digitaldrummer august 2011

Edition 7 AUGUST 2011

New offerings and applications

Theglobalelectronicdrumminge-zine

VSTs rule

PROFILE

John Mahon

GEARIn-ear monitorsON STA

GE

The Wiggles

FIRST LOOK: Zildjian Gen16 AE cymbals

ddAug2011v2_Layout 1 9/07/11 1:33 PM

MAGNUM & MAXXUMKontrol Screen “Mesh” Drumheads Magnum and Maxxum Kontrol Screen drumheads are Hart’s 5th generation of silent mesh drumhead technology. These heads are simply the quietest, most durable, best feeling, non-acoustic drumheads available. Play the new Maxxum on your snare and bass, Magnums on your toms and replicate the feel of playing a variation of double and single ply mylar. Attention to this kind of detail is how Hart continues to raise the bar for the electronic drumming experience.

HART PROFESSIONAL 13” Snare If you’re a digital drummer, you’ve probably already replaced your drumheads with Hart’s Kontrol Screen mesh. Now it’s time to upgrade your kit with the Snare Drum

that represents the superior performance of Hart’s, TE3.2, state-of-the-art trigger system with KS drumheads. Built

like a tank, this 13” Hand Hammered chrome snare is a full positional sensing, dual trigger drum that will stand the test of time and take your drumming to the next level....... MAP Price*: $390

HART HAMMERThe most versatile accessory trigger pad available. Give your kit a little something extra that performs in a big way. You can’t build an electronic drum set without a Hammer.

Get the BEST

DEALSon Hart

Dynamicsgear at

RMCAudioDirect.com

or Call Erik 877-222-7457

Toll-Free

Limited Edition

20TH ANNIVERSARYHart Professional KitWhat better way for Hart to celebrate 20 years of dedication to electronic drumming than by releasing the highest quality custom built electronic drum set ever made. The drums feature a limited edition Glass Glitter finish, machined lugs,10-ply maple shells and TE3.2 dual triggering system with Hart Kontrol Screen mesh heads. Plus, Pro Ecymbal II’s with Epedal II Hi-Hat stand and custom all chrome Hart/Gibralter Road Rack. Every detail of this kit represents the best of the best. This is a Limited Edition kit, so secure yours from RMC today.

EPEDAL II Hi-Hat Stand The Epedal II hi-hat stand is one more example of what sets Hart Dynamics apart from the rest. This is a fully variable pedal with up/down and open/close action, plus a super sturdy, double braced, 3 leg rotating base for use with all double kick pedals. ............MAP Price*: $299

STUDIO MASTER SERIESStudio Master 6.4 Key features that set this drum kit apart are four TE3.2 dual trigger 10” mesh Acupad drums for toms and new super solid 10” Acupad kick. 13” Hart Pro TE3.2 dual trigger snare with stand, top-of-the-line bronze Pro Ecymbal II’s, and the one of a kind Epedal II upright hi-hat stand. Pair with the module of your choice (sold separately) for a compact kit that delivers high-end performanceMAP Price*: $2,449

HART PROFESSIONAL SERIESHart Pro 6.4 Hart kits are handcrafted providing

the highest quality. Available in Hart’s distinguished all Hand Hammered chrome or classic Piano

Black lacquer shells with HH chrome snare. Features TE3.2 dual triggering, Pro Ecymbal

II’s, Epedal II hi-hat stand, and heavy-duty Hartware rack system. The perfect kit to perform at

church, on the road, or in the studio. Low acoustic volume for stage or at home, without disturbing your

neighbors.............................MAP Price*: $3,849

MAP Price*: $79

MAP Price*: $4,549

with Hi-Hat Ecymbal II ...................... $449

digitalDrummer

DISCOUNT!Enter Coupon Code

“HartDD910”

Other models available:

Studio Master 5.3 ........................ MAP Price*: $2,139Studio Master .............................. MAP Price*: $1,789

Magnum KS Drumhead....................................... click here for sizes & pricesMaxxum KS Drumhead........................................ click here for sizes & prices


Hart Pro 5.3..................MAP Price*: $3,359

http://www.rmcaudiodirect.com/Hart-Dynamics-Electronic-Drums-s/140.htm

http://www.hartdynamics.com/

MAGNUM & MAXXUMKontrol Screen “Mesh” Drumheads Magnum and Maxxum Kontrol Screen drumheads are Hart’s 5th generation of silent mesh drumhead technology. These heads are simply the quietest, most durable, best feeling, non-acoustic drumheads available. Play the new Maxxum on your snare and bass, Magnums on your toms and replicate the feel of playing a variation of double and single ply mylar. Attention to this kind of detail is how Hart continues to raise the bar for the electronic drumming experience.

HART PROFESSIONAL 13” Snare If you’re a digital drummer, you’ve probably already replaced your drumheads with Hart’s Kontrol Screen mesh. Now it’s time to upgrade your kit with the Snare Drum

that represents the superior performance of Hart’s, TE3.2, state-of-the-art trigger system with KS drumheads. Built

like a tank, this 13” Hand Hammered chrome snare is a full positional sensing, dual trigger drum that will stand the test of time and take your drumming to the next level....... MAP Price*: $390

HART HAMMERThe most versatile accessory trigger pad available. Give your kit a little something extra that performs in a big way. You can’t build an electronic drum set without a Hammer.

Get the BEST

DEALSon Hart

Dynamicsgear at

RMCAudioDirect.com

or Call Erik 877-222-7457

Toll-Free

Limited Edition

20TH ANNIVERSARYHart Professional KitWhat better way for Hart to celebrate 20 years of dedication to electronic drumming than by releasing the highest quality custom built electronic drum set ever made. The drums feature a limited edition Glass Glitter finish, machined lugs,10-ply maple shells and TE3.2 dual triggering system with Hart Kontrol Screen mesh heads. Plus, Pro Ecymbal II’s with Epedal II Hi-Hat stand and custom all chrome Hart/Gibralter Road Rack. Every detail of this kit represents the best of the best. This is a Limited Edition kit, so secure yours from RMC today.

EPEDAL II Hi-Hat Stand The Epedal II hi-hat stand is one more example of what sets Hart Dynamics apart from the rest. This is a fully variable pedal with up/down and open/close action, plus a super sturdy, double braced, 3 leg rotating base for use with all double kick pedals. ............MAP Price*: $299

STUDIO MASTER SERIESStudio Master 6.4 Key features that set this drum kit apart are four TE3.2 dual trigger 10” mesh Acupad drums for toms and new super solid 10” Acupad kick. 13” Hart Pro TE3.2 dual trigger snare with stand, top-of-the-line bronze Pro Ecymbal II’s, and the one of a kind Epedal II upright hi-hat stand. Pair with the module of your choice (sold separately) for a compact kit that delivers high-end performanceMAP Price*: $2,449

HART PROFESSIONAL SERIESHart Pro 6.4 Hart kits are handcrafted providing

the highest quality. Available in Hart’s distinguished all Hand Hammered chrome or classic Piano

Black lacquer shells with HH chrome snare. Features TE3.2 dual triggering, Pro Ecymbal

II’s, Epedal II hi-hat stand, and heavy-duty Hartware rack system. The perfect kit to perform at

church, on the road, or in the studio. Low acoustic volume for stage or at home, without disturbing your

neighbors.............................MAP Price*: $3,849

MAP Price*: $79

MAP Price*: $4,549

with Hi-Hat Ecymbal II ...................... $449

digitalDrummer

DISCOUNT!Enter Coupon Code

“HartDD910”


Studio Master 5.3 ........................ MAP Price*: $2,139Studio Master .............................. MAP Price*: $1,789

Magnum KS Drumhead....................................... click here for sizes & pricesMaxxum KS Drumhead........................................ click here for sizes & prices


Hart Pro 5.3..................MAP Price*: $3,359

http://www.rmcaudiodirect.com/Hart-Dynamics-Maxxum-Mesh-Drum-Heads-p/ksx.htm

http://www.rmcaudiodirect.com/Hart-Dynamics-Kontrol-Screen-Mesh-Drum-Heads-p/ksm.htm

My favourite reviewer, Top Gear’s Jeremy Clarkson, once said:

“There's no such thing as cheap and cheerful. It's cheap and nasty or

expensive and cheerful!” While that may apply to cars, it’s not always

true for electronic drum equipment. Yes, sometimes, expensive gear

is good and cheap equipment may be rubbish, but often price and

quality are not directly proportional.

And, as we see in our review of snare trigger kits this month, price is

not the only factor. Some of the kits were much harder to put

together than others. And then there’s performance. Some worked

brilliantly with one module but then had the responsiveness of a

jellyfish when paired with others. So to help in the decision-making, we

added some objective (I hope!) scores on a range of criteria.

Evaluating mesh heads was a bit more straightforward – especially

since we have already established some benchmarks in our

comprehensive head-to-head review last year. But again, there are a

few variables: for some e-drummers, silence is golden, while others

count their pennies and some just want to feel good.

This gear-filled issue also includes an extensive listen to in-ear

monitors, a process which turned out to be really enjoyable. Some of

the cheaper bud-style earphones were surprisingly good, but the

canalphones were a real ear-opener.

I was able to assemble a wide cross-section of models, including some

of the popular pro versions, and I was blown away, hearing

performance from a module that I had not previously encountered.

For anyone shopping for headphones, I would certainly suggest that

you consider these instead of the chunky over-ear versions.

Of course, one of the highlights of this issue was the chance to get a

first look and listen to Zildjian’s Gen16 AE cymbals. These are being

hotly discussed on forums around the world – mostly by people who

have neither seen nor heard them! So our first observations, based on

first-hand experience, should add a bit of substance to the

conversations.

Our seventh issue also includes a substantial VST special report,

featuring the second part of Chris Whitten’s “making of a VST” article.

We also review a few offerings, highlight some new products and

debut a Q&A column by John Emrich, one of the e-drum gurus and a

very talented drummer in his spare time.

Since I started with a Clarkson quote, it’s probably appropriate to end

with one as well, especially as Clarkson is also a drummer in his spare

time. Of his fellow stick artists, Clarkson recently wrote: “Drummers

are a bit like house flies. They're born, they make a noise, then they

die.” Hopefully, not before finishing this edition, so let’s get straight into

it: One, two, three, four ...

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DigitalDrummer

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AUSTRALIA

Tel: 61 411 238 456

[email protected]

www.digitaldrummermag.com

Editor & Publisher

Allan Leibowitz

Sub-Editor

Solana da Silva

Contributors

Simon Ayton

Philippe Decuyper

John Emrich

Chris Whitten

Cover Design

GearPix

Design and layout

‘talking business’

Support digitalDrummer

If you like what you’re reading,

please make a donation.

Copyright: All content is the

property of digitalDrummer

and should not be reproduced

without the prior consent of

the publisher. In this age of

electronic publishing, it’s

obviously tempting to “borrow”

other people’s work, and we

are happy to share our

information – but ask that you

work with us if you need

anything from this edition. Any

reproduction must be fully

acknowledged and online

dissemination should include

a link back to our website.

--from-the-editor--

4 www.digitaldrummermag.com

ddAug2011v2_Layout 1 12/07/11 4:26 PM

http://digitaldrummermag.com/donations.html

http://www.facebook.com/pages/DigitalDrummer/125494920871152

Edition 7 August 2011

First Look: Gen16 AE cymbals

It’s been the subject of speculation and anticipation and

shipments are about to begin soon, so we look at - and listen to

- the new Zildjian Gen16 AE cymbal pack.

Head 2 head - take two

There have been some new offerings since our last review ofmesh heads and we test some of the newcomers.

Ear, there, everywhere

Compact in-ear monitors offer an alternative to clunky over-ear

headphones. A dozen popular models are scrutinised. We also

offer advice on selecting the right ones and using them well.

.

John Mahon

Elton John’s percussionist is no stranger to electronic

drumming, combining triggers and acoustic instruments in his

performances. He shares some of his ideas and observations.

Making a Classic

The second part of Chris Whitten’s account of the recording

and production of his Toontrack EZX pack, The Classic.

VST Q&A

E-drum guru John Emrich answers some common questions

about equipment, programmes and applications.

For the record

When it comes to recording drum parts, there are several

options for electronic drums, as Simon Ayton explains.

Kits help trigger those acoustics

They’re halfway between ready-made drum pads and do-it-

yourself triggers and we put them to the test - building them

and then playing them with different modules.

GEAR

RECOrdinG

DIY

VST

PROFILE

digitalDRUMMER, AUGUST 2011 5

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The global electronic drumming e-zine

ddAug2011v2_Layout 1 9/07/11 10:08 PM Page 3

The obvious answer is that itgives you the ability to edit thedrummer’s performance after he’sleft the building without having tohire a ringer (I jest). Anotheradvantage is that it gives youaccess to a world of Drum VirtualInstruments like BFD2, SuperiorDrummer 2.0 and AddictiveDrums where, odds are, thedrums were recorded in a(famous) room, with a great (orlegendary) engineer usingmicrophones and equipmentthe average drummercouldn’t afford.

Rail Jon Rogut, Platinum Samples

The most valuable thing is the ability to control thesound with the least amount of overall expense,headaches and hassles!

Lorrie Landry, Pintech

Electronics allow you to practice in big cities likeMunich. Since everyone lives in apartments, this isthe only way to do your daily practice routine.

Frank Jooss, Fiddler’s Green

Electronics allow you to have dozens of well-recorded, authentic sounding kits available at thetouch of a button, using only a couple of square feetof real estate.

Angus F. Hewlett, FXpansion Audio

The most valuable thing you can do with e-drums isopen your musical mind to more sonic possibilities,push your musical and rhythmic creativity to higher

levels, and widen yourapproach to the music youplay. Electronic drums will

make you a betterdrummer and, moreimportantly, a bettermusician.

Tim Root, Roland US

The most valuable thingyou can do with e-drums ismake people dance on a

totally genuine-soundingand 100% live-played

electronic groove joint,whether it’s Techno, House, Drum’nBass,Dubstep, Breaks, Minimal or any other

combination of whatever all those producers/DJs willbe coming up with this summer and beyond. Whenplaying these styles on acoustic drums, a non-drummer audience might nod their heads. But whenthat live electronic impact kick sound moves sub-woofers and e-snares and claps trigger highfrequency speakers, they move their bodies.

Michael Schack, SquarElectric

I want to bend the envelope of what is expected andreally treat the instrument as a different soundsource. I choose to use 2box drums because I canimport my own sounds and build my own weird andwackily wonderful kits. As a percussionist, it isimportant to be thinking of creating sounds in atotally free way and it is this mentality that reallyexcites me to the endless possibilities of digitallytransformed drum sounds.

Pete Lockett, percussionist


What’s so special?

--talking-point--

Forget emulating acoustic drum sounds. As we’ve read often inthe profile interviews, electronic percussion is about exploringnew opportunities. With that in mind, digitalDrummer askedsome e-drum gurus:

What is the most valuable thing you can do with e-drumsthat you can’t do with acoustics?

ILLU

ST

RA

TIO

N: JA

RN

O V

AS

AM

AA

ddAug2011v2_Layout 1 9/07/11 1:33 PM

--gear--

THE SCANDINAVIANS ARE having another go, theGermans are poised to get in there, and now theItalians are about to enter the e-drum market.

Mark Drum has announced plans to debut inOctober, with its YES1 kit, dubbed “the firstacoustic-hearted professional electronic drum kit”.And where 2box went orange, Mark Drum has optednot for Ferrari red, but rather for yellow.

A sneak peak at its launch kit reveals a 10” mesh-head snare drum and rack toms – but not yourregular mesh drums. Instead, the company isboasting about its “Smart Pad” triggering system inwhich “signals are processed directly inside thepad”.

There are five piezo sensors in the snare and threein the toms. The ride boasts a staggering 10triggers, while the crash and hi-hat have four each.

The kick pad is a reverse action rubber number,reminiscent of an old Roland trigger.

The YES sound module has a 2GB CF card, 12professional kits, eight standard inputs and fourextras. Of course, there’s MIDI In and Out as well asa metronome.

Like Roland’s flagship MDS-25 rack, the cabling iscontained in the rack, but unlike existing hardware,the pads actually plug straight into the rack withRJ11 cables.

There’s no word yet on availability or pricing, but theproject has some heavy-weight backers. Mark Drumis a project of M&P, a partnership between Mogarand Parsek. Mogar Music is part of the Monzino1750 group which distributes Ibanez, Zoom, Tama,Zildjian, Mesa/Boogie, Music Man, Nord and Laneyin Italy.

Parsek is best known in the Italian market for itsMark Bass brand.

The YES model (YES means “The Yellow Sound”),according to a company release, “is the result of anaccurate and outstanding R&D activity undertakenby Parsek’s engineering team”.

“YES is only the beginning of a new, exciting andchallenging adventure, which may foresee an evencloser co-operation between the two companies inthe years to come,” according to the partners.

*Apologies to Italian speakers. Latin was never my

strong subject!

