

www.billyblastdrums.com

Got gear to sell?We’ll buy your used e-drum gear for a greatprice with no messing around. Why waste time and money listing on eBay oryour local classifieds when we can seal the dealwith one call?Whole kits, single triggers, modules, hardware -we buy it all.Sell to someone who knows the market andguarantees a fair price and prompt payment.Email us at [email protected] if you’re looking to buy, go toour eBay store, jjdrumz.

Each one a masterpiece

The finest components and hardware,hand-crafted with painstaking attentionto every detail.Fitted with top-of-the-line electronicsand optimised for your module.Quality you can see, feel and hear.

www.diamondelectronicdrums.comDEALER


http://www.ebay.com/sch/jjdrumz/m.html

DIY KITS

MESH HEADS MARKETING

gearGuide

GOING

Your ad herefor less than $200

CLICK HERE

DIY just got easier thanks to the new QuartzPercussions harness-mounted trigger system. The dual-zone model includes a 35mm triggermounted on an adjustableharness and a 35mm piezoconnected to a ¼” femalestereo jack. Mono versions and column-type shape triggers are alsoavailable for the easiestconversion of toms and bass drums.The harness system builds on the success of thereliable and popular Quartzcone triggers, precision-madefor perfect triggering.See us on YouTube or find outmore and place your orders atwww.quartzpercussions.com

Simply the bestSimply the best

www.stealthdrums.com

The leading DIY acoustic-to-electroniccymbal conversion kit is now availablein 2box versions.Stealth Drums’ popular kits can nowbe used for crashes and splashesand for the most responsive three-zone ride on the market.The kit contains all the parts you’ll needplus easy-to-follow instructions.

The best heads for electronic drumming, made by Aquarian Drumheads, are now available in Australia.Featuring Hart’s proprietary heavy-duty mesh, providing virtually silent operation.It’s a noticeable difference that you can feel.

To order in Australia, click here



http://youtu.be/lTeUHvwZ4RI

http://www.edrumarket.com/hart_heads.html

http://issuu.com/digitaldrummer/docs/digitaldrummer_advertising_2012

digitalDrummer is a combined effort, bringing together the expertise and experience of electronicdrummers, industry professionals and skilled writers. Here are some of the people who made thisedition happen ...

CARL ALBRECHTCarl Albrecht has been a professional drummer and percussionist for over 30years, working on a range of Christian, pop, country, jazz and commercialprojects. He currently lives in Nashville doing recording sessions, producing andwriting, as well as continuing to do various tours and seminar events. His arsenalincludes Yamaha electronic drumming gear.

SIMON AYTONSimon Ayton is the V-drums and percussion specialist for Roland Australia. Hebegan drumming in 1983 and trained as an audio engineer. Simon’s drummingcan be heard on more than two dozen albums and film soundtracks, ranging frommetal to electronic and folk, and he is currently working on two new solo albums.He shares his intimate knowledge of module-tweaking and amplification.

GERçEK DORMANTurkish percussionist Gerçek Dorman teaches at the Ozdem Muzik academy andgives online drumset, darbuka, udu drum, frame drum, conga and cajon lessons.He is part of a world electronic music duo, BLF, and also plays with SimminorBand, which plays European, Turkish and jazz music. And if that’s not enough, hecan also be found on stage with a Latin band and a traditional Greek band.

JOHN EMRICHJohn Emrich specialises in live and studio drumming, music production services,drum programming, original scores and arrangements, sound design and jingles,remote recording and event support, digital editing and mixing, and productdevelopment. He has been responsible for many award-winning sample librariesfor the BFD2 platform as well as sound development for drum modules.

SCOTT HOLDERScott Holder is a former intelligence officer who now works in IT for the USDepartment of Transportation. Nine years of organ lessons and two of cello inchildhood didn’t prepare him for the world of electronic drumming 30 years later.Scott has performed on and helped produce an art rock CD and is part of an AlanParsons Project tribute band, where he plays e-drums.

ALLAN LEIBOWITZAllan started digitalDrummer in 2010, applying his publishing experience andskills to his musical hobby. An award-winning reviewer, he enjoys putting all typesof gear through its paces, not only in the studio, but also in his role as a drummerin covers band City Limits and as a percussionist for an originals band. He’s alsoindebted to all the contributors who make the magazine what it is.

Give it up for the band ...--contributors--

THAT’S ALL FOLKS! www.digitaldrummermag.com


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digitalDrummer August 2012 preview

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