Venividi drumi*


ddAug2011v2_Layout 1 9/07/11 1:33 PM

CYMBALS HAVE LONG been identified as theweakest link in the electronic percussion arsenal, so

there’s been enormous interest in the first e-offeringfrom a traditional cymbal maker. Even more so since

the new kid in town is one of the iconic names in thecymbal craft.

So does the Gen16 range live up to its Zildjian

heritage?

The starter pack comes in three versions: the AE368 (13” hi-hats, 16” crash, 18” ride), AE 480 (14” hi-

hats, 18” crash and 20” ride) and the AE 38 (13”

hats and 18” ride) – all supplied with pickups, a five-

channel processor, a cable snake and a mount. I

had hoped to try the big boy, but pre-production waslimited to the smaller kits, so I was able to get hold

of the 368 set which retails for $1,249 (the others

have a recommended price of $1,099 for the 38 and$1,349 for the 480).

What’s in the box

The 9 kg box contains two smaller boxes – one with

the four gleaming silvery disks: the low-volume

cymbals are made of nickel-plated sheet metal alloy,

perforated with hundreds (maybe thousands) of

holes. They look and feel substantial, with a buffed

shiny finish.

The other box has a compact controller about the

size of a Pearl r.e.d.box module, three pickup units,

a five-strand, colour-coded cable snake ending in

3.5 mm stereo jacks, a few bags of mounting bits

including a hi-hat clutch, and some set-up

instructions.

The compact, stylish pickups contain two condensermicrophone heads, and are designed for use

specifically with the AE cymbals. They are real mics,

and, as we’ll discuss later, are subject to feedback

and extraneous noises, although Zildjian stresses

that noise gates are applied to each in the controller.

Getting started

Set-up was reasonably easy, with sleeves

positioned onto regular cymbal stands, the pickupsplaced on them, followed by the cymbals and

neoprene stoppers. If you’re using Roland cymbal

FIRST

LOOKGen16 AE cymbals

It was the talk of the NAMM show when it

made its debut in January. It’s been hyped,

anticipated, pre-ordered and delayed, but

Allan Leibowitz got his hands on a test set

ahead of the first batch of retail shipments.

--gear--


ddAug2011v2_Layout 1 13/07/11 8:20 AM

stands, make sure you use the short sleeve, or else

you won’t be able to attach the top nut fitting.

There’s a bit more fiddling around with the hi-hat,

but it’s certainly no more difficult to set up than any

other two-piece electronic hi-hat rig.

Then everything is plugged into the controller. If you

follow the colour-coding, you’re forced to place the

controller in what I term “traditional position”, on the

left-hand side, because the hi-hat cable is the

shortest. I’d prefer the controller on the right, but

that’s not a big deal. Of course, you can ignore the

colour-coding, but that can create some confusion

as the controller is similarly coded.

Once everything is plugged in, it’s a matter of firing

up the controller and playing with settings.

In action

The first thing you’ll notice, especially if you’re usedto rubber-covered e-cymbals, is that these guys are

not quiet. A strike that registered 65 dB on a Roland

CY-13R notched up 89 dB on the 18” AE ride. Thedifference on the crash was even more pronounced,

with the AE registering 94 dB, compared to 71 dB on

a Roland CY-12C – and it continued to resonate like

a regular acoustic cymbal – in contrast to the CY-

12’s deadened hit. A hi-hat chick that measured 79

dB on a VH-12 elicited 96 dB from the 13” AE hats.

But there’s no doubt that the ring of the Zildjians is

far more pleasing than the thwack of the Rolands.

The bottom line is that despite Zildjian’s claim of a

75% reduction in sound, quiet practice is not

practical with the AEs – so much so that MsDigitalDrummer Jnr declared: “You’re not going to

play those at home!” So the home audience verdictis that these may be fine for gigs, but not acceptable

in our unsoundproofed practice room.

Plugged in

There’s been lots of speculation about “the

controller”, not helped by the fact that Gen16 also

recently released its first VST products, with many

people assuming the AE cymbals are triggers thatgenerate the Digital Vault sounds. Wrong!

Think instead of a semi-acoustic guitar with a pickup

and you’ll start to understand the AE system.

Each cymbal has a stereo microphone under thebell, picking up the actual sounds of the metal

cymbal. These are then processed and shaped by

the Digital Cymbal Processor (DCP), just like anamp is used to shape and add effects to the guitar’s

sound. But there are no samples, merely electronic

processing of the real cymbal sounds. And not just

Out of the box: the DCP and some of the Gen16 cymbal range


ddAug2011v2_Layout 1 13/07/11 8:20 AM

the cymbal sounds – if you cough next tothe hi-hat, that’s what will be amplified.Similarly, if your pedal squeaks or if youhit the cymbal stand, expect that throughthe front of house. And the mics will evenpick up the stick noise on your meshhead drums if the volume is turned up.

Those using the AEs with a drum modulehave two output options. You can either takeseparate left and right feeds from the module intothe DCP where they can be mixed with the cymbalsounds or you can go the other way, and take theseparate left and right feeds from the DCP into the“mix in” input of the module. Of course, if you havethe capacity on your external mixer, you can takeseparate outputs from both the module and the DCPand mix them on the desk - a preferred option.

Sounds like?

The brain of the system, the DCP, has five inputs,designated for hi-hats, ride and three other cymbalsfrom Zildjian’s range of crashes, splashes, chinas,etc.

Each input has 20 presets which, according to themaker, allow you to shape the cymbal sounds. Nowthis may be the root of some of the confusion outthere, especially with some of the online demosthrowing around terms like “this setting creates asound like a Zildjian K”. Yes, there is sound shaping,but nothing that I heard jumped out as any specificcymbal sound and I’d challenge any buff to matchthe tones to real Zildjian offerings. The sounds aremerely tweaked versions of the base cymbal sound– some more resonant, some deeper, others moretrashy, a few of them brighter and there are evensome e-cymbal-type sounds. Imagine a mixing deskwhere you can alter the pitch, attack and decay andyou get a sense of what’s happening inside thecontroller.

If you’re expecting COSM-style editing capability,forget it. There’s no scope for editing the pre-sets –what you get is what you’re stuck with. The onlytweaking possible is panning for each cymbal andreverb for the overall mix.

Auditioning through headphones, I wasunderwhelmed. The sounds were mostly thin andanaemic and inferior to the module sounds to whichwe have become accustomed. Plug the DCP into anamp – even a humble PM10 - and the soundsblossom and fill out. The processor adds depth andbody to the shine of the acoustic sounds, producingvery pleasing tones.

There were a couple of hi-hat settings that would fitin well with my current repertoire, with the ability todial up larger-sounding cymbals as well as somemore delicate ballad-style tones. Admittedly, someof the settings were a bit synthetic. It also requiredquite a bit of additional bass on the amp to producerock-style hats.

The 18” ride, also thin in Direct Out signal, chunkedup with amplification, but I didn’t really hear too

What’s good

Great looks

Fantastic playability

Articulation range

Natural bell action

Future updates

What’s bad

Limited sound palette

Limited editingcapability

Limited inputs

Needs amplification

Risk of feedback

Potential bleed

Specifications

13" AE Hi-Hats w/Pickup

16" AE Crash w/Pickup

18" AE Ride w/Pickup

AE Digital Cymbal Processor

AE 5 Channel Cable Snake

AE Digital Cymbal ProcessorMounting Kit

Recommended price: $1,249

Disclaimer: digitalDrummer tested a pre-production 220v-powered sample which had anaudible hum not evident under 110v. Gen16 has committed to resolving this issue.10 www.digitaldrummermag.com

ddAug2011v2_Layout 1 9/07/11 1:33 PM

much varietyamong the pre-sets.Most of the “stock” soundswere giggable, and theresponsiveness and range ofarticulations across the surface wasrefreshing, as was the bell response – once youlearn to stop using the e-cymbal bash technique.Similarly, the amplified “stock sounds” of the crashwere far richer and deeper than the headphoneoutput implied and it certainly produced convincingswells.

Unlike e-cymbals, where a change of module isrequired to switch from sticks to brushes, mallets orrods, the effect is immediate with the AEs. Ofcourse, that presents a bit of a challenge if you’reusing an e-kit since the drum pads won’t respond todifferent stick options in the same way.

Comparisons with the tweakability of e-cymbals areinevitable, and here the AEs will disappoint sincethere’s no scope to edit the default sounds on thecontroller. Perhaps we’re spoiled by e-cymbals, butif you want a chain effect with AEs, for example, youhave to physcially add a chain. Of course, the USBslot indicates that sound tweaks are almost certainto be offered for download in the future, but thesewill only be variations on the current patches.

While the sounds may be limited, theresponsiveness of the hats, the realism of the chick,the almost infinite degrees of openness or closedpositions, the fantastic rebound and the articulationsacross the surface all feel and sound natural.

Stocks were in short supply, so I wasn’t able to testthe splashes, chinas or effects cymbals, but nodoubt their performance will be something like thatof the crash.

The verdict

The Gen16 AE range is certainly something verydifferent in the percussion space – something whichsmacks of innovation and carries a brand namesynonymous with quality. But while you may not beable to go wrong with Zildjian in the acoustic market,this range is not for everyone. With street prices that

rival existing e-cymbals, theZildjian Gen16 AE range is not

a budget alternative but aserious investment, especially for

those who already have a bunch ofcymbal triggers.

As a hybrid acoustic/electronic product,the AEs aren’t suitable for all uses either.

Admittedly, quieter than their acoustic forebears,they are significantly louder than their rubber-covered peers and even their sound-dampenedmetal counterparts.

They’re more suited to stage work, where the sonicsignature is less of an issue and they can strut theirstuff. They’re ideal for smaller venues and certainlylook the part, especially when the violet lights areswitched on (they can be switched off if you don’twant to show off), with great stage presence.

While they may lack the range of sounds availableto regular e-cymbals - either via a module or throughVST samples - the AEs have some sound-shapingcapability and can provide a varied palette ifrequired. The quality of the output, however, istotally dependent on the final amplification – farmore so than e-drums, where the shaping is done inthe module and the amp just makes it louder.

The strengths mainly centre on the playability of thecymbals. Those used to a fairly limited open/closedrange on e-hi-hats or a paltry three zones on theride will revel in the infinite variations of the AE hatsand the fantastic articulations of the ride and crash,not to mention a bell that doesn’t require ArnoldSchwarzenegger’s wrist action for triggering.

The biggest challenge for Gen16 is overcoming themisconceptions about samples – and the currentinformation offerings which liken the sounds toexisting Zildjian models are not helpful. If youremove the expectation of being able to dial upexact replicas of acoustic cymbals, you’ll no doubtenjoy the AE range – and audiences should dolikewise if the sounds are properly amplified.

You’ll certainly enjoy the feel and playability – andthose stunning futuristic looks!


ddAug2011v2_Layout 1 9/07/11 1:33 PM

WHILE THE YOUNGER audience members wereconcentrating on the hot potatoes and Dorothy theDinosaur, e-drum fans noticed a dramatic change inThe Wiggles’ drum set-up.

After decades of touring with a Gretsch kit, theworld’s biggest kids’ band has gone electronic,unveiling a Roland TD-9 kit during its recent NorthAmerican tour.

Front of house audio engineer Arnie Hernandezsays drummer Anthony Field (the blue Wiggle)began thinking about moving to an electronic kit acouple of years ago as he “wanted to incorporate amore diverse array of percussion sounds in theshow”.

“Even though we’ve been adding a lot morepercussion instruments to the on-stage arsenal(shakers, tambourines, whistles, etc.), what reallyappeals to Anthony about electronic kits is theirversatility and the tremendous array of sounds

available that he can access without losing thespace on stage that all those instruments wouldotherwise take up,” Hernandez explains.

Field was led to the Roland TD range by his friendNoel Heraty, the percussionist for Riverdance, andthe TD-9 was integrated into the first NorthAmerican tour of 2010.

The audio engineer sees a number of benefits in theelectronic kit. “From an artistic perspective, thecreative possibilities that are opened up by havingso many drum kits and sounds brings a huge arrayof options for The Wiggles, and allows them to go‘all the way’ in the direction they take the audiencefrom song to song,” he explains, citing “MarinoaLullaby”, an aboriginal song which features ethnicinstruments such as the digeridoo and claves. “Thee-kit is set to the ‘Ambient’ drum patch, and socompletes the texture for that song.”

He notes that this could not have been achieved

TD-9 is fine for

Australia’s leading musical export, The Wiggles,found that a TD-9 made child’s play of touring.Allan Leibowitz caught up with the man whochose the kit.

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with the old Gretsch cocktail acoustic kit.

The TD-9 is also extremely versatile, so it can keepup when the show “goes smack into ‘80s rock,disco, pop and ballads”.

Hernandez notes that the e-kit goes a long way tocomplete the feel for each song.

“Another benefit for us is artist visibility. Childrenrespond highly to body language and thetransparency of the electronic kit allows anyoneplaying the drums to continue interacting with theaudience, which is particularly important to Anthony.

“As you can imagine, the children’s angle of view tothe stage from the arena floor is quite low so, evenfor the acoustic kit, it was important to set it up insuch a way that the children could see the personplaying the drums.”

For touring logistics, the TD-9 is easier because ittakes up far less space than its acousticpredecessor “so transport is better in that regard(with) fewer cases to move or lose”.

“The TD-9 frame packs into a narrow customroadcase that also holds some hardware and thethrone, and the rest goes into the soft case thatshipped with the kit which, in turn, fits inside astandard ‘drum hardware-size’ case,” he adds.

It’s notable that one of the world’s leadingentertainment groups and one of the highest-earning enterprises in Australia chose a mid-rangerather than a top-end kit. Hernandez describes thisas “prudence”, saying the TD-9 “struck a greatcompromise between price and features”.

“Had Anthony known howmuch fun it is to play with all thedifferent settings, he may well have wanted a highermodel drum brain to get even more sounds andeven the ability to further customise, but there’s nodoubt that the TD-9 hardware package meetseveryone’s needs,” says the roadie. “The meshheads certainly feel nicer to play than solid rubberpads and I’m sure everyone that plays the kitappreciates that.”

With a bit more experience, he says, the band mighthave given some thought to some of the limitationssuch as only having a left and right output, unlikethe direct outs of the TD-20, for example.

Another potential pitfall for the rigours of touring isthe TD-9 cable harness which Hernandez says“clearly needs to be handled with care, but thishasn’t been a problem so far (touch wood)”.The TD-9’s two outputs are fed into DI boxes whichare split to the FOH and monitor consoles “in exactlythe same way as all the other instruments”.

Hernandez says one difference that separates thee-kit from the way other instruments are used onstage is that in addition to normal stage monitoring,“we’ve given the drummers the option to putheadphones on”.

“Anthony is the only one that uses them, but youcan tell he really gets into the drums. His love ofdrumming really shows,” he says.

The Wiggles’ newest recruit, Yellow Wiggle SamMoran, also uses the kit.

Anthony (above) and Sam on the TD-9 in Canada

PHOTOS: JEFF GREEN


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TD-9 UpdateSINCE THE WIGGLES started using their TD-9 kit,the range has had a boost, with a module upgradeand some enhanced triggers.

The most obvious improvement is anadditional 30 acoustic snare and bassdrum sounds, taking the tally from522 to 552. Some of the new basssounds include a new “muted bass”effect which is triggered when youhit really hard – like burying thebeater in an acoustic head. It’svery effective, but quite off-putting when you’re notexpecting it!

The new version also almostdoubles the number of kits,from 50 to 99 (although 10 ofthem are blank “user kits”).The new additions includesome Latin and World kits,a melodic steel drum kit,brushes, a ballad kit,some jazzy set-ups, afew more electronic kitsand a beat boxarrangement, amongothers.

For their shows, The Wiggles largely use stock TD-9patches. Hernandez says the on-board mixer hasbeen adjusted to compensate for Anthony’s andSam’s playing, along with some reverb changes, butthe cymbal and drum sounds have not beenchanged aside from some pitch-tuning settings. “There is one kit which is set up rather differently,but that’s because Sam plays the kit while wearing ahuge inflatable fruit! He has to stand while playingand so can’t physically reach the snare pad and hi-hat – at least not comfortably - so those sounds areprogrammed to be played from toms 1 and 2.” Hernandez says the e-kit was easy to incorporateinto the act. ”The initial set-up was simple andstraightforward. The hardware all made sense andthe sound module menus (were) easy to navigate,”he recalls.

“I’ll admit having read the manual first, but that wasearly on in the research stages when we were stilldeciding which one to buy. Once it arrived, Iphysically matched it to the Gretsch kit and evenhad it sounding close - all in less than two hours.

“With practice, the set-up time has been trimmedand it’s now quicker than setting up the Gretsch,thanks, in part, to some home-made memory locks”.

Given their extensive touring activities, The Wiggles’TD-9 kit is set to become one of the most travelledof its ilk. Each year, The Wiggles perform live tonearly a million people worldwide. In 2010, theytoured the USA, UK, Asia, Canada, New Zealandand Australia.

The Wiggles, which had their genesis in 1980sAustralian band, The Cockroaches, this yearcelebrate their 20th year as children’s entertainers,having sold more than 23million DVDs andvideos and 7million CDs globally.

In 2003, theyperformed 12sold-out shows atMadison SquareGarden in New Yorkand performed toover 250,000 peoplein November 2005.Their US fans includeJohn Travolta, SarahJessica Parker, MatthewBroderick, John Fogarty,Shaquille O’Neal, ChrisRock and Courtney Cox-Arquette. They have alsotoured the UK three timesand were acknowledged bythe Australian government as“Exporters of the Year” for theircontribution to the economy.

The old Gretsch

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While there’s no change in the number of preloadedsongs, the module gets a significant boost – andone that takes it ahead of its bigger brothers, theTD-12 and TD-20, by gaining MP3 playback.Previously, the TD-9 could only play .wav files fromits USB interface, but now the popular MP3 format isalso playable.

The upgrade is available on USB stick in variousmarkets, while some Roland distributors are askingcustomers to send their modules in for the “turboboost”. Unlike some previous upgrades, the TD-9Version 2 tweak incurs a fee, which varies fromcountry to country.

The Wiggles’ kit also missed out on some newtrigger pads which were launched earlier this year inthe kit overhaul.

One of the key changes is the new KD-9 kick padthat replaces the old rubber-covered KD-8. The newpad has a fabric head – denser and more solid thanmesh. Although the playing surface is the same – at13 cm – the triggering sensitivity across the surfaceis more even, making it far easier to use doublepedals. The feel of the new material is very muchlike an acoustic bass, without the bounce of mesh orthe harshness of rubber, and the new pad is alsomarginally quieter than the KD-8.

The CY-8 cymbals of the original TD-9 kit have alsobeen upgraded in the version 2 kits, replaced bydedicated ride and crash triggers.

The CY-12C is not only bigger than the model it’sreplacing, it also has a significantly enlarged strikezone, a vast improvement on the rubberised wedge

of the CY-8. Best of all, it has a 360-degree chokeand more consistent triggering

The second addition to the kit, the CY-13R, is athree-zone cymbal, with separate jacks for thebow/edge and the bell. It is an improvement on theCY-12R/C, with a lighter, more sleek design andexcellent response and feel. I was, however, a littledisappointed in the bell triggering using the standardsetting and found that I had to hit quite hard andvery accurately with theshoulder of the stick to getconsistent bell sounds.

The other big differenceis found only in the newupscale TD-9KX2 kitwhich now includesthe VH-11 one-piecemoving hat whichmounts on a standardacoustic hi-hat stand. TheVH-11 is a huge leapforward from thestatic CY-5/FD-8combination, with areal hi-hat feel.

The new CY-12 C (above), CY-13R (right) andthe KD-9 (below)



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HEADHEAD

HEADHEAD

Since the last digitalDrummer mesh headreview, there have been a few new entrants tothe market. Allan Leibowitz had little choicebut to take out the test rig and try the newbies.

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NOT QUITE SOMETHING old, something new and somethingborrowed, but this wrap-up includes a couple we overlooked, anupdated model and a new offering from the land of the Samba.

Testing was done on the same rig used in the original test – aheavyweight drumstick pivoting on a nail on a vertical rod. Noisemeasurement was done via the same Realistic Sound Level Meter,with a brand new Hart mesh head used to calibrate themeasurements against those obtained last time. The reboundmeasurement was done, again, by connecting the snare to a RolandTD-20 module and taking a line recording from the module. Therecordings were loaded into Nero Wave Editor and the wavesmeasured until they fell below a minimum value. The duration to thatzero point is noted in the table.

Again, there were two noise level measurements: one from acontrolled drop and the second in free play, at maximum velocity.

The results, in alphabetical order, were as follows:

682Drums

Dutch company 682Drums includes dual-plymesh heads in its range of DIY products. ThePRO-XS mesh heads come in a range ofsizes, with the 12” version well-priced at€14,95.

The heads come in black only,emblazoned with a white“682DRUMS” logo. It looks verywell made and feels robust andsolid.

Mounting is easy with a snug-fitting hoop, and a generousamount of give in the meshallows you to really tighten thisguy down. The mesh is very fine,indicating a strong, durableproduct.

The heads, when tightened, had arealistic feel, good rebound andexcellent positional sensing.

So, is there any compromise with a headthat’s right at the bottom of the two-ply pricelist, coming in considerably cheaper than itsnearest rival? It appears that there’s no deficiencyin the feel or performance, and even on the sonic side,the heads certainly hold their own. Among the quietest of thedual-ply heads, the 682Drums product gave a dull thudding tone accentedby the two-ply buzz when struck.digitalDRUMMER, AUGUST 2011 17

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Billy BlastOkay, so we may have been underwhelmedby Billy Blast’s “string vest” single ply, butthe new three-ply Ballistech II takes thequirky US online trader into the bigleague.

Sure, at $25, it’s more than twice theprice of the original, but this whitehead is rugged, good-looking,durable and realistic under thestick.

At first glance, there seemed littlepoint to the third layer – besidesavoiding Roland’s patentrestrictions, but it did give the headmore substance and a mylar-like feel.

Interestingly, the controlled strike gavean almost identical noise reading to thatof the original single-ply Blast head, butthis one was a tad quieter on full-strength hits– around the mid-range of all the samples.

The heads are characterised by a low-pitch thwack,but the addition of a third layer seems to have largelyeliminated the two-ply buzz, giving this head a unique sonicsignature. The third layer also appears to provide some muting, with less rebound thansome of the other samples – although more than its predecessor. It did not, however,detract from positional sensing, which was spot-on.

This head looks built to last, so all up, it’s a hands-down winner over its predecessor.

ddtGerman trigger maker ddt makes a range of double-ply and single-plyheads, but we only looked at the dual-layer since the singlewasn’t available in our test size of 12”.

At €21.90, the snow-white, tight-weave mesh headis not cheap, but it is well made, snug fitting andfeels great.

Past users say the new generation of ddtheads is a significant improvement on theearly versions which were also available inblack, and if you were previouslydisappointed, it may be worth tryingagain.

On the drum, the ddt head feels robust,with excellent rebound (the mostpronounced in the current batch) atreasonable tightness levels.

Positional sensing was spot-on.

The heads were fairly quiet (especially bytwo-ply standards) in both controlled andforceful play, but do exhibit the characteristicdual-ply buzz – albeit to a lesser extent thansome rivals. They have a mellower tone thanmany of the dual-ply rivals.


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Mesh head performance (current models in blue)Head Price$ Ply Noise level Rebound+ Pos Sensing#

682Drum €15 2 72-86dB 2.155 Yes

Arbiter £9 2 81-95dB 2.109 Yes

Ballistech $12 1 78-93dB 1.619 Yes

Ballistech II $25 3 78-91dB 1.952 Yes

ddt €22 2 78-89dB 2.322 Yes

Drum-tec Design €22 2 79-91dB 2.147 Yes

Hart Magnum $40 1 75.5-89dB 2.017 Yes

Hart Maxxum $40 1 77-92dB 2.03 Yes

Pearl Muffle Head $10 1 75-94dB 2.175 Poor

Pintech SilenTech $37 1 76-89dB 2.273 Yes

RMV $30 1 75-87dB 2.043 Yes

Roland by Remo $40 2 77-88dB 2.251 Yes

Z-Ed £7 1 78-86dB 1.949 Yes

$ Street price # Position Sensing Capability * Tightening required + Sustain in seconds

RMV

Electronic newcomer RMV, one of the largest acousticdrum names in Brazil, now offers a range of “Stillheads”-sd white single-ply tight-weave heads. Theheads are generally sold in packs of four (a 10”,12” and two 14” for around $120), but may beavailable individually in some markets ataround $30.

In appearance, they’re probably closest towhite versions of Pintech’s single-plyhead, and coincidentally, sonicperformance was also similar, althoughthe Brazilians were a tad quieter.

The RMV heads were also a bit biggerthan other samples, but they are alsoquite tight, with little slack, so the fit on thedrum is not compromised.

They feel tough and sturdy and appear tobe doubled over at the hoop, so there is a bitof roughness from the exposed ends.

On the drum, it was easy to get good tension andsmooth rebounds, and these heads were amongthe quietest in the overall testing – both undercontrolled strikes and at full bore. They did, however,have a much higher-pitched tone than most of the othersamples – which shouldn’t be a problem to middle-aged playerslosing their upper-range sensitivity.


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http://www.headphone.com/headphones/in-ear.php

http://www.headphone.com/brands/shure.php

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http://www.headphone.com/brands/monster.php

http://www.headphone.com/brands/klipsch.php

http://www.headphone.com/brands/h2oaudio.php

http://www.headphone.com/brands/etymotic-research.php

http://www.headphone.com/brands/sennheiser.php

http://www.headphone.com/brands/thinksound.php

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http://www.headphone.com/brands/skullcandy.php

http://www.headphone.com/brands/sleek-audio.php

http://www.headphone.com/brands/jhaudio.php

Ear, thereEar, there

everywhereeverywhere

In a previous review, weauditioned headphones. NowAllan Leibowitz gets close andpersonal and puts listeningdevices inside his ears in thisdigitalDrummer head-to-head.(Or should that be ear-to-ear?)


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BIG CLUNKY HEADPHONES never look good - even less so on stage. Bute-drummers increasingly rely on headphones to monitor not only their ownsound, but also that of the rest of the band.

More gigging drummers are moving to discrete in-ear monitors, of whichthere are two main types. Earbuds or earphones are headphones that fit inthe ear, but outside of the ear canal. These are generally associated withpersonal audio devices.

More advanced – and expensive – in-ear monitors (IEMs or canalphones)are earphones that are inserted directly into the ear canal. This lattercategory has the advantage of also acting as an earplug, cutting outextraneous noise.

While the technical specifications can be baffling, there are a couple ofthings to consider.

Firstly, look out for the type of transducer used in the device. Thediaphragm-type used in earbuds tends to favour bass response at theexpense of highs. Armature-based transducers, associated with hearingaids, have more highs and are often used in two-wayarrangements – one for the highs and one for thelows. The more expensive units have multipledrivers for smoother, more balanced soundpalettes.

Impedance is the important factor, with allheadphones falling into either the high- orlow-impedance category, with around 500Ohms being the tipping point.

Low impedance earphones generally plugstraight into the headphone socket; higherimpedance units usually need an amplifier.So low-impedance units will sound louder,especially when plugged into a drum module.

digitalDrummer assembled a bunch ofearbuds and IEMs to find which work best for e-drums.

These findings are totally subjective, much as anyindividual purchase decision in this category will be based on how theproduct feels, sounds and isolates noise.

Testing included extended playing with a TD-20 kit, primarily using theinbuilt patterns, and a variety of kits from stock patches to VExpressionskits. A/B testing was done using an output splitter. The tone and colour ofall earphones is obviously shaped by the audio device to which they’reattached, but the module was chosen as a test bed because many e-drummers will spend much of their time listening to that source.

I won’t bamboozle you (or myself) with specifications and tedious technicalcomparisons. This is not an audiophile review but more of a plug-and-playassessment of what to expect when you stick them in and fire up themodule. The samples are listed in ascending price order.


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Woodees iESW101B

I’d never heard of Woodees, and had it not been for aglowing review on Headroom.com, I would not have includedthis $50 (street price) offering in the review. Indeed, themanufacturers went to great lengths to stress that it’s not aprofessional product, but is rather aimed at the consumermarket – hence a new iPod/iPhone version.

The neat package contains a set of wood-bodied earphones, four pairs of silicon buds(including an extra-small version) and a little black felt carry bag. There’s a 1.2 metrecable, ending in an in-line 3.5 mm gold-coloured jack. They even throw in a clip tokeep the cable from rubbing against your clothes.

I got a close fit using the small buds which created a good seal and enough isolationto cut out a lot of background noise.

Rated at 105 dB and 16 Ohm, these little guys had plenty of grunt, with the volumedial cranked back to 10 o’clock on the TD-20 module.

The reproduction was very convincing – crisp highs, mellow mids and deep, rich bassnotes, combining in a clear, vivid performance. They produced a clarity that allowedthe module to show its essence, with little colouring, and were particularly kind to thecymbals and snares.

I didn’t expect much, especially after the maker’s warning, but it didn’t take long towarm to the Woodees which are said to benefit from the resonance of natural wood –just like speakers. While Woodees get mixed reviews as personal stereo earphones –mostly because of the variety of genres over which they are tested - for $50, this is ano-brainer. If you want to spend less than $100 and still come away with somethingthat does the job, this one’s for you.

Sennheiser IE4

Billed as professional earphones designed for Sennheiser’s wirelessmonitor applications, these were certainly the most low-key interms of packaging. They ship in a simple clear plastic bag with acardboard label on one end, but these are the entry-levelofferings in a range where the flagship costs six times as much.

The IE4 comes with a 3.5 mm right-angled jack, requiring an adaptorfor most modules, and a 140 cm cable which is a bit on the short side fore-drumming.

Designed to sit tight in the ear, these earphones ship with three different-sized earsleeves - interestingly, with the smallest size pre-installed. I found the smaller budscomfortable and easy to wear. And there was no rubbing noise when the cablebrushed my body or clothes, which is another advantage.

If ever there’s an indication that you can’t judge a book by its cover, the IE4 packs apunch that totally outclasses its basic black plastic looks. Rated at 106 dB, and withan impedance of 16 Ohm, these guys deliver in droves and needed to be dialed backto around 10 o’clock.

The treble almost shimmers with brightness, there is a powerful mid-range whichreally lets the toms sing, but the bass is somewhat subdued at the bottom of thespectrum. Floor toms have heaps of oomph, but the IE4s just missed some of thethump in the kick.

For the street price of around $60, you don’t get any fancy packaging, carry case orjack adaptor, but you do get a good solid sound reproduction in an easy-to-wearoffering that provides quite good sound isolation, thanks to a snug fit.


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AKG IP 2

The AKG IP 2 in-ear headphones, bundled into the IVM 4wireless system, are now available as stand-alones.They’re no-fuss earphones, supplied with three differentsleeve sizes (interestingly, this was one of the few wherethe medium suited me best – for most others, the smallwas the most comfortable).

Isolation is excellent, but this model does suffer frominterference from body contact, with the cable noise

amplified into the ears.

The cable, incidentally, is ron the short end of the length stakes, at 115 cm, andthe interface is a right-angle 3.5 mm mini-jack.

Rated at 121 dB at 16 Ohm, these earphones were fairly hot, with the volumeneeding to be pared back to 11 o’clock.

Performance-wise, they were well balanced, with good lows, highs and mids,and excellent detail delivered with realism.

Well-packaged and shipped with a neat cloth pouch, they are excellent value at$80 – but beware of counterfeits as these earphones are widely knocked-off.

Beyerdynamic DTX 101 iE

If there were a ‘bang for buck’ award, the DTX 101 iEwould be a strong contender in the under-$100category. Its red finish is a tell-tale sign that it’s

designed for personal stereos rather than professionalperformance, but the 12 Ohm in-ear headphones pack

one hell of a wallop. They’re rated at 102 dB, but I had toturn the level down to around 8 o’clock, and still there was

heaps of volume. Most notable was the decent bassreproduction, but the compact 101s also delivered a good amount

of mid-range, some crisp treble and excellent separation and detail. Ifound the reproduction reasonably uncoloured.

These guys come with a 1.2 metre cable – about average for the selection – butit does include a re-inforced section where the separate strands meet the maincore, a good measure to prevent further separation of the cables. The jack is aconsumer-type, right-angled 3.5 mm stereo mini-jack.

Sound isolation is good, with three different silicon end tips. In my case, thesmall was a snug fit and blocked most of the environmental noise. The pads aresoft and malleable and more comfortable than many others in the class.

The DTX 101 iE also comes in black or silver and ships with a mesh carry bagwhich seems far too big for its purpose until you try and wrap up the cable.There’s some heavy-grade cable hiding beneath the surface and it doesn’t liketo be curled up tight. Overall, this model punches way above its weight andreinforces that you don’t have to spend more than $100 for an easy-to-listen-to,quality product.


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Bose MIE2i

Okay, not quite an in-ear monitor, this is more like iPodearphones on steroids. And because Bose has a cultfollowing, it was worth including this designed-foriPhone/Pod/Pad pair in the review.

Equipped with a 3.5 mm jack, the 115 cm cable is just atad too short for many module positions.

These guys are not really sound-isolating because they don’tactually fit into the ear canal, rather they sit just outside it. Personally, Ifound the isolation sufficient to block out the most annoying of the stick sounds,with the added advantage that you don’t get an amplified sound when the cablebrushes your body – something common with many in-ear designs.

The second-generation MIE offering has new StayHear silicon tips with little wingsto “nestle inside the bowl of the ear while also naturally conforming to the ear’supper ridge”.

The tips are supplied in three sizes, and I have to say that none of them actually“nestled” in my upper ridge. Nonetheless, they were comfortable and easy to wear.

Bose is secretive about specifications, but I suspect these have low impedance asthey delivered plenty of volume and had to be set at around 12 o’clock on the TD-20 module.

The sound palette was broad, with good clear bass reproduction, solid mid-rangeand bright highlights, with a good overall balance.

At $130, the MIE2i ships with a stylish leather-look zippered carry box about thesize of an iPod. And it has the added advantage of a built-in microphone andthree-button remote which is handy if you also use your earphones with yourmobile devices.

Audio-Technica ATH-CKS90LTDII

The limited edition ATH-CKS90L certainly looks the part.Its dual-chamber design really stands out, and is meantto boost bass and mid-high ranges.

The earphones come with four – not three – different earsleeves and there are two notches on the body fordifferent bud positions.

The two notches mean you can alter how deeply these fitin your ears, and it certainly made a huge difference when I managed to get asnug fit.

The Audio-Technicas come with a relatively short cable at 60 cm, but they do shipwith a 60 cm extension cable ending in an L-shaped 3.5 mm stereo jack.

Performance-wise, this product didn’t quite live up to its promise. The output wason the lower end, with the need to push the pot past 1 o’clock. The listed output is106 dB at 16 Ohm.

Sure, there was lots of detail and clarity and plenty of high notes, but the bass wassomewhat subdued. (Ironically, I’ve seen reviews which praise the bass andlament the lack of top end, so this may have something to do with the moduleoutput profile). Isolation, on the other hand, was excellent, thanks to the variety oftips and dual positions which really did ensure a snug fit. And good cable isolationprevented any body contact sounds.

The packaging is impressive, as you’d expect with the $150 price tag, and theearphones come in a very stylish leather pouch with magnetised clamp.


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Etymotic ER4S

If ever there was proof that the biggest surprisescan be hidden in the smallest packages, it’s these

compact giant-killers. The earphonesthemselves are tiny – probably a third the size ofthe Shure professional line and smaller thananything else tested. But the performance is

astonishing, thanks mostly to a snug in-ear fitachieved by using one of a range of tips. The

canalphone ships with two different-sized three-flange silicon tips, threesizes of silicon buds and two foam pieces – and you’re instructed to getthem as far into your canals as possible for maximum performance andisolation. I found the triple-flange buds the most comfortable and quietest.

Even though they’re rated at 110 Ohm, I had to dial the module back to 11o’clock and still got a full burst of crisp, clear, balanced sound: crystaltingling treble, resonant bass and plenty of solid sound in between.

The reproduction was uncoloured, with many kits sounding almost likerecordings of acoustic kits. This must be what Roland engineers werehearing when they tweaked the TD-20. What’s even more amazing is thatthis sonic accuracy is achieved with just a single driver.

Moderately priced at $299, they‘re not too far off their more upmarket rivalson performance, comfort and isolation, especially if you choose the righttip. The correct choice and insertion also means you virtually can’t evenfeel them when they’re in.

The 150 cm cable is almost industrial in its ruggedness, with a seriousconnector where the main cable divides into the finer braided pairs linkedto the actual buds. You’ll need the shirt clip to counter the weight of thatremovable cable which ends in a right-angled mini-jack, and a quality 6.5mm adaptor is supplied.

The ER4S, rated at 122 dB, comes boxed in a serious plastic case, with astylish compact pouch also included.

One thing to bear in mind with the Etymotics is that they come with specialanti-wax filters, but these do need to be replaced, so you’ll have to budgetfor replacements down the line. They go for $15 for a six-pack.

Ultimate Ears Triple Fi 10 vi

Ultimate Ears began life as a custom maker of earphones formusicians and the pedigree is evident in the Triple Fi 10 vi.

Although this model is clearly a consumer product becausethe packaging stresses aspects like iPhone compatibility,

the 10 vi is certainly no slouch on stage. It packs a hugepunch, even with the module volume dial pulledback to 9 o’clock, thanks to its low impedance(32 Ohm).

The Ultimate Ears product is among the largest unitstested, probably 30% bigger than the Shure SE 535s. It has a

reasonably sturdy 120 cm cable, ending in an inline mini-jack. Becausethis model is cellphone-compatible, there’s a discrete microphone and acontrol button in the cable.

The key to this model’s performance is its advanced three-driver designwith an integrated passive crossover to send frequencies to theappropriate driver. This translates into thunderous bass, tingling highs and


ddAug2011v2_Layout 1 9/07/11 1:34 PM

good, solid midrange. There’s some exaggeration at the low end and while youcan almost feel the bass drum and low toms through the earphones, this maybe a bit deceptive, because that’s not what you can expect through the PA.

There’s been some criticism of the bulky size of the Triple Fi 10 range, which isdue in part to the inline position of the ear tips, as opposed to the right-angleplacement on the Shure line, for example. Personally, I didn’t find them too bigor bulky, but I did find it hard to achieve a tight seal. UE seems to have skimpeda bit on the tips, providing three sizes of silicon tips and a couple of foam tips –a far cry from the choice of the lower-priced Etymotics, for example.Unfortunately, Ultimate Ears has also chosen a larger bore format, limiting thechoice of tips. While the difficulty in achieving a tight seal didn’t impact onperformance, it did reduce the isolation effect, and a small amount of stick noisedid bleed through.

The Triple Fi 10 vi comes with a compact, sturdy carry case and a bunch ofadaptors including a gold 6.5 mm adaptor, an attenuator and a cleaning tool.

At $400, the Ultimate Ears are well worth considering, but you really do need tomake sure that you can get a good seal.

Westone UM3XRC

At under $400, the Westone UM3X should be on every top-endshortlist. The compact high-tech earphones are supplied with aneat crushproof case, probably the widest selection oftips, from flanged to soft and medium silicon andmalleable Comply tips, a cleaning tool, a 6.5 mm jackadaptor and an attenuator attachment.

There’s an option of a clear body, revealing the threedrivers and circuitry inside and making the earphones lookreally hi-tech.

At 130 cm, the cable isn’t the longest, but it is fully detachable (in the case ofthe RC review sample) and replaceable, with longer leads available from themanufacturer. The cable is a moderate weight braided pair that feels like it cantake the demands of gigging and the attachment to the earpieces is firm andsecure.

With an impedance at the higher end of the samples, at 56 Ohm, the Westoneswere surprisingly hot (they’re rated at 124 dB), with the module dialled back justpast 9 o’clock. At moderate levels, the UM3X delivered heaps at the extremes,with lots of thumping bass and tingling treble, and I found the midrange just atad more muted than the more expensive Shures – but certainly not lacking.

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The bass was solid without a hint of distortion, even when pumped up. Theoverall reproduction was extremely clean, clear and detailed, with excellentseparation, thanks to the three balanced armature drivers and the passivethree-way crossover. The UM3X showed dynamics and subtlety in the modulethat was certainly not evident with any of the closed headphones I had triedpreviously.

With the widest selection of tips – and probably the best quality out there, withsignificant differences between the sizes, comfort was exceptional, especiallycoupled with the compact earphone design which made for a flush fit in theears. The combination of tip choice and small earphone body made theseextremely close to custom-fit earphones in the comfort stakes. Of course, withthe snug tip fits, isolation was superb, and there was absolutely no stick noise.

Overall, the UM3X was an excellent balance of features, fit and performanceand certainly rivals the more expensive Shure model in our collection.

Shure SE 535

Okay, we’re getting to the pointy end, price-wise, and theperformance reflects the added cost. The Shure SE 535 isa serious contender and the $500 price tag gets you a boxfull of stuff – eight different tips sure to fit anything

including a Klingon, a stylish hard carry case and a bunchof adaptors – and of course, the professional earphones with

detachable cable – all 1.6 metres of it.

Isolation and comfort are superb, thanks to the tip choiceswhich range from foam sleeves, to silicon buds and a triple

flanged option. There is no cable noise, in fact there’s next to no external noise.

Rated at 119 dB and 36 Ohms, these guys performed best at 12 o’clock on themodule – a higher volume setting than most of the others. But there was heapsof punch and totally accurate reproduction. Thanks to three drivers in each unit,I heard bass notes I didn’t know the TD-20 could produce, mid-range was clearand detailed and the highs were flawless. In fact, it was almost like being insidethe module – no distortion, no colouring, just instrument sounds. I can honestlysay that the modules had never sounded better - even with high-endprofessional closed headphones.

The clear-shelled SE 535 is comfortable and reasonably compact, significantlysmaller than the UE sample, but more substantial than the Etymotic. It is road-ready, supplied with a sturdy, compact zip-up case big enough for the mainunits, a bunch of tips and the supplied cleaning tool.

The SE 535 may lack the clout and low-end thump of the Ultimate Ears TripleFi, but it more than makes up for it in balance and accuracy. Sure, the price tagis hefty, but the quality is undeniable, and it’s no surprise that so manyprofessional musicians use SE 535s on stage, especially with Shure’s wirelessmonitoring system.

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JH Audio JH16Pro

Including the flagship product of JH Audio in thisreview is a bit like putting a tailor-made suitalongside department store clothing, because eachJH16Pro is custom-made for the customer. Theprocess starts with an impression made by the local

audiologist (a useful contact for your later years, whenall that live gigging catches up with you!). The moulds of

your ear cavities are then shipped to JH Audio’s labs whereacrylic shells are produced to your specification, and you can

choose between clear and several colour options and add graphics or letters.You can also choose the “engine”, and the review pair were built to the top-of-the-line JH16Pro specs. This means a staggering eight drivers for each ear –two dual lows, a dual mid arrangement and a single dual high set-up.

The IEMs were shipped in a tough custom box with my name engraved into it,with a velvet-like carry bag and a hearing aid cleaning tool. It was suppliedwith a 1.2 metre see-through braided cable (personally, I’d have preferredthem longer, so remember to specify that when you order).

The fit was perfect (there’s a 30-day rebuild period after purchase and if theydon’t fit, JHA will try again), resulting in an almost impervious seal thatdelivered amazing sound isolation.

The company quotes impedance of 18 Ohms and output of118 dB, and on themodule, that translates to a rich full sound rather than a surge of power. Thevolume needed to be dialled to around 11. At that level, the earphonesdelivered what can only be described as a seamlessly blended soundscape,with detailed reproduction of everything from the lowest bass drum to thegentle jingle of a tambourine. There was no artificial bass boost, but rather afull, enveloping tone that wrapped around the back of the head. The extradrivers and the integrated three-way crossover ensure that all the frequenciesare covered and there are simply no gaps or surges in the reproduction. If theother pro offerings were like being inside the module, the JHAs were like beingin the control room when the module sounds were being recorded – utterlyfaithful to the original instruments.

These are serious in-ear monitors for serious musicians (or audiophiles), soyou’d expect a serious price. How serious? Well, the 16Pro range starts at$1,149, and goes up as you add customisation and extra bits.

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The bottom line:

In-ears are a great solution for e-drummers, with most of the models testedeliminating much (in some cases, all) of the stick and pedal noise. There is,however, a big difference between the lower-end buds and the top-endcanalphones which effectively seal the ears and totally block outside sound.Reproduction was excellent overall – with many models outperforming top-endtraditional headphones. And all were easy to wear and less obtrusive than theirbulky over-the-ears equivalents. Of course, some people will not like puttingthings in their ear. It is important to ensure that you choose the right tip and theappropriate size to ensure isolation and comfort. The better (more expensive)models tended to offer more choice in tips, with the pro models obviously inoverkill area. And there are always after-market options as well.

Of the models tested, there’s no doubt that the multi-driver JHA 16Pro was theoverall performance leader, and if you’re a professional using your IEMs on adaily basis, you wouldn’t think twice about going totally custom – especially if it’stax-deductable. Eargasmic as they were, for the average punter, it’s a bigpremium over the Shures or Westones, and it’s quite hard to quantify if they’retwice as good. And for the more budget-constrained who may be tempted by theWestones, Shures or Ultimate Ears, the step down to Etymotic ER4S is actuallysmaller than the price saving implies. The Etymotic held its own on all fronts(even down to the disconnectable cables – if that’s important to you). Somemight favour the more substantial look and feel of the bigger models, but for me,less was more and the ER4S was plenty, although obviously it doesn’t equal theclarity, detail and broad soundscapes of its more expensive rivals .

Of the bud-style earphones, the beyerdynamic DTX 101iE was a pleasantsurprise, combining clarity and clout in an affordable package. And the entry-level Woodees punched far above their weight, delivering surprising detail anddepth for a very modest price tag.

One lesson I learned during testing was that draping the cables over the back ofone’s ears rather than letting them dangle down your face cuts down onamplified cable noise. It may look odd, but it sounds much better.

I’m loathe to say that earphones are a personal choice and what sounds good tome might not ring true for you, so instead I’d suggest that anyone in the marketfor new in-ear monitors make sure they at least listen to a couple of models –and avoid untested purchases, whether online or in a store. Of course, it may behard to find stores that allow you to put their stock into your waxy ears and youprobably can’t try your friends’ earphones either. And, clearly, it’s even moredifficult to audition custom devices that require a mould and one-off production.

You’ll also need to decide where your priorities lie. Are you interested indedicated e-drum earphones, or are you likely to use them with your stereo, onflights or with your iPhone? The kind of uncoloured reproduction you’re lookingfor as a drummer might not be appropriate for your heavy metal CDs, so therewill have to be some trade-off if you’re looking for broad application.

The other tip is not to limit your search to a narrow price range. Youmay well find that the top-end prices are justified by theirperformance, but on the other hand, you may be pleasantlysurprised by some of the cheaper options. And be awarethat with some models, the purchase cost may not be thetotal cost of ownership. You may be up for filters orreplacement tips and while these may only cost a fewbucks, they may not be easy to find – and certainly willnot be readily available if you suddenly need one during agig.


ddAug2011v2_Layout 1 9/07/11 1:34 PM

THEY MAY LOOK similar to earbuds, but in-earheadphones are nothing of the sort. Commonlycalled ear canal headphones, in-ear monitors(IEMs), earphones or simply “in-ears”, these littleheadphones sit deep in the ear canal and offerphenomenal sound quality and isolation, farsurpassing other noise-reducing designs. They alsoprotect your hearing by isolating outside sounds,leaving you to concentrate only on what’s comingthrough your headphones. Thanks to the plethora ofmodels and brands available, there are sure to besome in-ears for your budget and monitoringdemands. Here are several considerations to makewhen choosing an in-ear headphone.

Fit: It’s very important to obtain a proper fit with in-ear headphones so they remain stable. Differentbrands and models have unique ergonomics, but allare designed to fit as many people as possible.Look for a model that includes a selection of tips invarious sizes and materials, and be sure to try all ofthe included tips to find one that works best for you.Carefully read the included manual, as the specificinsertion instructions will ensure a proper fit. Cablerouting is also important; some are designed to berouted behind the ear and are ideal for drumming.Many models also include clips to keep cablessecurely fastened to clothing; this will dampen cablenoise and prevent tangling.

Sound: While most models in the $100+ pricerange sound very good, different brands tend tohave their own subtle sonic signatures. Outstanding

clarity and detail is a hallmark of in-ear headphones,so prepare to be amazed. When it comes to bass,most models offer a respectable (and appropriate)amount, but if you consider yourself a bass-head,then there are probably some specific models bestfor you. One important consideration is to look at thenumber of drivers of an in-ear headphone. Typically,the more drivers, the higher the fidelity of the sound.Many mid-priced models have separate drivers forlow-frequency and high-frequency, known as dual-driver, and still others feature triple drivers for lows,mids and highs. The pinnacle of multiple drivers canbe found in the fully customised Jerry Harvey AudioJH16s, sporting an astonishing eight drivers perside!

Custom Models: If you’re looking for the bestsound and fit experience, it’s likely to lie in acustom-moulded model, where special moulds aremade of your ear canal by an audiologist. Theadvantage is supreme comfort and a level of sonicquality that is simply unsurpassed. They start ataround $400 and run up to $1,200, but for musicianswanting the very best with no expense spared,they’ll be blown away by the immersive accuracyand intense realism these phenomenal tinyheadphones offer.

Whether you spend $100 or $1,000, a wonderfulworld of high fidelity awaits. But the choices can bea bit overwhelming, so it’s essential to talk to anexpert and to try before you buy.

Ivy Burford, www.headphone.com

Sound adviceSound advice

--gear--


ddAug2011v2_Layout 1 9/07/11 1:34 PM

JohnJohnMAHONMAHON

--profile--

on percussion and vocals...


ddAug2011v2_Layout 1 9/07/11 1:34 PM

digitalDrummer: John, tell us a bit about how yougot into drumming.

John Mahon: I got into drumming by joining a drumand bugle corp when I was about 12. My father wasa policeman and took my brothers and I to thePolice Boys Club. From there, I joined the schoolmarching and concert bands and then my parentsbought a drum set for me. It was not the highestquality. I remember the tom mounts breaking andthe toms rolling across the stage - on two differentsongs, no less - when I joined a rock band.Hilarious! The roadie bolted them back on during theintermission - brilliant!

dD: What about your pro career, how did that start?

JM: I really started playing gigs for money when Iwas in my teens. My brother had a band and I wasalways playing somewhere every weekend. Ofcourse, I had day jobs too but when I hit my 20s, Istarted to study more seriously and play full time injazz and top 40 bands. (You could do that back thenand make a living). DJs pretty much killed theworking club musician.

dD: And why the move to percussion as opposed tokit drumming?

JM: I’m still a kit player too, but I have alwaysplayed a little percussion: tympani in high school,studied some mallet and played some hand drums.But it is my singing that really pushed me in thatdirection and also my interest in electronics. I hadmy own band for a while that I fronted and sang allthe leads.

I used a mix of Simmons drums and triggers so Icould be more up front and visible. I was oftengetting asked to sing backing vocals in bands thatalready had drummers and needed percussion andelectronics - loops, samples, etc... Seemed like agood fit for me.

dD: We’ll get onto electronics in a bit, but first I haveto ask about working with Elton. How did that comeabout?

JM: I was playing with Chuck Negron of Three DogNight at the time. Doing percussion, electronics andbacking vocals. My name was suggested to Davey


Percussionist, drummer and vocalist John Mahonhas been playing with Sir Elton John since 1997.He’s appeared with the pop giant in more than1,000 shows in over 60 countries. Mahon spokewith digitalDrummer editor Allan Leibowitz fromhis home in Los Angeles.

ddAug2011v2_Layout 1 9/07/11 1:34 PM

A bit of this, a bit of that: Mahon mixes acoustics and electronics

Johnstone, Elton’s musical director, by Bob Birch,Elton’s bass player. Bob and I go way back to theearly ‘80s in Los Angeles. I did a small audition onvocals only and flew to Nice, France for rehearsalsfor a show in Germany. I guess Elton liked me andhere I am 14 years later.

dD: Let’s talk a bit about electronic drumming. Whatwas your first bit of electronic gear?

JM: In the ‘80s, you could not listen to pop music -or jazz (listen to Herbie Hancock’s Future Shock)and not hear electronics. I loved the big crazysounds and the drum machines with quantisingwere addictive. Wow, I think my first setup was theSimmons 7 kit. It was analogue mixed with digital.You had to actually open it up and insert the samplechip - like “Phil Collins toms”. Then you could mix insome analogue with it. Pretty bad-ass really andexpensive! Yamaha also had a trigger interface thatI used on acoustic drums with the Simmons. I evencarted a big audio system around with them.

I’ve been through a variety of gear. I used Dauzpads, Roland’s three-way pad, the Roland Pad 8,the DrumKat, with pedals and all. Then theZendrum, which I still use.

I have had lots of different Yamaha DTX electronickits - they just kept getting better.

I worked with the original Linn Drum, and did somerecords, all on the Linn 9000. That was a greatmachine. I had a Roland 808, Yamaha RX11 andRY30 and an Akai 2000 and 2500.

dD: What does your current arsenal include?

JM: I’m using MOTU’s BPM and NI’s Battery. In myhome studio, I programme and trigger with theYamaha DTX 950 or the Multi 12. Sometimes, Ieven bust out the Zendrum because it’s just cool! Iwould much rather play a part than programme abeat if I can. If I programme, I do it on the Akai 2500but I’m going to get the Akai MPD32 because I don’tuse the 2500 to programme as much anymore. I dosome acoustic triggering using Ddrum acoustictriggers into the DTX. I jump back and forth betweenLogic and DP7. Don’t ask me why!! It’s crazy.

dD: What electronic gear do you use in Elton’sshows and what does the band think of it?

JM: Now, I use the Yamaha DTX 950 and DTX Multi12. I mostly use the sounds in the DTX, or havecustom samples. For a while, I used a RolandFantom for samples before Yamaha upped thememory allocation in the DTX. I’m using a MalletKatExpress and Yamaha Motif XS rack for sounds. Ihave six pads laid out flat in front of me – sort of likea tympani - and a kick pad on which I programmeeverything from massive booms to a tambourinesound. I’ve also been triggering a 28” Yamahamarching kick and 15”x10” snare for a mixed sound.That was for the Union CD shows. As for the rest ofthe band and the tech crew, I think what they likemost is that sounds like tympani and effects are allstereo direct to the mixer. No mics - we have quite aloud stage scenario, so it is difficult to mic liveinstruments. Our sound engineer is always happierwith fewer live mic inputs.


ddAug2011v2_Layout 1 9/07/11 1:34 PM

dD: What are the benefits of electronics overacoustic percussion pieces?

JM: With electronics, you can have an endlessvariety of sounds to choose from. When recording,you can have MIDI and audio recorded so you caneasily make changes if you need to in the computer.You can record with one song and go back andreplace the MIDI drums with a completely differentsound. All these new electronic drum sets aredesigned to play along with and can be superblearning tools. And, of course, there is the volumefactor: if you are somewhere where disturbingsomeone is an issue, electronics are a greatalternative. All that said, there is nothing like playingan acoustic instrument. It is just an alternative,another tool at your disposal.

dD: I know you’re a Yamaha endorsee: whatimpresses you most about their gear and what doesyour endorsement entail?

JM: I started with a Yamaha acoustic drumendorsement. Their drums have always been thebenchmark for others to follow - the highest quality.Then it just expanded into electronics. Their stuff isvery reliable, and they have an ever-growing soundpallet. So I now use many of their products. Theyhave sweet tambourines - and the Motif keyboardsare all amazing. From one end of the spectrum tothe other, the quality is always top notch. Myendorsement means a direct line to Yamahaequipment that I might need. Say I am in anothercountry and something breaks, I have a network togo through to help me all over the world. Yamahaprovides equipment for the Elton John Tour andgives me an artist break on personal equipment.They have always been there when I needed them.

dD: Do you use electronic percussion in your studioprojects as well?

JM: Like I mentioned before, I am alwaysincorporating electronics, whether I programme viathe Akai pads or play in parts on the DTX drums. Ifind that mixing acoustic percussion with electronicdrums provides a warmer feel than going all-electronic. I like using the Roland HandSonic in apinch and the Korg Wavedrum is amazing.

dD: Why is it that percussionists are increasinglyusing electronics? We have profiled Pete Lockettwho is now developing patches for 2box andpreviously featured Tom Roady who is the cover boyfor Zendrum and seems to have tried everythingelectronic under the sun. And we also heard fromGermany’s Oli Rubow who combines all sorts ofelectronic and acoustic bits. So as a percussionist,perhaps you can explain the fascination?

JM: These guys are all masters and great mastersnever stop learning and never sit back on theirlaurels. With percussion, there is always the searchfor a new sound or new instrument. When I’m on theroad, I always pop in stores to see if I can findsomething out of the ordinary. It can be a problemgetting things shipped - like the 36” bass drum I justfound in Bismark, North Dakota. Not sure what I’ll dowith that monster yet! I’m sure if you are readingthis, you are like me - when you get sticks in yourhand, you want to hit anything that looks like it mightmake a cool sound. I used to work in a hardwarestore and I would disappear into the paintdepartment. It was heaven!! But with electronics,there are so many sounds at our fingertips - with notuning or fussing around either. Looping soundscreates a whole other instrument, too. It’s likeplaying a cymbal that just keeps cooking along.


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ddAug2011v2_Layout 1 9/07/11 1:34 PM

dD: What about the future of e-drums: whatinnovations or developments are you looking outfor?

JM: The future of e-drums is going to be pad feeland velocity response getting better all the time. Thepads have to be a joy to play. Maybe we’ll see e-drums develop a game controller-type vibration tomimic acoustics. The new Zildjian electroniccymbals introduced at the 2011 NAMM show arebreaking ground and I think we are seeing more e-drums being a little acoustic in there too. I’d like tosee this cross over into hand drums - congas thatare acoustic/electric. Drum sets are going to gocompletely dual-purpose with the skins being bothgreat drumheads and triggers.

dD: And finally, what does the future hold for JohnMahon?

JM: Well, the future is going to be touring with EltonJohn. We have a busy schedule for 2011. I amalways composing in my spare time. Bob Birch and Iwrote some songs for Jose Feliciano last year. Hopeto do more of that. So besides some two-wheeledfun, I’ll be learning, song writing, producing and.... trying to get some practice in!!

dD: John, thanks for your time and good luck...

JM: Thank you for asking to interview me. It’sinteresting to think about what it is I do - instead ofjust doing it. And thanks to all the fans that come outand see the Elton John Band. We really doappreciate your support.


ddAug2011v2_Layout 1 9/07/11 1:34 PM

WE’D RECORDED EVERYTHING into ProToolsand agreed with Toontrack from the outset thatproducer Peter Henderson and I would perform afirst edit, essentially separating the individual hits weneeded from all the chatter, coughs, splutters andcreaking doors, etc. I would also ask Peter toremove any strokes that sounded badly performedfrom a drummer’s perspective. We then tried togroup all the individual hits together as‘articulations’, as the drum software companies callthem. In other words, rimshots, centre hits, flams,ruffs, hi-hat tips, hi-hat edge, ride bell, ride shankand more. Then, we grouped them in terms ofvelocity of hit: soft, full volume, etc. After that, hard

drives were copied for safety and the main drivewas sent by courier to Toontrack in Umea, mid-northSweden.

Over the next couple of months, Toontrack did somemore work on the edits and assessed what we hadand how it was all going to come together in the finalproduct. They’d done this once before as they’drecently released a new product called Superior.Peter and I really had no idea how the softwareworked or how hundreds of samples became avirtual instrument.

Finally, in February 2005, Peter and I flew to Umeato hear the software in action, witness the final

In the May issue, Chris Whitten shared some of thebackground to his first VST pack. This month, hepicks up after the round of recordings in the UK.


Making a ClassicMaking a Classic

--vst--

ddAug2011v2_Layout 1 9/07/11 1:34 PM

programming tweaks and give it our final seal ofapproval. We also found out the drum library we’dcreated was too big for one software package, sowe had to choose which drums and cymbals toinclude, and which to set aside for a follow-uprelease.

Somewhere along the line, I’d started referring tothe sample collection as ‘Custom & Vintage’, largelybased on the range of instruments and equipmentwe’d used; a custom-ordered cymbal by SteveHubback, a vintage Ludwig kit, and thevintage EMI TGIconsole, for example.We all agreed ‘Custom& Vintage’ was anappropriate andagreeable name, so theToontrack graphicsdepartment went to workon packaging andadvertising.

On returning from SwedenI packed up my house andstudio and emigrated toAustralia (another story).‘Custom & Vintage’ wasofficially released in April2005.

Fast forward to 2010 and aftermany discussions, Peter and I embarked on anotherproject, aiming to try and apply what we’d learnedwith more great kits and another unique console.

This time, we chose a Helios. Like the EMI, it is veryhighly regarded, made in small numbers and hard tofind in working condition, in bookable studios.However, unlike the EMI which imparts a thick,coloured coating to the drums, the Helios is warm,but crystalline, particularly noted for being gloriouslysmooth on cymbals.

So the hunt was on for a great sounding studio witha working Helios console. We found one in NewJersey - Shorefire Recording Studios, formerlyowned by E Street Band bassist Gary Tallent. Thisfind was especially good news for me as I figuredwe could somehow engineer a way to grab a Noble& Cooley kit of mine stored at the Cooley factory inGranville, Massachusetts.

After much schedule-juggling, we managed toarrange a four-day session. The logistics included avisit to the factory to collect the kit and a trip toManhattan to pick up cymbals and to check out aCraviotto drum kit at Maxwell’s drum store.

On the first morning of four booked at Shorefire, Istarted by re-heading and setting up my Noble &Cooley Horizon drum set. Peter started setting up a

comprehensive array of microphones. TheToontrack team of Mattias, Henrik and Nils arrivedfrom a couple of days of meetings in Manhattan.

Going Back To My Roots

OK, so I made a concession to the niche, vintagevibe from which I was attempting to escape. Ibought a set of Remo CS Black Dot heads for my

N&C concert toms. Youcouldn’t record concerttoms (single-headedtoms) without one of themost popularly usedheads of the 1970s.The last time I’d usedthem was probably inthe 1970s, and theysounded awful, but Ididn’t know how totune drums backthen. This time,they soundedpretty good - if Isay so myself.Apart from theblack dots, I’ddecided to learn

from ‘Classic and Vintage’ andconcentrate on heads and tunings I knew.

Having said that, I installed an Evans EQ4 head onthe Horizon 24” bass drum. I’d used one before as ithas a less dampened sound than my usual EQ3head. However, once we mic’ed the kit, we wereunsure about the bass drum tone and I ended upputting the EQ3 back on.

The unfortunate thing about working with rare,vintage recording equipment is that it doesn’t alwayswork as you’d hoped it would. As a result, during theday, some mics and some recording set-ups wereabandoned in favour of two we could rely on todeliver: a standard contemporary close mic’ed kit,and a classic four-mic set-up, both to be recordedsimultaneously. The ‘four-mic’ was partly inspiredby the Helios console. Legendary producer GlynJohns had made the four-mic set-up his trademark,especially working in the late ‘60s/early ‘70s withartists such as Led Zeppelin and The Who on theHelios console at Olympic Studios, London. Also,Peter and I wanted to explore a simpler, more rawvirtual drum instrument, especially as that stripped-down sound had become fashionable again amongyounger bands and recording engineers. Towardsthe end of day one, with the mics all positionedcorrectly and the drums all tuned, we commencedthe sampling process. I won’t go back over thatprocess again: tedious to do, and tedious to readmore than once, I think.


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As before, on the C&V sessions, Mattias was happyto accept our artistic direction, gently guiding us andhelping us remain on track towards the vision we’dset out to achieve. I was happy to let Peter make thedecisions in the recording process and he washappy for me to tune and play the drums as I saw fit.

Ch Ch Ch Changes

After the retro tom heads, I installed my regular tomhead of choice on the N&C Horizon kit: Evans G2coated. On day two, we made a start on Shorefire’sown Yamaha Recording Custom kit, which fulfilledmy need to sample something mainstream andpopular, especially as I installed Remo CoatedAmbassador heads throughout.

We decided to rent the Craviotto kit from Maxwell’sin Manhattan. When it arrived, I just checked thetuning for any rogue dissonance. I didn’t want toactually change the tuning as I presumed the storesent the drums out sounding their best. Also, one ofthe features of a good virtual drum instrument isvariety. If I tune three kits on three consecutivedays, it’s likely I’ll subconsciously tunethem too similarly.

I’ve got to admit the sessions wereeven more demanding and stressfulthan the 2Khz sessions six yearsearlier. One of the problems was thevintage nature of the recordingequipment, including some fantasticrare and expensive Germanmicrophones. Occasionally, one woulddevelop a fizz. Of course, with thedrums being banged and crashed and a whole rockband thrashing away, it would be unfortunate, butnot disastrous. However, when you are recordingdozens of pianissimo cymbal hits, it is a disaster.Worse still, often these mic breakdowns were barelynoticeable - except when you soloed the mic andturned the volume right up. So, on more than oneoccasion, I’d spent an hour meticulously sampling akit piece only to discover I had to do it all over again.

The Sound of Silence

The studio also turned out to be less than perfect fora super critical sampling session. To be fair, only theelite studios can boast such perfect soundproofingthat when a cockroach sneezes, it isn’t an issue.We just had to be careful, and in truth, theextraneous noises were few, especially after dark.But on our final night, with the clock ticking on ouravailable time and a slew of fantastic cymbals stillunrecorded, the local council decided to have anend-of-summer fireworks display. So we took abreak and had a cup of tea until the display fizzledout. A short while later, as I was in the middle of a

So what’s it like?

We’ve read Chris’ account of what went into it,so what can we get out of Toontrack’s TheClassic EZX?

Firstly, this sample pack and MIDI collection isplayable with Toontrack’s EZdrummer VST anddoesn’t require the full-blown SuperiorDrummer solution.

While this means 16-bit samples instead of 24-bit, there’s certainly no compromise on samplescope or realism.

The selection of kits is excellent. The Noble &Cooley, Yamaha Recording Custom andCraviotto Ash kits add great contemporarysounds to the EZdrummer arsenal and you caneasily hear how these kits would be ideal forthe creator’s work with Paul McCartney andDire Straits. There are some good punchysounds as well as more subtle tones.

The cymbal selection is outstanding, withsome cut-through rides, crisp hi-hats,full, warm crashes and bright splashes.

The devil, they say, is in the detail, but inThe Classic’s case, the detail is themajor strength. Whitten has providedsome fantastic articulations, especiallyon the cymbals, and the realism isstriking. The ride, for example, has ridetip, ride shank, bell tip, bell shank, edgeand mute articulations.

The dynamics on the snares and toms aremagnificent. They don’t just get louder as youhit harder, you can almost feel the increasedenergy.

One of the appealing aspects of this samplepack is that it easily provides two very distinctfeels for all the kits at the click of a mouse,thanks to its two different recording settings.The Classic offers a choice between acontemporary multi-microphone version andthe “4 mic setup” which feels tighter and isreminiscent of some of the big ‘70s recordings.

The Classic certainly adds something fresh tothe EZ line and is among the most detailed andresponsive VSTs I’ve heard to date.

It’s an essential add-on for any EZdrummercollection and must be equally tempting for SDowners. And I’m not just saying that becauseChris is reading this…

Allan Leibowitz


ddAug2011v2_Layout 1 9/07/11 1:34 PM

sequence of low-volume tip strokes on the finalcymbal we would have time to sample, an angryseagull apparently landed on the roof just above thestudio. It started to squawk loudly. Oh, what thisvegetarian, animal-loving drummer would havegiven for a gun! Luckily, it flew off after a fewminutes, but it felt like someone had it in for us,especially as we’d had none of these problems onprevious evenings. After completing that finalcymbal, our time was up, except for a couple ofhours packing everything up, that is. Did I say thedrum sampling game is glamorous?

Gonna Write a Classic

These days, Toontrack has developed custom toolsto edit and format all the samples into its softwareproducts like EZdrummer and Superior. You stillneed skilled people like Mattias to make them soundtheir best, and there are also artistic and commercialdecisions to make. Peter and I always hope torecord more than we need, and offer more choicesthan can be catered for. So, everyone - Peter,myself, the Toontrack team and the beta testers -have a say in how the final product ends up.

One hot topic was a name for the product. This time,I wanted to keep my lip buttoned. I’d come up with‘Custom & Vintage’, a name based on the drumsand cymbals recorded and recording equipmentused. However, potential buyers seemed to focus onthe word ‘vintage’ and ignore the word ‘custom’,presuming the samples were aimed at the retromusic scene, which they are not. Anyway, a coupleof the Toontrack guys suggested ‘Classic’ and thismorphed over a few days into ‘The Classic’.Everyone seemed to like it, so it was duly named.

One final duty befell me, to record and edit a ‘BestOf…’ MIDI library to include with the sampleddrums. For this, I’m indebted to Roland CorpAustralia. I’m not a regular e-drummer. In fact, I findit a hard discipline to master. Roland’s Simon Aytonhad offered to help out if I ever needed to create aMIDI library for Toontrack and so I decided to takehim up on it. Amazingly, he offered to let me work attheir offices for as many days as I needed, and touse one of their TD-20s, already set up and ready toplay.

The next task was to go through my career CDs anddecide what to reproduce in MIDI form. Which songswould people want to hear me play, which grooveswould be most useful to our customers? I kneweveryone would expect ‘What I Am’, the EdieBrickell and the New Bohemians hit. I decided tochoose at least one song from the main bands I’vebeen associated with. I never recorded with DireStraits, but everyone loves ‘Money For Nothing’. Iplayed it over 300 times on tour, not countingmonths of rehearsals, so that went on my list. So didthe biggest hit from the ‘Flowers In The Dirt’ album Irecorded with Paul McCartney: ‘My Brave Face’.Plus songs from Julian Cope’s ‘St Julian’ album, theWorld Party album ‘Goodbye Jumbo’, and the hit‘Where In The World’ by Swing Out Sister.

With all that recorded and edited, the next part waswaiting for ‘The Classic’ to hit the shelves. I onlyhope Toontrack’s customers enjoy using the soundsas much as I already am. Maybe someone willrecord a hit record with them and tell me on theToontrack forum, “That’s your snare!”

ddAug2011v2_Layout 1 9/07/11 1:34 PM

http://www.eareckon.com

ALL VST PACKAGES require a host programme,and Native Instruments provided digitalDrummerwith a copy of Kontakt 4 for the testing of its AbbeyRoad Modern Drums product. This was a bit likeproviding an Airbus A380 for the testing of its coffeemachine – the host programme was way over-engineered and far beyond the understanding of ahumble drummer. Even more so since the AbbeyRoad series ships with NI’s free Kontakt Player host.But if I ever need highly detailed samples of aFrench Horn to a four-part harmony choir, at least Iknow where to go now.

So, onto the drum part…

The Abbey Road pack is the fourth in a seriesrecorded at London’s famed studio. Like theprevious offerings, this collection is based on a less-is-more approach. It consists of only two kits: aDrum Workshop (DW) Collector’s Series from themid-90s (the white kit) and a Pearl Reference kitfrom the mid-2000s (the sparkle kit). So, unlikesome other VST packs, there’s no wholesaleswapping of drums or cymbals – although there arethree snare choices in each kit.

Instead of variety, there is plenty of depth, with over40,000 24-bit, 44.1 kHz samples in a 17.4 GBlibrary.

The detail includes up to 27 velocity layers for eacharticulation and up to six variations of drum hits atthe same velocity for added realism. Most of thearticulations for drums and hi-hat include separateleft- and right-hand samples.

Even the kit representation in the main screen ishighly detailed.

The Abbey Road name is synonymous withrecording and engineering technology, so it’s nosurprise that the NI pack has a heavy focus onsound reproduction. The samples were recordedwith a mix of cutting-edge new equipment andAbbey Road’s respected vintage collection.

The interface reflects the control booth focus, withlots of dials and sliders reminiscent of a 1960srecording studio.

The main page includes a fantastic drummer’s viewof the kit together with some adjustments that coverdrum tuning and microphone mixing. Users can alsotweak the attack, hold and decay of sounds andchoose articulations in the bottom panel. This pageincludes the mapping controls which allow users toselect their MIDI input parameters and this includespresets for most e-drum modules and VST hosts, aswell as a learn function.

The mixer page is like a trip to the famed studio,with a range of analogue-looking dials and sliders tocontrol the levels of the various microphones, aswell as panning and output routing. This is where itgets fairly technical for stick artists and you get intorouting individual tracks to various outputs. For me,this was a step too far!

The options page is probably also out of bounds tothe average punter, but for those who venture forth,this is where you can tweak the velocity curves andadjust stuff like snare bleed and randomisation.

Product review: Abbey Road IV

digitalDrummer’s VST approachLike most of our readers, our reviewers are drummers, not producers orrecording engineers. We’re looking for plug-and-play solutions - programmesthat work out of the box.

When I test a VST, I’m looking for something easy to install and run. I’m lookingfor a product that allows me to start playing without too much fiddling around.Of course, I’d like some degree of tweakability, but I don’t want to spend hoursfiddling with parameters.

To test, I use a Dell Studio 1555 dual-core 2.2 GHz notebook running Vista, with2GB of RAM. I test VSTs using a Roland TD20X-based kit and with a Zendrum,both connected via USB using an M-Audio Midisport 1x1 interface.

To monitor the output, I use the laptop’s soundcard and high-end in-earmonitors.

--vst--


ddAug2011v2_Layout 1 9/07/11 1:34 PM

In action

After the mammoth task of loading Kontakt and itssix disks, Abbey Road was simple to install.

The interface is easy to navigate and after selectingthe Vdrums preset, the software found all the drumsand cymbals right off. There was a bit of tweaking,with the floor tom and ride not triggering too well indefault settings, but by altering the response curves,it was quickly remedied. Once set up, response wasexcellent around the kit, from rim shots to cymbalchokes and variability in the hi-hat. The ride belltook a bit more tweaking - that’s probably more todo with the sensitivity of the CY-15R.

The sounds were uber-realistic and enveloping,especially when auditioned through high-end in-earmonitors.

The DW kit had lots of presence and some rockylow-end punch, especially when played with aroomy mic setting. The Pearl kit was brighter andmore poppy, with some shimmering cymbal tones.

I found little latency, and playing was smooth and

responsive, the snares a real joy. All the drums hadexcellent detail, making for hyper-realistic playing.

Clearly, the default sounds are just a starting point,but for me, the handful of presets would certainly begiggable and suitable for any rock/pop recording.Someone more adventurous would no doubt be ableto lift the kits to an even higher level and there’splenty of scope for obsessive tinkerers.

At around $120 for just two kits, this package is notcheap. But it is certainly among the most detailedsample collections you’ll find, and you’re gettingexactly what you pay for, rather than a bunch of fillersounds. Abbey Road also doesn’t come with anygroove samples, so it’s clearly a drummer’s offeringrather than a producer’s pick.

Its excellent sounds, quality and depth of samplingmake it a valuable addition to any sample library,especially for anyone who plays modern classics.Just one word of warning: this is a very big pack, sounless you have very, very fast Internet access anda generous download entitlement, go for the hard-

copy version rather than the download.

The Abbey Road series features great sounds and enormous editing capability


ddAug2011v2_Layout 1 9/07/11 1:34 PM

XLNAUDIO’S ADDICTIVE DRUMS VST is usuallylumped with Toontrack’s EZdrummer andFXpansion’s BFDeco, but the main difference is thatit requires a host. In my case, I tried it on a Windowslaptop using the free SaviHost which is extremelyeasy to use.

What most people find instantly appealing about ADis its tiny footprint of less than 2GB.

Where the other lite VSTs have smallish base kitswith a couple of toms and around three cymbals, ADhas 12 kit pieces. Of course, you don’t have to usethem all.

The stock pack has three full kits - a SonorDesigner, DW Collector’s Series (both with kick,snare and five toms) and a Tama Starclassic (withthree toms). On the cymbal side, there’s a choice ofthree hi-hats, four rides, nine crashes and threesplashes two chinas from the Sabian and Paistecollections. There are also some extra bits like aPearl Signature Ferrone snare, Masterworks Piccolosnare and Masterworks kick.

The application opens in the Kit page, where youcan audition and tune the kit pieces using intuitiveand easy-to-use controls. Unlike the rival VSTs, thekit representation in AD is inanimate – you can’t“play” it, but you can audition individual pieces byclicking on their images on the kit page. And, whereboth rivals take a while to load instruments, with AD,it’s almost instantaneous and you can changesounds on the fly, even while listening to a groove –and that’s impressive.

AD’s second page, the Edit screen, allows you toalter the effects – tune the instruments, modify micplacements and change other parameters – muchlike the activities in other VSTs’ mixer screen. In theFX pane, one can change the two included reverbsettings. This is probably an unnecessary window,which most rivals merge into the mixer screen, but ithas some nice graphics, so it’s good to have.

The last pane is the Beats option where literallythousands of beats and fills can be selected. E-drummers probably won’t spend much time herebecause we can make our own beats, but this pagealso provides access to the map window whereMIDI mapping is possible. There are presets for allthe popular modules (including the 2box, which isnot yet mapped for some VST products) and a“learn” function where triggers can be assigned to kitpieces and articulations.

So, set-up is really easy, even for the VST novice,

and there isn’t much stuffing around before you’reready to play.

The stock kits are excellent bread-and-butter drumsets which get quite a lift from the variousadjustment presets. The kits tend to favour heavier,rock applications with some very handy retro-stylesounds, a stadium-like live kit and a couple oftechno offerings in there for good measure.

The starting line-up is limited, but like rival VSTs,there is, of course, a range of add-on kits – orADpaks, as xlnaudio calls them – and the currentcrop includes Retro, Jazz (Brushes and Sticks),Funk and Reel Machines (featuring the sounds ofclassic Simmons kits which can’t be named becausesomeone else now owns that trademark!).

And what’s it like to play? I was initially a bitdistracted by the latency, but was able to tweak theASIO driver settings to get a decent balance ofsample depth and delay. Once that was addressed,I found the application very responsive, with animpressive range of dynamics. One of the mostimpressive features is the velocity-sensitive cymbalchokes which are hyper-realistic compared to mostof its competitors. The playability was certainlyenhanced by the quick changes on the fly –something which would be important to giggingdrummers who don’t really want to be watching kitsload up in the hope they’ll be ready for the nextsong.

Overall, Addictive Drums is a very neat solution,offering some detailed samples with a smallfootprint. There’s plenty of tweaking scope for theamateur (I’m really not that into infinite mixingoptions) and it’s an easy-to-use solution with agentle learning curve. As a drummer rather than a

producer, AD is hard to fault.

Product review: Addictive Drums

--vst--


ddAug2011v2_Layout 1 9/07/11 1:34 PM

IT’S GOOD TO see a newsample offering optimised forlower-end VSTs, and thenewest collection from CymbalMasters and PlatinumSamples, Virtually Erskine, isdesigned for the BFDeco entryproduct as well as its BFD2package.

For those unfamiliar with PeterErskine, whose website simplydescribes him as “Drummer.Composer. Professor”, he isperhaps best known for hisfour-year stint in WeatherReport. He has 500 albumsand film scores under his belt,and has toured and recordedwith Steely Dan, Diana Krall,Chick Corea, Joni Mitchell, Kate Bush, the BBCSymphony Orchestra, the Berlin Philharmonic, theLondon Symphony Orchestra and the Los AngelesPhilharmonic.

The Virtually Erskine library consists of twocollections, sold separately. The first is the SoundLibrary, the second is a collection of MIDI Grooves.All the grooves and samples are played by Erskineand meticulously recorded and produced by JohnEmrich, not only an e-drum guru, but also aZendrum virtuoso and digitalDrummer contributor.

Emrich did the recordings in Erskine’s own personalstudio to capture his signature sound, somethingthat is evident in a stunning promo video whichshows the original kits and the samples played sideby side.

The recordings are done mostly with Shureoverhead mics to which Emrich added one stereoroom mic. He didn’t bother with the Amb3 channelbecause “it was not needed to capture Peter’ssignature sound”.

I tested the Sound Library together with itscompanion Brushes Pack, trialling both on a TD-20-based kit and a Zendrum.

The Sound Library is designed forsmaller kits. When you have asmuch talent as Erskine, you don’tneed a ton of gear, so thesamples cover bass, snare, tworack toms, a floor tom, hi-hat, rideand two crashes.

There are two kit set-ups, bothDW - The Jazz Series and theCollectors VLT rock kit.

With the smaller jazz kit, you canchoose between an 18” or 20”bass drum, the two snarescommon to both kits, a 14”x4.5”wood jazz series snare or a moreaggressive 14”x6.5” stainlesssteel snare.

The rock kit is built around a22”x16” kick and a three-tom line-up of a 10”x8”, a13”x9” and a 16x16” floor tom, all sporting Evans G2heads.

The Zildjian cymbal samples include 14” New Beathi-hats, an A Series 14” Thin Crash and a K Series18” Dark Crash, a 22” Swish Knocker and a few risechoices - 19” Armand Ride with rivets, a Zildjian 20”Prototype, a 21” Armand Ride and a 20” Left SideRide.

These are two very different kits, one smooth andsubtle, the other punchier but still crisp andcompact.

The samples are richly nuanced, with a widespectrum of articulations that are especially usefulfor the Zendrum. There are drags and flams, cross-stick and side-stick samples, for example, providingthe snare with plenty of depth and variety – evenmore so when the anti-machinegun option isselected to ensure the same samples aren’ttriggered twice.

At $80, the sample library is very keenly priced.However, it’s available only as a download and at 5GB, that can be a challenge, especially for thosewith slow Internet connections.

Product review: Virtually Erskine

For review suggestions, [email protected]

--vst--


ddAug2011v2_Layout 1 9/07/11 1:34 PM

Metal ADpak by xlnaudio

This pack for Addictive Drums features a Ludwig Classic Mapledrum kit recorded by metal guru Ross Robinson (Korn, Slipknot)in Los Angeles.

The 18-piece drum kit is characterised by thunderous toms, aheavy kick drum, a sharp but balanced snare drum and viciousZildjian cymbals.

The Metal ADpak includes 30-plus mix presets tweaked byprofessional metal producers and musicians such as RobertoLaghi and Björn Gelotte (In Flames), David E.K. (Fuge), MartinPreikschas and many others.

To accompany the new kit, xlnaudio has also released the Diabolic MIDIPak, featuring the work of Daniel Erlandsson from Arch Enemy and coveringa wide range of metal styles and grooves in different tempos and variations.

Price: $59Information: www.xlnaudio.com

Military Cadence by Platinum Samples

Platinum Samples has teamed up with digitalDrummer columnistand retired Chief Musician from the US Navy Band in Washington,DC John Emrich to release the Military Cadence Multi-FormatMIDI Groove Library.

Military Cadence features drumline grooves, snare rolls and a fullcollection of rudiments formated for BFD2, BFDeco, EZdrummer,EZplayer, Superior Drummer 2.0, Addictive Drums, CakewalkSession Drummer, as well as General MIDI which can be usedwith any GM compatible drum software or hardware.

It’s a collection of 285 live, military cadence grooves and rudiments recordedas a real performance on an electronic drum set, composed and recorded byEmrich.

Price: $19.99Information: www.platinumsamples.com

Number 1 Hits EZX by ToontrackThis EZX expansion for EZdrummer, according to its creators, is “afusion between organic, electronic, high-tech and vintage - a soundlibrary that covers classic sounds but carries them into the newdecade, a collection of drums that would sit right away in anycontemporary pop, dance, house or hip hop mix”.Produced by sound designer Niklas Flyckt (Britney Spears, Robyn,Kylie Minogue, Girls Aloud, Rachel Stevens), it is a one-stop-shop forinstant drum production for contemporary pop, dance, house and hiphop music. It has the popular Linn, TR 909, TR 808, DR 55 sounds aswell as Flyckt’s characteristic acoustic run through his signal chain ofSSL, tube vintage compressors and hard-to-find outboard gear.

Price: €69Information: www.toontrack.com

New products


ddAug2011v2_Layout 1 9/07/11 1:34 PM

VSTVSTVSTVST

Question: I notice that my VST has all

these mic setting and mixing options. I’m a

drummer not a sound engineer, so can I just

ignore all of that and choose some drums

and play?

Answer: Yes! All of the popular VST drum

programmes include presets. You can have

great results right away. All of the hard work

involving selecting mics, placement, and

proper recorded gain structure has been

taken care of. Don’t be scared of building

your own presets; it’s easy. This is a great

way to experiment and learn a little about

processing. All that really matters is that it

sounds good to you.

Question: I’m using ASIO drivers, but I

can’t seem to play audio from my computer

like music tracks to accompany my VST

drums. Am I doing something wrong, or do I

need some more gear to enable me to hear

both the VST sounds and audio from my

sound card?

Answer: ASIO drivers are an important

subject to understand. ASIO stands for

Audio Stream Input/Output. It is a driver

protocol for Windows-based machines that

allows the end-user to connect their

programmes to sound card hardware. It is

important to make sure that you have an

ASIO driver that allows for flexibility and

reduces latency. I recommend getting a free

copy of ASIO4ALL.

Playing audio, like that from a CD, at the

same time that you wish to play a VST drum

programme means you have two

applications sending info to your audio

interface. Some programmes will allow you

to have both going at the same time, but it

depends on the programmes. A better

option would be to get your hands on a

software Digital Audio Workstation

programme. Many of the well-known

software DAWs like Cubase AI5 have free,

feature-reduced versions. There are also

programmes like Reaper that cost very little.

Using a DAW programme like Cubase or

Reaper has a couple of benefits. Both of

these can work with ASIO4ALL and the

computer’s onboard sound card. You can

load in audio files that you want to play with

and learn a little about working with a DAW.

It really is simple. This will also allow you to

record yourself for fun. The key is that now

both the music and the VST drums are

running inside one programme and your

audio interface is only dealing with one

programme.

Another solution worth looking at is a

simple, inexpensive Audio/MIDI interface. I

recommend this route because it will be

better suited for your needs than using a

computer’s onboard sound card. This will

also generally give you better results

dealing with latency. The cool thing is that

most simple interfaces will include a free

version of a DAW. This kills two birds with

one stone.

○ Send your VST questions to

[email protected]


VST Q&AWith growing interest among e-drummers in

VSTs, there are many little details that can make

the difference between fighting with technology

and mastering the tools. E-drum guru John

Emrich has kindly agreed to answer some of the

common questions.

ddAug2011v2_Layout 1 9/07/11 1:48 PM

IT WASN’T REALLY so long ago that multi-trackingdrums into a desktop or laptop computer was amajor ask for any machine, while purpose-builtmulti-track machines were costly and offered littleediting possibilities themselves.

MIDI proved a great aid for keyboard players andengineers, allowing the inter-connection and controlof instruments from different makers. It also allowedlarge and complex arrangements to be recordedand endlessly copied and edited using minimalspace.

Nowadays and off into the future, we’ll no doubt takefor granted that for modest dollars we’ll have ever-

expanding computing power at our disposal torecord at potentially triple-digit sample AND bitrates. But having the power to crunch those hugenumbers doesn’t necessarily aid the creativeprocess for an inspired drum part.

Let’s get straight to the positives and negatives ofrecording electronic drums via MIDI and via audio…

Recording via Audio Outputs

Thumbs Up: Plug the kit into audio interface withtwo leads (stereo, of course!), choose sounds,decide on tempo, set recording level and then go forit. I got it in one take, so time for another beer!

For the recordFor the record

When it comes to recording drum parts, thereare several options for electronic drums.Simon Ayton runs through some of these.


--tweaking--P

HO

TO

: D

RE

AM

ST

IME

ddAug2011v2_Layout 1 9/07/11 1:34 PM

Thumbs Down: Listening back, the rest of the bandreckon I could have played it better. Kick drum tooquiet and not enough snap so gets buried in theguitars. Snare also too quiet and could use a bit ofreverb. What was I thinking with those toms andwhere’s that ride cymbal gone? Recording level alsotoo hot and some parts distorted. Need to organiseanother recording session.

Recording via the MIDI output

Thumbs Up: Plug kit into MIDI interface with onelead. No need to set recording level, decide onsounds or even final song tempo. Start recording.

Recorded several takes as it hardly takes up anyhard drive space.

Got a great take but the timing of a couple of partswasn’t perfect, so fixed this using the note quantisein the recording software. Found the perfect drumsounds for the track using a combination of soundsfrom the drum brain and some from virtual drumsoftware and was able to adjust their levels just rightfor the song. Changed my mind in the mix and didanother version with different tom and snaresounds.

Thumbs Down: Need to know the differencebetween MIDI Out and MIDI In.

Reality Check

Recording electronic drums - or for that matter anyaudio mixed together, even in stereo - is a bit likebaking a cake. No matter what, once it’s baked, youcan’t change the amount of sugar or flour in it.

Even if your drum module allows multiple outputsand you have recorded the drum kit instruments on

separate tracks, you still won’t be able to easilysubstitute, tune or alter the sounds beyond theiroriginal form without much work.

When recording via MIDI, you may still want tobounce/mix the software drum sounds or the kit’saudio output down to a stereo track for the final mixwith the rest of the music, but this can be done atthe very last stage - once all the creative polishingand editing work has been done and theperformance and sound is as intended.

Great drum joy is to be had from pumping the MIDIperformance back into the kit’s MIDI In, amplifyingthe sound into a room and micing the result to addinto the final mix too!

By the way, even a kit with only left and right outputscan be recorded onto separate tracks one MIDIinstrument part (kick, then snare, then toms, etc.) ata time.

Also, whereas recording audio consumes muchhard disk space, the data saved in MIDI recording isminiscule in comparison. Entire multi-take MIDIrecordings can be sent via email easily as MIDI fileswhich remain completely editable at the receiver’send using whatever electronic drum hardware orsoftware they have.

For a blow-by-blow explanation on setting up for arecording, laying down tracks and mixing the result,I recommend you check out ‘Long DistanceDrumming’ (digitalDrummer, January 2010).There’s also comprehensive info to be found on theInternet on MIDI recording and most musicsequencing programmes have extensive help on thesubject , so uncurl that MIDI lead and give it a go!

ddAug2011v2_Layout 1 9/07/11 1:35 PM

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

Kits he p trigger

th se acoustics

They’re halfway between ready-made drumpads and do-it-yourself triggers. They’re kitsthat allow you to transform an acoustic shellinto an e-drum, and as Allan Leibowitzfound, they vary in price, ease-of-use andperformance.

--gear--


ddAug2011v2_Layout 1 9/07/11 1:35 PM

digitalDrummer scoured the four corners of the globe to assemble a range of DIY kits.Each was installed according to the manufacturer’s instructions into a 14” acoustic shell.This size was chosen in the wake of our external trigger review because it sorts the menfrom the boys. It’s relatively easy to trigger a small head, but with the larger sizes,sensitivity can drop off at the extremities, and positional sensing – that change of thetone as one moves from the centre of the drum towards the rims, emulating acousticdrums - is more troublesome on bigger surfaces.

The converted drums were tested as snares, using a Roland TD-20 module with theTDW-20 expansion card and the latest firmware, an older TD-6 and a 2box module.

Our digitalDrummer scorecard measured each kit against a number of criteria and ineach case, the top score is five and the worst is awarded one point. For ease ofconstruction, five points means easily done without tools or craft skills; four indicates thatsome tools are required; three implies the need for removal and or replacement of somedrum parts (other than heads), two indicates the need for drilling or soldering and oneconnotes the need for drilling/part replacement and soldering. The performance score isan average (out of five points) across the three modules on which the triggers weretested.


ddAug2011v2_Layout 1 9/07/11 1:35 PM

682Drums DT2-PRO

Late last year, digitalDrummer reviewed the non-destructive kit from European company 682Drums.

The kit consists of a piezo and cone mounted on ametal plate and attached to a sturdy black ribbon.The ribbon is draped over the edges of the shell andheld in place by the head and rim – no other form ofattachment is required.

The 6.5 mm output jack can be mounted in the airvent hole, or simply attached at the bottom of theshell in bare-bottom drums.

682Drums also does a dual-zone version, with aseparate sensor that attaches to the shell. This isnot just a stick-on sensor, like the Quartz version,but a solid-looking metal bracket which attaches toone of the lug screws.

I found installation relatively easy, thanks to thedetailed instructions. Armed with my experiencefrom a previous review, installation of the ribbon waseasy when I used masking tape to hold the ribbonsin place as I centred the cone. No soldering isrequired, and the kit includes bullet connectors tolink the sensors and the jack, neatly colour-codedand snug fitting.

In TD-20 testing, the trigger needed a slightsensitivity boost to get good responsiveness at theextremities, but once tweaked, responsiveness anddynamics were very good. Interestingly, like theQuartz kit, the polarity of the head trigger needed tobe reversed (ie. the red connected to the black) toget full positional sensing. Rim response was goodon the TD-20 without any adjustment, but ironically,not quite as good on either of the other modules,where adjustment was harder.

For the TD-6, it was necessary to revert to theoriginal polarity. Sensitivity needed to besignificantly boosted and threshold dropped toachieve acceptable triggering, but even aftertweaking, the TD-6 struggled with some of the softerhits at the extremities. Perhaps some adjustment ofthe cone height might have improved the triggering,but since the height worked fine for the TD-20 andeven the 2box, that’s debatable.

On the 2box, a fair amount of sensitivity boost wasrequired, while the threshold also had to be droppedsignificantly, but once that was done, response anddynamics were very good across the entire head.Rim response was slightly subdued.

The 682Drums kit is certainly among the easiest toinstall and the company also sells mesh heads andrim silencers, so it is a one-stop-shop solution.

Price: € 55 ($79)

Ease of construction: 4

Non-invasiveness: 4

Performance: 3.66

ddt Truss system

There probably isn’t an easier e-conversion kit outthere. The ddt Truss system consists of a one-piecebridge that mounts straight onto the bearing edgewith no screws or attachments of any type. Thebridge is set at a perfect height for the inbuilt triggercone in the middle of its span, and it overlaps theoutside of the shell to reveal a stereo XRL jack onthe one side and a discrete counterbalance sectionon the other.

Installation is totally simple: remove the acoustichead, position the truss on the shell (preferablybetween the lugs), slip a mesh head over it (and ddtmakes excellent white dual-ply heads as well),replace the hoop and slip on a ddt rim silencer (soldseparately). The ingenious system is totally simpleand completely reversible and one has to wonderwho would take up ddt’s custom install option.

The rim trigger is built-in and kits are available in allsizes from 8” to 22”. All kits include a quality 4.5 mXLR–jack cable.

Set-up was as simple with only minor tweakingrequired on the TD-20 module. The stock PD125setting worked better than the 125X, but did requirea couple of clicks of sensitivity boost and some rimgain.

Triggering was responsive across the whole headand around the entire rim. Tracking and dynamicresponse were excellent, although for some reason,positional sensing worked far better in PD125 mode


ddAug2011v2_Layout 1 9/07/11 1:35 PM

than with the PD125X setting. The module’s positiondetecting meter hardly moved in X mode, butfollowed the triggering in the 125 setting.

On the TD-6, there was also a need for a slightsensitivity nudge, although the rim setting neededno adjustment for good triggering.

The ddt trigger was plug and play on stock pad12setting on the 2box, with excellent responsivenessacross the head and the rim.

The downside: this is clearly the most expensiveoption available, but if you were triggering a goodquality acoustic kit, you probably wouldn’t bat aneyelid. Also, to its credit, the kit comes with a three-year warranty.

Price: €159 ($225)


Non-invasiveness: 5

Performance: 4.3

Musician Near You rail system

This kit is available online from the US and consistsof a rail attached to two brackets which overhangthe bearing edge. It’s a budget version of the ddtTruss and requires no hardware removal. There arejust two screws to tighten once the mounting

brackets have been fully extended. In my case, Ineeded to bend the fittings with pliers to get them tofit over the edge.

The trigger assembly ends in a Neutric stereo inlinejack which may or may not fit in your drum’s airhole.If not, you’ll need to widen that until it fits – or use abottomless shell.

One installation tip you won’t find in the instructions:make sure you position the hooks over your lugs. Itried the rail between lugs and the hooks distortedthe mesh head hoop on three different heads,making it impossible to tighten. However, whenaligned with the lugs, it came together easily (there,just saved you 15 minutes and maybe the vendorwill add that to his instructions!).

ddAug2011v2_Layout 1 9/07/11 1:35 PM

http://www.ddtrigger.de

For some reason, the instructions advise you tomove the trigger pyramid assembly off centre, whichI did.

When connected to the Roland TD-20 module, thetrigger responded well with PD125X settings,needing only one click of sensitivity boost and aboutthe same rim gain as most of the other kits.

Performance was surprisingly good. The trigger wasresponsive all the way to the rim. Triggering waseven all around the rim, and tracking and dynamicswere very good. Positional sensing was up therewith the other samples, the only slight issue being adifficulty in getting ‘distant” hits on the side closest tothe trigger and a slight loss of response on theopposite far corner. Again, I’m puzzled by the off-centre position.

It’s almost as if the unit was designed for the TD-6because it needed absolutely no adjustment on thismodule. Response and dynamics were very good -almost to the extremities of the head, and rimtriggering was excellent.

On the 2box, quite a lot of tweaking – reduced gain,reduced threshold and alternation of the curve - wasrequired to produce passable, but not brilliant,triggering and the rim response was useless unlessstruck very close to the sensor.

At $30 plus postage, this is one of the cheapestsolutions and its other clear advantage is that it hasminimal impact on the shell – none if you’re using abottomless shell or if you have a generous airhole(or your shell does, at least).

Price: $30


Non-invasiveness: 4

Performance: 3.33

Pintech AcousTech kit

American e-drum maker Pintech has beenproducing its conversion kits for many years, usuallyperforming conversions in-house. However, growingdemand from international distributors and fromDIYers has seen the company offer the kits as aself-install product.

The kit is based on the components used inPintech’s ready-made drums and includes a bridgeassembly, head and rim piezos and a foam column,and buyers are able to specify cable length and jackstyle.

One word of warning: read the instructions beforejumping in or you may end up with the bridge upsidedown! Installation requires the removal of the topscrew from each lug and mounting the bridge, which

comes in three sections and fits a range of shellsizes by simply sliding the two end bits under themiddle section. The piezo and sensor column arethen attached, using the premounted adhesivestrips, and the jack is then threaded through theairhole, which may require widening of the opening.The rim sensor is mounted on a metal strip thatneeds to be attached to a lug screw somewherenear the bottom of the drum. No soldering isrequired, with all the electrical bits simply clippingtogether – and actually staying clipped in! Just makesure you have attached everything correctly bytapping the sensors before putting back the meshhead (which is available from Pintech) and the hoop.

On the TD-20, triggering was excellent on defaultPD125 settings. Positional sensing was spot-on,and the tracking and dynamics were faultless.However, the rim trigger was quite hot and rimsensitivity needed to be reduced a fair bit.

The Pintech trigger was fairly comfortable on theTD-6, needing just a bit of sensitivity reduction, butthat did reduce the responsiveness at the veryextremities of the head, so it was a bit of acompromise between dynamics and use of thewhole playing surface, especially as the rimtriggering was quite hot and miss-hits at the edgeseasily triggered rim responses.

On the 2box, it was a battle to dial this trigger in.Ironically, rim response was great, but I had tovirtually push all the adjustments to the limits to getreasonable triggering, and the best results wereusing the Kick 2 settings. This resulted in verylimited dynamics, with every stroke basicallysounding like the drum was being bashed full bore.

Besides the trigger kit and mesh heads, Pintechalso sells rim silencers.

Price: $56


Non-invasiveness: 4

Performance: 3.5


ddAug2011v2_Layout 1 9/07/11 1:35 PM

Quartz trigger harness

Canadian DIY supplier Quartz Percussions recentlyadded a suspended trigger system to its line-up.The $25 dual-zone kit consists of a trigger assemblyattached to three Velcro straps, a stick-on rim piezoand a jack fitted with spade connectors. Quartz doestwo versions of the system – one with a cone forsnares and one with a flat-topped column for toms.We tested the former.

The assembly takes a few minutes and requires theremoval of the head and hoop, placement of theharness on the reverse side, tightening the strapsand putting the head back on. Finding the rightposition for the plastic buckles is a bit hit and miss,and I had to try a couple of times to get the righttension. Some drilling may be required for the jackmount, although it may just fit in some of the moregenerous airholes.

The sensors are connected to the jack with spadefittings which are easy to apply, but did come loosea couple of times during testing. I guess I need tolearn to push harder!

When connected to the Roland TD-20 module, thetrigger responded well with PD125X settings,needing only one click of sensitivity boost and aboutthe same rim gain as most of the other kits. We alsoneeded to reverse the polarity from therecommended connections to get positional sensingto work, but work it did. And adjusting the polaritywas a cinch, as the connectors simply clip into thesturdy 6.5 mm jack assembly. Overall, performancewas very good, with good response, tracking anddynamics and sensitivity to the very edge of thehead. Rim triggering was excellent and, in fact,needed to be adjusted downwards.

On the TD-6, the trigger needed a bit of a sensitivityboost and increased threshold levels to produceaccurate triggering across the head. Rim sensitivitywas a bit on the low side.

The Quartz kit also needed a sensitivity boost andthreshold adjustment on the 2box’s stock pad12setting. Once dialled in, responsiveness and

dynamics were good, but rim sensitivity was a bit onthe low side.

Of course, the price tag and non-invasiveness makethis an appealing option, especially for those justtesting the water and not wanting to spend toomuch.

Price: $25


Non-invasiveness: 4

Performance: 3.66

TSK Trigger System

This kit is available from German online dealerHandlesbau and ships totally unassembled – abunch of frame arms, a cradle-type assembly, acouple of piezos (one attached to a cone) and anXLR socket.

It looks easy to put together, but in fact this projecttook a couple of hours.

If you follow the instructions, the process starts withdrilling holes between each pair of lug holes for themounting arms. There is another way of doing this,but it’s subject to some legal wrangling, so we don’tgo there.

With the arms attached, the platform is thenscrewed into the arms and the piezos attached. Thecone goes on the top and the rim sensor either onthe bottom or on the shell. Here, we struck the firstchallenge – the rim sensor wire was too short toreach from the centre of the platform to the jack, sowe needed to solder additional lengths on.Additional hurdles for the craft-challenged would besoldering the leads to the XLR sockets – eventhough the jack is actually numbered. And thenthere’s the issue of drilling a hole for the chunkyconnector. Although the makers do supply atemplate, many wouldn’t have the tools to do it


ddAug2011v2_Layout 1 9/07/11 1:35 PM

neatly, nor would they necessarily want topermanently take a big chunk out of the shell –especially if there’s a chance the kit may again beused acoustically.

In our case, we opted to use a standard quarter-inchstereo jack instead.

The final step is adjusting the cone height – arelatively easy task, using the nuts on mountingbolts to raise or lower the “table”. The difficulty isbelieving the instruction that the cone height shouldnot exceed “1mm beyond the drum edge” – waylower than the traditional wisdom of at least aneighth of an inch (or 3mm).

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 extremities, and positional detection wasspot-on. Tracking and dynamic response wereexcellent, and rim sensitivity was great without anyadjustment. So, the cone height instruction was notas bizarre as it might seem. And that’s because thecone is a little shorter than most and blunter at thetip. The material does produce a slight hot spot onthe cone tip, but it was certainly playable withoutbeing distracting.

The snare was harder to dial in on the TD-6 module,and even after tinkering, performance was less thanoptimal.

Similarly, on the 2box module, no acceptable levelof triggering could be obtained, even after extensiveadjustments, using a range of pad settings. In short,the snare was just too hot.

The manufacturers admit this is not a kit for DIY-phobics and stress that they’ve left out some labourto keep prices down.

Price: €39,95 ($57) for the platform and €9.95 ($14)for the six arms.


Non-invasiveness: 2

Performance: 2.6 (due to the low score on the2box)

Performance: 4

The verdictThis review probably revealed more about thetrigger tolerance of modules than about the DIYkits themselves. The enormous tweakability ofmodules like the TD-20 means that acceptableperformance can be achieved from almost anytrigger. The 2box module is very fussy andsome triggers just couldn’t be made to workacceptably in the time allocated for this project.Perhaps the next software upgrade will makethe unit more accommodating.

The ddt Truss system ticks a lot of the boxes –easy to install, excellent performance across allthree tests, no impact on the shell andavailability of matched heads and rim silencer,but it comes at a hefty price.

The Pintech system is a solid performer that’srelatively easy to install and looks built to last –at a reasonable price. It uses the same designyou’ll find in Pintech’s drums, and hasreplaceable components if anything ever goeswrong. But it won’t suit 2box owners.

The two suspended trigger systems – Quartzand 682Drums – are relatively versatile andeasy to install at reasonable prices and withgood performance, depending on the modulewith which they’re expected to work. I preferredthe connectors and sturdy rim sensor on theDutch offering, but the Canadian certainly winson price.

The TSK trigger really performed on the TD-20,but at a cost and with some DIY skills requiredto install. It would also not be much use for2box owners.

And if you’re using a TD-6 module, therecertainly is no need to look beyond the budget,easy-to-install Musician Near You kit. Somepeople have turned their noses up at thisproduct, but it was certainly no slouch indigitalDrummer’s testing, especially pairedwith the older module.

So, for those who want to use acoustic shells,there’s plenty of choice and a number of goodperformers at all pricepoints. These triggersgenerally performed as well as or better thanexternal triggers because they are centrallylocated on the head, rather than mounted nearthe rim. They are also out of harm’s way andcan’t be struck and damaged during play. Butthey may require some drilling of the shell,which might not be acceptable to some.


ddAug2011v2_Layout 1 9/07/11 1:35 PM

2BOX Kit shown with real Drum Heads fitted.

Cymbal

Highest quality 24 Bit sounds. 4gb of internal Memory. Use Mesh, Rubber or Real Heads. Edit all sounds on your MAC or PC. Create your own sounds from the software provided or upload from other sources via USB. Trigger different sounds from the rim or the head. Eight assignable outputs.

2BOX Module, Pad

Individual items now on SALE separately.

http://www.dominantmusic.com.au/2box


Positional sensingmade easy

Whether you’re building a trigger from scratch or doing ahome repair, digitalDrummer can help. PhilippeDecuyper will find the answers to your DIY dilemmas.Just email your questions [email protected]. This month’s questionis from Kaushik Nilakant: “I am a little lost over howpositional detection/sensing works on Roland drummodules, and how the configuration of piezos contributesto that effect.”

--diy--

THE THEORY BEHIND positional sensing has been

overviewed in a previous issue of digitalDrummer.

To recap, let’s say that a piezo placed in a crossbar-

type trigger with mesh head receives more bass

frequencies (long waves) if a strike occurs next to it.

If this piezo is placed right in the centre of such a

trigger, it will then get more bass on a centred hit

and less bass from the edge.

Let’s get into details now…

In order to detect the position of a hit, a module

must analyse the produced waveform. It needs to

know how much bass there is in the signal from a

piezo which is used as a microphone.

Analysing frequencies can be done using various

methods. Some methods are very precise but need

a lot of costly mathematical operations (if you are

curious enough, you can search the web for “Fast

Fourier Transform”). The basic requirement is fast

response to avoid latency.

Roland owns a patent (US patent #7385135) which

describes the extremely fast method it uses:

“Namely, when detection (of the) signal of the

head sensor in the case when the head,

composed of a net-like raw material, is ...

observed, there is such a characteristic that a

first half-wave time changes dependent on a

position of percussion point in a certain

frequency band.”

Ouch! What does it mean?

It means that what’s coming from a piezo must be

cleaned up to be useful (“a certain frequency band”)

and that the module just needs to know how long it

takes for this clean signal to go from 0 volts to 0

volts as soon as a hit occurs (“first half-wave time”).

We can then imagine how our module works:

Our piezo starts to produce enough electricity…

-> a hit is occurring

…wait until the signal goes back to 0 volts.

-> then we can know how strong this hit was

(from the voltage “peak”) and how far from the

centre it was (from the elapsed time).

ddAug2011v2_Layout 1 9/07/11 1:35 PM

The signal produced by our piezo must be filtered so

the module can detect position from this signal.

Practical considerations for the DIYer

The cleaner the piezo signal, the more effective the

detection of the position.

Even if a piezo is a bad microphone, we can help it

to co-operate with a module.

Like a guitar, shielding the wire to

which our piezo is attached will

reduce useless noise. If you do

not use a shielded wire to connect

your piezo to the trigger’s socket,

interlacing both negative and

positive wires can also help to get

a cleaner signal.

Roland triggers feature an inverse

polarity, so it is usually a good idea to

link the ceramic part of your piezo to

the “sleeve” (ground) part of your jack

socket, and the brass part of your piezo

to the “tip” (positive) part of your jack

socket. This way, the first half-wave

produced by your piezo will be negative,

which may be important in the context of

the waveform analysis job performed by

your module.

Piezo transducers have different

properties and some may not get the exact

frequencies a Roland module needs to detect the

position of your hits. You’ll need to change a piezo

for a different one if positional sensing does not

work with it.

Positional sensing from the rim piezo

As far as I know, Roland modules do not appear to

work this way. Some may think it is implemented like

that because some Roland modules are able to

differentiate “open” and “shallow” rim shots.

However, the rim piezo is usually used as a binary

switch (rimshot or not

rimshot).

Velocity and position are

always processed from the

head piezo.

Some non-Roland and

many home-made modules

or software add-ons may use a two-piezo

position detection approach,

probably because:

The first half-wave method needs•

the piezo signal to be filtered

properly (extra filters and fine

tuning needed).

Roland triggers are produced•

in series with the same type

of piezo featuring specific

properties (Roland module

algorithms are made to

work with Roland triggers)

while home-made or other

brand triggers may not

provide the signal a Roland

module expects to work with.

The first half-wave method is patented by Roland.•

ddAug2011v2_Layout 1 9/07/11 1:35 PM

http://www.stealthdrums.com

MyMONSTERkit

Academically qualified musician JeremyGodwin exchanged “hundreds of emails” withDiamond to get everything customised. Thespecifications covered everything from the birchshells to the burr veneer, the size and locationof the lugs and a first for Diamond – removabletriggers.

Hybrid Kit Setup:Dual-zone toms: Two 8”x6”; two 10”x7.5”;12”x9” and 14”x12” (all Birch core with Mapleinner/outer face ) Snares: 10”x6.2” and 12”x5.5” 4-ply verticalgrain Birch core with 2-ply Maple inner/outerface, both with snare bedsBass: 20”x18” 4-ply vertical grain Birch corewith 2-ply Maple inner/outer face and Poplarveneered Maple Hoops All drums with outer ply of Poplar Burr ClusterVeneer.

Snare drums fitted with gold Trick throw-offs.All drums fitted with gold iso mounts and drum-tec 2-ply mesh heads .

Cymbals:Roland VH12 hi-hatRoland CY15R rideKit-Toys 14” crash (x2)Kit-Toys 13” crash (x2)Kit-Toys 12” crash (x2)

Audio Hardware:Roland TD-20X module, M-Audio Fast TrackUltra 8R Audio/MIDI interface

Hardware:Pearl 503c three-sided curved rackPearl RH-2000 Remote Hi HatDW 8002B Longboard Double Kick Pedal

This month’s monster is a custom-built Diamond Electronics Drums kitcrafted for Jeremy Godwin in Sydney, Australia.

--gear--


ddAug2011v2_Layout 1 9/07/11 1:35 PM

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Jeremy with his kit (above).

All the drums feature a uniqueremovable trigger system for easyconversion to an acoustic kit (right).

Lots of gold hardware on the snaresand toms (below).

ddAug2011v2_Layout 1 9/07/11 1:35 PM

E-DRUM SUPPLIES AUXILIARY TRIGGERS

CUSTOM DRUMS/KITS CONVERSION KITS

www.stealthdrums.com

Acoustic eleganceAcoustic elegance

Stealth electronicsStealth electronics

www.stealthdrums.com


gearGuide

The Cowpaddy Electronic Drum AccessoryThe Cowpaddy is an Accessory Drum Trigger

that can fit just about anywhere withouthaving to rearrange your set. The

Cowpaddy is made of a foam that isrubber coated, so its easy on the

Wrists and Hands. With 1/4" Mono JackCable or the Optional Stereo "Y" cable, it can

be used as the Main or Auxiliary Trigger from any DualTrigger input on your Module. The Cowpaddy can beattached to any Rack Mount L-Rods or Cymbal stands up to1/2" in Diameter. Choose between a single Cowpaddy or aspecial Dual CowpaddyDrum Trigger Accessory,complete with "Y"Cable. And now theHand Drum, Dual CowpaddyCowabongo allows you to have a Hand Drum incorporatedwith your Electronic Set.To order, email [email protected].

ddAug2011v2_Layout 1 9/07/11 1:36 PM

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http://www.daimondelectronicdrums.com

http://www.stealthdrums.com

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http://cgi.ebay.com/COWPADDY-ELECTRONIC-DRUM-PAD-TRIGGER-COWBELL-V-DRUMS-/310273441471?pt=LH_DefaultDomain_0&hash=item483dbcfebf

http://cgi.ebay.com/DUAL-COWPADDY-ELECTRONIC-DRUM-PAD-TRIGGER-COWBELL-/310240776440?pt=LH_DefaultDomain_0&hash=item483bca90f8#ht_1467wt_1137

E-DRUM SUPPLIES DIY SUPPLIES

SOFTWARE TRAINING


gearGuide

VDrumLib allows you to createcustom drum kit libraries for yourRoland V-Drum module. The samesimple user interface is employed for allof the following Roland V-Drummodules:

TD-3, TD-6, TD-8, TD-9, TD-10,

TD-10EXP, TD-12, TD-20 & TDW-20

VDrumLib is trialware, so it is FREEfor you to try. If you wish to continueusing it beyond the 10-day trial period, alicense can be purchased for US$19.99.


ddAug2011v2_Layout 1 11/07/11 9:22 AM

http://www.pintechworld.com

http://drummingwithrudiments.com/special

http://www.diydrummer.com.au

http://www.regnow.com/softsell/nph-softsell.cgi?item=14189-3&affiliate=574358

http://www.regnow.com/softsell/visitor.cgi?affiliate=574358&action=site&vendor=14189

digitalDrummer cable label

sheets are running out at just$5 each (including postage).

www.digitaldrummermag.com

GGEETT OORRGGAANNIISSEEDD

MESH HEADS CABLE LABELS

SOUND SOURCE WHAT NEXT?


gearGuide

To order in Australia, click here

GOING

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for less than $200

CLICK HERE

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

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mailto:[email protected]

http://www.zendrum.com

digitalDrummer is a combined effort, bringing together the expertise and experience of electronicdrummers, industry professionals and experienced writers. Here are some of the people whomade this edition happen ...

SIMON AYTON

Simon 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.

PHILIPPE DECUYPER

Philippe Decuyper, a.k.a. PFozz, is the founder of the Edrum For Free website.He has consulted to Toontrack since 2005, specialising in electronic drums, andis also the founder of eaReckon, a small independent audio software companywhich launched in 2009 and recently debuted its BIoXpander MIDI solution.PFozz answers readers’ DIY questions in each edition.

JOHN EMRICH

John 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, and has been responsible for many award-winning sample librariesfor the BFD2 platform as well as sound development for drum modules.

ALLAN LEIBOWITZ

Allan Leibowitz founded digitalDrummer in 2010, drawing on a long-timeinterest in percussion, many years of media experience including stints reviewingeverything from sports cars to restaurants, and a love of gadgets. His interest ine-drums is not just academic and he tests gear in the real world as a drummer forgigging tribute/oldies band, City Limits.

CHRIS WHITTEN

Chris Whitten is a British session drummer who has recorded and toured withPaul McCartney and Dire Straits. He has also recorded with Tom Jones, JohnnyCash, The Pretenders, ABC and The The. Whitten has just completed TheClassic EZX for Toontrack. Now based in Sydney, Australia, he has also workedon film and television scores.

Let’s hear it for the band ...

--contributors--


ddAug2011v2_Layout 1 9/07/11 1:36 PM

Missed a review?Using the search function and the archive option, you can

search back issues for any content, including our reviewsand head-to-head comparisons.

January 2010:

Reviews:

Yamaha DTX M-12

Korg Wavedrum

Roland TD-8

Comparatives:

Amps and Powered Speakers

April 2010

Reviews:

Diamond Electronic Drums 12” snare

Crappy Triggers external triggers

Jman cymbal conversion kit

Comparatives:

Mesh heads

Headphones

July 2010

Comparatives:

External Triggers

Racks

October 2010

Reviews:

Roland HPD-10

JamHub

682Drums e-conversion kit

Comparatives:

Double pedals

Notation software

February 2011

Comparatives:

Drumsticks

E-cymbals (stick noise)

Cymbal VSTs – Bosphorus vs Zildjian

May 2011

Review:

DrumIt Five 2box kit

Comparatives:

Auxiliary triggers

E-cymbals (crashes)

Here is a summary of our reviews to date:

Your definitive guide to e-drum gear

ddAug2011v2_Layout 1 9/07/11 1:35 PM Page 57

http://www.emag.digitaldrummermag.com/Login.aspx

digitaldrummer august 2011

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